Re: three questions about audio, protools and blind people...
cb...@wvc.edu - Original Message - From: Vincenzo Rubano vincenzorub...@email.it To: ptaccess@googlegroups.com Sent: Monday, May 16, 2011 2:12 AM Subject: Re: three questions about audio, protools and blind people... Hi Tom, well, before all, thanks for your reply... I am going to study these books this summer... I was thinking about protools certifications because I am just 17 years old, and in future time I could consider working as an audio-engineer... Thanks alot! Cheers, Vincenzo. - Original Message - From: soundog stiles@gmail.com To: Pro Tools Accessibility ptaccess@googlegroups.com Sent: Friday, May 13, 2011 7:47 PM Subject: Re: three questions about audio, protools and blind people... Ciao Vincenzo. I know 2 good books to begin with audio recording, but don't know if they are in accessible form for you. One is The Recording Engineer's Handbook by Bobby Owinski, and the other is Recording Techniques by David Miles Huber. They are online at Mix Bookshelf. If you're not looking for a job as audio engineer, don't worry about ProTools certification - you just need training to learn to use the program. Hope that helps. Tom On May 12, 2:14 pm, Vincenzo Rubano vincenzorub...@email.it wrote: Hi guys, well, I am going to ask you some strange questions... I am sorry if some of them might be o.t. questions, but I am really curious... I hope I could learn alot from your replies, so let's start... 1. This summer I am planning to study very hard protools and its wonderful features; but I have no knowleges about audio editing, mixing and mastering; is there any book (also in English) that explains how all-effects (reverb, overdrive, limiters, phaser, etc) work, how to pump-up bass, synth or drum tracks, how to set up a compressor properly, how to aggiust the track' volumes and other related things, and how to apply this knowleges in pro tools? Of course it should be an accessible book, because I am blind and I could understand pictures that represents screenshots without text-descriptions... 2. What's about vocal tracks? Surfing the Internet, I understod that many people use Melodyne to aggiust vocal tracks. But what's about us? Is Melodyne accessibile with voiceover as a stand-alone program, as a plug-in for protools or as a bridge between Melodyne and Protools (rewiring Melodyne into protools)? If not, what do you use to get professional vocals or to create poliphonic vocal tracks? 3. I eard that exist some qualifications created by Avid to certificate the ability to use protools. Would it be possible for a blind person to get this qualifications (for instance the protools 101, 110)? If not, which are the problems for us to get this qualifications? I hope your replies could help me to get the results I would like to get (not to become an audio-engineer, but just to produce dance songs that sounds quite good)... Vincenzo.
Re: three questions about audio, protools and blind people...
Hello Everyone, yesterday I was too hasty and its a completly other subject but I want to react on the hyperbraille subject. I went to the link Nickus posted and there was one thing which intrigued me. that was the pixelmode of the display. From what i could gather was that the display was able to display immages and with the technique of the ipad and iphone you can draw immages the flash moovie was too short to figure out all the details but I think it'll be an enormous improvement when this display comes into production. As far as i know now its a project which has to be evaluated. Thanks for the information Nickus. With regards Peter. - Original Message - From: Jake 2001sherl...@gmail.com To: ptaccess@googlegroups.com Sent: Wednesday, May 25, 2011 5:11 PM Subject: Re: three questions about audio, protools and blind people... got to love Pepper one of my favorite albums of all time. Jake - Original Message - From: k.zee...@home.nl To: ptaccess@googlegroups.com Sent: Tuesday, May 24, 2011 1:06 PM Subject: Re: three questions about audio, protools and blind people... Hello everyone, there are more factors than the producing alone for instance if you are w0orking with musicians and other things I worked in prostudios which had a good crew and a good building you can buy good stuff for a reasonable price but you cant buy good pros who know their trade they have to work for it. Or you yourself must be good. I read the whole item and i stand on the sideline but do not make yourself dependable on technique because that's only half of it. You have to be creative. Sergeant pepper was made on four tracks. cheers and work hard every one. Peter. - Original Message - From: Jake 2001sherl...@gmail.com To: ptaccess@googlegroups.com Cc: teall...@hotmail.com Sent: Tuesday, May 24, 2011 8:34 PM Subject: Re: three questions about audio, protools and blind people... Wow guys just finished reading the thread and I am a bit depressed. The bright spot as I see it is there will always be Audiophiles who will insist on the quality recordings that only masters in the field can tern out. Jake - Original Message - From: Bryan Smart bryansm...@bryansmart.com To: ptaccess@googlegroups.com Sent: Tuesday, May 24, 2011 3:15 AM Subject: Re: three questions about audio, protools and blind people... Frank, no problem. This is on topic. Nickus, historically, the tracking or mix engineer receives income from either the studio that employs them, or else was contracted by a project's Executive Producer. In either case, upstream of those people, the money came from larger projects, such as producing demo or album tracks for an artist, work on a film or television project, music for commercials, etc. The studio was the music and sound factory, and the engineer was one of the technicians. 1. Music sales are profoundly low when compared to historical figures. The huge music markets of the 20th century are gone. Since people aren't buying like they used to, no one wants to invest the huge amounts of money to elaborately record artists. From small time to big time recording artists, album production budgets have shrunk to the bare minimum. This is the case in all media. Instead of hiring live musicians, most film and television music is now sequenced. When people are actually recorded, in many cases, recording is kept to a minimum. It is cheaper to edit than to spend lots of expensive time to get the great take. 2. Without the huge in-flow of large recording budgets, the money no longer is available to support most of the large recording facilities of just a few years ago. As the facilities close, that means less steady work for lots of people formerly employed by the technical side of the recording industry, including engineers. 3. Anyone with $1,000 can record a passable version of a song at home, and anyone with $10,000 and a few years of practice and study can do a competent job of recording and mixing an album at home. There are wonnabee producers and mixers under every rock, and there are so many that they work for little to nothing. They might not have golden ears and decades of experience, but even those that do have found it harder to insist on past pay when there is so much competition and less money available to pay them. Why rent studio time to cut a demo when your buddy can run GarageBand? Why pay someone to write and arrange music for a commercial, and book musicians and a studio to record it when someone can be contracted through a web site to throw together some loops with a few overdubs for a couple of hundred bucks? Everyone is trying to make their project happen for less money. So, in summary, there is less money available to support a larger number of people that are attempting to perform this work. It's important not to live under illusions when trying to turn this sort of work in to income. The day of the mega studio
Re: three questions about audio, protools and blind people...
