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17 episodes with schoeps
2 episodes with schoeps
2 episodes with schoeps
2 episodes with schoeps
2 episodes with schoeps
In this very special episode, we will take you to the heart of the Khao Sok National Park. From the delightful accommodations at Our Jungle Camp Eco-Resort, we take a shuttle to Cheow Lan Lake. We take a long-tail boat and embark on a journey deep into the bright green lake, surrounded by limestone cliffs with lush tropical vegetation. After an hour and a half, we arrive at our floating cabins, greeted by the sounds of the birds. We go on a tour to meet the local wildlife and encounter a family of elephants taking a refreshing bath in the lake. After a long day, we go to bed, soothed by the smooth sway of the lake and the lullaby of the jungle. We wake up early the next morning, energized by the unique dawn chorus of Khao Sok's birds, cicadas, crickets and frogs. This is a no-loop audio file recorded by Millie Wissar. If you liked this episode, please consider donating through our Ko-fi page: https://ko-fi.com/happylisteningproject Thank you for supporting this podcast! Affiliate Disclaimer: We may receive small affiliate compensation (at no cost to you) if you make purchases using the links below. If you decide to buy something through these links, you'll support our channel and our ability to record soundscapes for you worldwide. We appreciate your support! Audio Equipment: Field Recorder: ZOOM H6 https://amzn.to/3N8aOuw Joby Gorillapod 3K Pro Kit: https://amzn.to/3RqhQ0 Carbon Fiber light stand: ULANZI MT-49 https://amzn.to/47FMqIU Stereo-matched omnidirectional electret microphones: Mikro Usi pro https://store.lom.audio/products/mikrousi-pro Portable Power Bank: Anker https://amzn.to/4a3irvY Headphones: Shure SE846 PRO Gen 2 Wired https://amzn.to/3R8p7QX Sennheiser HD 25 https://amzn.to/46JzAbf Shure SRH840A Over-Ear https://amzn.to/3RboOVk Studio interview mics: Schoeps cmit 5u: https://amzn.to/3Ru8H6S Shure sm48 https://amzn.to/47ELTqz SE2200: https://amzn.to/46MclNH Genelec Monitors: https://amzn.to/3NbDRNE Travel Gear: The North Face Women's Surge Commuter Laptop Backpack: https://amzn.to/4ah5vmqHoka One One Womens Challenger ATR 7 GTX Textile Synthetic Trainers: https://amzn.to/47H --- Support this podcast: https://podcasters.spotify.com/pod/show/happy-listening-project/support
From Khao Sok National Park, you travel to Railay Beach, where you are greeted by the breathtaking sunset. As you cruise along the coastline, you watch the village lights illuminate the night sky. You finally reach Railay Phutawan Resort and immediately dive into its infinity pool, surrounded by lush tropical vegetation and a majestic mountain cliff. The cool ocean breeze refreshes you as you relax under the starlit sky. Exhausted from the day's adventure, you fall asleep to the soothing sounds of the jungle. The next morning, you wake up early to experience the last dawn chorus of this unforgettable trip. This is a no-loop audio file recorded by Millie Wissar. If you liked this episode, please consider donating through our Ko-fi page: https://ko-fi.com/happylisteningproject Thank you for supporting this podcast! Affiliate Disclaimer: We may receive small affiliate compensation (at no cost to you) if you make purchases using the links below. If you decide to buy something through these links, you'll support our channel and our ability to record soundscapes for you worldwide. We appreciate your support! Audio Equipment: Field Recorder: ZOOM H6 https://amzn.to/3N8aOuw Joby Gorillapod 3K Pro Kit: https://amzn.to/3RqhQ0 Carbon Fiber light stand: ULANZI MT-49 https://amzn.to/47FMqIU Stereo-matched omnidirectional electret microphones: Mikro Usi pro https://store.lom.audio/products/mikrousi-pro Portable Power Bank: Anker https://amzn.to/4a3irvY Headphones: Shure SE846 PRO Gen 2 Wired https://amzn.to/3R8p7QX Sennheiser HD 25 https://amzn.to/46JzAbf Shure SRH840A Over-Ear https://amzn.to/3RboOVk Studio interview mics: Schoeps cmit 5u: https://amzn.to/3Ru8H6S Shure sm48 https://amzn.to/47ELTqz SE2200: https://amzn.to/46MclNH Genelec Monitors: https://amzn.to/3NbDRNE Travel Gear: The North Face Women's Surge Commuter Laptop Backpack: https://amzn.to/4ah5vmqHoka One One Womens Challenger ATR 7 GTX Textile Synthetic Trainers: https://amzn.to/47H --- Support this podcast: https://podcasters.spotify.com/pod/show/happy-listening-project/support
We learn what's been going on at the Schoeps ice cream factory in Madison, hear from the organizing drive at Ocean Spray in Wisconsin Rapids, get an update on a major teachers strike in Massachusetts, learn about organizing in the Wisconsin Farmers Union, dig deeper into how workers are affected by the UW budget cuts, explore the history of Right to Work laws and more.
Rise to the early morning soundscape of Koh Tao surrounded by lush tropical trees at Ban's Diving Resort. As you prepare to explore the wonders of underwater marine life, allow your senses to wake up with the symphony of birds, roosters and explosive cicadas. Immerse yourself in the natural world and discover the beauty of this island paradise. Every dawn chorus in Thailand has its own unique charm, so tune into this captivating sonic experience! This is a no-loop audio file recorded by Millie Wissar. If you liked this episode, please consider donating through our Ko-fi page: https://ko-fi.com/happylisteningproject Thank you for supporting this podcast! Affiliate Disclaimer: We may receive small affiliate compensation (at no cost to you) if you make purchases using the links below. If you decide to buy something through these links, you'll support our channel and our ability to record soundscapes for you worldwide. We appreciate your support! Audio Equipment: Field Recorder: ZOOM H6 https://amzn.to/3N8aOuw Joby Gorillapod 3K Pro Kit: https://amzn.to/3RqhQ0 Carbon Fiber light stand: ULANZI MT-49 https://amzn.to/47FMqIU Stereo-matched omnidirectional electret microphones: Mikro Usi pro https://store.lom.audio/products/mikrousi-pro Portable Power Bank: Anker https://amzn.to/4a3irvY Headphones: Shure SE846 PRO Gen 2 Wired https://amzn.to/3R8p7QX Sennheiser HD 25 https://amzn.to/46JzAbf Shure SRH840A Over-Ear https://amzn.to/3RboOVk Studio interview mics: Schoeps cmit 5u: https://amzn.to/3Ru8H6S Shure sm48 https://amzn.to/47ELTqz SE2200: https://amzn.to/46MclNH Genelec Monitors: https://amzn.to/3NbDRNE Travel Gear: The North Face Women's Surge Commuter Laptop Backpack: https://amzn.to/4ah5vmqHoka One One Womens Challenger ATR 7 GTX Textile Synthetic Trainers: https://amzn.to/47H --- Support this podcast: https://podcasters.spotify.com/pod/show/happy-listening-project/support
Dance all night and wake up to the eclectic and refreshing sounds of Koh Phangan's morning beachscape with this podcast episode. Immerse yourself in the lapping of waves and cheerful crickets as you awaken your senses and revitalize your mind and body. Tune in to this episode and experience the therapeutic power of nature's powerful sounds. This is a no-loop audio file recorded by Millie Wissar. If you liked this episode, please consider donating through our Ko-fi page: https://ko-fi.com/happylisteningproject Thank you for supporting this podcast! Affiliate Disclaimer: We may receive small affiliate compensation (at no cost to you) if you make purchases using the links below. If you decide to buy something through these links, you'll support our channel and our ability to record soundscapes for you worldwide. We appreciate your support! Audio Equipment: Field Recorder: ZOOM H6 https://amzn.to/3N8aOuw Joby Gorillapod 3K Pro Kit: https://amzn.to/3RqhQ0 Carbon Fiber light stand: ULANZI MT-49 https://amzn.to/47FMqIU Stereo-matched omnidirectional electret microphones: Mikro Usi pro https://store.lom.audio/products/mikrousi-pro Portable Power Bank: Anker https://amzn.to/4a3irvY Headphones: Shure SE846 PRO Gen 2 Wired https://amzn.to/3R8p7QX Sennheiser HD 25 https://amzn.to/46JzAbf Shure SRH840A Over-Ear https://amzn.to/3RboOVk Studio interview mics: Schoeps cmit 5u: https://amzn.to/3Ru8H6S Shure sm48 https://amzn.to/47ELTqz SE2200: https://amzn.to/46MclNH Genelec Monitors: https://amzn.to/3NbDRNE Travel Gear: The North Face Women's Surge Commuter Laptop Backpack: https://amzn.to/4ah5vmqHoka One One Womens Challenger ATR 7 GTX Textile Synthetic Trainers: https://amzn.to/47HFlaK --- Support this podcast: https://podcasters.spotify.com/pod/show/happy-listening-project/support
Start your day with a soulful and energizing sun salutation practice. Beat the sunrise and head over to Grandfather and Grandmother rocks. Take a seat and ease into the immersive silence of dawn. Close your eyes, and let yourself be carried away by the rhythm of the ocean waves crashing against the rocks. Engage in an energizing pranayama breathing practice to activate your mind and body. As the sun begins to rise, tune into the sounds of the jungle creatures greeting the new day. Allow your senses to fully awaken to this mesmerizing symphony and let the melodic voices of the Samui wildlife spark your curiosity and rejuvenate your spirit. This is a no-loop audio file recorded by Millie Wissar. If you liked this episode, please consider donating through our Ko-fi page: https://ko-fi.com/happylisteningproject Thank you for supporting this podcast! Affiliate Disclaimer: We may receive small affiliate compensation (at no cost to you) if you make purchases using the links below. If you decide to buy something through these links, you'll support our channel and our ability to record soundscapes for you worldwide. We appreciate your support! Audio Equipment: Field Recorder: ZOOM H6 https://amzn.to/3N8aOuw Joby Gorillapod 3K Pro Kit: https://amzn.to/3RqhQ0 Carbon Fiber light stand: ULANZI MT-49 https://amzn.to/47FMqIU Stereo-matched omnidirectional electret microphones: Mikro Usi pro https://store.lom.audio/products/mikrousi-pro Portable Power Bank: Anker https://amzn.to/4a3irvY Headphones: Shure SE846 PRO Gen 2 Wired https://amzn.to/3R8p7QX Sennheiser HD 25 https://amzn.to/46JzAbf Shure SRH840A Over-Ear https://amzn.to/3RboOVk Studio interview mics: Schoeps cmit 5u: https://amzn.to/3Ru8H6S Shure sm48 https://amzn.to/47ELTqz SE2200: https://amzn.to/46MclNH Genelec Monitors: https://amzn.to/3NbDRNE Travel Gear: The North Face Women's Surge Commuter Laptop Backpack: https://amzn.to/4ah5vmqHoka One One Womens Challenger ATR 7 GTX Textile Synthetic Trainers: https://amzn.to/47HFlaK --- Support this podcast: https://podcasters.spotify.com/pod/show/happy-listening-project/support
Start your day in the stunning island of Samui, Thailand, and allow your senses to awaken to the sweet melody of birdsongs filling the air. This episode features a refreshing morning birdsong that is guaranteed to elevate your spirits, no matter what time of day you listen to it. We will sit on the beach to meditate and plan our day, while immersing ourselves in the sounds of the awakening jungle. So, grab a cup of coffee, put on your headphones, and let yourself be transported to this beautiful island paradise. This is a no-loop audio file recorded by Millie Wissar. If you liked this episode, please consider donating through our Ko-fi page: https://ko-fi.com/happylisteningproject Thank you for supporting this podcast! Affiliate Disclaimer: We may receive small affiliate compensation (at no cost to you) if you make purchases using the links below. If you decide to buy something through these links, you'll support our channel and our ability to record soundscapes for you worldwide. We appreciate your support! Audio Equipment: Field Recorder: ZOOM H6 https://amzn.to/3N8aOuw Joby Gorillapod 3K Pro Kit: https://amzn.to/3RqhQ0 Carbon Fiber light stand: ULANZI MT-49 https://amzn.to/47FMqIU Stereo-matched omnidirectional electret microphones: Mikro Usi pro https://store.lom.audio/products/mikrousi-pro Portable Power Bank: Anker https://amzn.to/4a3irvY Headphones: Shure SE846 PRO Gen 2 Wired https://amzn.to/3R8p7QX Sennheiser HD 25 https://amzn.to/46JzAbf Shure SRH840A Over-Ear https://amzn.to/3RboOVk Studio interview mics: Schoeps cmit 5u: https://amzn.to/3Ru8H6S Shure sm48 https://amzn.to/47ELTqz SE2200: https://amzn.to/46MclNH Genelec Monitors: https://amzn.to/3NbDRNE Travel Gear: The North Face Women's Surge Commuter Laptop Backpack: https://amzn.to/4ah5vmqHoka One One Womens Challenger ATR 7 GTX Textile Synthetic Trainers: https://amzn.to/47HFlaK --- Support this podcast: https://podcasters.spotify.com/pod/show/happy-listening-project/support
Did you know blood moons occur two to four times per year? In this episode, take a moment to admire the breathtaking views of a full blood moon. Stand by the beach and listen to the ocean waves crash gently on the shore, turning velvety red, reflecting the moon above. Witness this awe-inspiring sight and experience the peaceful, calming effect of the ocean waves. It is a must-see for nature lovers, photography enthusiasts, and anyone needing relaxation. Add it to your bucket list and experience the magic of the Blood Moon Reflections in Koh Samui. This is a no-loop audio file recorded by Millie Wissar. If you liked this episode, please consider donating through our Ko-fi page: https://ko-fi.com/happylisteningproject Thank you for supporting this podcast! Affiliate Disclaimer: We may receive small affiliate compensation (at no cost to you) if you make purchases using the links below. If you decide to buy something through these links, you'll support our channel and our ability to record soundscapes for you worldwide. We appreciate your support! Audio Equipment: Field Recorder: ZOOM H6 https://amzn.to/3N8aOuw Joby Gorillapod 3K Pro Kit: https://amzn.to/3RqhQ0 Carbon Fiber light stand: ULANZI MT-49 https://amzn.to/47FMqIU Stereo-matched omnidirectional electret microphones: Mikro Usi pro https://store.lom.audio/products/mikrousi-pro Portable Power Bank: Anker https://amzn.to/4a3irvY Headphones: Shure SE846 PRO Gen 2 Wired https://amzn.to/3R8p7QX Sennheiser HD 25 https://amzn.to/46JzAbf Shure SRH840A Over-Ear https://amzn.to/3RboOVk Studio interview mics: Schoeps cmit 5u: https://amzn.to/3Ru8H6S Shure sm48 https://amzn.to/47ELTqz SE2200: https://amzn.to/46MclNH Genelec Monitors: https://amzn.to/3NbDRNE Travel Gear: The North Face Women's Surge Commuter Laptop Backpack: https://amzn.to/4ah5vmqHoka One One Womens Challenger ATR 7 GTX Textile Synthetic Trainers: https://amzn.to/47HFlaK --- Support this podcast: https://podcasters.spotify.com/pod/show/happy-listening-project/support
