What is Home Recording Tactics? This is a collection of audio interviews with 9 hard working, successful home studio engineers (including me). The interviews were led by Joe Gilder of Home Studio Corner. He got these guys to share all their secrets on a variety of home recording topics.
My part of Home Recording Tactics can be heard below:
Recording on a Budget with Graham Cochrane, TheRecordingRevolution.comGraham shares some fantastic advice to keep you from playing an endless game of Gear Acquisition Syndrome and instead getting great-sounding recordings.
Microphones with Slau Halatyn, SessionsWithSlau.comSlau’s passion for mics is evident in this interview, where he explains the differences between various types of microphones and also shares why he uses different types of mics for different sources.
Arrangement with Dave Chick, InsideHomeRecording.comAs a professional composer for video, Dave shares his approach to composing and arranging music, and we discuss how to apply that to any
recording project for awesome results.
Editing & Workflow with Jon Tidey, AudioGeekZine.comJon shares some really useful tips for becoming better and faster at editing and your general recording workflow, regardless of what recording platform you use.
Mixing with “Big Al” Wagner, HomeStudioGuru.comBig Al’s mixing expertise stretches back to the days of analog tape and big consoles, so he brings a really valuable perspective to the table and gives practical advice that you can use on your next session.
Sound Design with Nick Maxwell, NicksTutorials.comNick introduces us to the fascinating world of sound design and shares how sound design skills can be extremely useful when applied to your studio productions as well.
Recording for Live Sound with Ryan Canestro, HomeRecordingShow.comRyan gives us some great advice on how to effectively pull off a live recording, whether you simply want to capture the audio for a YouTube video or do a full-on multi-track recording.
Recording Sound for Film with Jesse Zoller, TheIceShop.netJesse gives us a glimpse into the world of recording sound for film. A great video can only be a great video if it has great audio, and Jesse shares with us how to make that happen.
Mastering with Ian Shepherd, Mastering-Media.blogspot.comWhether you want to master yourself or hire a mastering engineer, Ian will help you understand this extremely important process and enable you to make an educated decision.
Yesterday Chuck Russom posted a recording of his 2006 lecture on Field Recording at the Game Developers Conference. He covers equipment, finding unique sounds, recording guns and exotic animals. It’s 45 minutes long but seemed to go by quickly and was entertaining. It was very cool to hear the same gun shots from different mics and placements. Plenty to learn from this lecture if you’re somewhat interested in field recording or sound recording for games, TV and film.
Badass mofo Freelance Sound Designer and SFX Recordist.
Credits include a number of top game franchises including: God of War, Call of Duty, Medal of Honor, James Bond, and others.
Chuck’s website is definitely worth following for anyone interested field recording, game audio, sound design. He often posts some of his interesting sound captures and goes into details of how it was recorded.
I’m starting to get interested in sound design & field recording and all the things that go along with it so expect more posts on those subjects (unless you don’t want me to post about those things, speak up!)
Yesterday my friend Nick [@AbletonTutor] of Nick’s Tutorials posted an article about these AU (Mac only) plugins: SoundMagic Spectral by Michael Norris. They’re not the typical sound shaping tools you’ll find in a DAW, but for something completely different check these out. I’m sure I’ll get plenty of use out of these especially Spectral DroneMaker.
The other day I was playing around with my bowed cymbals samples and found that they didn’t timestretch particularly well with Elastic Audio or otherwise. I like Elastic Audio for many purposes but I keep running into it’s limitations. Stretching bowed cymbals to 200% is one of them, I later discovered that most other methods aren’t much better either. I’ve created some examples so you can come to your own conclusion about which is the ‘best’ way. As you’ll hear, some of these have the painfully obvious audio equivalent of THIS IMAGE.
Download RAR file with original file and 17 stretched files. 16 bit, 44.1kHz (same as original recording)
original
TCE Digidesign
TCE Timeshift Default
TCE Timeshift Stereo Mix
Audiosuite Time Shift default
Audiosuite Time Shift follow transient
Audiosuite TimeCompressionExpansion Default
Audiosuite TimeCompressionExpansion accuracy 5
Audiosuite TimeCompressionExpansion accuracy -5
Elastic Audio Monophonic No Event markers
Elastic Audio Monophonic
Elastic Audio Polyphonic default no event markers
Elastic Audio Polyphonic default
Elastic Audio Rhythmic default
Elastic Audio Rhythmic default no event markers
Elastic Audio X-Form default
Elastic Audio X-Form Formant
Elastic Audio X-Form No Event Markers
In my opinion and for this specific situation there is one method of stretching that is clearly better, the least “stretch marks” it’s also the most time consuming.
Let me know what you think about the test. What would you like for round 2?
