Might I ask who that member would be? Just am curious. Not that it really
matters. LOL!
I'll definitely look into it.
Chris.
----- Original Message -----
From: "TheOreoMonster" <monkeypushe...@gmail.com>
To: <ptaccess@googlegroups.com>
Sent: Friday, July 11, 2014 6:33 PM
Subject: Re: Well, I was wrong.
And while not a technical book on recording, mixing and etc, The Daily
Adventure of mixer man is worth the read from an entertainment stand point
that also happens to have little audio nuggets in there. And if you get the
Audio book a certain member of this mailing list makes a cameo.
On Jul 11, 2014, at 3:30 PM, Chris Smart <csma...@cogeco.ca> wrote:
I don't know about audio format for those. I got one as a pdf and bought
and scanned the other two.
For Mixing Audio, Techniques Concepts and Tools, you definitely want the
DVD that goes with the book - everything in the bookas a wav file.
Really what it comes down to is learning to identify narrower and narrower
bands of frequencies so you can set and adjust equalizers quickly,
learning what all the parameters of compressors, reverbs, delays etc. do,
being able to detect digital clipping, etc. A lot of just adjusting
things, seeing what they do, and trying to remember what it sounds like
when you do this or that.
Admittedly I had a bit of an advantage starting out. I'm one of those guys
with perfect pitch. So, while I can name notes by sound, imagine them,
etc. I couldn't name what frequency values various pitches are. But, I
quickly started learning that. 440 Hz is 4th octave A on a piano. double
that to 880 and you get a note an octave higher. Halve it to 220 and you
get an octave lower. Halve it a couple times and you're almost at 50 Hz,
the hum of electrical noise in Europe. You can map out the audible
spectrum that way if you want, if you're coming at this as a musician.
The top note on a piano is around 4K. The bottom note on a guitar in
standard tuning is around 80 Hz. on and on. find some frequencies you do
know, and start doubling and halving them, then cut those differences in
half again, etc.
You want to aim for being able to identify bands about a third of an
octave wide.
At 02:42 PM 7/11/2014, you wrote:
Chris, this is absolutely awesome! Thank you! I'm gonna save this
e-mail in my archives, and will definitely check out these books. There
is also some good resources that Chuck Reichel gave me a while back, and
I have almost all of those tutorials at this point. I need to look again
at what they're called, but they're excellent. Mayve chuck can chime in.
Do you know if those books that you mentioned about are available in
audio format anywhere?
Chris.
----- Original Message ----- From: "Chris Smart" <csma...@cogeco.ca>
To: <ptaccess@googlegroups.com>
Sent: Friday, July 11, 2014 12:27 PM
Subject: Re: Well, I was wrong.
Well, I was interested in mixing and mastering. For mixing, check out:
1. Mike Senior - Mixing Secrets for the Small Studio
That one really illustrates what it takes to get a mix up to commercial
standards.
(and check out Mike's excelent website, including an enormous free
multitrack library of material to practice on!)
www.cambridge-mt.com
and
2. Roey Izhaki - Mixing Audio - Concepts Practices and Tools
http://www.mixingaudio.com/
That one is extremely thorough, and every example in the book comes in
audio form on a data DVD. If something confuses you in the first book
or you want to learn a lot about a specific thing, such as compressors,
reverb, etc., check it out in the second book.
Generally, Focal Press puts out a lot of great material.
For mastering, the bible is:
Bob Katz - Mastering Audio; the Art and the Science.
His site is at:
http://www.digido.com
Hopefully someone can recommend a good text on recording.
At 12:11 PM 7/11/2014, you wrote:
In your defense, Chris, you do have a very valid point about reading.
That I'll give ya. Are there any good titles you'd recommend starting
with?
Chris.
----- Original Message ----- From: "Chris Smart" <csma...@cogeco.ca>
To: <ptaccess@googlegroups.com>
Sent: Friday, July 11, 2014 10:56 AM
Subject: Re: Well, I was wrong.
if you can't afford school, you can still get and read lots of books
on recording, or producing, or mixing or mastering etc.
The FS in dBFS means full scale. (not the same as dbV dBU dBSPL etc.)
At 04:37 AM 7/11/2014, you wrote:
You wrote:
First of all, Chris, you probably shouldn't expect that people have
the time to listen to an mp3 where you start going into your
preference settings. That's just not reasonable for most people.
And, I didn't! expect people to be required to listen. Why do you
think I said, if you want! to listen to it, it may help explain
things. Nowhere what so ever did I make mention that people
absolutely just, had! to listen to it. If you don't wanna play it,
or don't have the time, then, don't. Plain and simple. It's only an
option I provided.
Secondly, if you're close to clipping with your preamps all the way
down, then there's another issue here that you need to address and
I'm not sure what that is but I can assure you that no microphone's
own output signal is hot enough to hit line level without a preamp of
some sort.
The issue is Slau, it's apparently not hitting that hot, you're
correct. Even when Sweetwater went in and looked, it shows I'm
hitting at a decent level. I think it's more a Voiceover thing than
anything. It appears based on all the testing I've done with an
experienced sighted person who knows a ton about audio production,
that it's Voiceover being dumb and not correctly announcing the meter
levels.
You wrote:
You clearly don't have the answer because you're searching for it and
it would take some deeper examination of what's going on to figure
out your issue.
OK that made no sense. If something is going wrong, isn't that what
one should do?... search and try to figure out the answer? How can
you examine anything to start with if you don't search nor ask for
what may be the cause?
You wrote:
I assure you that it has absolutely zero to do with Pro Tools itself.