Greg Murphy is a production sound mixer based out of Melbourne, Florida. He does a lot of work in live news and also projects for Major League Baseball, the NFL, Super Bowl and NASCAR. For news, he uses a Sound Devices 688 mixer/recorder and for smaller jobs, a Sound Devices 633. For wireless, Greg uses Lectrosonics transmitters and receivers. He likes the Sanken COS-11 lavs and also uses dpa 4060 lavs. On the boom, he prefers a Schoeps CMIT 5u and a Sennheiser 416. Greg also uses a Schoeps CMC641 for sit down interviews. Greg likes the Denecke JB-1 time code sync boxes as well as Tentacle Sync. He also likes the Lectrosonics R1a for IFBs and camera hops. Check Greg out on Instagram @soundmixer_murphy Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you're a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
As the sun rises over Samui, Thailand, let your senses awaken to the chorus of birdsongs that fill the air. Watch the sky turn from oranges to pinks as the birds and insects sing together in surreal harmony. Feel grateful for this awe-inspiring experience. The island of Samui has a unique charm, and we are excited to discover more of its wonders together. This is a no-loop audio file recorded by Millie Wissar. If you liked this episode, please consider donating through our Ko-fi page: https://ko-fi.com/happylisteningproject Thank you for supporting this podcast! Affiliate Disclaimer: We may receive small affiliate compensation (at no cost to you) if you make purchases using the links below. If you decide to buy something through these links, you'll support our channel and our ability to record soundscapes for you worldwide. We appreciate your support! Audio Equipment: Field Recorder: ZOOM H6 https://amzn.to/3N8aOuw Joby Gorillapod 3K Pro Kit: https://amzn.to/3RqhQ0 Carbon Fiber light stand: ULANZI MT-49 https://amzn.to/47FMqIU Stereo-matched omnidirectional electret microphones: Mikro Usi pro https://store.lom.audio/products/mikrousi-pro Portable Power Bank: Anker https://amzn.to/4a3irvY Headphones: Shure SE846 PRO Gen 2 Wired https://amzn.to/3R8p7QX Sennheiser HD 25 https://amzn.to/46JzAbf Shure SRH840A Over-Ear https://amzn.to/3RboOVk Studio interview mics: Schoeps cmit 5u: https://amzn.to/3Ru8H6S Shure sm48 https://amzn.to/47ELTqz SE2200: https://amzn.to/46MclNH Genelec Monitors: https://amzn.to/3NbDRNE Travel Gear: The North Face Women's Surge Commuter Laptop Backpack: https://amzn.to/4ah5vmqHoka One One Womens Challenger ATR 7 GTX Textile Synthetic Trainers: https://amzn.to/47HFlaK --- Support this podcast: https://podcasters.spotify.com/pod/show/happy-listening-project/support
As you arrive at your Ko Samui vacation, get ready to embark on a sonic journey around this beautiful island. Book your stay at The Rock Samui and enjoy the mesmerizing sunset chorus set against a fiery sky and the calming sound of waves softly brushing against the shore. Listen closely as the birds sing their final songs of the day, creating a peaceful, relaxing atmosphere that will set you up for a deep, restorative sleep. This is a no-loop audio file recorded by Millie Wissar. If you liked this episode, please consider donating through our Ko-fi page: https://ko-fi.com/happylisteningproject Thank you for supporting this podcast! Affiliate Disclaimer: We may receive small affiliate compensation (at no cost to you) if you make purchases using the links below. If you decide to buy something through these links, you'll support our channel and our ability to record soundscapes for you worldwide. We appreciate your support! Audio Equipment: Field Recorder: ZOOM H6 https://amzn.to/3N8aOuw Joby Gorillapod 3K Pro Kit: https://amzn.to/3RqhQ0 Carbon Fiber light stand: ULANZI MT-49 https://amzn.to/47FMqIU Stereo-matched omnidirectional electret microphones: Mikro Usi pro https://store.lom.audio/products/mikrousi-pro Portable Power Bank: Anker https://amzn.to/4a3irvY Headphones: Shure SE846 PRO Gen 2 Wired https://amzn.to/3R8p7QX Sennheiser HD 25 https://amzn.to/46JzAbf Shure SRH840A Over-Ear https://amzn.to/3RboOVk Studio interview mics: Schoeps cmit 5u: https://amzn.to/3Ru8H6S Shure sm48 https://amzn.to/47ELTqz SE2200: https://amzn.to/46MclNH Genelec Monitors: https://amzn.to/3NbDRNE Travel Gear: The North Face Women's Surge Commuter Laptop Backpack: https://amzn.to/4ah5vmqHoka One One Womens Challenger ATR 7 GTX Textile Synthetic Trainers: https://amzn.to/47HFlaK --- Support this podcast: https://podcasters.spotify.com/pod/show/happy-listening-project/support
Welcome to season two of The Happy Listening Project! This season, we'll take you on a sonic journey across Thailand, from Bangkok to the islands of Samui, Phangan and Tao, and from Khao Sok National Park to Raylay Beach. Join us as we traverse this magical country and delight in the sounds of its diverse ecosystems, from restful beaches to vibrant rainforests. A note on noise pollution: You may notice some human-made noises filtering into our natural soundscape recordings. While Millie has done her best to remove disruptive noises from motor vehicles and construction zones, some noise pollution remains on the audio files because it has become part of the soundscapes of Thailand. We encourage you to notice and reflect on these noises. We hope these tracks will help raise awareness of the sonic pollution caused by humans and our impact on natural soundscapes. Through awareness, we become empowered to take action towards protecting the natural soundscapes of our local ecosystems. We begin our travels in Bangkok. Let the sounds guide you as we take a walk and pause at Santi Chai Prakan Park, away from the tourist crowds. From here, we will board a boat to visit the Wat Arun temple. Take a moment to relax and enjoy the cool breeze on the hottest day of the year. Listen to the birds chirping, and stay tuned for geckos as they pop out to say hello. This is a no-loop audio file recorded by Millie Wissar. If you liked this episode, please consider donating through our Ko-fi page: https://ko-fi.com/happylisteningproject Thank you for supporting this podcast! Affiliate Disclaimer: We may receive small affiliate compensation (at no cost to you) if you make purchases using the links below. If you decide to buy something through these links, you'll support our channel and our ability to record soundscapes for you worldwide. We appreciate your support! Audio Equipment: Field Recorder: ZOOM H6 https://amzn.to/3N8aOuw Joby Gorillapod 3K Pro Kit: https://amzn.to/3RqhQ0 Carbon Fiber light stand: ULANZI MT-49 https://amzn.to/47FMqIU Stereo-matched omnidirectional electret microphones: Mikro Usi pro https://store.lom.audio/products/mikrousi-pro Portable Power Bank: Anker https://amzn.to/4a3irvY Headphones: Shure SE846 PRO Gen 2 Wired https://amzn.to/3R8p7QX Sennheiser HD 25 https://amzn.to/46JzAbf Shure SRH840A Over-Ear https://amzn.to/3RboOVk Studio interview mics: Schoeps cmit 5u: https://amzn.to/3Ru8H6S Shure sm48 https://amzn.to/47ELTqz SE2200: https://amzn.to/46MclNH Genelec Monitors: https://amzn.to/3NbDRNE Travel Gear: The North Face Women's Surge Commuter Laptop Backpack: https://amzn.to/4ah5vmq Hoka One One Womens Challenger ATR 7 GTX Textile Synthetic Trainers: https://amzn.to/47HFlaK --- Support this podcast: https://podcasters.spotify.com/pod/show/happy-listening-project/support
Adam Hecht is a production sound mixer and boom op based out of Phoenix, Arizona. He uses a Zaxcom Nova 2 mixer/recorder, Zaxcom 414 receivers, ZMT4, ZMT4x and ZMT3x Zaxcom transmitters, Schoeps MiniCMIT and CMC 141 shotgun mics. Adam also uses dpa 6061, 4071 and 4063 lavs. For IFBs Adam uses Zaxcom URX50s and URX100s. And finally, Adam likes the Betso timecode sync boxes. Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you're a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
Recorded on a Schoeps cmc1/mk41, this is candid audio from about a foot away from a birds' nest in the eaves of my house.
Welcome to the Ad Read podcast, a podcast where we read ads.Disclaimer: Any references to products/companies real or fake reflect our opinion alone and not the opinion of the companies in question. This is especially true of the fake companies, who can be real assholes about this sort of thing.Subscribe to Ad Read in these places:Apple | Spotify | Stitcher | TuneIn | SoundCloud | Google | AndroidWe have a right to listen into this group therapy session, but have you given blood today? Think about it.Check out these credits:CastRankus: Jon Robertson (he/him)Sheila (Original and Double): Cheru (she/her)Chaz-Kendon/Kendon (Original)/Genie/Narrator: Kendon Luscher (he/him)Chaz (Original): Chaz Everett as himself (he/him)Amantha (Original and Double): Emily (she/her)Beverley Winchester: And Hollenbach (they/them)Abagail Reeves: Elena Hark (she/her)Spud/Mike/Mayor Oranges: Brian Roesler (he/him) of The Illegal Screen and TreblezineWritersThis episode was written by Kendon Luscher with additional writing by Jon Robertson. Mayor Oranges Campaign Ad written by Brian Roesler with additional writing by Jon Robertson.Sound Editing by Kendon LuscherSoundtrack by Kendon LuscherAd Read Logo by Sammy (twitter).Sound EffectsZapsplat.com - ambience_bar_small_001Sonniss:Studio 23 LTD - S23_SFX_Footsteps_Extras_Doormat_Scrapes_01, S23_SFX_Footsteps_Gravel_Loafers_Loops_Walk_Normal, S23_SFX_Footsteps_Metal_Boots_Loop_Jogging, S23_SFX_Footsteps_Extras_Doormat_Scrapes_013maze - glass_bottle_smash_005, door_lock_007Paul Virostek - Glass,Pint Glass,Break,Debris,Rock,Medium Distant, Metal,Crash,Concrete,Sheet Metal,20 Gauge,Slow,Complex, Metal,Hits,Pipe,Mixed,Fast,Irregular, Glass,Plate Glass,Thick,Break,Topple,Schoeps, Saw,Circular,Porter-Cable,315,7 1 4 inch blade,16 tooth,On,Cut,Plywood,OffArticulated Sounds - EMOTE Ashley, Woman, Anger Fight Grunt Big 02, EMOTE David, Man, Anger Fight Grunt Special Power 03, EMOTE Joshua, Man, Pain Hurt Grunt Big 03Borg Sound - Bag Foley_Wallet_Leather_Grab, Bag Foley_Canvas bag_Cotton_GrabPhil Michalski - PM_BA_BOOK_6_14 Book, Paper, Page Turn, PM_BA_BOOK_2_6 Book, Paper, Page TurnEffectswork - Wood_Creak_Basket_File_3_Takes_9Soundopolis - Door Hinge 02_Creaky_x3_Fienup_001Sound Ex Machina - Siemens W48 Wandapparat 1934 - Telephone Rings Once 03Apple Hill Studios - Cartoon Babbling On TelephoneAlexander Fokshtein - Snow Impact Stomp HardRock The Speakerbox - Professional SFX - BROKEN - DESIGNED - WOOD Break Small, Professional SFX - SORCERY - DESIGNED - MAGIC ELECTRIC Cast LargeVincent Fliniaux -MAGIC AIR Large Whoosh, Swirl, Wind Gust, Foliage 01Stephane Fufa Dufour - GORE Crack bones crush and break with tension
Erik Leek is a production sound mixer based out of Amsterdam in The Netherlands. He's also the founder of Hide-A-Mic Microphone Concealers. Eric uses a Sonosax mixer/recorder, Schoeps shotgun mics, Audio Limited wireless and Sanken COS-11 and DPA lav mics. Eric also use Tentacle Sync and Ambient timecode boxes. https://www.hideamic.com
Kurtis Ewing is a boom op and production sound mixer based out of the Greater Los Angeles, California area. He's worked on shows like MADtv, Girlfriends, and Just Roll with It. He uses the Sound Devices 633 mixer/recorder and Lectrosonics wireless transmitters/receivers and IFBs and Sennheiser camera hops. Kurtis has a variety of lav choices including the DPA 6060, 4061, 4071 and Sanken COS-11s. Kurtis uses a Denecke TS-C slate, and Denecke SB-4 timecode boxes. For boom mics, he uses a Schoeps MiniCMIT, CMC641 and Sennheiser 416. Kurtis also uses Remote Audio HiQ batteries. Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you’re a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
Jeremy Zunk is a production sound mixer based out of the Washington, D.C. metro area. He uses and owns a variety of Sound Devices mixer/recorders. He likes Lectrosonics wireless transmitters and receivers, Sanken COS-11 lavs and dpa lavs, Schoeps shotgun mics and the Sennheiser MKH-50. Jeremy also uses Tentacle Sync timecode boxes. Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you’re a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
