This post is the second of four brief posts that collect my favourite articles on the website. Learn more about the concept in last week’s post.
This post will be the first of four yearly website retrospectives. Why?
Well, the blog has been around for a while now. The articles are stacking up. Truthfully, it’s not that easy to sift through a WordPress website. The blog is getting a bit unmanageable with the number of posts.
I have made a few attempts to corral things Continue Reading…
I woke up one day just over four years ago this month and realized that I had been unemployed for half a year. The previous version of my sound effects website that I had launched the summer before was on life support, discouragingly underpowered for the technology it was using. Worse, I was uninspired. I hadn’t recorded a single shred of sound for ages.
Early 2011 also coinincided with a brief but active surge of minimalism bloggers elsewhere on the Internet. Those blogs have since faded away. However, they conveyed a message that had an immense impact on me Continue Reading…
Last week’s article shared step-by-steps instructions for transforming a mono sound effect into a stereo file. That process, also known as “stereoizing,” was based on a tip that mixer and sound editor Shaun Farley of Skywalker Sound described in a forum post, years ago.
Of course, you can simply follow the steps described in last week’s post. That will produce good results. However, that article may have left you with questions:
I turned to Farley to answer these questions. So, today’s post shares a Q & A with Farley that explains how he began using the trick, the science and risks behind it, and more.
Have you ever returned to your edit suite to realize one channel of your stereo field recordings is distorted beyond hope? Has a client demanded a stereo delivery spec, regardless of the source sound effects in your sound library? Do you have a cool mono drone you’d like thicken up?
If any of these situations sound familiar, you’ve likely thought about transforming your mono sounds into a stereo file.
However, this task of “stereoizing” mono files isn’t simple. Why? Well, there’s the ever-present risk of accidentally corrupting your new stereo file with phase problems. And what about audio quality? Often stereoized files sound flat and lifeless. Is it possible for stereoized mono files to sound good?
I struggled with this for years. I used mastering hacks to get this done: shifting a duplicate track a few frames, or dropping half of a mono clip underneath on a second track. There are other tricks. I wasn’t satisfied with any of them.
A few years ago I stumbled across a post that explained a bulletproof, acoustically sound method of stereoizing a mono file. It recreates the physics behind the way our ears hear sound.
I tried it. I was thrilled with the results. I’ve used it ever since.
Today’s post is the first in a two-part series that explains how to use this trick. This article shares step-by-step instructions for stereoizing mono files, with the kind assistance of a special guest contributor.
The website launch gave me some insight into independent sound library collections. I’ll share those thoughts in this “post-mortem” post, and also include a few resources for fans of indie sound bundles and also for sound library publishers, too.
Avid has just announced two software releases at NAMM 2015: Pro Tools | First and Pro Tools 12.
Details are still emerging about the new sound editing apps. Today’s post takes a quick look at what we know so far.
Last year, I created a new “Community” tab on the website’s menu bar. The first page I announced was a list of field recording blogs. The second listed community Web shops. There’s also a selection of SoundCloud sound effect groups, too.
My hope for those pages was to spread field recording knowledge and share all the excellent sound libraries you’ve created. I believe that all of our work improves when more audio knowledge and better sound surrounds us. I had hoped to contribute a small resource that would give back to the field recording community I’ve enjoyed being a part of.
Many of you wrote to tell me you found those pages useful. So, inspired by that, I’ve released a small, new tool which I also hope will help the sound design and field recording communities: Sound Effects Search.
It seems like just a few months ago that I wrote an article comparing iZotope’s RX3 audio restoration software with its predecessor, RX2.
At that time, RX2 had been known as a respected tool for polishing troublesome audio. The software hadn’t seen a major update in years, however. So, last year’s announcement of RX3 was met with considerable excitement. It delivered a fresh coat of paint, new tools, and welcome workflow improvements.
iZotope didn’t wait as long to release RX4. It arrived roughly a year after RX3. Does that seem quick to you? You wouldn’t be the only one to think so. Many sound editors understandably wondered what could have changed so quickly to be worth hundreds of dollars in upgrade fees.
I’ve written this article to answer that question. What’s new in RX4? What’s changed? Is it worth your upgrade dollars? Today’s post takes a deep dive into RX4 to learn more about the cornerstone audio repair software.