mixinthemixT ECHNOLOGY FOCUSNuGen’s Visualizer plug-in containsreference tools that enhanceworkflow and help users to meetbroadcast standards. The suite comprisesof level meters, spectrum analyzers,spectrograms, vectorscope, stereoscope anda correlation meter. It has a flexible, resizableinterface that adapts to your workingenvironment and the amount of informationdisplayed.Users can make a record of the full dataset at any point in time, using Visualizer’ssnapshot memories. Because these snapshotsrecord the full data set, it is possible to zoom,scroll and examine views that were not openat the time of capture.www.nugenaudio.comLoudness: LU, LUFS, and LKFSAll of these units are used for loudness measurements.LU stands for Loudness Units and is a relativemeasurement like dB. A loudness increase or decreaseof 1 LU would be equivalent to a gain increase ordecrease of 1dB. LUFS is the absolute reading ofloudness in relation to full scale, as it is defined inEBU R128. LKFS is a similar reading and is specified inITU-R BS.1770. The meaning is loudness with ‘K’-filterin respect to full scale. LUFS equals LKFS.Mike Kahsnitz, Technical Director, RTWDialogue: ReconstructionYou can often save dialogue by reconstructing it from alternative takes orwildtracks. If there’s a stomping footstep or door close over an intimate line,check through the other takes or wildtracks of the scene to see if other linesare clean. You may only need a single word or syllable to splice in to theoriginal. Whenever you reconstruct dialogues in this way, you should alwayskeep a copy of the original, either muted in your tracklay, or on a separate‘alt’ track in case the Director doesn’t like the takes you’ve chosen (althoughnine times out of ten they won’t even notice!).Susan Pennington, Dialogue Editor Spool Post, <strong>Audio</strong> <strong>Media</strong> Feb 2010Get A VisionOnce you’re familiar with the material (I alwayshave the faders up halfway while I’m gettingorganised) it’s vital to formulate a plan for themix. Sometimes it’s blindingly obvious whatit needs to sound like, particularly if you’reworking within a very specific genre and theproduction style is clear. However, I often getpresented with material that doesn’t havea specific direction even though it may beperformed and recorded well. In those circumstancesI’ll ask the band and/or producer for afew reference tracks and during the course ofthe conversation I’ll try to get an idea of theinfluences involved. Sometimes reference pointsaren’t necessarily pieces of music. When I waspreparing to mix an album by Bic Runga (NewZealand’s most successful female solo artist) shesent me a DVD of a marvellous old black andwhite Cuban film. The atmosphere and style ofthat film really inspired the whole sound of thealbum. It was immediately obvious to me whatthe mixes should sound like – a soundtrack tothat film!Simon Gogerly, Producer/Engineer and AM ContributorDialogue:Long CrossfadesOne of your main aims is to smooth outthe production sound so that audienceswon’t notice the change between differentnoise floors from shot to shot. In simplecases, this can be done by crossfading betweenaudio regions, providing the noisefloor is not significantly different betweenshots. Keep your fades as long as possibleto ease transitions. This may mean editingin some clean room tone to one or bothregions in order to create enough audioto create the fades. I usually have ProTools set to create ‘Equal Power’ fades asa default, but you should experiment anduse whichever shaped curve sounds best.Susan Pennington, Dialogue Editor Spool Post, <strong>Audio</strong><strong>Media</strong> Feb 2010I BelieveWhen you get it into the game,believability out-rules fidelity.Actually you can tell from allof our sound content that thisis a guiding principle – in eightout of 10 cases we’ll use thesounds that sound real – evenif they’re of lesser fidelity. Wecan always pimp them laterwith extra detail.Stefan Strandberg, <strong>Audio</strong> Director,Battlefield: Bad Company 2<strong>Audio</strong> <strong>Media</strong>, May 201124AUDIO MEDIA AUGUST 2011
nominate nowfor the music producers guild awards 2012Your chance to nominate for the Music Producers Guild Awards 2012continues until Friday 16th September 2011.The Music Producers Guild Awards celebrate the creative talent and technicalability of the UK's music producers, engineers, mixers and re-mixers.The 2011 event was a great success with top music talent in attendanceincluding Chris Martin, James Dean Bradfield, Gary Numan, Plan B, UnionSound Set, Andy Burrows and composer David Arnold. The February 2012event will take place again at London's Café de Paris and see two newcategories being awarded opening up the MPG's international remit.Nominations are now open and tickets will go on sale for thishighly-sought after event in November 2011.Visit www.mpgawards.co.ukto see all the categories and to nominate.If you would like to be involved in the 2012 event, please email:sadie@bubblesqueak.co.ukheadline sponsorsmedia partnersmedia supporterssponsorssponsored charity
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