My awesome guest is Pascal Wyse! He does sound design, mixing and musical composition for Cautionary Tales (podcast). He wrote the theme tune for Folsom Untold - an Audible series about Johnny Cash’s prison gig, and also did sound design for that. And among many other credits, he also worked on Haunted for Panoply. Here's a fraction of what we discussed: Keeps different cues in different DAW sessions. (Some folks write their music in Logic and then ProTools has the main session) Reaper sub-projects: Opens up as a tab - another working session, the same length as the Master session, when you save it renders and inserts it into the Master session. For creating atmosphere/space: Altiva Convolution reverb Mixes on speakers, and for final pass he monitors on headphones. Genelec 1029 with Genelec Subwoofer Headphones: Beyerdynamic DT990’s Microphones: Sennheiser MKH range mics, DPA Lavalier mics (tiny, can get them into extraordinary places) Double mid-side!!! Parabolic mic, mounted inside a satellite dish thingy, the most isolated sound you can get! Field recorders: Sonosax (swiss company, light, clean preamps), Aaton Cantar X3, used to use Sound Devices stuff. He's very into field recording He uses Sonarworks Fabfilter plugins - EQ, compressor, Waves Scheps 73 EQ iZotope RX Tim Harford’s voice processing for Cautionary Tales: No cleanup, Fabfilter Pro Q-3, Fabfilter C-2 (Pro Voice preset which uses parallel compression), Vocal Rider (He fed the sidechain with the background music! Stopped the feeling of a sound being crushed and not coming through.) For voice actors: AudioEase - “Indoor” plugin (sounds realistic, panned L&R a little bit), Speakerphone plugin Convolution reverb: Engineers have gone into a space and recorded the response of the actual space. Parabolic mics: https://www.telinga.com Schoeps mics: https://schoeps.de/en.html DPA mics: https://www.dpamicrophones.com Mixing with Mike: https://www.mixingwithmike.com Amazing sound recordist Chris Watson: https://chriswatson.net Workflow for Cautionary Tales: Table read Tim will record his parts, he will read in actor lines Receives files (REALLY likes it when they get CLEAN dialogue takes, so he doesn’t have to stress over that aspect of production) Brings files into DAW, makes markers where he might want to put things, Put in theme music Some library sounds here and there What worlds are people in and do we need to hear that world? Uses “mastering” effects Sends out the mix Gets feedback and makes changes Thanks for being a great guest, Pascal! DID YOU KNOW........We exist for the purpose of helping you, so please comment below with any questions or remarks. We appreciate you listening. Want to Start a Business or Have a Career as a Podcast Producer/Engineer? Listen and Subscribe in Apple Podcasts, Spotify, Pandora, Google Podcasts, iHeartRadio, Stitcher, TuneIn, Android, RSS, Email
Ein deutscher Jude will zum Führer gehen und ihn umstimmen - Micha Brumlik hat über das Leben und Werk von Hans-Joachim Schoeps ein Buch veröffentlicht. Von Thomas Klatt
"Ich bin ein Drei-Tage-Jude", sagt Julius Schöps. An hohen Feiertagen geht er in die Synagoge, aber im Alltag spielt die Religion kaum eine Rolle. Seine Herkunft aber schon: Viele Verwandte sind in Auschwitz ermordet worden. Seine Familiengeschichte ist dem Historiker Beispiel für die Geschichte der Gesellschaft, in zahlreichen historischen Aufsätzen und in seiner Autobiografie: "Mein Weg als deutscher Jude". Moderation: Norbert Joa
Paul Vik Marshall, C.A.S. is a Production Sound Mixer based out of Southern California. He uses a modified PSC audio cart, a Sound Devices 688 mixer/recorder, Lectrosonics wireless transmitters with the Venue receiver rack, Sanken COS-11 lav mics, Schoeps CMIT5s shotgun mics and Sennheiser MKH-50s. Paul works regularly with boom ops Eddie Casares and Mike Sanchez. Each episode of the Location Sound Podcast, we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you’re a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
Paul Buscemi, CAS, is a production sound mixer based out of Los Angeles, California. He works on television, documentary, commercial and new media. Paul uses a Sound Devices 633 mixer/recorder and a Sound Devices 688 on his cart, Lectrosonics wireless SMB and SMQV transmitters, 411 receivers and SRb receivers, Sanken COS-11 lav mics, Comtek IFBs, Lectrsonics 400a transmitters for camera hops and Lectrosonics LR receivers, Schoeps CMIT shotgun mic, Sennheiser MKH-50 and MKH-416 shotgun mics as well. Paul has built a hybrid sound cart based on the Zuca cart holding his Sound Devices 688 mixer/recorder with the CL-12 fader panel. He also uses the Denecke JB-1 and Tentacle Sync for time code. http://buscemiarts.com/ Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you’re a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
Michelle Schoeps is bordering on obsessed when it comes to her food choices and feeding her family… She calls it committed! Committed to living a healthier, happier life and helping her kids make good food choices now and into the future. Despite having a busy family and work life, the Sydney-based foodie and mum of three is passionate about feeding her kids unprocessed foods and showing kids of all ages and adults alike, how easy it is to cook in the same way. Michelle’s German, French and Hungarian family roots inspired her cooking of the nutritionally dense, nourishing broth, which forms part of almost every meal she serves. Michelle is now affectionately known by her customers as ‘The Broth Lady’ and her Love & Bones Broth products are stocked in gourmet grocers in New South Wales and Victoria. For more Spicy Steph go here. Support the show: https://www.spicysteph.comSee omnystudio.com/listener for privacy information.
Jesse Mills is a Production Sound Mixer based out of San Francisco, California. He uses a Sound Devices 664 mixer/recorder, a Sound Devices 744 for effects recording and high dynamic range projects and a Sound Devices MixPre for smaller projects. Jesse uses Lectrosonics SMQV wireless transmitters, MM400 transmitters, HMA transmitters and 411 wireless receivers and a LR receiver for a camera hop, along with Sennheiser G3s for hops as well. He likes the dpa 4060 lav mics. For shotgun mics, Jesse likes the Schoeps CMit and CMC-6 with MK-41 capsule and a Sennheiser 416. He likes Denecke JB-1's for time code and uses their time code slate. For power distribution he's using Audio Root. Jesse uses ORCA bags, Portabrace and a Petrol bag. https://elephantearaudio.weebly.com Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you’re a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
Curtis Judd is a Utah based sound for video enthusiast and freelance production sound mixer. He uses a Sound Devices 633 and has just acquired the 833. Curtis also uses a Sound Devices MixPre-10T as a backup, dpa 4017b shotgun mic, Schoeps CMC 641 and the Sennheiser MKH-8050 shotgun mics, Audio Limited A-10 wireless, dpa 4160 lav mics and Countryman B-6, and recently started using the Shure Twinplex TL47 and TL-48 with good results. He uses the UltraSync One and Tentacle Sync for timecode. Curtis also uses the Orca OR-30 audio bag. Check out his YouTube channel and his website at https://www.learnlightandsound.com/ Each episode we talk with location sound mixers, boom ops and other industry pros about the various aspects of recording sound on-location for feature and independent films, TV commercials, interviews, anytime where dialog from actors is recorded. Whether you’re a seasoned veteran or just starting out, this podcast is packed with great stories and lessons about recording on-location.
Jim Keaney is a Production Sound Mixer and Boom Op who has worked on commercials, documentaries, narratives and reality TV and is based out of Boston, Massachusetts. Jim uses Sound Devices 633 & 688 mixer/recorders with an SL-6 accessory, and CL-6 mixing board, Lectrosonics SRc wireless receivers, Lectrosonics SMDWB and SMWB wireless transmitters as well as SRb's and SMQVs, Audio Root for power distribution, Betso TCX-2 timecode boxes, Sennheiser 416 shotgun mics as well as a Schoeps CMIT 5u and Sanken CS3e shotgun mics. Schoeps 641's and Sennheiser MKH-50 mics. Jim uses COS-11d lav mics and Countryman B6's. He also likes the Sony MDR-7506 headphones and the Remote Audio HN-7506 headphones.
Bill Mitchell is a production sound mixer and boom op based out of Nashville, Tennessee. He uses a Sound Devices 633 mixer/recorder, Kortwich preamp for 3 additional preamps into the 633, Lectrosonics SRb & SRc receivers, Sanken COS-11 lav mics, dpa 6060 lav mics, Lectrosonics SMQV and LT transmitters, Remote Audio power distro, Lectrosonics UM400 for IFB, Schoeps CMIT 5u shotgun mic for outdoor, Schoeps CMC MK41 for indoor, and Tentacle Sync for timecode.
Josh Morrison is a Production Sound Mixer and Boom Op based out of Phoenix, Arizona. He uses a Sound Devices 633 mixer/recorder, Lectrosonics SRc wireless receivers, Lectrosonics SMDWB wireless transmitters, Schoeps CMIT 5u shotgun mics along with a Sennheiser MKH-50 and MKH-416 shotgun mics, Sanken COS-11d lav mics, Tentacle Sync-E timecode boxes, Comteks for IFB for clients and Sony MDR-7506 headphones.
Tom Backus is a production sound mixer and post audio engineer based out Knoxville, Tennessee. He uses a Nomad 10 recorder with Lectrosonics SRb receivers, SMQV transmitters, dpa 4063 lav mics and 4071's, Sanken COS-11d lavs, Schoeps Cmit, and the MK-41 on the CMC5. Tom also has a RastOrder feature sound cart, Sonosax SX-ES64 mixer that he uses with his Nomad 10.
Antoinette Tomlinson is a production sound mixer based out of New York City. She uses a Sound Devices 633 mixer/recorder, Lectrosonics SRb wireless receivers, Lectrosonics SMQV wireless transmitters, Sanken COS-11d lav mics, Sennheiser G4 camera hop, Sennheiser 416 shotgun mic, Comtek IFBs, dpa 660 lavs, Schoeps CMIT 5u shotgun mic, Schoeps MK41 and Tentacle Sync timecode boxes. Antoinette also owns her own sound company called Invictus Sound Factory.
Jennilee Park is a production sound mixer based out of Minneapolis-Saint Paul in Minnesota. She uses a Sound Devices 633 mixer/recorder, Lectrosonics SRc wireless receivers, SMDWB wireless transmitters and Wideband LTs. Sennheiser 2000 wireless hops, Tentacle Sync for timecode and Schoeps mini CMIT shotgun mics. Sanken COS-11Ds for lav mics.
Jack Garrett is a location sound mixer based out of Cape Cod, Massachusetts. He uses a Sound Devices 633 mixer/recorder, Lectrosonics wireless, Sanken COS-11 lavs, his shotgun mics are the Schoeps CMC MK41 & Super CMIT, Sennheiser 416 & MKH 50. He also uses Audio Root power distro. Mozegear TIG for timecode.
Adam Parsons is an experienced Toronto based sound recordist, specializing in location mixing for documentary, commercial and narrative productions. He uses the Sound Devices 688 with the SL-6, Schoeps shotgun mics and Lectrosonics wireless with Sanken and DPA lavs.
Why Jeff Wexler loves Schoeps mics when hyper cardioids where starting to cross over from music recording to location film sound recording.
My returning guest is Mary Mazurek! She is an audio engineer with 25 years experience, radio producer at WFMT Chicago including the “Live from WFMT” show, and instructor in the Department of Audio Arts and Acoustics at Columbia College in Chicago. We discussed: Recording ping pong balls being poured into an open piano! Recording and broadcasting classical ensembles in studio and on location Identical stereo pairs of AKG 414's and Schoeps mic's capturing the room in stereo Spot mic's on each musician including KM 184, DPA, Shure's Blending close mic's and room mic's Lexicon 300 Phasing, space between mic's, etc. F5 Fusion 8 channels of Grace mic pre's Recording to Tascam flash recorders as well as a CD burner ProTools mastering and MP3 creation On location ISDN line And here are two other programs that Mary engineers: The Dame Myra Hess Memorial Concert, and Live from WFMT. Thanks for hanging out with us again, Mary! DID YOU KNOW........We exist for the purpose of helping you, so please comment below with any questions or remarks. Thanks for listening! Want to Start a Business or Have a Career as a Podcast Producer/Engineer? Listen and Subscribe in iTunes, Google Play, Stitcher, TuneIn Radio, Android, RSS
Ob Jesus verheiratet war ist ein umstrittenes Thema. Immer wieder sorgt diese Frage für Stoff in Filmen oder Romanen. Hatte er eine Liebschaft mit Maria Magdalena? Kannte Jesus Sexualität mit einer Frau? In dieser Episode von Movecast gehe ich genau dieser Frage nach und versuche anhand von zwei wichtigen Argumentationssträngen aufzuzeigen, warum es sehr plausibel ist, dass Jesus tatsächlich geheiratet hat. Und gleichzeitig zeige ich, dass er doch nicht verheiratet war, als er anfing das Reich Gottes zu verkündigen, denn inzwischen war er bereits verwitwet. Der Text von Schalom Ben Chorin findet sich unter folgender Quelle: Neues Lexikon des Judentums, hrsg. von J.H. Schoeps, Gütersloh/München 1992, S.228f Wichtige Bibelstellen dieses podcast: Taufe Mt.3,15 Jesus aber antwortete und sprach zu ihm: Lass es jetzt zu! Denn so gebührt es uns, alle Gerechtigkeit zu erfüllen. Da ließ er's ihm zu. Jesu Beschneidung Eltern lassen Jesus beschneiden, bringen das notwendige Opfer dafür. Lk.2,39 Als Maria und Josef alles getan hatten, was das Gesetz des Herrn verlangte, kehrten sie nach Galiläa in ihre Heimatstadt Nazaret zurück. Bar Mizwah Mit 12 geht Jesus mit zur obligatorischen Pilgerfahrt nach Jerusalem, denn ab jetzt war er ein Sohn des Gesetze:s Bar-Mizwah 41 Jedes Jahr zum Passafest reisten seine Eltern nach Jerusalem. 42 Als Jesus zwölf Jahre alt war, gingen sie wieder zum Fest, wie es der Sitte entsprach, und nahmen auch den Jungen mit. Den Eltern gehorsam Lk.2, 51 Dann kehrten sie gemeinsam nach Nazareth zurück, und Jesus war seinen Eltern gehorsam. Seine Mutter aber dachte immer wieder über die Worte nach, die er gesagt hatte. Beruf des Vaters als Ältester Sohn Mk.6, 3 Er ist doch der Zimmermann, Marias Sohn. Wir kennen seine Brüder Jakobus, Joses, Judas und Simon. Und auch seine Schwestern leben alle unter uns." Sie ärgerten sich über ihn. Mt.13, 55 Er ist doch der Sohn eines Zimmermanns, und wir kennen Maria, seine Mutter, und seine Brüder Jakobus, Josef, Simon und Judas. Petrus war verheiratet Mk.1,30 Simons Schwiegermutter lag mit Fieber im Bett, und man bat Jesus, ihr zu helfen.