Hopefully it won't cost $12,000 like the VideoTim, but, given how expensive it is to manufacturer cells, I doubt that this will be anything approaching affordable, even for those of us with good jobs/income. Thanks for the info, but this isn't really related to Pro TOols, or even recording, so we should take this thread off list. Bryan On May 26, 2011, at 7:17 AM, k.zee...@home.nl k.zee...@home.nl wrote: Hello Everyone, yesterday I was too hasty and its a completely other subject but I want to react on the hyperbraille subject. I went to the link Nickus posted and there was one thing which intrigued me. that was the pixelmode of the display. From what i could gather was that the display was able to display immages and with the technique of the ipad and iphone you can draw immages the flash moovie was too short to figure out all the details but I think it'll be an enormous improvement when this display comes into production. As far as i know now its a project which has to be evaluated. Thanks for the information Nickus. With regards Peter. - Original Message - From: Jake 2001sherl...@gmail.com To: ptaccess@googlegroups.com Sent: Wednesday, May 25, 2011 5:11 PM Subject: Re: three questions about audio, protools and blind people... got to love Pepper one of my favorite albums of all time. Jake - Original Message - From: k.zee...@home.nl To: ptaccess@googlegroups.com Sent: Tuesday, May 24, 2011 1:06 PM Subject: Re: three questions about audio, protools and blind people... Hello everyone, there are more factors than the producing alone for instance if you are w0orking with musicians and other things I worked in prostudios which had a good crew and a good building you can buy good stuff for a reasonable price but you cant buy good pros who know their trade they have to work for it. Or you yourself must be good. I read the whole item and i stand on the sideline but do not make yourself dependable on technique because that's only half of it. You have to be creative. Sergeant pepper was made on four tracks. cheers and work hard every one. Peter. - Original Message - From: Jake 2001sherl...@gmail.com To: ptaccess@googlegroups.com Cc: teall...@hotmail.com Sent: Tuesday, May 24, 2011 8:34 PM Subject: Re: three questions about audio, protools and blind people... Wow guys just finished reading the thread and I am a bit depressed. The bright spot as I see it is there will always be Audiophiles who will insist on the quality recordings that only masters in the field can tern out. Jake - Original Message - From: Bryan Smart bryansm...@bryansmart.com To: ptaccess@googlegroups.com Sent: Tuesday, May 24, 2011 3:15 AM Subject: Re: three questions about audio, protools and blind people... Frank, no problem. This is on topic. Nickus, historically, the tracking or mix engineer receives income from either the studio that employs them, or else was contracted by a project's Executive Producer. In either case, upstream of those people, the money came from larger projects, such as producing demo or album tracks for an artist, work on a film or television project, music for commercials, etc. The studio was the music and sound factory, and the engineer was one of the technicians. 1. Music sales are profoundly low when compared to historical figures. The huge music markets of the 20th century are gone. Since people aren't buying like they used to, no one wants to invest the huge amounts of money to elaborately record artists. From small time to big time recording artists, album production budgets have shrunk to the bare minimum. This is the case in all media. Instead of hiring live musicians, most film and television music is now sequenced. When people are actually recorded, in many cases, recording is kept to a minimum. It is cheaper to edit than to spend lots of expensive time to get the great take. 2. Without the huge in-flow of large recording budgets, the money no longer is available to support most of the large recording facilities of just a few years ago. As the facilities close, that means less steady work for lots of people formerly employed by the technical side of the recording industry, including engineers. 3. Anyone with $1,000 can record a passable version of a song at home, and anyone with $10,000 and a few years of practice and study can do a competent job of recording and mixing an album at home. There are wonnabee producers and mixers under every rock, and there are so many that they work for little to nothing. They might not have golden ears and decades of experience, but even those that do have found it harder to insist on past pay when there is so much competition and less money available to pay them. Why rent studio time to cut a demo when your buddy can run GarageBand? Why pay someone to write and arrange music for a commercial, and book musicians and a studio
Re: three questions about audio, protools and blind people...
Sorry I spoke, bryan you are perfectly right but even so its info anyway You are the only one but lets call it closed. my appologies. Peter. - Original Message - From: Bryan Smart bryansm...@bryansmart.com To: ptaccess@googlegroups.com Sent: Thursday, May 26, 2011 11:49 PM Subject: Re: three questions about audio, protools and blind people... Hopefully it won't cost $12,000 like the VideoTim, but, given how expensive it is to manufacturer cells, I doubt that this will be anything approaching affordable, even for those of us with good jobs/income. Thanks for the info, but this isn't really related to Pro TOols, or even recording, so we should take this thread off list. Bryan On May 26, 2011, at 7:17 AM, k.zee...@home.nl k.zee...@home.nl wrote: Hello Everyone, yesterday I was too hasty and its a completely other subject but I want to react on the hyperbraille subject. I went to the link Nickus posted and there was one thing which intrigued me. that was the pixelmode of the display. From what i could gather was that the display was able to display immages and with the technique of the ipad and iphone you can draw immages the flash moovie was too short to figure out all the details but I think it'll be an enormous improvement when this display comes into production. As far as i know now its a project which has to be evaluated. Thanks for the information Nickus. With regards Peter. - Original Message - From: Jake 2001sherl...@gmail.com To: ptaccess@googlegroups.com Sent: Wednesday, May 25, 2011 5:11 PM Subject: Re: three questions about audio, protools and blind people... got to love Pepper one of my favorite albums of all time. Jake - Original Message - From: k.zee...@home.nl To: ptaccess@googlegroups.com Sent: Tuesday, May 24, 2011 1:06 PM Subject: Re: three questions about audio, protools and blind people... Hello everyone, there are more factors than the producing alone for instance if you are w0orking with musicians and other things I worked in prostudios which had a good crew and a good building you can buy good stuff for a reasonable price but you cant buy good pros who know their trade they have to work for it. Or you yourself must be good. I read the whole item and i stand on the sideline but do not make yourself dependable on technique because that's only half of it. You have to be creative. Sergeant pepper was made on four tracks. cheers and work hard every one. Peter. - Original Message - From: Jake 2001sherl...@gmail.com To: ptaccess@googlegroups.com Cc: teall...@hotmail.com Sent: Tuesday, May 24, 2011 8:34 PM Subject: Re: three questions about audio, protools and blind people... Wow guys just finished reading the thread and I am a bit depressed. The bright spot as I see it is there will always be Audiophiles who will insist on the quality recordings that only masters in the field can tern out. Jake - Original Message - From: Bryan Smart bryansm...@bryansmart.com To: ptaccess@googlegroups.com Sent: Tuesday, May 24, 2011 3:15 AM Subject: Re: three questions about audio, protools and blind people... Frank, no problem. This is on topic. Nickus, historically, the tracking or mix engineer receives income from either the studio that employs them, or else was contracted by a project's Executive Producer. In either case, upstream of those people, the money came from larger projects, such as producing demo or album tracks for an artist, work on a film or television project, music for commercials, etc. The studio was the music and sound factory, and the engineer was one of the technicians. 1. Music sales are profoundly low when compared to historical figures. The huge music markets of the 20th century are gone. Since people aren't buying like they used to, no one wants to invest the huge amounts of money to elaborately record artists. From small time to big time recording artists, album production budgets have shrunk to the bare minimum. This is the case in all media. Instead of hiring live musicians, most film and television music is now sequenced. When people are actually recorded, in many cases, recording is kept to a minimum. It is cheaper to edit than to spend lots of expensive time to get the great take. 2. Without the huge in-flow of large recording budgets, the money no longer is available to support most of the large recording facilities of just a few years ago. As the facilities close, that means less steady work for lots of people formerly employed by the technical side of the recording industry, including engineers. 3. Anyone with $1,000 can record a passable version of a song at home, and anyone with $10,000 and a few years of practice and study can do a competent job of recording and mixing an album at home. There are wonnabee producers and mixers under every rock, and there are so many that they work for little to nothing. They might not have golden ears and decades of experience, but even those
Re: three questions about audio, protools and blind people...
