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All Things Apple - Audio Production Links

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Hi all!

Here are some links referenced by our All Things Apple - Audio Production episode.

Jayne Olderman - www.redwarriorrecords.com

Patrick Belden - http://www.beldenmusic.com/Home.html

Apple Logic - http://www.apple.com/logicpro/

DigiDesign ProTools - http://www.digidesign.com/index.cfm?navid=2&langid=100&itemid=22700

For collecting royalties: http://www.soundexchange.com/index.htmlFor registering copyrights:  http://www.copyright.gov/

And here's a couple of shots of Jayne, Patrick and I at "Jayne's Studio" during the podcast recording.



Posted by: walter biscardi on Jun 5, 2007 at 5:46:50 amComments (3) editing, music, entertainment, apple, itunes, podcasting

Comments

Hi Patrick, i'm one of
by adam taylor
Hi Patrick,

i'm one of those rare combinations of video and audio editor. I was fortunate in my last job to be able to hang up my video wings for a few years and concentrate solely on sound. I now have a job where i do both the online edits, then whip the edit over to protools to complete the job. A dream job for a technogeek like me.

If i hadn't made the effort to really try learn the basics of audio, i would not have a clue. Audio is far more involved and complex than many video editors realise. Most that i have worked with seem to think its just a matter of pushing faders, and stretching a session to fill a time slot by fiddling!!

Aside from lots of reading and research, i have much to thank a great dubbing mixer called Paul Harrison (422 Manchester). He dubbs some of the shows i used to work on, and was more than happy to answer my questions, show me tricks and tips during the dubb and generally be a damned fine chap. 

Its only when i started digging deep that i realised there was a whole other world of stuff i knew zip about. Compression, eq and Dither are cases in point. 

I always used to work 48/16 until i had the opportunity to build a studio from scratch. Going from an offline to online environment, outputting to Digibeta, I wanted to be sure everything i did was at the best quality. 

I think its good practice to ensure that what leaves you is the best it can be, and if its going to another part of the delivery chain prior to TX, then don't expect them to finish what you should have done (unless thats their job!!) because the chances are if you could have done it, you probably could have done it better - thats why you had it in the first place.

I must admit, i thought you probably would be dithering right - its one of those things that once you know the right way, you don't forget and do it sloppily!

Vive la Blogolution!

Adam
Audio Dithering
by Patrick Belden
Hey Adam,

You make an excellent point and I apologize for gliding over it. When we moved up to 24-bit audio I had researched this and initially did exactly as you state; dither here in the Mix to 20bit. When they moved the production inhouse and purchased a new Avid system I was told it could dither in the SDI connection chain, but I just wasn't sure if the digibeta was doing it or the Avid.

But I realized after reading your post that I am actually still dithering here still to 20bit, I never changed my template so I guess the point is moot. As a rule I like delivering the audio to a video editor that is ready for air as is without needing any manipulation of any sort, it is always the safest way to go.

Great post!

Patrick Belden
great show...
by adam taylor
since i got my ipod for christmas, my car has become a music only zone. I have not listened to the radio at all, but now i find myself checking into iTunes regularly, waiting for my next fix of your show, Walter. 

 
Its a great way for someone working in a techie vacuum to keep abreast of whats going on out in the wider world of broadcasting. And to do it on the motorway driving to work is even better. Finally something useful for my ears whilst concentrating on the morning motorway mayhem.


The latest was a great discussion...i certainly learned some new stuff. I do want to question a point Patrick made that although not a major one, struck me as being possibly inaccurate. If I am wrong, then my apologies in advance.....


Patrick mentioned that working 48/24 requires dithering down to 20bit for putting onto digibeta (correct) and then said that he leaves that up to the Avid or the Digibeta machine itself.  Thats not really the best way, as i know of no avid editor who would ever even think of dithering, much less no what it is and when to use it. I am not even sure if Avids will do it. Its a few years since i worked an Avid and it could not do it back then.

 
As for letting the Digibeta do it - well it merely truncates the word length, with the possibility of losing something in those lopped off 4 bits.
The best way of doing this (and i checked with audio guru Bob Katz on this) is on your final mixdown, apply a 20 bit dither at the very last stage in the signal path. For me, its done with the Waves L2 Ultramaximiser, limiting my peaks and outputting a dithered 20bit signal.


I know when i then put that audio back into FCP for the final output to tape, as long as I have my FCP set to 48/24, then i am outputting a 24 bit signal, but one which has nothing in the final four bits, so the digibeta can truncate away, with me happy in the knowledge its not damaging anything.


keep up the good work,
regards
Adam

ps. nice socks Walter!


Professional Video Editor, Producer, Creative Director, Director since 1990.

Credits include multiple Emmys, Tellys, Aurora and CableAce Awards.

Creative Director for Georgia-Pacific and GP Studios, Atlanta. Former Owner / Operator of Biscardi Creative Media. The show you knew us best for was "Good Eats" on the Food Network. I developed the HD Post workflow and we also created all the animations for the series.

Favorite pastime is cooking with pizza on the grill one of my specialties. Each Christmas Eve we serve the Feast of the Seven Fishes, a traditional Italian seafood meal with approx. 30 items on the menu.

If I wasn't in video production I would either own a restaurant or a movie theater.

 




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