My guest this week is professional audio engineer Ryan Monette. Ryan graduated from Berklee College of Music with a degree in Music Production & Engineering. For the last 4.5 years he's been the Post-Production Audio Engineer on staff at Elevation Church, in Charlotte, NC, where he mixes their global TV show, and has many other responsibilities (boom operator, field recorder, sound designer, audio editor, etc.). You may have heard some of his work, as he sound-designed and mixed the opener video for the Circles conference for the past two years. He even had his own podcast for a short while (TheQueuecast.com). I asked Ryan to come on the show to share his journey towards becoming a professional audio engineer (a job that I've always wanted), and to get him to share some tips for anyone interested in working in audio/video professionally. Highlights, Takeaways & Quick Wins: Think long term and dream big. If you want to do anything with audio, start by getting a cheap USB microphone. Take advantage of free online courses to learn more about audio engineering. Get started with whatever you have. Your mix may sound completely different in a different environment, so listen with different headphones/speakers in different locations. Master the basics and keep going back to them. If you're mixing a podcast, make sure your levels are consistent. When mixing, always use a reference track. Show Notes Aaron: You graduated from Berklee College of Music with a degree in music production and engineering. For the last five years, you've been the post production audio engineer for Elevation Church in Charlotte, North Carolina. You have a lot of jobs there: boom operator, field recorder, sound designer, audio editor, and you mix their global TV show. Do you mix that live? Ryan: Not necessarily. We can get into that later. There's a process for that. Aaron: Some of the creative people here might have heard of some of your work. You sound designed and mixed the opening videos for the past two years of Circles Conference, which I was at. Have you been there for the past two years? Ryan: I haven't been personally, no. I have wanted to go. I love it from afar, and I want to go in person. Aaron: I wanted you to come on this show because when I first got started, I had dreams of being a professional audio engineer. I thought, “How cool would it be to work in audio and get paid for it? That'd be awesome!” I fell backwards into it by doing podcast editing as a hobby first, then for money, then I met Sean McCabe and ended up working for him full time. I edit podcasts and help out with a ton of other stuff. I asked you to come on the show to share your advice for anyone who's interested in working in audio/video professionally, and to talk about how you got there yourself. So tell me a little bit about how you got into audio. When did you first realize that this was something you wanted to do? Ryan's Journey to Becoming a Professional Audio Engineer Ryan: I love listening to your podcast, Aaron, and what I love about it is I feel like you and I have a lot of similarities in our backgrounds. You're a musician, a drummer, and I'm also a musician. I play several things. My primary instrument is bass, but along with that, I started on piano. I picked up bass, and with the bass I picked up guitar. I took some drum lessons here and there as well. I sing as well. I dabbled in a little bit of everything. I'm kind of a jack of all trades, master of none. I'm okay at a lot of things, but I'm not superb at one thing. Anyway, right around junior high or high school, I started playing the bass. I started playing in little bands here and there. When it came time for college, I had no clue what I wanted to do. All I knew was that I loved music. Aaron: Same here! Ryan: I was living in Las Vegas at the time, so I decided, well, everyone has to have that college experience, and I didn't want to go to college in the same city, so I decided that I needed that “being away from home” experience. I went to the University of Nevada, Reno. I took your basic, general classes, not knowing what I wanted to do. At this time, for my high school graduation, I had received a graduation present of a Macbook Pro. With that, of course, you get the wonderful iLife suite, including Garageband. As a musician, a whole new world was opened up to me. When I was in a band in high school, I was the gear head—I loved the PA and putting cables together. I was drawn to that. Once I had this Macbook Pro with Garageband and I had my bass and my guitar in my dorm, I was like, “I can create music!” I figured out how to work it and record myself. I bought a USB microphone, and that world was opened up. When I was there, I had a friend, and her brother went to this school where all they learned about was music. I was like, “Wait, you can do that? You can go to school for just music?” That's how I found out about Berklee School of Music. I applied, and you have to audition as well. I applied and auditioned, and the first time I tried, I actually didn't get into the music school I wanted to go to. Aaron: This sparks something in my mind. I feel like I might have read an article about Berklee or looked into it and thought, “No, they're really strict on who they accept, based on your performance.” That was intimidating to me at the time, because I never felt like I was that good of a drummer. Ryan: It was intimidating for me, too. Clearly, I wasn't up to par. Aaron: Yet you went for it. That's more than a lot of people would do. Ryan: Yeah. After I finished my first year at UNR, I moved back to Vegas and went to UNLV, the University of Nevada Las Vegas. I took all music classes, forgetting the general ed stuff you need to get a degree. I took all music classes—music theory, because I had never had actual music theory classes, so I thought I needed that. With that, there were some audio classes that I took as well. I was like, “Hey, I like this audio thing.” At the University of Nevada Las Vegas, I had my first exposure to a formal audio class, where I learned all the proper techniques. Later on that year, I applied and auditioned again for Berklee. I got accepted, and the next year, I moved to Boston and went to Berklee for about three and a half years. Then I graduated. When I went to Berklee, the only thing that drew me as a major was Music Production and Engineering. I naturally loved the gear side of things. I fell in love with recording. I was like, “This is what I want to do.” Aaron: You got to spend three and a half years there, studying and learning? Ryan: It is non-stop, 24/7, music, audio, and to be honest, I miss being in that environment so much. Aaron: That sounds fantastic. I always love setting aside time to take online classes, read books, and listen to interviews about audio. Think Long-Term Aaron: You were drawn to the audio engineering stuff, and then you graduated. Ryan: I can remember a specific time in my life, and I'm pretty sure it was my last semester at Berklee. They went by semesters instead of years. It was in one of my capstone classes. Our instructor asked us the typical, “Where do you see yourself in five years?” question. Aaron: I love that question now. I hated it when I was 22. ** Think long term and dream big** Aaron: Plan out where you want to be, because if you can envision it, then you can figure out how to get there. But you have to start by saying, “I want to do this thing someday.” For me, it was, “I want to do work from a laptop. How do I get there?” Now I'm there. So you were 22 and someone asked you, “Ryan, where do you want to be? Where do you see yourself in five years?” Ryan: At that moment, I was trying to figure that out, naturally, as you do when you're approaching the end of college. While I was at Berklee, I loved music. I loved recording music, but my absolute favorite class—they only had one of them, but it was the class I yearned for, that I wanted to take and put in all these extra hours for—was audio for visual media, audio for video. By far, that was my favorite class. The whole class, we were working toward our final project. You choose a five to seven minute clip from a well known movie, and all the audio is completely stripped. You have to recreate everything. That's all the dialogue, all the foley, all the ambient background, all the hard effects, and so on. You have to connect with a film scoring student there at Berklee, and they have to provide the score. I absolutely loved every aspect of that project and the process. When it came time to decide what I wanted to do with my life, it was between audio engineering at a recording studio, working at Disney as an Imagineer, or doing audio at a church. I have always been involved with church, playing on worship teams and whatnot, so I also saw myself doing audio for a church. Long story short, I was really privileged to dip my feet in all of those things after college. After I graduated, I moved back to Las Vegas. Eventually, I found an incredible recording studio, probably one of the top two recording studios in Las Vegas, and I landed an internship. First Audio Engineering Jobs Ryan: I say “internship” loosely, because your typical studio internship is all the stereotypical grunt work—taking out the trash, doing the coffee, and whatnot. I showed up, and they were like, “You went to Berklee? Berklee guys are cool. Here, hop in this session and help us out.” It was open to me, thrown at me, and next thing I knew, I was assisting on sessions with huge clients, I won't name drop. Aaron: You can drop a couple of names if you want. Ryan: I had a pretty fun time helping out with a session with the famous engineer Eddie Kramer, who is engineering for Carlos Santana. Aaron: Dang, man! That's awesome. Ryan: That was pretty incredible. But while I was there, I had this gut feeling inside of me saying, “This isn't it.” Aaron: It's fine, but it's not quite right? Ryan: I could see myself staying there and working my way up, but it didn't feel right. A few months after I realized that I didn't want to stay at the studio, I applied and was offered a job at Walt Disney World in Orlando, Florida. I packed my bags, moved to Orlando, and I was working as a stage technician at the Epcot park. There, they found out that I was an audio guy, so they pushed me toward the live audio side of things. I was mixing shows and bands at Epcot and what was at the time Downtown Disney, now Disney Springs, area. Same thing. Almost as soon as I got there, the same gut feeling came in. I was like, “This isn't it. I'm more of a studio engineer. I definitely don't want to do live stuff.” Although I love Disney, it just wasn't sitting right. I was only there three months before the next great opportunity came up, which is where I am right now. One of my friends told me about a job opening for this church in Charlotte, North Carolina, Elevation Church. I had actually been following them because of their podcast. At the time, I was kind of like, “I've got a job, whatever.” For some reason, I ended up on their website, looking at the job. I was reading, and I was like, “Wait a minute, they're looking for someone to do audio for video. That's what I really want to do!” On a whim, I threw out my resume. Next thing you know, I've been here going on five years. Aaron: Did you mention that you were a podcast listener when you sent in your resume? Ryan: Yeah. Aaron: The connections you can make through podcasting is really incredible. Ryan: It is. And I've been working there for 5 years now. How to Get Into Audio Engineering Aaron: I want to jump into what you do at your job at Elevation, but let's pause and do a section on what advice you would tell someone who's wanting to get started. I wrote a couple of things down here. I think it's hilarious that you got a Macbook and your first microphone was a USB microphone. Ryan: Which was the Blue Snowball, by the way. Aaron: That's the worst microphone! Ryan: I had no idea how to use it, either. If I find some of the earliest recordings I did, there are times I'm clipping to the max, square waves. Aaron: Probably bad mic technique, too. But hey; it got you started! If you want to do anything with audio, start by getting a cheap USB microphone. Any USB mics will work for getting started. I like the Blue Yeti, but it's like $100. The ATR-2100 is fine, too. You just have to get something that can record some audio and start playing with it. Start playing with Garageband. Start playing with the free programs. Learn how to enable recording on a track, how to set your input device to the microphone, how to set your output device to wherever your headphones are plugged into, whether that's your mic or your computer. It took me so long to figure that stuff out. I was like, “Why can't I hear the audio in my headphones? What is going on?” Ryan: Same here. Aaron: You have to set input and output, then you have to record enable or do the input monitoring, all that stuff. But start with the USB microphone. Take some basic classes. There are so many great online classes. If you don't have any money at all, if you're super broke like I was when I started, watch some free YouTube videos. Read a book. Ryan: If you go to Coursera.org, they're a website where you can pay to take online courses and get certifications and whatnot, but they also offer free online courses. They even offer free online courses from Berklee. I've seen a music production class there. I've taken a free online song writing class. Check out free online courses, because they can be a pool of incredible knowledge. I took a photography class on there. Coursera is a great place. They're great if you want to take free online courses. Aaron: There are places where you can learn all this stuff. You just have to invest some time. You really just have to start: Don't wait until you have $500 for an interface and $200 for some professional headphones and microphone. Whether you want to start a podcast, start recording audio for a video, or record and mix a demo for a band, start doing something. Stop spending all your time thinking about how you can't do anything because you don't have certain gear or you're not in the right place. You'll learn as you do, especially in audio. You're going to make a ton of mistakes. Ryan: That's how you learn, though! That's one of the most valuable things I've learned in life. You learn from your mistakes. Aaron: You don't really learn when everything goes well. Just Start Aaron: Any other advice you would give somebody, thinking back on how you got to where you are right now? Ryan: Honestly, you hit the nail on the head with “just start.” It's as simple and cliche as Nike, “Just do it.” There is always going to be the next latest craze, the gear, and we've all been susceptible to that. We say, “Oh, well, I could do this if I had X.” It starts with the drive and determination, wanting to do it. There's knowledge out there everywhere. You just have to dig for it. Chances are, you have at least something you can start with. Record something on your phone. Aaron: I have a friend who makes some awesome music on his iPhone. Ryan: Oh, totally. It's as simple as getting an adapter. You can plug your guitar or whatever into your phone. Aaron: Kids these days have it so easy! Ryan: You have Garageband on your phone. I remember when I was figuring this out in high school, and we actually had a four track tape recorder. That was my first start. Get started with whatever you have. Aaron: What kind of stuff do you do at the church? What's your day to day life like? Are you there every day, or is it just a couple of days a week? Ryan: Oh no, I'm definitely there every day. It has been a whirlwind for sure. In the past five years, I have probably played every audio role that there is to be played here. My main thing now is audio for broadcasts, pretty much anything that leaves the church. Our biggest output is the sermon, which goes to a lot of places. It also goes in the TV episode, which we talked about, which goes locally, nationally, and, I believe, globally as well. That's a lot of what I've done. We also create a lot of films, short films, for our worship experiences, anything you can imagine that's video and audio related. Audio post production, like we talk about. I'm constantly on video shoots using field recorders, the boom op, anything you can think of. Audio for video, I've done it. The Gear Ryan Uses Aaron: Let's talk about your gear a little bit. What kind of stuff are you using most in everyday life? I'll do a quick recap: I have the Shure Beta 87A Mic as my main podcasting microphone. It's attached to a Scarlett 18i20 USB Interface (update: I'm now using my Zoom H6 exclusively), which is plugged into a quadcore iMac that's a couple years old. Nothing super fancy, but I'm really happy with where I am. I remember wanting all this stuff back in 2011, thinking how awesome it would be to have it. I have a Zoom H6 portable recorder and a couple of SM58 microphones. I've been pairing down my gear collection because I'm planning on moving in the spring. What kind of stuff are you working with? I use Logic Pro X for editing, and then Izotope iZotope RX 5 for cleaning up background noise or fixing clipping. What about you? What's your day to day favorite gear? Ryan: We use a lot. There's a bunch of gear for field recording and then in my office, which is where I'm at right now. I'll start with my office. Right now, I'm talking into my personal mic, which is a Rode NT1A. It's very affordable. The Rode NT1A is a nice beginner mic which works and sounds great, and I use it for a lot of voiceover projects. Aaron: I like those mics. Ryan: I'm talking into that right now. We also use the Shure SM7B. We have a nice Neumann that we'll use for bigger projects. We like to use Universal Audio Interfaces, so I've got one of those. They're great. They're rock solid. You really can't beat them. At our main recording/editing audio work station, we use Pro Tools. That's very standard, and I've been using that for years and years. I