Hi Folks just one remark, it was an accessability item and we all have to deal with that aren't we and the devolopments go realy fast. My pc did not react to this adress and I could not make it a new toppic due to a couple of technicalities but I thought it was info which might be useful esspecialy because the flash on youtube was in german. Anyway here it is night and I go to bed. solong Peter. - Original Message - From: k.zee...@home.nl To: ptaccess@googlegroups.com Sent: Friday, May 27, 2011 12:40 AM Subject: Re: three questions about audio, protools and blind people... Sorry I spoke, bryan you are perfectly right but even so its info anyway You are the only one but lets call it closed. my appologies. Peter. - Original Message - From: Bryan Smart bryansm...@bryansmart.com To: ptaccess@googlegroups.com Sent: Thursday, May 26, 2011 11:49 PM Subject: Re: three questions about audio, protools and blind people... Hopefully it won't cost $12,000 like the VideoTim, but, given how expensive it is to manufacturer cells, I doubt that this will be anything approaching affordable, even for those of us with good jobs/income. Thanks for the info, but this isn't really related to Pro TOols, or even recording, so we should take this thread off list. Bryan On May 26, 2011, at 7:17 AM, k.zee...@home.nl k.zee...@home.nl wrote: Hello Everyone, yesterday I was too hasty and its a completely other subject but I want to react on the hyperbraille subject. I went to the link Nickus posted and there was one thing which intrigued me. that was the pixelmode of the display. From what i could gather was that the display was able to display immages and with the technique of the ipad and iphone you can draw immages the flash moovie was too short to figure out all the details but I think it'll be an enormous improvement when this display comes into production. As far as i know now its a project which has to be evaluated. Thanks for the information Nickus. With regards Peter. - Original Message - From: Jake 2001sherl...@gmail.com To: ptaccess@googlegroups.com Sent: Wednesday, May 25, 2011 5:11 PM Subject: Re: three questions about audio, protools and blind people... got to love Pepper one of my favorite albums of all time. Jake - Original Message - From: k.zee...@home.nl To: ptaccess@googlegroups.com Sent: Tuesday, May 24, 2011 1:06 PM Subject: Re: three questions about audio, protools and blind people... Hello everyone, there are more factors than the producing alone for instance if you are w0orking with musicians and other things I worked in prostudios which had a good crew and a good building you can buy good stuff for a reasonable price but you cant buy good pros who know their trade they have to work for it. Or you yourself must be good. I read the whole item and i stand on the sideline but do not make yourself dependable on technique because that's only half of it. You have to be creative. Sergeant pepper was made on four tracks. cheers and work hard every one. Peter. - Original Message - From: Jake 2001sherl...@gmail.com To: ptaccess@googlegroups.com Cc: teall...@hotmail.com Sent: Tuesday, May 24, 2011 8:34 PM Subject: Re: three questions about audio, protools and blind people... Wow guys just finished reading the thread and I am a bit depressed. The bright spot as I see it is there will always be Audiophiles who will insist on the quality recordings that only masters in the field can tern out. Jake - Original Message - From: Bryan Smart bryansm...@bryansmart.com To: ptaccess@googlegroups.com Sent: Tuesday, May 24, 2011 3:15 AM Subject: Re: three questions about audio, protools and blind people... Frank, no problem. This is on topic. Nickus, historically, the tracking or mix engineer receives income from either the studio that employs them, or else was contracted by a project's Executive Producer. In either case, upstream of those people, the money came from larger projects, such as producing demo or album tracks for an artist, work on a film or television project, music for commercials, etc. The studio was the music and sound factory, and the engineer was one of the technicians. 1. Music sales are profoundly low when compared to historical figures. The huge music markets of the 20th century are gone. Since people aren't buying like they used to, no one wants to invest the huge amounts of money to elaborately record artists. From small time to big time recording artists, album production budgets have shrunk to the bare minimum. This is the case in all media. Instead of hiring live musicians, most film and television music is now sequenced. When people are actually recorded, in many cases, recording is kept to a minimum. It is cheaper to edit than to spend lots of expensive time to get the great take. 2. Without the huge in-flow of large recording budgets, the money no longer is available to support most
Re: three questions about audio, protools and blind people...
got to love Pepper one of my favorite albums of all time. Jake - Original Message - From: k.zee...@home.nl To: ptaccess@googlegroups.com Sent: Tuesday, May 24, 2011 1:06 PM Subject: Re: three questions about audio, protools and blind people... Hello everyone, there are more factors than the producing alone for instance if you are w0orking with musicians and other things I worked in prostudios which had a good crew and a good building you can buy good stuff for a reasonable price but you cant buy good pros who know their trade they have to work for it. Or you yourself must be good. I read the whole item and i stand on the sideline but do not make yourself dependable on technique because that's only half of it. You have to be creative. Sergeant pepper was made on four tracks. cheers and work hard every one. Peter. - Original Message - From: Jake 2001sherl...@gmail.com To: ptaccess@googlegroups.com Cc: teall...@hotmail.com Sent: Tuesday, May 24, 2011 8:34 PM Subject: Re: three questions about audio, protools and blind people... Wow guys just finished reading the thread and I am a bit depressed. The bright spot as I see it is there will always be Audiophiles who will insist on the quality recordings that only masters in the field can tern out. Jake - Original Message - From: Bryan Smart bryansm...@bryansmart.com To: ptaccess@googlegroups.com Sent: Tuesday, May 24, 2011 3:15 AM Subject: Re: three questions about audio, protools and blind people... Frank, no problem. This is on topic. Nickus, historically, the tracking or mix engineer receives income from either the studio that employs them, or else was contracted by a project's Executive Producer. In either case, upstream of those people, the money came from larger projects, such as producing demo or album tracks for an artist, work on a film or television project, music for commercials, etc. The studio was the music and sound factory, and the engineer was one of the technicians. 1. Music sales are profoundly low when compared to historical figures. The huge music markets of the 20th century are gone. Since people aren't buying like they used to, no one wants to invest the huge amounts of money to elaborately record artists. From small time to big time recording artists, album production budgets have shrunk to the bare minimum. This is the case in all media. Instead of hiring live musicians, most film and television music is now sequenced. When people are actually recorded, in many cases, recording is kept to a minimum. It is cheaper to edit than to spend lots of expensive time to get the great take. 2. Without the huge in-flow of large recording budgets, the money no longer is available to support most of the large recording facilities of just a few years ago. As the facilities close, that means less steady work for lots of people formerly employed by the technical side of the recording industry, including engineers. 3. Anyone with $1,000 can record a passable version of a song at home, and anyone with $10,000 and a few years of practice and study can do a competent job of recording and mixing an album at home. There are wonnabee producers and mixers under every rock, and there are so many that they work for little to nothing. They might not have golden ears and decades of experience, but even those that do have found it harder to insist on past pay when there is so much competition and less money available to pay them. Why rent studio time to cut a demo when your buddy can run GarageBand? Why pay someone to write and arrange music for a commercial, and book musicians and a studio to record it when someone can be contracted through a web site to throw together some loops with a few overdubs for a couple of hundred bucks? Everyone is trying to make their project happen for less money. So, in summary, there is less money available to support a larger number of people that are attempting to perform this work. It's important not to live under illusions when trying to turn this sort of work in to income. The day of the mega studio and the recording engineer in the traditional sense is pretty much gone, with a few exceptions. The big cities for recording in the US, such as New York, LA, Atlanta, and others still employ people for this sort of work, but the jobs are far fewer, and they're flooded with people with lots of experience in bedroom studios. I know just a few people that still routinely get work in large facilities. The others that I know that are still making money with this sort of work have pretty much given up on the old model, and have turned themselves in to craftsman instead of techies. By that, I mean that they find their own clients, work with them on an on-going basis, and sell themselves as experts in particular types of recording. Even so, they are usually being directly paid by artists, and so are making due on far less money than in days passed. There isn't megabucks
Re: three questions about audio, protools and blind people...
