Reel: Delta Airlines

Here’s another piece that I recently worked on for Delta Airlines with Seftel/Smartypants Pictures. Location audio by Atlanta mixer  Jay Ticer and myself.

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Reel: American Masters “The Highwaymen-Friends Til The End”

I recorded several of the interview segments for this show by Jim Brown Productions- John Carter Cash, Reggie Young, and Marty Stuart. Great fun to work on this one!

 

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Marty Stuart during an interview

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Me with Reggie Young, one of the original Nashville Cats.

Reel: Delta Mother’s Day

Here’s a recent project that I worked on for Seftel/Smartypants Pictures. This was a one-day shoot with two crews, and included footage for two web spots. Location sound was provided by myself and Atlanta mixer Jay Ticer.

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Izotope RX5 Advanced

I’ve recently installed a new, very powerful noise reduction software package, RX5 Advanced. It’s a 2-track spectral repair and mastering program that has some abilities that are pretty amazing. It’s not exactly a miracle worker… it can’t take poorly-recorded audio and magically make it good. But it can improve a lot of problem files, some of them dramatically.

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Since I’ve just started using it, there are a lot of features that I’ve only started to explore. But what I’ve seen so far is is really fun. The display is a spectrograph, where frequency is displayed on the Y axis (up and down), time on the X axis (left to right), and intensity as brightness… louder sounds are brighter. A standard waveform is overlaid in blue, and there’s a slide that lets you adjust the display for pure spectrogram, pure waveform, or anything in between. The end result is a lot of information about your file that you can quickly and easily understand. For example, see the horizontal bands in the lower right corner? That’s a train horn in the distance. The darker bands before and after the loudest parts of the file are where I’ve applied the denoise module… this file was recorded outdoors, and there was  interstate noise in the distance that sounds a lot like white noise. The program was able to learn the background noise and reduce it significantly, while not affecting the direct voice signal much at all… extremely useful.

The program has tons of other features that I haven’t had a chance to try yet but promise to be useful. For example, there’s an ambience match that can add “room tone” to a voice track that was recorded on location. I can think of a half dozen times when the de-reverb module would have come in handy.

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“Adaptive Phase Rotation” module

One of my favorite modules so far is the Adaptive Phase Rotation feature. This fixes a typically pesky problem of asymmetric waveforms, where there is more amplitude on one side of the infinity line at the center of the screen than the other. Sonically it isn’t a problem and sounds fine, but it robs you of headroom… when you normalize, one side of the waveform limits the amplitude, and your signal is overall slightly lower. (Besides, it bugs me to have a lopsided waveform. I like my waveforms neat and tidy.) With this module, one click corrects the problem without affecting the sound of your signal.

Right now I’m running it on my little 2.6gHz Mac Mini with 8gb of memory. It does OK on the internal drive, but some of the processes take a few minutes on long files (like declicking a 2-sided album). I’ve ordered a 3TB 7200rpm Thunderbolt hard drive that will be dedicated to audio only, and I’ll probably up the memory to 16gb (max for the Mac Mini) first chance I get.

There is so much more that this program can do, it would take weeks to go over it all. And I’m just getting started. But it’s a GREAT tool to have in my audio arsenal, and I’m looking forward to offering it to clients (and generating some additional revenue with it.)

Building a Polyribbon

I just returned fro Watts Engineering where Les and I ran some final checks on the Polyribbon. It’s heading up to Vintage King in Chicago for some more testing.

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I’ve just completed testing of the Polyribbon that Les sent me, and it’s ready to go. This is easily the finest sounding ribbon microphone that I’ve ever heard. The older RCA77 series suffered from a lack of high end, but this design corrects that deficiency with a response well past 18k. Low output voltage was also a problem, requiring lots of preamp gain (and increasing the preamp self-noise.) This mic comes in at a little hotter than an SM57.

The pattern selector switch is what makes this mic truly unique. This mic can be set to fig 8 like a traditional ribbon, supercardioid, or omni. In figure 8, the side rejection nulls are extremely deep… the mic only hears reflections from the room walls. Try vocals in supercardioid, the side rejection is good, though not as deep as fig 8. A small back lobe lets in some room reflections for a very natural sound. The omni setting has some high-frequency attenuation in the back side of the mic due to the shadow effect of the headbasket.

Proximity effect can be considerable with ribbon mics, and it varies with the pattern on this mic. A two position low cut inductor is provided to help with the equalization. At the max cut position (full clockwise), the filter is calibrated for a flat response at 300mm. The supercardioid setting exhibits moderate proximity effect, there’s a less aggressive filter setting for this. Omni exhibits no proximity effect.

I haven’t gotten this in front of some talent yet… I can’t wait to get to Nashville. Upright bass through this thing should be a signal to die for, as well as vocals. Sax would probably be pretty nuts as well.

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The first production Watts Polyribbon in its case.

Hear Doggy!

My friend Les Watts isn’t just an exemplary mic designer. Here’s a video of his latest patent award, the Hear Doggy! It’s a chew toy like most, except it has an ultrasonic squeaker inside. the dogs hear it, but we can’t. Shadow loves it!