use a lot of plugins. I use a lot of the Waves Plugins. I do use RX as well, and that's the bulk of it. I do a lot of processing, depending on the project. I have a really huge sound library for if I'm doing narrative pieces that involve sound design, sound effects. I have a great app called Audio Finder, which a lot of electronic musicians use to help them find sounds. I use it to help me find sounds. It's a nice way to catalogue sounds if you're a sound designer or anything like that. You can basically tag all these audio files with meta data, and you can search for sounds by their title. Or, if you type in a word in the search bar, it can pull up things based off the the metadata. If you have notes on something, it can find it. Audio Finder is a great way to find sounds. I have some other things in here. I have the Artist Mix Controller made by Avid. I use those if I'm automating stuff. I use those a lot, actually, when I'm mixing the sermons. I do a lot of automation for that. If I'm mixing a piece with a music bed or something, I like to automate the music by hand. It feels more natural, as opposed to clicking and making little dots. That's the bulk of it here in the office. All of our audio engineers have a nice pair of Focal monitors. I also have another set of monitors I built myself. When I mix TV episodes, I have an output routed to a TV here in my office so I can hear how it translates on TV speakers. Recording Audio for Video Ryan: On the front end of things, if we're doing shoots for videos, we use Sound Devices field recorders. We have three different models: the Sound Devices 788T 8 Channel Recorder, a 702 2 Channel Recorder, and then a 633 6 Channel Recorder. That last one is one of their newer models, which is great. Sound Devices are steep in price, but they are rock solid. One of the most trustworthy, well known field recorder brands on the market. That's what you'll see on pretty much every big budget shoot in some way. I do a lot of freelance on the side, which gives me the opportunity EPK shoots or BTS shoots for, recently, a show on HBO called Outcast. Aaron: Outcast? I've been seeing that (I watch Westworld). Ryan: I'm pretty sure it's the same writers or producers or something. I know it's the same writer as The Walking Dead. They shoot here in North Carolina, so with a local production company, we've done some interviews with some of the cast and crew. It's been really neat to be on set and see what they're using. It's cool to see how similar their world is to what we're doing day to day, just with more money and more resources. It's the same thing. Most of their audio guys have some sort of Sound Devices. A lot of them use the 788 as a backup recording rig, and they've got larger multitrack recorders as well, that are also made by Sound Devices. Sound Devices is a great brand. They're crazy expensive, but when you buy that, you know you've basically got it for life. Aaron: Yeah, I'm looking at the Sound Devices 788T SSD 8 Channel Portable Solid State Audio Recorder. It's almost $7,000. I love that! So fancy. Ryan: That SSD does have an internal hard drive. Ours has a hard drive as well, so it's great, because it has the internal hard drive, but you can also use CF cards. You can record on two different mediums. In case something runs out of space, you have it in two places. Aaron: This is super professional stuff. Ryan: Yeah. It is. It's top of the line. Aaron: Fantastic. For all the rest of you, just go with the Zoom H4N or the H6. Ryan: Hey, we do have a Zoom H4N, and we do use that every now and then. Before I came on staff, our first field recorder was the Zoom H4N. Aaron: If I could start over and go back to before I had any kind of interface at all, I think I would buy myself an H4N or an H6. Not only are they portable field recorders so you can walk around with them—they have little stereo condensor mics on them—but they work as audio interfaces, too. You can plug it into your computer with a USB cable and record straight to your computer if you do any kind of podcasting or stuff like that. It's good for the price. Otherwise, the little two channel interfaces are great. They're about $100 for a good one, but they aren't portable. You can't take them to a show or out to a video shoot the way you can an H4N or an H6 or something. Ryan: Speaking of Zoom, they've recently come into the more professional field recording market. About a year ago, they releases the F8, I believe, which is an 8 channel field recorder with 8 mic pres. It's $999 for something very comparable to a Sound Device. It's not quite as high-fidelity, but for anyone starting out, you're really not going to notice the difference. Mixing On Expensive Headphones or Monitors Aaron: I was going to ask you this earlier. You mentioned that you had Focal monitors. Did you listen to the episode I did a few episodes back where I talked about mixing on headphones (Episode 69: Do You Need Expensive Headphones to Mix a Podcast?)? Ryan: Yes, I did. Aaron: I mix on $10 Panasonics. What do you think about that? You can be totally honest with me. You can tell me that it's a stupid idea or that it's okay. Ryan: I agree to a certain extent. I agree that you should be listening to what you're making on whatever the majority of people are going to be listening to it on. For a lot of audio engineers mixing music, that's iPod earbuds, those standard earbuds you get. Something like that. When I mix TV, I have an output routed to a TV in my office, so I can hear it on TV speakers. I do also believe in mixing on something with some sort of higher fidelity type of monitoring environment, whether that's nicer speakers or nicer headphones. Naturally, you're going to hear things differently. The main thing to take away is how things translate. If you're listening to something on one source and you make it sound good there, that's great, but in a different environment, it may sound completely different. iPhone earbuds may not have the bass that a car stereo has. You want to hear how it translates from one thing to another. That's why it's good to at least listen to it on two different sources and not just narrow yourself down to one cruddy thing. That's good in theory, but again, the key takeaway is translation. Aaron: Maybe it's a little bit different for me and I can get away with it because of the consistency of the microphones and the recording environment set we use. Ryan: Yeah, totally. Aaron: I think if I was doing more stuff like you are, with videos and clients and all that kind of stuff, I would absolutely be using my higher fidelity headphones. Ryan: Very true. The bulk of your work is dialogue, podcasts. Aaron: Yeah, that's really it. Just dudes talking into a microphone. Ryan: Yeah. I have done a lot of work here where I'm working in a small studio, but a lot of my mixes have played in auditoriums and arenas. If you're working on projects like music or film that have different audio frequencies and spectrums, remember that sound will be perceived differently in different places. Aaron: How do you even test for that? Ryan: Here, I at least have a sense of how our auditorium sounds, so I've trained my ear to hear in advance and understand how it's going to translate. For something like when we did a live recording in the biggest arena here in Charlotte, we had a video opener piece. I was on point for mixing that, so basically, I had to work with tech and production to find a time after setup where I can bring my session, copy it onto a laptop, and play it through the PA. Then I can make any final mix tweaks there in the auditorium or the arena. I perfected it in my studio, and any small tweaks I was able to do in that actual environment. Granted, a lot of the times, we may not have that luxury. There are also great plugins you can buy that simulate different monitoring environments, like Sonarworks. If you have certain pairs of headphones, you can tell the program, “I have these headphones, now make my mix sound like it's coming through these headphones or these speakers,” so you can hear how it might translate. In that program, they have a final output like the Beats headphones. You can hear how it might sound on there, super bass heavy. Aaron: I hear they're getting better, but I still have never bought any Beats headphones. I probably should (just for testing purposes). Ryan: There are definitely programs out there to help you see how things translate to different monitors. On Location Gear Ryan: We were talking about the gear we use for on location recording. Sound Devices would be our main recorders. For our mics, we use Schoeps. It's a shotgun microphone, so it's a narrow polar pattern with good off axis rejection. Schoeps is a great brand. Again, you'll see this on professional movie sets. That's the mic we use. We have some Sennheiser shotguns as well, the ME66, we have a couple of those, which is more their entry shotgun mics. Recently, I rented some of the MKH416. Aaron: I would like one of those. The Sennheiser 416 is well known as the classic TV shotgun mic, right? Ryan: Exactly. I rented those out because I wanted to try it out for that reason. The Schoeps is very good and very well known on set as well, but so is the 416. I rented it to try it out. It's a trusted mic that a lot of people use for these professional things, and it doesn't really break the bank for what it is. Aaron: They're like $1,000, I think. Ryan: Yeah, and it sounded great. Aaron: The next mic I get is either going to be that or the Rode NTG 3. Ryan: I've heard a lot of great things about that. I haven't tried one myself. Aaron: That's the shotgun mics we shot my podcasting courses with. Ryan: Yeah, I know that Sean uses that for all of his videos. Aaron: I'm excited about getting to go work with those (I'm moving to San Antonio in March or April). Master the Basics Aaron: That's a pretty good run through of your gear. I'm sure you could keep going and discuss a lot more, but I don't think we need to go into that. It seems like you guys are at a super professional, high quality. You have made big investments in professional gear, which is fantastic. I encourage everyone to strive for that, to aim for that, but like we said earlier, use what you have right now. I don't have anything close to what you guys have, but I'm still doing my podcast. I'm doing the best I can with what I have. Ryan: It still sounds great. Aaron: Thanks! It's mostly just knowing how to set gain levels and not having a noisy room. It's crazy how far the basics will get you— everything else is just icing on the cake. I've been watching this video course called Zen and the Art of Work, which I really recommend to everybody. It's mindfulness training mixed with productivity training, which is such a great combination. In this course, he says, “So many of the masters continually revisit the basics.” Mastery is staying on a path. It's not reaching some final goal, it's more about being with the work and investing in getting better, but also revisiting the basics. He was talking about playing piano. He was like, “A lot of times, I just start by touching the keys, pressing the keys, and then doing basic scales over and over again.” It's true. When you get so good at the basics that you don't have to think about it, that's when you start to expand and get to that level where people say, “Wow, you're so good at that. How did you get so good?” You're like, “That was just doing the basics. It's not anything fancy.” It's so important to master the basics and keep going back to them. Learning More Aaron: What's next for you? How do you invest in yourself and improve? Or are you working so much that you always have more learning opportunities? Do you buy books or courses or follow any websites to learn more about this audio stuff? Ryan: Honestly? We had a shift at work to where my role has shifted to mainly just broadcasts. That has enabled me to have a little bit more flexibility and free time, so I've been doing a lot more freelance work. That's great, because it energizes me and keeps me engaged. It keeps me from routine. Routine is great. I love routine, that's very much my personality, but freelance work keeps things interesting. For me, it's all about where and how I can get inspired and constantly feeding that. It's about feeding my desire for creativity. We're all creatives. We like to create. We were designed to be creators, really. Everything I try to do is about how I can become a better creator and what I can create next. It's about finding things that inspire me, really. We touched lightly on a few of the resources that I like, things I've learned and places I've picked things up. If you're interested in audio for post production, there are a couple of great books by Ric Viers. I have two books by him that are really great. The first one is The Sound Effects Bible, and it's not just sound effects in there. He talks about everything from gear to microphones, basics, setting proper gains, compression, some mixing techniques, etc. He also has The Location Sound Bible. There are a lot of similarities, but there's also a lot of talk about gear, shotgun mics, lop mics, recorders, and then he also dives into some of the basics when it comes to mixing, proper gain staging, and so on. Those are a really great pool of knowledge in book form. There are a lot of other books out there, but I have found those two to be really helpful. Other than that, when it comes to audio for video, it's a very small, niche field. There isn't a crazy amount of stuff out there, like there might be for mixing music. For that, you've got tons. You've got Pensado's Place, all these people on YouTube putting out channels on mixing, mixing from home, mixing on a budget, etc. There's plenty of that. Aaron: Graham Cochrane and Joe Gilder are pretty awesome resources for anyone who wants to start a home studio. Ryan: YouTube can be a pool of knowledge for anything and everything, too. You have to dig a little bit and do some searching. On the inspiration side, for me, since I love audio for video, Sound Works Collection is a great place. They'll do mini videos interviewing the sound people that did sound for X movie. Whether it was the last Harry Potter or anything and everything, big budget films, they'll sit down with the recording people, the sound designers, the mixers… It's really cool, because they'll show footage of them doing stuff on location or the foley artists. It's cool to see their process. For me, that helps me stay inspired. It gives me ideas to do other things. They have a podcast as well, and that's great. The videos can be kind of short, maybe 10 minutes or so, but the podcast will go on at length, talking to the audio guys who have made sound for videos possible. It will also be music composers for movies as well. That's really great. I found that great not only as inspiration, but to know what and how audio professionals for big budget films get inside their minds, how they're thinking, and what their process looks like. It's neat to see stuff about sound engineers for big movies and realize that we're not so different. Dealing With a Broad Loudness Spectrum (Dynamics) Aaron: I have a nerdy question here. This is about normalizing and compression, I think. Aiya had asked, “I'm so torn about normalizing sound clips. If I'm working on a longer project in segments, would it be better to adjust my peaks manually for the sake of consistency? It's for a video project.” I'm hearing that there are differences in video volumes. How do you deal with that? Do you do compression? Do you do automation for the different parts? How do you deal with dynamics? Ryan: It depends on the project. I'll talk about how I would mix a sermon, because that's very dynamic. Our pastor will go from whispering, holding his handheld mic close to his stomach, to screaming, holding the microphone, cupping the capsule. Power and respect to him, because it creates a certain atmosphere, which has a powerful effect. That's what I'm dealing with on a weekly basis. That dynamic range is tremendous. Keep in mind, this is going to TV eventually. TV has very strict restrictions. It's not so much on level, but on perceived level. There's a difference between what you see meter and what you're hearing. I can talk at length about that, too. Aaron: Could you give us a super short version? I'm kind of aware of that, but since I just mix in Logic, I'm not sure how to measure it. Is there a way to measure it in Logic? Do you know? Is there a plugin you use? Ryan: I use a plugin from Waves. It's a loudness meter, and its just that. It has a lot of presets, so I'll use the TV standard preset. I'll use it for ATSE85, and I'll use it for a dialogue bus. They've also got one for a master bus. The standard right there is your average level around -24 dB LUFS, so that's full scale. If you have a classic meters, your peak would be zero, so that would average metering right around -10. At least for TV, I've got a hard limiter at -10 dB, to where nothing can go above that. The difference between levels on a meter vs. perceived loudness is the differences between what we hear and the actual energy. In our TV program, we'll have the sermon, but we'll also have a talking heads segments, which is dialogue and a music bed. We'll also go into segments where they'll go into worship from our live album, which had been mixed and mastered as an album. That thing is slammed. If you look at the wave form, it's a sausage. If I'm setting all that by the meters alone and they're all hitting -10, it may look right, but if I look at my loudness meter, that worship segment is going to be off the charts. There's so much more content in there. There's so much going on with all the different frequency ranges as opposed to a dialogue track, which is a narrow field in the frequency spectrum. That's the gist of it. When it comes to my technique for controlling dynamics, for something like mixing a sermon, if I'm going down my plugin chain, the first thing I naturally have is a