Frank, no problem. This is on topic. Nickus, historically, the tracking or mix engineer receives income from either the studio that employs them, or else was contracted by a project's Executive Producer. In either case, upstream of those people, the money came from larger projects, such as producing demo or album tracks for an artist, work on a film or television project, music for commercials, etc. The studio was the music and sound factory, and the engineer was one of the technicians. 1. Music sales are profoundly low when compared to historical figures. The huge music markets of the 20th century are gone. Since people aren't buying like they used to, no one wants to invest the huge amounts of money to elaborately record artists. From small time to big time recording artists, album production budgets have shrunk to the bare minimum. This is the case in all media. Instead of hiring live musicians, most film and television music is now sequenced. When people are actually recorded, in many cases, recording is kept to a minimum. It is cheaper to edit than to spend lots of expensive time to get the great take. 2. Without the huge in-flow of large recording budgets, the money no longer is available to support most of the large recording facilities of just a few years ago. As the facilities close, that means less steady work for lots of people formerly employed by the technical side of the recording industry, including engineers. 3. Anyone with $1,000 can record a passable version of a song at home, and anyone with $10,000 and a few years of practice and study can do a competent job of recording and mixing an album at home. There are wonnabee producers and mixers under every rock, and there are so many that they work for little to nothing. They might not have golden ears and decades of experience, but even those that do have found it harder to insist on past pay when there is so much competition and less money available to pay them. Why rent studio time to cut a demo when your buddy can run GarageBand? Why pay someone to write and arrange music for a commercial, and book musicians and a studio to record it when someone can be contracted through a web site to throw together some loops with a few overdubs for a couple of hundred bucks? Everyone is trying to make their project happen for less money. So, in summary, there is less money available to support a larger number of people that are attempting to perform this work. It's important not to live under illusions when trying to turn this sort of work in to income. The day of the mega studio and the recording engineer in the traditional sense is pretty much gone, with a few exceptions. The big cities for recording in the US, such as New York, LA, Atlanta, and others still employ people for this sort of work, but the jobs are far fewer, and they're flooded with people with lots of experience in bedroom studios. I know just a few people that still routinely get work in large facilities. The others that I know that are still making money with this sort of work have pretty much given up on the old model, and have turned themselves in to craftsman instead of techies. By that, I mean that they find their own clients, work with them on an on-going basis, and sell themselves as experts in particular types of recording. Even so, they are usually being directly paid by artists, and so are making due on far less money than in days passed. There isn't megabucks in this anymore, except for a small few. If you do it, you should view it as an art that you'd like to pursue, and hope to make enough to sustain yourself. Focus on a niche. Become good at on-site recording of acoustic instruments, find those musicians, and promote yourself. Become good and fast with editing, and fight with the hordes of others competing for jobs online. Become fast at throwing together instrumental tracks and beds in short periods of time so that you can serve the low budget new media people. Moving to the US or UK probably won't help so much. You can hunt up work over the Internet as well as someone in either of those places. Really, though, you must absolutely love this sort of work, because getting anywhere with it today takes a huge amount of time and effort, and the rewards aren't commonly financial. Sorry if that's gloom, but it's how things are. On the positive side, pretty much anyone that wants to record can now record. It's not an elite club anymore, nor does it require a lot of money. Recording music is becoming something that people increasingly do for themselves, rather than depending on technical experts. We're not quite to the point where GarageBand has an auto-mix button, but I don't doubt that a feature like that will show up before too many years. Those with golden ears will say how auto-mixes are lacking in this way or that, but most people won't be able to hear, nor will they care. In that world, you'll be
Re: three questions about audio, protools and blind people...
Wow guys just finished reading the thread and I am a bit depressed. The bright spot as I see it is there will always be Audiophiles who will insist on the quality recordings that only masters in the field can tern out. Jake - Original Message - From: Bryan Smart bryansm...@bryansmart.com To: ptaccess@googlegroups.com Sent: Tuesday, May 24, 2011 3:15 AM Subject: Re: three questions about audio, protools and blind people... Frank, no problem. This is on topic. Nickus, historically, the tracking or mix engineer receives income from either the studio that employs them, or else was contracted by a project's Executive Producer. In either case, upstream of those people, the money came from larger projects, such as producing demo or album tracks for an artist, work on a film or television project, music for commercials, etc. The studio was the music and sound factory, and the engineer was one of the technicians. 1. Music sales are profoundly low when compared to historical figures. The huge music markets of the 20th century are gone. Since people aren't buying like they used to, no one wants to invest the huge amounts of money to elaborately record artists. From small time to big time recording artists, album production budgets have shrunk to the bare minimum. This is the case in all media. Instead of hiring live musicians, most film and television music is now sequenced. When people are actually recorded, in many cases, recording is kept to a minimum. It is cheaper to edit than to spend lots of expensive time to get the great take. 2. Without the huge in-flow of large recording budgets, the money no longer is available to support most of the large recording facilities of just a few years ago. As the facilities close, that means less steady work for lots of people formerly employed by the technical side of the recording industry, including engineers. 3. Anyone with $1,000 can record a passable version of a song at home, and anyone with $10,000 and a few years of practice and study can do a competent job of recording and mixing an album at home. There are wonnabee producers and mixers under every rock, and there are so many that they work for little to nothing. They might not have golden ears and decades of experience, but even those that do have found it harder to insist on past pay when there is so much competition and less money available to pay them. Why rent studio time to cut a demo when your buddy can run GarageBand? Why pay someone to write and arrange music for a commercial, and book musicians and a studio to record it when someone can be contracted through a web site to throw together some loops with a few overdubs for a couple of hundred bucks? Everyone is trying to make their project happen for less money. So, in summary, there is less money available to support a larger number of people that are attempting to perform this work. It's important not to live under illusions when trying to turn this sort of work in to income. The day of the mega studio and the recording engineer in the traditional sense is pretty much gone, with a few exceptions. The big cities for recording in the US, such as New York, LA, Atlanta, and others still employ people for this sort of work, but the jobs are far fewer, and they're flooded with people with lots of experience in bedroom studios. I know just a few people that still routinely get work in large facilities. The others that I know that are still making money with this sort of work have pretty much given up on the old model, and have turned themselves in to craftsman instead of techies. By that, I mean that they find their own clients, work with them on an on-going basis, and sell themselves as experts in particular types of recording. Even so, they are usually being directly paid by artists, and so are making due on far less money than in days passed. There isn't megabucks in this anymore, except for a small few. If you do it, you should view it as an art that you'd like to pursue, and hope to make enough to sustain yourself. Focus on a niche. Become good at on-site recording of acoustic instruments, find those musicians, and promote yourself. Become good and fast with editing, and fight with the hordes of others competing for jobs online. Become fast at throwing together instrumental tracks and beds in short periods of time so that you can serve the low budget new media people. Moving to the US or UK probably won't help so much. You can hunt up work over the Internet as well as someone in either of those places. Really, though, you must absolutely love this sort of work, because getting anywhere with it today takes a huge amount of time and effort, and the rewards aren't commonly financial. Sorry if that's gloom, but it's how things are. On the positive side, pretty much anyone that wants to record can now record. It's not an elite club anymore, nor does it require a lot of money
Re: three questions about audio, protools and blind people...
