Thursday’s Class + Brazil Video Note

October 25th, 2011 by
meta

Reminder: No class this Thursday

Also, I wasn’t able to get the Brazil clip to load in Reaper in the CEC, so I translated the files into .wmv format. I was able to bring those into Reaper in the lab and on my MacBook, so I think that should work.

I also noticed that the audio in at least one of the clips wasn’t stripped out, so when you bring the track into Reaper, you’ll want to set up an automation envelope to turn the sound on that track off (so you can replace it with your own). I’d avoid listening to the audio track that’s on the clip at all because your goal is to come up with your own sounds, not copy the ones in the existing audio track.

Finally, don’t forget to email your recording engineer’s biography/profile (based on the research you’re doing on one of the recording engineers discussed in one of the later chapters of REH–email me if you have no idea what I’m talking about). This is due Thursday by 5 pm.

 

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10.25 Tuesday

October 24th, 2011 by
class

PSA Scripts Due

Small Teams: Swap headphones. Do the hearing test 3 more times. Switch headphones each time. In the Name field, type in your name + model/make of headphone you’re using. Here’s a link to the form.

Film Scoring with Reaper

Sample: Creating industrial noise with source: bottlecap contact mic on PowerMac enclosure.

Equipment reserve notes: two-day checkout for teams (or over weekend). Lorraine handles scheduling/checkout/checkin.

Equipment available from Lorraine:

  • M-Audio Recorder + T-Mic
  • Zoom Recorder
  • Contact (bottlecap) mic w/cable (x2)
  • AT Shotgun mic (Note: Micro recorders don’t appear to have enough voltage, but you can try it)
  • Calrad Shotgun mic
  • Shure SM58
  • Alice Small Diaphram Condenser
  • Cascade Fathead Ribbon (fragile)
  • Various cables
  • Hercules adjustable mic stand

Brazil trailer (or watch DVD)

Start Film Scoring Project

Team 1: Bourg, Gardner, Moulton

Team 2: Durocher, Geiselmann, Lewis

Team 3: Godfrey, Saramak, Swartz

Start by downloading the Brazil source clips (one w/subtitles to help you identify dialogue, one w/out that should be used for the final version) and the soundtrack template, an Excel file. Rename the Excel file so that it includes the last names of everyone in your team.

Use the soundtrack template to track what sounds you need to record as well as info about the sounds as you gather them. Note that you can add sounds later and re-sort the list (so that everything is in order) if you select the rows with sounds (NOT including the header rows), then choose Data > Sort.

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10.20 Thursday

October 19th, 2011 by
class

Script run-throughs (w/feedback)

Revisions

Recorders: Basic usage

  • Mics
  • Settings
  • Test w/monitor
  • Test copying to computer

Reaper: Compression and Limiting for Radio

Reaper: Samples from Labs

  1. Volume Changing: Limiter (Reaper Guide 14.7, pp. 260+)
  2. Volume Control with Compressors (Reaper Guide 14.11 pp. 264+)
  3. Simple Compression: LOSER’s Transients Clipper (14.12 pp. 265)
  4. EQ
  5. Reverb

Equipment Checkout: Main C&M Office. One day during week or over weekend.

Discuss Enviro Sound 2 Project (Due 11/3)

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10.17 Tuesday

October 17th, 2011 by
class

Demo remixes + vote on best remix

Discuss Bio Chapter assignment

Reminder about listening assignment

Discuss foley work & film score project

Film Scoring with Reaper

Equipment check in/out procedures

Editing audio: samples from last week’s labs. Morphing sounds (freesound.org link)

Reaper demo (manual pp. 120-121) & 257+

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Thursday 10.13

October 12th, 2011 by
class

No class today (to offset time spent in labs). Keep working on your remixes and the PSA.

Also, you’ll turn in your remix next Tuesday by copying it to my USB drive in class. You need to turn in

  • The original core song
  • Your full remix project in its native format (e.g. your Reaper or Ableton Live files) so that I can see what you did in terms of cuts, loops, filters and effects, etc.
  • Documentation of your sources (this can just be a text file where you list where each came from)

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10.11 Tuesday

October 10th, 2011 by
class

Note: The requirement to turn in your list of audio sources for the Snapshot project was slightly vague. If you didn’t turn yours in, you have until the end of today to do so. (The project description said to do them–I just didn’t tell you how to hand them in.)

Discuss PSA project and script format, then work on scripts in class. Generate list of necessary sounds. (Copy Remix drafts to Johndan’s usb drive while working on scripts.)

Discuss -10/+4 article (linkbin)–we’ll look at this later in the semester, but you may want to start skimming now if you don’t have a math/EE background.

Discuss TapeOp magazine subscriptions.

Share remix drafts.

By Thursday, fill out this Google form while completing this hearing test.

Reminder about lab readings this week (REH 186-191 and 223-232).

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Due Dates (No Change)

October 7th, 2011 by
meta

I mentioned possibly changing the due date for the PSA script, but I’ve decided to leave it as is (so it’s still due next Thursday). The script should be really short, so I hope that’s not an issue.

Don’t forget to bring a rough draft of your remix to class on Tuesday. We’re going to listen to and critique them in class. You can either bring the full Reaper project with you or, if you’re working in another app, bring an mp3 file we can listen to.

Have a good weekend.

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10.6 Thursday

October 5th, 2011 by
class

Discuss Remix project

Remix choices (have your song picked out)

Discuss Go Your Own Way responses (small groups)

Discuss PSA project. Brainstorm clients in lab teams.

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Stem Sources

September 29th, 2011 by
look at this

I’ve added some additional links to the Samples section of the Linkbin page.

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“Go Your Own Way” Questions

September 29th, 2011 by
project

After reading the article about recording “Go Your Own Way,” answer the following questions. Put them in an email message to me (in the body of the message, not as an attachment). Due by the start of class next Thursday.

1. Do you think (as the article argues) pain is necessary to making art? Why or why not?

2. What role did the technology have in recording “Go Your Own Way”?

3. Listen to the song and identify at least ten instruments (you can include up to three separate vocals and three separate drums). When you list then, note how many minutes and seconds into the song that sound first occurs. If you don’t know the name of an instrument, describe it.

4. Identify roughly where at least five of those sounds occurs in the “soundstage” (close/far and left/right).

5. Do any sounds move in the soundstage (closer then farther or left then right?)

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