high pass filter. I'm rolling off those unnecessary lows that are hogging energy. The next thing I'll do is use a compressor, and I'll set the attack to right in the middle, so not fast or slow, and I'll have the release time at fast. We don't want to hear it pumping, letting go. That's catching my peaks. It's not doing a crazy amount, but it kind of is. That's helping do a lot of the bulk compression. Before anything really hits the compressor, I will go through, and as I work my way through the mix, I will clip gain the wave form, so that, say, if he's whispering somewhere, I might keep that, depending on how I have my compressor set. Then, if we go up to a part where he's screaming and my wave form is huge, I will take that down and create those nodes, those dots in the wave form, and drag the actual clip volume down, that gain down. That way, it's not going into the compressor at this high gain level. It's hitting the compressor evenly as the rest of it would. That way, it's not driving the compressor crazy. Then I'll go through and do some EQ and DSing and whatnot. I might add some more compressors in there, just to grab some of those little things coming through. After that, it's subtle, just smoothing it out. Aaron: It is a little bit of both. If she has access to an audio editing program—I don't know what she's using for editing. If you can put a compressor on the track, do that. It's not exactly the same, but I did a YouTube video about how I process podcast vocals, and it's very similar. For podcast vocals, I start with a Logic noise removal plugin. Ryan: I actually have my noise suppressor, and I'll use that later on down in my signal chain. My way of thinking is that if I've got all this compression going on, the compression is narrowing that dynamic range, so it's bringing up that noise floor. I tend to do my noise suppression after the bulk of that compression, because the noise floor is higher and it's easier to work on a supressor. If that makes sense. Aaron: I've thought a lot about whether you should do the noise removal before or after you add a bunch of gain with a compressor or something, and I can't think of a good reason that it matters. You can take out the noise before you add a bunch of gain, or you can add a bunch of gain and take out the noise afterwards. Which is better? I don't know. Anyways, after the noise removal plugin, I put an EQ with a high pass filter, a peak compressor, an RMS or an average level compressor, and then a limiter. Ryan: Like I mentioned earlier, before I had my long-winded answer, it also depends on what it is you're mixing—whether it's music, or a podcast, or something for film. When it comes to dialogue for film, you want it to sound as natural as possible, but you also want to be able to hear if someone is whispering. When it comes to that, I'll still use a compressor, but it will be very, very light. If there's anything I need to do to meet loudness, that I will automate the volume on my dialogue bus. I'll bring that up. That way, it sounds a little bit more natural, instead of solely relying on a compressor to do all the work for you. Aaron: That makes sense. For podcasts, if I notice that there's a section where someone was talking much quieter, like if a guest backed away and talked like that for four or five minutes and then went back to the normal distance from the microphone, in Logic, I'll turn that into its own clip. I make a cut on either side of the quiet part, and then, in Logic, you can double click on it and change gain by hitting Control G. Then you can add 3, 4, or 5 dB to it. That works out pretty well. If it's every five seconds or I have to do it more than five or six times in an episode, I won't do the clip gain changes, I'll just use a compressor. Look at the overall audio file and see if there are long stretches where you can use automation to change the gain, or change the clip gain. Common Audio Mistakes Podcasters Make Ryan: You asked a question that I think would be good to talk about in regards to podcasting. You had asked, “What do you like about podcasts? What common mistakes do you hear people make?” Initially, I read this and thought, “I don't know,” but I spent some time thinking about it. This is great, because it piggybacks off the loudness thing. A lot of the mistakes that I hear when it comes to podcasts in regards to audio is the levels and loudness aspect. I'll listen to some podcasts that sound great, and I'll put on another podcast where the whole thing is super quiet. Then they start laughing, and it's really loud. There are some, like mine, where they have a music bed underneath the entire thing, and then sometimes the music bed is so quiet that you hardly know it's there. You're like, “What the heck is that noise in the background?” Sometimes, it's the opposite. Sometimes, the music bed is way too loud. That's a few of the things I've noticed. A lot of the fixes relate to what we just talked about. It helps to have knowledge of levels and perceived loudness. If you're mixing a podcast, make sure your levels are consistent. One of the biggest things I can recommend for anyone mixing anything, whether it's music, movies, a podcast, is the importance of having a reference track. Aaron: Yeah, I don't talk about that enough. Ryan: That is huge. Professional audio engineers who mix platinum records still do this. They will pull in a track from a different song that is mixed well and is mixed how they want theirs to sound, and they'll have it muted in their session. When they want to have a reference to listen to or train their ear, they'll un-mute it, and they'll go, “Oh, okay.” I'm sure you've done the same thing as me, where you'll be so involved in a mix, you're in it, and you think it sounds great, and then maybe you go away. You go home, sleep, and maybe you come back, and you open it up and you go, “Woah! What was I thinking!” You can get so involved in it that the blinders go up. You get tunnel vision, and you're not aware to some things. It's good to have a reference track or get an outsider's opinion on a mix. The main takeaway here is the reference track. That would help with anything, whether it's the timbre, how you're EQing, or the loudness. You pull in their track and it's far louder than yours, and you automatically know that you need to do something about it. Aaron: That's a great idea. You can kind of do this before or after. You go through and you edit your whole podcast, get everything set up the way you want, create an extra track, and then find a podcast that sounds really good—This American Life or pretty much anything by NPR—download an episode, drop it into your editing program, and play it, mute it, and see what the difference is. Maybe you need to add some gain with an adaptive limiter or with a compressor, or maybe you can tell that your track sounds way sharper or harsher. Are there are too many high frequencies or too much bass compared to your reference track? You can adjust those things. I'm so glad you mentioned that. I've never thought of that before, and that's such a good idea. Ryan: It's one of those things you don't think of much, but once you do it, you're like, “Oh my gosh!” It's really eye opening and really helpful. You can find Ryan online at ryanmonette.com, and follow him on Twitter @RyanMonette.
My guest this week is professional audio engineer Ryan Monette. Ryan graduated from Berklee College of Music with a degree in Music Production & Engineering. For the last 4.5 years he's been the Post-Production Audio Engineer on staff at Elevation Church, in Charlotte, NC, where he mixes their global TV show, and has many other responsibilities (boom operator, field recorder, sound designer, audio editor, etc.). You may have heard some of his work, as he sound-designed and mixed the opener video for the Circles conference for the past two years. He even had his own podcast for a short while (TheQueuecast.com). I asked Ryan to come on the show to share his journey towards becoming a professional audio engineer (a job that I've always wanted), and to get him to share some tips for anyone interested in working in audio/video professionally.Highlights, Takeaways & Quick Wins:Think long term and dream big.If you want to do anything with audio, start by getting a cheap USB microphone.Take advantage of free online courses to learn more about audio engineering.Get started with whatever you have.Your mix may sound completely different in a different environment, so listen with different headphones/speakers in different locations.Master the basics and keep going back to them.If you’re mixing a podcast, make sure your levels are consistent.When mixing, always use a reference track.Show NotesAaron: You graduated from Berklee College of Music with a degree in music production and engineering. For the last five years, you’ve been the post production audio engineer for Elevation Church in Charlotte, North Carolina. You have a lot of jobs there: boom operator, field recorder, sound designer, audio editor, and you mix their global TV show. Do you mix that live?Ryan: Not necessarily. We can get into that later. There’s a process for that.Aaron: Some of the creative people here might have heard of some of your work. You sound designed and mixed the opening videos for the past two years of Circles Conference, which I was at. Have you been there for the past two years?Ryan: I haven’t been personally, no. I have wanted to go. I love it from afar, and I want to go in person.Aaron: I wanted you to come on this show because when I first got started, I had dreams of being a professional audio engineer. I thought, “How cool would it be to work in audio and get paid for it? That’d be awesome!”I fell backwards into it by doing podcast editing as a hobby first, then for money, then I met Sean McCabe and ended up working for him full time. I edit podcasts and help out with a ton of other stuff. I asked you to come on the show to share your advice for anyone who’s interested in working in audio/video professionally, and to talk about how you got there yourself. So tell me a little bit about how you got into audio. When did you first realize that this was something you wanted to do?Ryan’s Journey to Becoming a Professional Audio EngineerRyan: I love listening to your podcast, Aaron, and what I love about it is I feel like you and I have a lot of similarities in our backgrounds. You’re a musician, a drummer, and I’m also a musician. I play several things. My primary instrument is bass, but along with that, I started on piano. I picked up bass, and with the bass I picked up guitar. I took some drum lessons here and there as well.I sing as well. I dabbled in a little bit of everything. I’m kind of a jack of all trades, master of none. I’m okay at a lot of things, but I’m not superb at one thing. Anyway, right around junior high or high school, I started playing the bass. I started playing in little bands here and there. When it came time for college, I had no clue what I wanted to do. All I knew was that I loved music.Aaron: Same here!Ryan: I was living in Las Vegas at the time, so I decided, well, everyone has to have that college experience, and I didn’t want to go to college in the same city, so I decided that I needed that “being away from home” experience. I went to the University of Nevada, Reno. I took your basic, general classes, not knowing what I wanted to do. At this time, for my high school graduation, I had received a graduation present of a Macbook Pro.With that, of course, you get the wonderful iLife suite, including Garageband. As a musician, a whole new world was opened up to me. When I was in a band in high school, I was the gear head—I loved the PA and putting cables together.I was drawn to that. Once I had this Macbook Pro with Garageband and I had my bass and my guitar in my dorm, I was like, “I can create music!” I figured out how to work it and record myself. I bought a USB microphone, and that world was opened up. When I was there, I had a friend, and her brother went to this school where all they learned about was music. I was like, “Wait, you can do that? You can go to school for just music?”That’s how I found out about Berklee School of Music. I applied, and you have to audition as well. I applied and auditioned, and the first time I tried, I actually didn’t get into the music school I wanted to go to.Aaron: This sparks something in my mind. I feel like I might have read an article about Berklee or looked into it and thought, “No, they’re really strict on who they accept, based on your performance.” That was intimidating to me at the time, because I never felt like I was that good of a drummer.Ryan: It was intimidating for me, too. Clearly, I wasn’t up to par.Aaron: Yet you went for it. That’s more than a lot of people would do.Ryan: Yeah. After I finished my first year at UNR, I moved back to Vegas and went to UNLV, the University of Nevada Las Vegas. I took all music classes, forgetting the general ed stuff you need to get a degree. I took all music classes—music theory, because I had never had actual music theory classes, so I thought I needed that. With that, there were some audio classes that I took as well. I was like, “Hey, I like this audio thing.”At the University of Nevada Las Vegas, I had my first exposure to a formal audio class, where I learned all the proper techniques. Later on that year, I applied and auditioned again for Berklee. I got accepted, and the next year, I moved to Boston and went to Berklee for about three and a half years. Then I graduated. When I went to Berklee, the only thing that drew me as a major was Music Production and Engineering. I naturally loved the gear side of things. I fell in love with recording. I was like, “This is what I want to do.”Aaron: You got to spend three and a half years there, studying and learning?Ryan: It is non-stop, 24/7, music, audio, and to be honest, I miss being in that environment so much.Aaron: That sounds fantastic. I always love setting aside time to take online classes, read books, and listen to interviews about audio.Think Long-TermAaron: You were drawn to the audio engineering stuff, and then you graduated.Ryan: I can remember a specific time in my life, and I’m pretty sure it was my last semester at Berklee. They went by semesters instead of years. It was in one of my capstone classes. Our instructor asked us the typical, “Where do you see yourself in five years?” question.Aaron: I love that question now. I hated it when I was 22.** Think long term and dream big**Aaron: Plan out where you want to be, because if you can envision it, then you can figure out how to get there. But you have to start by saying, “I want to do this thing someday.” For me, it was, “I want to do work from a laptop. How do I get there?” Now I’m there. So you were 22 and someone asked you, “Ryan, where do you want to be? Where do you see yourself in five years?”Ryan: At that moment, I was trying to figure that out, naturally, as you do when you’re approaching the end of college. While I was at Berklee, I loved music. I loved recording music, but my absolute favorite class—they only had one of them, but it was the class I yearned for, that I wanted to take and put in all these extra hours for—was audio for visual media, audio for video.By far, that was my favorite class. The whole class, we were working toward our final project. You choose a five to seven minute clip from a well known movie, and all the audio is completely stripped. You have to recreate everything. That’s all the dialogue, all the foley, all the ambient background, all the hard effects, and so on. You have to connect with a film scoring student there at Berklee, and they have to provide the score. I absolutely loved every aspect of that project and the process. When it came time to decide what I wanted to do with my life, it was between audio engineering at a recording studio, working at Disney as an Imagineer, or doing audio at a church.I have always been involved with church, playing on worship teams and whatnot, so I also saw myself doing audio for a church. Long story short, I was really privileged to dip my feet in all of those things after college. After I graduated, I moved back to Las Vegas. Eventually, I found an incredible recording studio, probably one of the top two recording studios in Las Vegas, and I landed an internship.First Audio Engineering JobsRyan: I say “internship” loosely, because your typical studio internship is all the stereotypical grunt work—taking out the trash, doing the coffee, and whatnot. I showed up, and they were like, “You went to Berklee? Berklee guys are cool. Here, hop in this session and help us out.” It was open to me, thrown at me, and next thing I knew, I was assisting on sessions with huge clients, I won’t name drop.Aaron: You can drop a couple of names if you want.Ryan: I had a pretty fun time helping out with a session with the famous engineer Eddie Kramer, who is engineering for Carlos Santana.Aaron: Dang, man! That’s awesome.Ryan: That was pretty incredible. But while I was there, I had this gut feeling inside of me saying, “This isn’t it.”Aaron: It’s fine, but it’s not quite right?Ryan: I could see myself staying there and working my way up, but it didn’t feel right. A few months after I realized that I didn’t want to stay at the studio, I applied and was offered a job at Walt Disney World in Orlando, Florida.I packed my bags, moved to Orlando, and I was working as a stage technician at the Epcot park. There, they found out that I was an audio guy, so they pushed me toward the live audio side of things. I was mixing shows and bands at Epcot and what was at the time Downtown Disney, now Disney Springs, area. Same thing. Almost as soon as I got there, the same gut feeling came in.I was like, “This isn’t it. I’m more of a studio engineer. I definitely don’t want to do live stuff.” Although I love Disney, it just wasn’t sitting right. I was only there three months before the next great opportunity came up, which is where I am right now. One