On May 24, 12:15 pm, Bryan Smart bryansm...@bryansmart.com wrote: Frank, no problem. This is on topic. Nickus, historically, the tracking or mix engineer receives income from either the studio that employs them, or else was contracted by a project's Executive Producer. In either case, upstream of those people, the money came from larger projects, such as producing demo or album tracks for an artist, work on a film or television project, music for commercials, etc. The studio was the music and sound factory, and the engineer was one of the technicians. 1. Music sales are profoundly low when compared to historical figures. The huge music markets of the 20th century are gone. Since people aren't buying like they used to, no one wants to invest the huge amounts of money to elaborately record artists. From small time to big time recording artists, album production budgets have shrunk to the bare minimum. This is the case in all media. Instead of hiring live musicians, most film and television music is now sequenced. When people are actually recorded, in many cases, recording is kept to a minimum. It is cheaper to edit than to spend lots of expensive time to get the great take. 2. Without the huge in-flow of large recording budgets, the money no longer is available to support most of the large recording facilities of just a few years ago. As the facilities close, that means less steady work for lots of people formerly employed by the technical side of the recording industry, including engineers. 3. Anyone with $1,000 can record a passable version of a song at home, and anyone with $10,000 and a few years of practice and study can do a competent job of recording and mixing an album at home. There are wonnabee producers and mixers under every rock, and there are so many that they work for little to nothing. They might not have golden ears and decades of experience, but even those that do have found it harder to insist on past pay when there is so much competition and less money available to pay them. Why rent studio time to cut a demo when your buddy can run GarageBand? Why pay someone to write and arrange music for a commercial, and book musicians and a studio to record it when someone can be contracted through a web site to throw together some loops with a few overdubs for a couple of hundred bucks? Everyone is trying to make their project happen for less money. So, in summary, there is less money available to support a larger number of people that are attempting to perform this work. It's important not to live under illusions when trying to turn this sort of work in to income. The day of the mega studio and the recording engineer in the traditional sense is pretty much gone, with a few exceptions. The big cities for recording in the US, such as New York, LA, Atlanta, and others still employ people for this sort of work, but the jobs are far fewer, and they're flooded with people with lots of experience in bedroom studios. I know just a few people that still routinely get work in large facilities. The others that I know that are still making money with this sort of work have pretty much given up on the old model, and have turned themselves in to craftsman instead of techies. By that, I mean that they find their own clients, work with them on an on-going basis, and sell themselves as experts in particular types of recording. Even so, they are usually being directly paid by artists, and so are making due on far less money than in days passed. There isn't megabucks in this anymore, except for a small few. If you do it, you should view it as an art that you'd like to pursue, and hope to make enough to sustain yourself. Focus on a niche. Become good at on-site recording of acoustic instruments, find those musicians, and promote yourself. Become good and fast with editing, and fight with the hordes of others competing for jobs online. Become fast at throwing together instrumental tracks and beds in short periods of time so that you can serve the low budget new media people. Moving to the US or UK probably won't help so much. You can hunt up work over the Internet as well as someone in either of those places. Really, though, you must absolutely love this sort of work, because getting anywhere with it today takes a huge amount of time and effort, and the rewards aren't commonly financial. Sorry if that's gloom, but it's how things are. On the positive side, pretty much anyone that wants to record can now record. It's not an elite club anymore, nor does it require a lot of money. Recording music is becoming something that people increasingly do for themselves, rather than depending on technical experts. We're not quite to the point where GarageBand has an auto-mix button, but I don't doubt that a feature like that will show up before too many years. Those with golden ears will say how
Re: three questions about audio, protools and blind people...
Hello everyone, there are more factors than the producing alone for instance if you are w0orking with musicians and other things I worked in prostudios which had a good crew and a good building you can buy good stuff for a reasonable price but you cant buy good pros who know their trade they have to work for it. Or you yourself must be good. I read the whole item and i stand on the sideline but do not make yourself dependable on technique because that's only half of it. You have to be creative. Sergeant pepper was made on four tracks. cheers and work hard every one. Peter. - Original Message - From: Jake 2001sherl...@gmail.com To: ptaccess@googlegroups.com Cc: teall...@hotmail.com Sent: Tuesday, May 24, 2011 8:34 PM Subject: Re: three questions about audio, protools and blind people... Wow guys just finished reading the thread and I am a bit depressed. The bright spot as I see it is there will always be Audiophiles who will insist on the quality recordings that only masters in the field can tern out. Jake - Original Message - From: Bryan Smart bryansm...@bryansmart.com To: ptaccess@googlegroups.com Sent: Tuesday, May 24, 2011 3:15 AM Subject: Re: three questions about audio, protools and blind people... Frank, no problem. This is on topic. Nickus, historically, the tracking or mix engineer receives income from either the studio that employs them, or else was contracted by a project's Executive Producer. In either case, upstream of those people, the money came from larger projects, such as producing demo or album tracks for an artist, work on a film or television project, music for commercials, etc. The studio was the music and sound factory, and the engineer was one of the technicians. 1. Music sales are profoundly low when compared to historical figures. The huge music markets of the 20th century are gone. Since people aren't buying like they used to, no one wants to invest the huge amounts of money to elaborately record artists. From small time to big time recording artists, album production budgets have shrunk to the bare minimum. This is the case in all media. Instead of hiring live musicians, most film and television music is now sequenced. When people are actually recorded, in many cases, recording is kept to a minimum. It is cheaper to edit than to spend lots of expensive time to get the great take. 2. Without the huge in-flow of large recording budgets, the money no longer is available to support most of the large recording facilities of just a few years ago. As the facilities close, that means less steady work for lots of people formerly employed by the technical side of the recording industry, including engineers. 3. Anyone with $1,000 can record a passable version of a song at home, and anyone with $10,000 and a few years of practice and study can do a competent job of recording and mixing an album at home. There are wonnabee producers and mixers under every rock, and there are so many that they work for little to nothing. They might not have golden ears and decades of experience, but even those that do have found it harder to insist on past pay when there is so much competition and less money available to pay them. Why rent studio time to cut a demo when your buddy can run GarageBand? Why pay someone to write and arrange music for a commercial, and book musicians and a studio to record it when someone can be contracted through a web site to throw together some loops with a few overdubs for a couple of hundred bucks? Everyone is trying to make their project happen for less money. So, in summary, there is less money available to support a larger number of people that are attempting to perform this work. It's important not to live under illusions when trying to turn this sort of work in to income. The day of the mega studio and the recording engineer in the traditional sense is pretty much gone, with a few exceptions. The big cities for recording in the US, such as New York, LA, Atlanta, and others still employ people for this sort of work, but the jobs are far fewer, and they're flooded with people with lots of experience in bedroom studios. I know just a few people that still routinely get work in large facilities. The others that I know that are still making money with this sort of work have pretty much given up on the old model, and have turned themselves in to craftsman instead of techies. By that, I mean that they find their own clients, work with them on an on-going basis, and sell themselves as experts in particular types of recording. Even so, they are usually being directly paid by artists, and so are making due on far less money than in days passed. There isn't megabucks in this anymore, except for a small few. If you do it, you should view it as an art that you'd like to pursue, and hope to make enough to sustain yourself. Focus on a niche. Become good at on-site recording of acoustic instruments, find those musicians, and promote yourself. Become
Re: three questions about audio, protools and blind people...