I now agree. I think it's more a bug with Voiceover. When sighted
people have looked at my levels, I'm coming in around -14 to -12,
which is absolutely perfect. However, on the actual mono audio track
itself which the mike is being recorded, when I sing into the mike,
as I'm doing so looking at the meter, according to Voiceover, I'm
peeking around -5 to -4 DB. So, at this time, the only explaination
that I have is Voiceover is being dumb. When I used PT 10, I didn't
change a single thing in my interface software, nor did I change
anything with the physical hardware gain input dial on the channel
through my interface, yet, in PT 10, the meter shows correctly.
You wrote:
It's software and has no bearing on your recording volume. The
problem is that you're dealing with some stuff that you don't
understand and you'll need to get a handle on it in order to solve
the problem.
OK, what stuff then don't I understand? What stuff do I need to
research more thoroughly?
You wrote:
The quagmire is that it takes a lot of time to understand the various
aspects of the myriad of equipment and that's why there are schools
that teach audio engineering and production.
OK, but if you can't afford to go to one of those schools...
You wrote:
Of course, it's possible to learn this on your own but it can take
quite a long time.
Understandable.
You wrote:
Bottom line is, if you have a microphone going into an interface and
nothing else in between, there's no possible way your levels can be
at -4 dB FS.
For one thing, I know what -4DB means, but when you say DB FS, what
do you mean by FS? Maybe we're talking two different levels here.
Then again, nmaybe not? Secondly, let me go back to my initial
point. If indeed this is not ProTools related, and please know, this
isn't in any way meant to challenge you nor to be rude/difficult, I'm
just trying to understand your point from the bigger picture. So,
keep that in mind when reading what I'm about to ask.
If PT has nothing to do with it, which by the way, I'm in agreement
with you on at this point in time until proven otherwise, then
explain this to me... Why then is PT 10 with Voiceover showing me
something totally different than PT 11, when my settings are
absolutely 100% identical on both versions, I'm running both on the
same mac computer, so it's not like I'm on a different workstation,
same hardware, same interface, same drivers, same software, same
hardware wiring, same hookup, and all my levels on PT, as well as on
the interface itself haven't been touched with a 12 foot poll, sota
speak, yet I'm getting totally completely different readouts between
the two versions? That almost indicates to me that there is an issue
in PT 11.2 reading the meaters, vs. in 10.0. This is why I asked a
few messages back in the thread if PT11 handled the meters a little
differently, or if it was an issue of Voiceover itself doing
something odd.
You wrote:
I guarantee that there's another piece of gear that's causing you to
see levels that hot. I suggest you eliminate the variables and figure
the problem out that way.
All I have is my keyboard which is only running into the interface
via midi, so it can't be causing line levels, however, none the less,
I unplugged it and shut it off. I literally went as far as to
literally unplug it from the electrical power strip. I also
unplugged the midi in and out cords from both the keyboard and the
other ends of them from the interface. Essentially, I totally
unhooked the keyboard. I also unplugged my xlr cord from both my
microphone, as well as from the channel 1 input on my interface, and
even turned off phantom power. I even hit the 20DB padding button on
channel 1, to knotch it back 20DB just in case it was hearing some
electrical hiss/buzz noise, which is unlikely, but you never know.
Even doing all this, it did no baring. 10.0 still shows totally
acceptible, whilst 11.2 isn't.
I should add that there are no sends, and no plugins on the audio
track in PT which are giving me this issue with the meter. I know
that the volume fader on the track is output not my input volume,
however, just to see if something wasn't set right, I ran that fader
all the way to minus infinity yet it had no baring. I even muted the
track. Again, I understand totally that is dealing with output, not
input, so that wouldn't have any effect. I know, I know, I know. I
did it just for the hell of it. I figure I had nothing to lose.
Chris.
--
You received this message because you are subscribed to the Google
Groups "Pro Tools Accessibility" group.
To unsubscribe from this group and stop receiving emails from it,
send an email to ptaccess+unsubscr...@googlegroups.com.
For more options, visit https://groups.google.com/d/optout.
--
You received this message because you are subscribed to the Google
Groups "Pro Tools Accessibility" group.
To unsubscribe from this group and stop receiving emails from it, send
an email to ptaccess+unsubscr...@googlegroups.com.
For more options, visit https://groups.google.com/d/optout.
--
You received this message because you are subscribed to the Google
Groups "Pro Tools Accessibility" group.
To unsubscribe from this group and stop receiving emails from it, send
an email to ptaccess+unsubscr...@googlegroups.com.
For more options, visit https://groups.google.com/d/optout.
--
You received this message because you are subscribed to the Google
Groups "Pro Tools Accessibility" group.
To unsubscribe from this group and stop receiving emails from it, send
an email to ptaccess+unsubscr...@googlegroups.com.
For more options, visit https://groups.google.com/d/optout.
--
You received this message because you are subscribed to the Google Groups
"Pro Tools Accessibility" group.
To unsubscribe from this group and stop receiving emails from it, send an
email to ptaccess+unsubscr...@googlegroups.com.
For more options, visit https://groups.google.com/d/optout.
--
You received this message because you are subscribed to the Google Groups
"Pro Tools Accessibility" group.
To unsubscribe from this group and stop receiving emails from it, send an
email to ptaccess+unsubscr...@googlegroups.com.
For more options, visit https://groups.google.com/d/optout.
--
You received this message because you are subscribed to the Google Groups
"Pro Tools Accessibility" group.
To unsubscribe from this group and stop receiving emails from it, send an
email to ptaccess+unsubscr...@googlegroups.com.
For more options, visit https://groups.google.com/d/optout.
--
You received this message because you are subscribed to the Google Groups "Pro Tools
Accessibility" group.
To unsubscribe from this group and stop receiving emails from it, send an email
to ptaccess+unsubscr...@googlegroups.com.
For more options, visit https://groups.google.com/d/optout.