of my friends told me about a job opening for this church in Charlotte, North Carolina, Elevation Church. I had actually been following them because of their podcast.At the time, I was kind of like, “I’ve got a job, whatever.” For some reason, I ended up on their website, looking at the job. I was reading, and I was like, “Wait a minute, they’re looking for someone to do audio for video. That’s what I really want to do!” On a whim, I threw out my resume. Next thing you know, I’ve been here going on five years.Aaron: Did you mention that you were a podcast listener when you sent in your resume?Ryan: Yeah.Aaron: The connections you can make through podcasting is really incredible.Ryan: It is. And I’ve been working there for 5 years now.How to Get Into Audio EngineeringAaron: I want to jump into what you do at your job at Elevation, but let’s pause and do a section on what advice you would tell someone who’s wanting to get started. I wrote a couple of things down here. I think it’s hilarious that you got a Macbook and your first microphone was a USB microphone.Ryan: Which was the Blue Snowball, by the way.Aaron: That’s the worst microphone!Ryan: I had no idea how to use it, either. If I find some of the earliest recordings I did, there are times I’m clipping to the max, square waves.Aaron: Probably bad mic technique, too. But hey; it got you started!If you want to do anything with audio, start by getting a cheap USB microphone.Any USB mics will work for getting started. I like the Blue Yeti, but it’s like $100. The ATR-2100 is fine, too. You just have to get something that can record some audio and start playing with it.Start playing with Garageband. Start playing with the free programs. Learn how to enable recording on a track, how to set your input device to the microphone, how to set your output device to wherever your headphones are plugged into, whether that’s your mic or your computer. It took me so long to figure that stuff out. I was like, “Why can’t I hear the audio in my headphones? What is going on?”Ryan: Same here.Aaron: You have to set input and output, then you have to record enable or do the input monitoring, all that stuff. But start with the USB microphone. Take some basic classes. There are so many great online classes. If you don’t have any money at all, if you’re super broke like I was when I started, watch some free YouTube videos. Read a book.Ryan: If you go to Coursera.org, they’re a website where you can pay to take online courses and get certifications and whatnot, but they also offer free online courses. They even offer free online courses from Berklee. I’ve seen a music production class there. I’ve taken a free online song writing class.Check out free online courses, because they can be a pool of incredible knowledge.I took a photography class on there. Coursera is a great place. They’re great if you want to take free online courses.Aaron: There are places where you can learn all this stuff. You just have to invest some time. You really just have to start: Don’t wait until you have $500 for an interface and $200 for some professional headphones and microphone. Whether you want to start a podcast, start recording audio for a video, or record and mix a demo for a band, start doing something.Stop spending all your time thinking about how you can’t do anything because you don’t have certain gear or you’re not in the right place. You’ll learn as you do, especially in audio. You’re going to make a ton of mistakes.Ryan: That’s how you learn, though! That’s one of the most valuable things I’ve learned in life. You learn from your mistakes.Aaron: You don’t really learn when everything goes well.Just StartAaron: Any other advice you would give somebody, thinking back on how you got to where you are right now?Ryan: Honestly, you hit the nail on the head with “just start.” It’s as simple and cliche as Nike, “Just do it.” There is always going to be the next latest craze, the gear, and we’ve all been susceptible to that. We say, “Oh, well, I could do this if I had X.” It starts with the drive and determination, wanting to do it. There’s knowledge out there everywhere. You just have to dig for it.Chances are, you have at least something you can start with. Record something on your phone.Aaron: I have a friend who makes some awesome music on his iPhone.Ryan: Oh, totally. It’s as simple as getting an adapter. You can plug your guitar or whatever into your phone.Aaron: Kids these days have it so easy!Ryan: You have Garageband on your phone. I remember when I was figuring this out in high school, and we actually had a four track tape recorder. That was my first start. Get started with whatever you have.Aaron: What kind of stuff do you do at the church? What’s your day to day life like? Are you there every day, or is it just a couple of days a week?Ryan: Oh no, I’m definitely there every day. It has been a whirlwind for sure. In the past five years, I have probably played every audio role that there is to be played here. My main thing now is audio for broadcasts, pretty much anything that leaves the church. Our biggest output is the sermon, which goes to a lot of places.It also goes in the TV episode, which we talked about, which goes locally, nationally, and, I believe, globally as well. That’s a lot of what I’ve done. We also create a lot of films, short films, for our worship experiences, anything you can imagine that’s video and audio related. Audio post production, like we talk about. I’m constantly on video shoots using field recorders, the boom op, anything you can think of. Audio for video, I’ve done it.The Gear Ryan UsesAaron: Let’s talk about your gear a little bit. What kind of stuff are you using most in everyday life? I’ll do a quick recap: I have the Shure Beta 87A Mic as my main podcasting microphone. It’s attached to a Scarlett 18i20 USB Interface (update: I’m now using my Zoom H6 exclusively), which is plugged into a quadcore iMac that’s a couple years old.Nothing super fancy, but I’m really happy with where I am. I remember wanting all this stuff back in 2011, thinking how awesome it would be to have it. I have a Zoom H6 portable recorder and a couple of SM58 microphones. I’ve been pairing down my gear collection because I’m planning on moving in the spring.What kind of stuff are you working with? I use Logic Pro X for editing, and then Izotope iZotope RX 5 for cleaning up background noise or fixing clipping. What about you? What’s your day to day favorite gear?Ryan: We use a lot. There’s a bunch of gear for field recording and then in my office, which is where I’m at right now. I’ll start with my office. Right now, I’m talking into my personal mic, which is a Rode NT1A. It’s very affordable.The Rode NT1A is a nice beginner mic which works and sounds great, and I use it for a lot of voiceover projects.Aaron: I like those mics.Ryan: I’m talking into that right now. We also use the Shure SM7B. We have a nice Neumann that we’ll use for bigger projects. We like to use Universal Audio Interfaces, so I’ve got one of those. They’re great. They’re rock solid. You really can’t beat them.At our main recording/editing audio work station, we use Pro Tools. That’s very standard, and I’ve been using that for years and years. I use a lot of plugins. I use a lot of the Waves Plugins. I do use RX as well, and that’s the bulk of it. I do a lot of processing, depending on the project.I have a really huge sound library for if I’m doing narrative pieces that involve sound design, sound effects. I have a great app called Audio Finder, which a lot of electronic musicians use to help them find sounds. I use it to help me find sounds. It’s a nice way to catalogue sounds if you’re a sound designer or anything like that.You can basically tag all these audio files with meta data, and you can search for sounds by their title. Or, if you type in a word in the search bar, it can pull up things based off the the metadata. If you have notes on something, it can find it. Audio Finder is a great way to find sounds.I have some other things in here. I have the Artist Mix Controller made by Avid. I use those if I’m automating stuff. I use those a lot, actually, when I’m mixing the sermons. I do a lot of automation for that. If I’m mixing a piece with a music bed or something, I like to automate the music by hand.It feels more natural, as opposed to clicking and making little dots. That’s the bulk of it here in the office. All of our audio engineers have a nice pair of Focal monitors. I also have another set of monitors I built myself. When I mix TV episodes, I have an output routed to a TV here in my office so I can hear how it translates on TV speakers.Recording Audio for VideoRyan: On the front end of things, if we’re doing shoots for videos, we use Sound Devices field recorders. We have three different models: the Sound Devices 788T 8 Channel Recorder, a 702 2 Channel Recorder, and then a 633 6 Channel Recorder. That last one is one of their newer models, which is great.Sound Devices are steep in price, but they are rock solid.One of the most trustworthy, well known field recorder brands on the market. That’s what you’ll see on pretty much every big budget shoot in some way. I do a lot of freelance on the side, which gives me the opportunity EPK shoots or BTS shoots for, recently, a show on HBO called Outcast.Aaron: Outcast? I’ve been seeing that (I watch Westworld).Ryan: I’m pretty sure it’s the same writers or producers or something. I know it’s the same writer as The Walking Dead. They shoot here in North Carolina, so with a local production company, we’ve done some interviews with some of the cast and crew. It’s been really neat to be on set and see what they’re using. It’s cool to see how similar their world is to what we’re doing day to day, just with more money and more resources.It’s the same thing. Most of their audio guys have some sort of Sound Devices. A lot of them use the 788 as a backup recording rig, and they’ve got larger multitrack recorders as well, that are also made by Sound Devices. Sound Devices is a great brand. They’re crazy expensive, but when you buy that, you know you’ve basically got it for life.Aaron: Yeah, I’m looking at the Sound Devices 788T SSD 8 Channel Portable Solid State Audio Recorder. It’s almost $7,000. I love that! So fancy.Ryan: That SSD does have an internal hard drive. Ours has a hard drive as well, so it’s great, because it has the internal hard drive, but you can also use CF cards. You can record on two different mediums. In case something runs out of space, you have it in two places.Aaron: This is super professional stuff.Ryan: Yeah. It is. It’s top of the line.Aaron: Fantastic. For all the rest of you, just go with the Zoom H4N or the H6.Ryan: Hey, we do have a Zoom H4N, and we do use that every now and then. Before I came on staff, our first field recorder was the Zoom H4N.Aaron: If I could start over and go back to before I had any kind of interface at all, I think I would buy myself an H4N or an H6. Not only are they portable field recorders so you can walk around with them—they have little stereo condensor mics on them—but they work as audio interfaces, too. You can plug it into your computer with a USB cable and record straight to your computer if you do any kind of podcasting or stuff like that.It’s good for the price. Otherwise, the little two channel interfaces are great. They’re about $100 for a good one, but they aren’t portable. You can’t take them to a show or out to a video shoot the way you can an H4N or an H6 or something.Ryan: Speaking of Zoom, they’ve recently come into the more professional field recording market. About a year ago, they releases the F8, I believe, which is an 8 channel field recorder with 8 mic pres. It’s $999 for something very comparable to a Sound Device. It’s not quite as high-fidelity, but for anyone starting out, you’re really not going to notice the difference.Mixing On Expensive Headphones or MonitorsAaron: I was going to ask you this earlier. You mentioned that you had Focal monitors. Did you listen to the episode I did a few episodes back where I talked about mixing on headphones (Episode 69: Do You Need Expensive Headphones to Mix a Podcast?)?Ryan: Yes, I did.Aaron: I mix on $10 Panasonics. What do you think about that? You can be totally honest with me. You can tell me that it’s a stupid idea or that it’s okay.Ryan: I agree to a certain extent. I agree that you should be listening to what you’re making on whatever the majority of people are going to be listening to it on. For a lot of audio engineers mixing music, that’s iPod earbuds, those standard earbuds you get. Something like that. When I mix TV, I have an output routed to a TV in my office, so I can hear it on TV speakers.I do also believe in mixing on something with some sort of higher fidelity type of monitoring environment, whether that’s nicer speakers or nicer headphones. Naturally, you’re going to hear things differently. The main thing to take away is how things translate.If you’re listening to something on one source and you make it sound good there, that’s great, but in a different environment, it may sound completely different.iPhone earbuds may not have the bass that a car stereo has. You want to hear how it translates from one thing to another. That’s why it’s good to at least listen to it on two different sources and not just narrow yourself down to one cruddy thing. That’s good in theory, but again, the key takeaway is translation.Aaron: Maybe it’s a little bit different for me and I can get away with it because of the consistency of the microphones and the recording environment set we use.Ryan: Yeah, totally.Aaron: I think if I was doing more stuff like you are, with videos and clients and all that kind of stuff, I would absolutely be using my higher fidelity headphones.Ryan: Very true. The bulk of your work is dialogue, podcasts.Aaron: Yeah, that’s really it. Just dudes talking into a microphone.Ryan: Yeah. I have done a lot of work here where I’m working in a small studio, but a lot of my mixes have played in auditoriums and arenas.If you’re working on projects like music or film that have different audio frequencies and spectrums, remember that sound will be perceived differently in different places.Aaron: How do you even test for that?Ryan: Here, I at least have a sense of how our auditorium sounds, so I’ve trained my ear to hear in advance and understand how it’s going to translate. For something like when we did a live recording in the biggest arena here in Charlotte, we had a video opener piece. I was on point for mixing that, so basically, I had to work with tech and production to find a time after setup where I can bring my session, copy it onto a laptop, and play it through the PA.Then I can make any final mix tweaks there in the auditorium or the arena. I perfected it in my studio, and any small tweaks I was able to do in that actual environment. Granted, a lot of the times, we may not have that luxury. There are also great plugins you can buy that simulate different monitoring environments, like Sonarworks.If you have certain pairs of headphones, you can tell the program, “I have these headphones, now make my mix sound like it’s coming through these headphones or these speakers,” so you can hear how it might translate. In that program, they have a final output like the Beats headphones. You can hear how it might sound on there, super bass heavy.Aaron: I hear they’re getting better, but I still have never bought any Beats headphones. I probably should (just for testing purposes).Ryan: There are definitely programs out there to help you see how things translate to different monitors.On Location GearRyan: We were talking about the gear we use for on location recording. Sound Devices would be our main recorders. For our mics, we use Schoeps. It’s a shotgun microphone, so it’s a narrow polar pattern with good off axis rejection. Schoeps is a great brand. Again, you’ll see this on professional movie sets.That’s the mic we use. We have some Sennheiser shotguns as well, the ME66, we have a couple of those, which is more their entry shotgun mics. Recently, I rented some of the MKH416.Aaron: I would like one of those. The Sennheiser 416 is well known as the classic TV shotgun mic, right?Ryan: Exactly. I rented those out because I wanted to try it out for that reason. The Schoeps is very good and very well known on set as well, but so is the 416. I rented it to try it out. It’s a trusted mic that a lot of people use for these professional things, and it doesn’t really break the bank for what it is.Aaron: They’re like $1,000, I think.Ryan: Yeah, and it sounded great.Aaron: The next mic I get is either going to be that or the Rode NTG 3.Ryan: I’ve heard a lot of great things about that. I haven’t tried one myself.Aaron: That’s the shotgun mics we shot my podcasting courses with.Ryan: Yeah, I know that Sean uses that for all of his videos.Aaron: I’m excited about getting to go work with those (I’m moving to San Antonio in March or April).Master the BasicsAaron: That’s a pretty good run through of your gear. I’m sure you could keep going and discuss a lot more, but I don’t think we need to go into that. It seems like you guys are at a super professional, high quality. You have made big investments in professional gear, which is fantastic. I encourage everyone to strive for that, to aim for that, but like we said earlier, use what you have right now. I don’t have anything close to what you guys have, but I’m still doing my podcast. I’m doing the best I can with what I have.Ryan: It still sounds great.Aaron: Thanks! It’s mostly just knowing how to set gain levels and not having a noisy room. It’s crazy how far the basics will get you— everything else is just icing on the cake.I’ve been watching this video course called Zen and the Art of Work, which I really recommend to everybody. It’s mindfulness training mixed with productivity training, which is such a great combination.In this course, he says, “So many of the masters continually revisit the basics.” Mastery