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mixintheDialogue: Get Hold of the Audio RushesIf the audio was recorded on a multi-trackrecorder, it’s likely that the editor will only haveused the sound recordist’s two-track mix- downin the visual edit. You’ll need access to theaudio rushes to reconstruct the separate tracksusing re-conforming software such as Syncroarts’Titan. The recordist will have also, whereat all possible, helped you out by recording roomtones in each location, and possibly wildtrackeddialogue if they were able to foresee problems inpost. This can often save a scene from ADR, soI always check through the recordist’s log sheetsbefore starting to edit, so I know what I’ve got towork with.Susan Pennington, Dialogue Editor Spool Post,Audio Media Feb 2010Save Frequent VersionsDon’t Be A Gear SnobIt’s great to have fabulous, expensive gear.We scrimp and save to buy that special‘thing’ that’ll make all the difference toour sound. The truth is that it’ll makesome, possibly wonderful, difference butnot ‘all the difference’. In fact, you’re morelikely to make a big difference to yoursound with a few well-chosen, inexpensiveoddities. My personal favourites are an oldanalogue echo box (an Evans Echopet), anAdrenalinn (midi-synced filters, distortionand drums), a home-made Theramin, anda Realistic mini-speaker. A few hours nowand again scouring charity shops, eBay, andold music shops can really pay dividends.Simon Gogerly, Producer/Engineer and AMContributorBeing able to backtrack in your mix is a great thing.It’s worth saving a new version of your project file everytime you complete a section, in case you decide that a particularidea isn’t working out. Session files are tiny comparedto all the audio files and don’t require duplication ofmedia. Being able to step back through the various stagesof your project means, if something’s not working out, youcan go back to an earlier state and try a different idea.Rob Holsman, Consultant, Jigsaw SystemsThree superb products distributed by Sound-Link Marketingare nominated for the 2011 Resolution Magazine Awards!Microtech Gefell M1030“The M1030 has a very smoothresponse with a lot of detail at thehigh end, clarity through the midrange, and a well extended bassresponse...”Hugh Robjohns—Sound on SoundAugust 2011www.sound-link.co.uk+44 (0)1223 264Grace Design m103“Form, function and build qualityare all exemplary and these,coupled with its very high level ofsonic performance, make them103 a very capable and desirableunit indeed.”Bob Thomas—Sound on SoundMarch 2011Trinnov Optimizer ST2-Pro“The default modes are excellent, asis the flexibility for fine tweaking orfull manual custom settings for yourmonitor setup”Simon Tillbrook—AudiomediaAugust 2009Your source for the most highlyregarded professional products insound recording and referencestandard monitoringUmmmmmWhy Multi-band?The idea behind multi-band processing is that bybreaking down the audio into ranges of frequencies,referred to as ‘bands’, each band can be processed bya gate, expander, and/or compressor with more accuracy.Multi-band dynamics processing first startswith a set of filters, commonly referred to as a‘crossover’, to split the signal into selected frequencyranges. Once separated, each band can be fed intoa gate, expander, and/or compressor (the McDSPML4000 plug-in does all three) for processing.Then the signals are recombined into a full rangesignal. Consider the wide range of frequencies asingle-band compressor has to contend with – lowbass guitar sounds change slowly in comparison tothe transients produced by the hi-hat of the drumkit. If the compressor is made to operate on thecombination of these signals, the bass guitar andhi-hat will trigger different responses from the compressor,and the overall effect may not be suited toeither (or both instruments). Obviously (hopefully?)the two elements are mixed on different tracks, butwill eventually be combined into a rough mix for amastering engineer to tweak. If the original tracksare not available, a multi-band compressor will beable to separate the bass guitar and the hi-hat,operate on each with their own compressor threshold,ratio, attack, and release settings, and then recombinethe signals for a better overall result.Colin McDowell, DSP Engineer, McDSPDon’t believe the hype. There is no priesthood ofsecret knowledge in audio. Well, there is, butthey are false prophets.David Mathew, Audio PrecisionMeter MadeSet up a phase meter or a Lissajous display while youmix. It won’t tell you everything, but it’s a handy way tomonitor the phase and polarity correlation of your tracks.David Mathew, Audio PrecisionQuick HitUse a model when you mix. Pick an albumor two you know and love, and A-B betweenthat and your current mix. You will end upin the ballpark.David Mathew, Audio Precision28AUDIO MEDIA AUGUST 2011