Archives For review

Sony PCM-D100 Angle

I've been meaning to write a review of the Sony's PCM-D100 portable audio recorder for some time now.

The D100 is the successor to Sony's popular PCM-D50 model. The D50 is known for its excellent sound quality, impressive battery life, and sturdy construction. How does the PCM-D100 (US$775) measure up to its older brother? This article will take a "deep dive" into the D100 to learn what's new, what's changed, and how it performs in the field. It also includes dozens of field recordings from the D100 and other recorders that you can download and experiment with yourself. So, settle in and join me to explore this popular portable audio recorder.

Please note, I'm very detailed. This is an in-depth review that will take approximately 24 minutes to read. If you prefer, click the link below to email yourself a copy to read later.

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2014 01 RX Changes Hero 2

I recently purchased iZotope’s RX3 software. RX is the well-known industry standard for repairing damaged audio.

RX3 was released last fall as a paid upgrade to its popular predecessor. It refined some tools, and introduced some new ones, notably the Dereverb and realtime Dialogue Denoise modules.

The upgrade has received a lot of press lately. But is it hype, or a helpful upgrade?

Today I’ll focus on one thing: the feature differences between RX3 and RX2. I’ll get to audio quality and examples at a later date. And, since I record and master field recordings, this post will have a strong sound effects mastering slant.

New to RX? No problem. I’ll also include an overview for those of you unfamiliar with the software.

Ready for a deep dive into the new RX3 features? Grab a coffee (this is a long one) and read on.

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Subway Stairs

Not working during the holidays? Have some time? Want to read about sound?

I actually look forward to travelling during the holidays. It gives me time to catch up on reading sound effects blogs.

Here are sound-related articles I’ve enjoyed:

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Another quick update: I’ve written a review of Sony’s PCM-D50 audio recorder on the main Airborne Sound blog.

I look at from the perspective of stealth recording, specifically.

I’ve broken it down into three posts. The first examines key audio recorder considerations. It also has free sound effects samples you can download and analyze yourself.

The next post looks at more finicky portable recorder details, and that will be coming the following week.

A final article will be a portable audio recorder shootout between the Sony D50 and it closest competitor (in popularity, anyway), the Zoom H4n.

Head on over and check them out!

In my last post I wrote about a few useful apps that help me get work done and return to field recording quickly. I covered sound converters, writing apps and administrative apps.

This post we’ll look at more apps that can help you work better, organize your sound effects library and get back recording faster. I’ll highlight utilities, internet, website coding apps and social media apps.

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I’ve spent almost 15 years recording sound effects for Airborne Sound. On any given day I’d rather be out in the world field recording but the necessity of digital audio means field recordists need to work in dark rooms with computers.

I’ve made a list of outstanding apps that help me work better and return to field recording quickly. This list doesn’t specifically apply to sound editing. If you’re working with a sound effects library on a computer you’ll likely need these kind of apps at some point.

I chose these programs based on:

  • productivity – does they save me time?
  • usefulness – do they fill a need?
  • aesthetic – is the app designed with the user in mind? Is it easy on the eyes, making for a more smoother, pleasant experience? I’m a sucker for the ‘Mac look’ and interface.

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Update: I’ve added new info to reflect the gear I use now since I published the original post.

Ask a dozen field recordists what gear they use and you’ll hear a dozen answers.

A few readers have asked what gear I use. Like any field recordist my list of equipment isn’t meant to be a checklist of what is best; it is what I find is the most comfortable balance for field recording international sound effects.

Which equipment you choose depends on what you’re recording, the location, recording style and countless other reasons.

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