On May 20, 10:06 pm, Frank Carmickle fr...@carmickle.com wrote: Hello Nickus On May 19, 2011, at 8:03 AM, Nickus de Vos wrote: Snip... you get experience if nobody gives you a chance, well in the last 6 months I have asked that question over and over but that's just how it is. It's not a easy industry to get in to. The industry as a whole is really suffering right now. There are way to many people trying to do jobs that are disappearing. I understand your frustration. My plan is to hang in there and do as much as I can. Music always seems to suffer the most during economic down turns. At some point people will decide that they want to spend money on nice recordings of good musicians actually playing music. The object is to be in a position to work when the work shows up again. For some of us we just enjoy recording. If I go blow $$$ on gear that I keep for the next 30 years then I can record for 30 years. That brings me great joy. How much is it worth to you to make recordings? Or maybe you don't buy gear but you rent studio time at place that has great gear that you wouldn't be able to afford otherwise. Either way find a way to record if that's what you love to do. Take care --FC
Re: three questions about audio, protools and blind people...
On May 20, 10:06 pm, Frank Carmickle fr...@carmickle.com wrote: Hello Nickus On May 19, 2011, at 8:03 AM, Nickus de Vos wrote: Snip... you get experience if nobody gives you a chance, well in the last 6 months I have asked that question over and over but that's just how it is. It's not a easy industry to get in to. The industry as a whole is really suffering right now. There are way to many people trying to do jobs that are disappearing. I understand your frustration. My plan is to hang in there and do as much as I can. Music always seems to suffer the most during economic down turns. At some point people will decide that they want to spend money on nice recordings of good musicians actually playing music. The object is to be in a position to work when the work shows up again. For some of us we just enjoy recording. If I go blow $$$ on gear that I keep for the next 30 years then I can record for 30 years. That brings me great joy. How much is it worth to you to make recordings? Or maybe you don't buy gear but you rent studio time at place that has great gear that you wouldn't be able to afford otherwise. Either way find a way to record if that's what you love to do. Take care --FCHi frank I know that the industry is taking a dip because of the economy but in South Africa it's worse than in Europe or the states. Thing is here in SA the industry isn't as big we don't have 1000s of live engineers and 1000s of studio engineers, most guys do both or whatever they can to make money. We don't have massive studios like your Abbyroads in England, most studios over heer is privately owned with guys working alone. With all these factors I haven't even mentioned the blind thing as that scares people they think I'm stupid or something so that's another negative for me. The only way for me would be to basically start my own studio which would cost me a lot of money which I don't have, my other option is to start doing live sound to get in to the industry which I also can't do because I can't go in to places, do set ups etc. I can do live sound in places like theters with installed systems but because of the experience factor and the blind thing people just don't want to hire me for big shows etc. I am basically screwed for now, luckally I still live with my parents who supports me but sooner or later they are going to start getting tired of me not working. The ideal for me would be to go to England or the US because it sounds as if there's more oppertunities but with imigration and visa regulations these days you have to have a job on the other side before you can go. Anyway that's my story in a few words and before I get kicked off the list for posting irevelent stuff let me stop. Nickus
Re: three questions about audio, protools and blind people...
Thanks for posting Nickus. It's good to know where you're at in approaching this work, the challenges you face, and your ideas about how to go forward. In my experience, persistence is key the key to doors that will surely open. Tom On May 23, 4:49 am, Nickus de Vos bigboy...@gmail.com wrote: On May 20, 10:06 pm, Frank Carmickle fr...@carmickle.com wrote: Hello Nickus On May 19, 2011, at 8:03 AM, Nickus de Vos wrote: Snip... you get experience if nobody gives you a chance, well in the last 6 months I have asked that question over and over but that's just how it is. It's not a easy industry to get in to. The industry as a whole is really suffering right now. There are way to many people trying to do jobs that are disappearing. I understand your frustration. My plan is to hang in there and do as much as I can. Music always seems to suffer the most during economic down turns. At some point people will decide that they want to spend money on nice recordings of good musicians actually playing music. The object is to be in a position to work when the work shows up again. For some of us we just enjoy recording. If I go blow $$$ on gear that I keep for the next 30 years then I can record for 30 years. That brings me great joy. How much is it worth to you to make recordings? Or maybe you don't buy gear but you rent studio time at place that has great gear that you wouldn't be able to afford otherwise. Either way find a way to record if that's what you love to do. Take care --FCHi frank I know that the industry is taking a dip because of the economy but in South Africa it's worse than in Europe or the states. Thing is here in SA the industry isn't as big we don't have 1000s of live engineers and 1000s of studio engineers, most guys do both or whatever they can to make money. We don't have massive studios like your Abbyroads in England, most studios over heer is privately owned with guys working alone. With all these factors I haven't even mentioned the blind thing as that scares people they think I'm stupid or something so that's another negative for me. The only way for me would be to basically start my own studio which would cost me a lot of money which I don't have, my other option is to start doing live sound to get in to the industry which I also can't do because I can't go in to places, do set ups etc. I can do live sound in places like theters with installed systems but because of the experience factor and the blind thing people just don't want to hire me for big shows etc. I am basically screwed for now, luckally I still live with my parents who supports me but sooner or later they are going to start getting tired of me not working. The ideal for me would be to go to England or the US because it sounds as if there's more oppertunities but with imigration and visa regulations these days you have to have a job on the other side before you can go. Anyway that's my story in a few words and before I get kicked off the list for posting irevelent stuff let me stop. Nickus
Re: three questions about audio, protools and blind people...
Hi Nickus On May 23, 2011, at 7:49 AM, Nickus de Vos wrote: On May 20, 10:06 pm, Frank Carmickle fr...@carmickle.com wrote: Hello Nickus On May 19, 2011, at 8:03 AM, Nickus de Vos wrote: Snip... you get experience if nobody gives you a chance, well in the last 6 months I have asked that question over and over but that's just how it is. It's not a easy industry to get in to. The industry as a whole is really suffering right now. There are way to many people trying to do jobs that are disappearing. I understand your frustration. My plan is to hang in there and do as much as I can. Music always seems to suffer the most during economic down turns. At some point people will decide that they want to spend money on nice recordings of good musicians actually playing music. The object is to be in a position to work when the work shows up again. For some of us we just enjoy recording. If I go blow $$$ on gear that I keep for the next 30 years then I can record for 30 years. That brings me great joy. How much is it worth to you to make recordings? Or maybe you don't buy gear but you rent studio time at place that has great gear that you wouldn't be able to afford otherwise. Either way find a way to record if that's what you love to do. Take care --FCHi frank I know that the industry is taking a dip because of the economy but in South Africa it's worse than in Europe or the states. Thing is here in SA the industry isn't as big we don't have 1000s of live engineers and 1000s of studio engineers, most guys do both or whatever they can to make money. We don't have massive studios like your Abbyroads in England, most studios over heer is privately owned with guys working alone. With all these factors I haven't even mentioned the blind thing as that scares people they think I'm stupid or something so that's another negative for me. The only way for me would be to basically start my own studio which would cost me a lot of money which I don't have, my other option is to start doing live sound to get in to the industry which I also can't do because I can't go in to places, do set ups etc. I can do live sound in places like theters with installed systems but because of the experience factor and the blind thing people just don't want to hire me for big shows etc. I am basically screwed for now, luckally I still live with my parents who supports me but sooner or later they are going to start getting tired of me not working. The ideal for me would be to go to England or the US because it sounds as if there's more oppertunities but with imigration and visa regulations these days you have to have a job on the other side before you can go. Anyway that's my story in a few words and before I get kicked off the list for posting irevelent stuff let me stop. Well... Maybe Brian doesn't think that this is on topic but I do. I think that the technical troubles are equally as hard to deal with as the lack of opportunity. I think it is very very important for us to talk about how to the skills to pay the bills. That means we need to be able to use the gear, find and keep the clients, and everything in between. I think you are greatly mistaken about the industry and how it is in other places than your own. Some of us do live in Nashville, New York city, or Los Angeles, but the majority don't. Even if you do live in NYC you still would have trouble finding work. I know sited folk in NYC who are trying to make it as audio engineers. Tom is correct in saying that it's all about persistence. Most people in NYC are recording in their bedrooms. I really think it's unfortunate. people have decided that they would rather spend money on a few crappy pieces of gear than to go in to a studio. The quality of recordings is surely suffering because of this. I am also looking for the answers to a bunch of these questions. In the mean time I'm going to record some projects and see if people start noticing my work. If they do than maybe things will start looking up for me. I'm gonna keep trying. --FC
Re: three questions about audio, protools and blind people...
Hello Nickus On May 19, 2011, at 8:03 AM, Nickus de Vos wrote: Snip... you get experience if nobody gives you a chance, well in the last 6 months I have asked that question over and over but that's just how it is. It's not a easy industry to get in to. The industry as a whole is really suffering right now. There are way to many people trying to do jobs that are disappearing. I understand your frustration. My plan is to hang in there and do as much as I can. Music always seems to suffer the most during economic down turns. At some point people will decide that they want to spend money on nice recordings of good musicians actually playing music. The object is to be in a position to work when the work shows up again. For some of us we just enjoy recording. If I go blow $$$ on gear that I keep for the next 30 years then I can record for 30 years. That brings me great joy. How much is it worth to you to make recordings? Or maybe you don't buy gear but you rent studio time at place that has great gear that you wouldn't be able to afford otherwise. Either way find a way to record if that's what you love to do. Take care --FC
Re: three questions about audio, protools and blind people...
Hello Vincenzo If you are considering becoming an audio engineer then you should really find some other audio engineers to spend time with. Go to the studios they work in or to the gigs they are doing live sound at. Try to stay out of the way but do ask them to tell you what they are doing. Make sure not to make comments on there work unless they ask. Make sure to save questions for later if they are in the middle of listening. Also getting a analog recorder like one of the tascam portastudio's is also very helpful. It allows you to see the basics with switches knobs and buttons which is hard to grasp in software when you are just starting out. You should be able to pick up one of these units for very very cheep now. As Tom said read Modern Recording Techniques. I read the 1st or 2nd addition 15 years ago. It's now in its' 7th addition. Take it a little piece at a time for there is a huge amount of information. Make sure that you get your hands on some gear and see how it reacts to situations. Don't be afraid to try things. Most importantly listen. Learn how to listen. Your ears are going to be the tool that you can't live with out. Learn how to use them. HTH --FC On May 16, 2011, at 5:12 AM, Vincenzo Rubano wrote: Hi Tom, well, before all, thanks for your reply... I am going to study these books this summer... I was thinking about protools certifications because I am just 17 years old, and in future time I could consider working as an audio-engineer... Thanks alot! Cheers, Vincenzo. - Original Message - From: soundog stiles@gmail.com To: Pro Tools Accessibility ptaccess@googlegroups.com Sent: Friday, May 13, 2011 7:47 PM Subject: Re: three questions about audio, protools and blind people... Ciao Vincenzo. I know 2 good books to begin with audio recording, but don't know if they are in accessible form for you. One is The Recording Engineer's Handbook by Bobby Owinski, and the other is Recording Techniques by David Miles Huber. They are online at Mix Bookshelf. If you're not looking for a job as audio engineer, don't worry about ProTools certification - you just need training to learn to use the program. Hope that helps. Tom On May 12, 2:14 pm, Vincenzo Rubano vincenzorub...@email.it wrote: Hi guys, well, I am going to ask you some strange questions... I am sorry if some of them might be o.t. questions, but I am really curious... I hope I could learn alot from your replies, so let's start... 1. This summer I am planning to study very hard protools and its wonderful features; but I have no knowleges about audio editing, mixing and mastering; is there any book (also in English) that explains how all-effects (reverb, overdrive, limiters, phaser, etc) work, how to pump-up bass, synth or drum tracks, how to set up a compressor properly, how to aggiust the track' volumes and other related things, and how to apply this knowleges in pro tools? Of course it should be an accessible book, because I am blind and I could understand pictures that represents screenshots without text-descriptions... 2. What's about vocal tracks? Surfing the Internet, I understod that many people use Melodyne to aggiust vocal tracks. But what's about us? Is Melodyne accessibile with voiceover as a stand-alone program, as a plug-in for protools or as a bridge between Melodyne and Protools (rewiring Melodyne into protools)? If not, what do you use to get professional vocals or to create poliphonic vocal tracks? 3. I eard that exist some qualifications created by Avid to certificate the ability to use protools. Would it be possible for a blind person to get this qualifications (for instance the protools 101, 110)? If not, which are the problems for us to get this qualifications? I hope your replies could help me to get the results I would like to get (not to become an audio-engineer, but just to produce dance songs that sounds quite good)... Vincenzo.
Re: three questions about audio, protools and blind people...
Hi Frank, thanks for your suggestions... Of course I'll start to look for an audio engineer available to allow to me to stay with him and understand how he works, but I think that this could be really hard. In fact, I wonder if an audio-engineer would like that I could look at him and ask him what he is doing... I am going to read the books that you suggested to me. I am lucky, because I could use garageband to accomplish at least to the basic-things... I think I need in particular to learn how to listen to music carefully, understanding what I should do to get a really great sound... For instance, I started working on some projects in garageband, but they don't sounds really good; I tryed to change lots of parameters (volume, compressor' settings, filter' parameters, and much more), but I am not satisfied of the work I made... However, I hope one day I could solve all these problems, just to create my songs as an hobby, or to edit audio-songs as an audio-engineer! Cheers, Vincenzo. Il giorno 16/mag/2011, alle ore 16.22, Frank Carmickle ha scritto: Hello Vincenzo If you are considering becoming an audio engineer then you should really find some other audio engineers to spend time with. Go to the studios they work in or to the gigs they are doing live sound at. Try to stay out of the way but do ask them to tell you what they are doing. Make sure not to make comments on there work unless they ask. Make sure to save questions for later if they are in the middle of listening. Also getting a analog recorder like one of the tascam portastudio's is also very helpful. It allows you to see the basics with switches knobs and buttons which is hard to grasp in software when you are just starting out. You should be able to pick up one of these units for very very cheep now. As Tom said read Modern Recording Techniques. I read the 1st or 2nd addition 15 years ago. It's now in its' 7th addition. Take it a little piece at a time for there is a huge amount of information. Make sure that you get your hands on some gear and see how it reacts to situations. Don't be afraid to try things. Most importantly listen. Learn how to listen. Your ears are going to be the tool that you can't live with out. Learn how to use them. HTH --FC On May 16, 2011, at 5:12 AM, Vincenzo Rubano wrote: Hi Tom, well, before all, thanks for your reply... I am going to study these books this summer... I was thinking about protools certifications because I am just 17 years old, and in future time I could consider working as an audio-engineer... Thanks alot! Cheers, Vincenzo. - Original Message - From: soundog stiles@gmail.com To: Pro Tools Accessibility ptaccess@googlegroups.com Sent: Friday, May 13, 2011 7:47 PM Subject: Re: three questions about audio, protools and blind people... Ciao Vincenzo. I know 2 good books to begin with audio recording, but don't know if they are in accessible form for you. One is The Recording Engineer's Handbook by Bobby Owinski, and the other is Recording Techniques by David Miles Huber. They are online at Mix Bookshelf. If you're not looking for a job as audio engineer, don't worry about ProTools certification - you just need training to learn to use the program. Hope that helps. Tom On May 12, 2:14 pm, Vincenzo Rubano vincenzorub...@email.it wrote: Hi guys, well, I am going to ask you some strange questions... I am sorry if some of them might be o.t. questions, but I am really curious... I hope I could learn alot from your replies, so let's start... 1. This summer I am planning to study very hard protools and its wonderful features; but I have no knowleges about audio editing, mixing and mastering; is there any book (also in English) that explains how all-effects (reverb, overdrive, limiters, phaser, etc) work, how to pump-up bass, synth or drum tracks, how to set up a compressor properly, how to aggiust the track' volumes and other related things, and how to apply this knowleges in pro tools? Of course it should be an accessible book, because I am blind and I could understand pictures that represents screenshots without text-descriptions... 2. What's about vocal tracks? Surfing the Internet, I understod that many people use Melodyne to aggiust vocal tracks. But what's about us? Is Melodyne accessibile with voiceover as a stand-alone program, as a plug-in for protools or as a bridge between Melodyne and Protools (rewiring Melodyne into protools)? If not, what do you use to get professional vocals or to create poliphonic vocal tracks? 3. I eard that exist some qualifications created by Avid to certificate the ability to use protools. Would it be possible for a blind person to get this qualifications (for instance the protools 101, 110)? If not, which are the problems for us to get this qualifications? I hope your replies could help
Re: three questions about audio, protools and blind people...
Ciao Vincenzo. I know 2 good books to begin with audio recording, but don't know if they are in accessible form for you. One is The Recording Engineer's Handbook by Bobby Owinski, and the other is Recording Techniques by David Miles Huber. They are online at Mix Bookshelf. If you're not looking for a job as audio engineer, don't worry about ProTools certification - you just need training to learn to use the program. Hope that helps. Tom On May 12, 2:14 pm, Vincenzo Rubano vincenzorub...@email.it wrote: Hi guys, well, I am going to ask you some strange questions... I am sorry if some of them might be o.t. questions, but I am really curious... I hope I could learn alot from your replies, so let's start... 1. This summer I am planning to study very hard protools and its wonderful features; but I have no knowleges about audio editing, mixing and mastering; is there any book (also in English) that explains how all-effects (reverb, overdrive, limiters, phaser, etc) work, how to pump-up bass, synth or drum tracks, how to set up a compressor properly, how to aggiust the track' volumes and other related things, and how to apply this knowleges in pro tools? Of course it should be an accessible book, because I am blind and I could understand pictures that represents screenshots without text-descriptions... 2. What's about vocal tracks? Surfing the Internet, I understod that many people use Melodyne to aggiust vocal tracks. But what's about us? Is Melodyne accessibile with voiceover as a stand-alone program, as a plug-in for protools or as a bridge between Melodyne and Protools (rewiring Melodyne into protools)? If not, what do you use to get professional vocals or to create poliphonic vocal tracks? 3. I eard that exist some qualifications created by Avid to certificate the ability to use protools. Would it be possible for a blind person to get this qualifications (for instance the protools 101, 110)? If not, which are the problems for us to get this qualifications? I hope your replies could help me to get the results I would like to get (not to become an audio-engineer, but just to produce dance songs that sounds quite good)... Vincenzo.
three questions about audio, protools and blind people...
Hi guys, well, I am going to ask you some strange questions... I am sorry if some of them might be o.t. questions, but I am really curious... I hope I could learn alot from your replies, so let's start... 1. This summer I am planning to study very hard protools and its wonderful features; but I have no knowleges about audio editing, mixing and mastering; is there any book (also in English) that explains how all-effects (reverb, overdrive, limiters, phaser, etc) work, how to pump-up bass, synth or drum tracks, how to set up a compressor properly, how to aggiust the track' volumes and other related things, and how to apply this knowleges in pro tools? Of course it should be an accessible book, because I am blind and I could understand pictures that represents screenshots without text-descriptions... 2. What's about vocal tracks? Surfing the Internet, I understod that many people use Melodyne to aggiust vocal tracks. But what's about us? Is Melodyne accessibile with voiceover as a stand-alone program, as a plug-in for protools or as a bridge between Melodyne and Protools (rewiring Melodyne into protools)? If not, what do you use to get professional vocals or to create poliphonic vocal tracks? 3. I eard that exist some qualifications created by Avid to certificate the ability to use protools. Would it be possible for a blind person to get this qualifications (for instance the protools 101, 110)? If not, which are the problems for us to get this qualifications? I hope your replies could help me to get the results I would like to get (not to become an audio-engineer, but just to produce dance songs that sounds quite good)... Vincenzo.