is staying on a path. It’s not reaching some final goal, it’s more about being with the work and investing in getting better, but also revisiting the basics. He was talking about playing piano. He was like, “A lot of times, I just start by touching the keys, pressing the keys, and then doing basic scales over and over again.”It’s true. When you get so good at the basics that you don’t have to think about it, that’s when you start to expand and get to that level where people say, “Wow, you’re so good at that. How did you get so good?” You’re like, “That was just doing the basics. It’s not anything fancy.”It’s so important to master the basics and keep going back to them.Learning MoreAaron: What’s next for you? How do you invest in yourself and improve? Or are you working so much that you always have more learning opportunities? Do you buy books or courses or follow any websites to learn more about this audio stuff?Ryan: Honestly? We had a shift at work to where my role has shifted to mainly just broadcasts. That has enabled me to have a little bit more flexibility and free time, so I’ve been doing a lot more freelance work. That’s great, because it energizes me and keeps me engaged. It keeps me from routine. Routine is great.I love routine, that’s very much my personality, but freelance work keeps things interesting.For me, it’s all about where and how I can get inspired and constantly feeding that. It’s about feeding my desire for creativity. We’re all creatives. We like to create. We were designed to be creators, really. Everything I try to do is about how I can become a better creator and what I can create next. It’s about finding things that inspire me, really. We touched lightly on a few of the resources that I like, things I’ve learned and places I’ve picked things up.If you’re interested in audio for post production, there are a couple of great books by Ric Viers. I have two books by him that are really great. The first one is The Sound Effects Bible, and it’s not just sound effects in there. He talks about everything from gear to microphones, basics, setting proper gains, compression, some mixing techniques, etc. He also has The Location Sound Bible.There are a lot of similarities, but there’s also a lot of talk about gear, shotgun mics, lop mics, recorders, and then he also dives into some of the basics when it comes to mixing, proper gain staging, and so on. Those are a really great pool of knowledge in book form. There are a lot of other books out there, but I have found those two to be really helpful.Other than that, when it comes to audio for video, it’s a very small, niche field. There isn’t a crazy amount of stuff out there, like there might be for mixing music. For that, you’ve got tons. You’ve got Pensado’s Place, all these people on YouTube putting out channels on mixing, mixing from home, mixing on a budget, etc. There’s plenty of that.Aaron: Graham Cochrane and Joe Gilder are pretty awesome resources for anyone who wants to start a home studio.Ryan: YouTube can be a pool of knowledge for anything and everything, too. You have to dig a little bit and do some searching. On the inspiration side, for me, since I love audio for video, Sound Works Collection is a great place. They’ll do mini videos interviewing the sound people that did sound for X movie. Whether it was the last Harry Potter or anything and everything, big budget films, they’ll sit down with the recording people, the sound designers, the mixers…It’s really cool, because they’ll show footage of them doing stuff on location or the foley artists. It’s cool to see their process. For me, that helps me stay inspired. It gives me ideas to do other things. They have a podcast as well, and that’s great. The videos can be kind of short, maybe 10 minutes or so, but the podcast will go on at length, talking to the audio guys who have made sound for videos possible.It will also be music composers for movies as well. That’s really great. I found that great not only as inspiration, but to know what and how audio professionals for big budget films get inside their minds, how they’re thinking, and what their process looks like.It’s neat to see stuff about sound engineers for big movies and realize that we’re not so different.Dealing With a Broad Loudness Spectrum (Dynamics)Aaron: I have a nerdy question here. This is about normalizing and compression, I think. Aiya had asked, “I’m so torn about normalizing sound clips. If I’m working on a longer project in segments, would it be better to adjust my peaks manually for the sake of consistency? It’s for a video project.” I’m hearing that there are differences in video volumes. How do you deal with that? Do you do compression? Do you do automation for the different parts? How do you deal with dynamics?Ryan: It depends on the project. I’ll talk about how I would mix a sermon, because that’s very dynamic. Our pastor will go from whispering, holding his handheld mic close to his stomach, to screaming, holding the microphone, cupping the capsule. Power and respect to him, because it creates a certain atmosphere, which has a powerful effect. That’s what I’m dealing with on a weekly basis.That dynamic range is tremendous. Keep in mind, this is going to TV eventually. TV has very strict restrictions. It’s not so much on level, but on perceived level. There’s a difference between what you see meter and what you’re hearing. I can talk at length about that, too.Aaron: Could you give us a super short version? I’m kind of aware of that, but since I just mix in Logic, I’m not sure how to measure it. Is there a way to measure it in Logic? Do you know? Is there a plugin you use?Ryan: I use a plugin from Waves. It’s a loudness meter, and its just that. It has a lot of presets, so I’ll use the TV standard preset. I’ll use it for ATSE85, and I’ll use it for a dialogue bus. They’ve also got one for a master bus. The standard right there is your average level around -24 dB LUFS, so that’s full scale. If you have a classic meters, your peak would be zero, so that would average metering right around -10. At least for TV, I’ve got a hard limiter at -10 dB, to where nothing can go above that.The difference between levels on a meter vs. perceived loudness is the differences between what we hear and the actual energy.In our TV program, we’ll have the sermon, but we’ll also have a talking heads segments, which is dialogue and a music bed. We’ll also go into segments where they’ll go into worship from our live album, which had been mixed and mastered as an album. That thing is slammed. If you look at the wave form, it’s a sausage. If I’m setting all that by the meters alone and they’re all hitting -10, it may look right, but if I look at my loudness meter, that worship segment is going to be off the charts.There’s so much more content in there. There’s so much going on with all the different frequency ranges as opposed to a dialogue track, which is a narrow field in the frequency spectrum. That’s the gist of it. When it comes to my technique for controlling dynamics, for something like mixing a sermon, if I’m going down my plugin chain, the first thing I naturally have is a high pass filter. I’m rolling off those unnecessary lows that are hogging energy.The next thing I’ll do is use a compressor, and I’ll set the attack to right in the middle, so not fast or slow, and I’ll have the release time at fast. We don’t want to hear it pumping, letting go. That’s catching my peaks. It’s not doing a crazy amount, but it kind of is. That’s helping do a lot of the bulk compression. Before anything really hits the compressor, I will go through, and as I work my way through the mix, I will clip gain the wave form, so that, say, if he’s whispering somewhere, I might keep that, depending on how I have my compressor set.Then, if we go up to a part where he’s screaming and my wave form is huge, I will take that down and create those nodes, those dots in the wave form, and drag the actual clip volume down, that gain down. That way, it’s not going into the compressor at this high gain level. It’s hitting the compressor evenly as the rest of it would. That way, it’s not driving the compressor crazy. Then I’ll go through and do some EQ and DSing and whatnot. I might add some more compressors in there, just to grab some of those little things coming through. After that, it’s subtle, just smoothing it out.Aaron: It is a little bit of both. If she has access to an audio editing program—I don’t know what she’s using for editing. If you can put a compressor on the track, do that. It’s not exactly the same, but I did a YouTube video about how I process podcast vocals, and it’s very similar. For podcast vocals, I start with a Logic noise removal plugin.Ryan: I actually have my noise suppressor, and I’ll use that later on down in my signal chain. My way of thinking is that if I’ve got all this compression going on, the compression is narrowing that dynamic range, so it’s bringing up that noise floor. I tend to do my noise suppression after the bulk of that compression, because the noise floor is higher and it’s easier to work on a supressor. If that makes sense.Aaron: I’ve thought a lot about whether you should do the noise removal before or after you add a bunch of gain with a compressor or something, and I can’t think of a good reason that it matters. You can take out the noise before you add a bunch of gain, or you can add a bunch of gain and take out the noise afterwards. Which is better? I don’t know. Anyways, after the noise removal plugin, I put an EQ with a high pass filter, a peak compressor, an RMS or an average level compressor, and then a limiter.Ryan: Like I mentioned earlier, before I had my long-winded answer, it also depends on what it is you’re mixing—whether it’s music, or a podcast, or something for film.When it comes to dialogue for film, you want it to sound as natural as possible, but you also want to be able to hear if someone is whispering.When it comes to that, I’ll still use a compressor, but it will be very, very light. If there’s anything I need to do to meet loudness, that I will automate the volume on my dialogue bus. I’ll bring that up. That way, it sounds a little bit more natural, instead of solely relying on a compressor to do all the work for you.Aaron: That makes sense. For podcasts, if I notice that there’s a section where someone was talking much quieter, like if a guest backed away and talked like that for four or five minutes and then went back to the normal distance from the microphone, in Logic, I’ll turn that into its own clip. I make a cut on either side of the quiet part, and then, in Logic, you can double click on it and change gain by hitting Control G. Then you can add 3, 4, or 5 dB to it.That works out pretty well. If it’s every five seconds or I have to do it more than five or six times in an episode, I won’t do the clip gain changes, I’ll just use a compressor.Look at the overall audio file and see if there are long stretches where you can use automation to change the gain, or change the clip gain.Common Audio Mistakes Podcasters MakeRyan: You asked a question that I think would be good to talk about in regards to podcasting. You had asked, “What do you like about podcasts? What common mistakes do you hear people make?” Initially, I read this and thought, “I don’t know,” but I spent some time thinking about it. This is great, because it piggybacks off the loudness thing.A lot of the mistakes that I hear when it comes to podcasts in regards to audio is the levels and loudness aspect. I’ll listen to some podcasts that sound great, and I’ll put on another podcast where the whole thing is super quiet. Then they start laughing, and it’s really loud. There are some, like mine, where they have a music bed underneath the entire thing, and then sometimes the music bed is so quiet that you hardly know it’s there.You’re like, “What the heck is that noise in the background?” Sometimes, it’s the opposite. Sometimes, the music bed is way too loud. That’s a few of the things I’ve noticed. A lot of the fixes relate to what we just talked about. It helps to have knowledge of levels and perceived loudness.If you’re mixing a podcast, make sure your levels are consistent.One of the biggest things I can recommend for anyone mixing anything, whether it’s music, movies, a podcast, is the importance of having a reference track.Aaron: Yeah, I don’t talk about that enough.Ryan: That is huge. Professional audio engineers who mix platinum records still do this. They will pull in a track from a different song that is mixed well and is mixed how they want theirs to sound, and they’ll have it muted in their session. When they want to have a reference to listen to or train their ear, they’ll un-mute it, and they’ll go, “Oh, okay.”I’m sure you’ve done the same thing as me, where you’ll be so involved in a mix, you’re in it, and you think it sounds great, and then maybe you go away. You go home, sleep, and maybe you come back, and you open it up and you go, “Woah! What was I thinking!” You can get so involved in it that the blinders go up. You get tunnel vision, and you’re not aware to some things.It’s good to have a reference track or get an outsider’s opinion on a mix.The main takeaway here is the reference track. That would help with anything, whether it’s the timbre, how you’re EQing, or the loudness. You pull in their track and it’s far louder than yours, and you automatically know that you need to do something about it.Aaron: That’s a great idea. You can kind of do this before or after. You go through and you edit your whole podcast, get everything set up the way you want, create an extra track, and then find a podcast that sounds really good—This American Life or pretty much anything by NPR—download an episode, drop it into your editing program, and play it, mute it, and see what the difference is. Maybe you need to add some gain with an adaptive limiter or with a compressor, or maybe you can tell that your track sounds way sharper or harsher.Are there are too many high frequencies or too much bass compared to your reference track? You can adjust those things. I’m so glad you mentioned that. I’ve never thought of that before, and that’s such a good idea.Ryan: It’s one of those things you don’t think of much, but once you do it, you’re like, “Oh my gosh!” It’s really eye opening and really helpful.You can find Ryan online at ryanmonette.com, and follow him on Twitter @RyanMonette.
This week we have 2 great guests to help us wrap up what has been a really wonderful 2015 Summer Tour. Wally (@waxbanks) and Myke (@lawnmemo) join us for a discussion of the Dick's shows. We also have a selection of tunes from the 3-show run from Denver (tracks below, music starts at about 56 minutes). WALLY HAS A BOOK ABOUT PHISH COMING OUT. You can and should pre-order it now. We will have another podcast conversation with Wally about this in the coming months. Please review us on iTunes and follow us on Twitter. And check out CashorTrade.org for face value tickets to shows across the country. If you are on Stitcher, give us a review! Dick's 1 Ghost Bathtub Gin Blaze On > Golden Age Bike Dick's 2 No Man in No Man's Land Martian Monster Winterqueen Chalk Dust Torture Mercury Dick's 3 Seven Below Down With Disease 2001 (Encore) Tweezer Reprise> Harpua> After Midnight > NO2 > Keyboard Army > Your Pet Cat > Once in a Lifetime > United We Stand Intro/Outro Music: Bela Fleck, Kinetsa Show Sources: Dick's 1: DPA 4015c(NOS/FOB/DFC@7’)->Portico 5012->Mytek 192->HD-P2(24/96)->xACT->FLAC Dick's 2: Schoeps mk21 (FOB/ORTF wide) > kcy > Sonosax SX-M2/LS2 > Mytek 192 > Tascam HD-P2 (24/48) Dick's 3: Schoeps mk22(nos)>Kcy>Schoeps Vst 62IUg>Sonosax SX-M2>744t 24/96 (Chris King) See acast.com/privacy for privacy and opt-out information.
photo of Playa Cuatro on 1/24/15 crowd by Josh TimmermansWidespread Panic just finished four nights in the Dominican Republic at Panic en la Playa Cuatro - and to my ears it sounded like the boys were having a really fine time of it.... plus there were some sweet guest performances as well (more of that in part two).So I figured I would pare down the 12 hours of music to a two part PaniCast of highlights.Part one includes highlights from night number one, two and three... ENJOY!!January 24, 2015For What It's Worth >Sell Sell >Stop Go >Blue Indian(Fire on the Mountain jam during Stop Go)Waiting on the Bus >Jesus Just Left Chicago >Love TractorJanuary 25, 2015Coconut >Walk OnRebirtha(Not Fade Away and Jessica jams and China Cat Sunflower tease during Rebirtha)January 26, 2015Barstools and Dreamers >DrumsSOURCE INFO(all four nights of Cuatro)Bennett Schwartz1/24/15Schoeps ccm41>DinA>KC5>CMC6>analog>788T (HPF 0) 24/48FOB/DFC 40' back , stand and @ 9'1/25/15 and 1/26/15Schoeps ccm41>DinA>KC5>CMC6>analog>788T (HPF 0) 24/48FOB/DFC 40' back , stand and @ 8'DOWNLOAD the cast here(right click to save to hard drive):Everyday Companion Podcast 72Click here to subscribe through iTunes.
Good evening Ladies and Gents! It is hard to believe it has been SIX YEARS since we stopped doing these little nuggets of goodness...For this next first time out of the gate I am including some tasty treats from the start of spring tour 1999.The band is feeling firey right of the gate in Philly - in particular, listen for JBs vocal embellishments during the second chorus of Let's Get Down to Business.The quintessential Pleas > Chilly from Salem features a lazy jammy intro to Pleas that was indicative of how the band would get things going in Spring '99.Get excited about 1999, because I am going to be featuring a few more tracks from this under-appreciated Spring Tour in future weeks!I finish everything off with a couple of selections from the Stockholm Syndrome tour of 2004 at the Gothic in Denver Colorado. Stockholm Syndrome is a side project of David Schools featuring Jerry Joseph on guitar and vocals, Eric McFadden on lead guitar, Wally Ingram on drums and Danny Dziuk on keys. Their version of North is driving and includes a ZZ Top tease while their funky version of Coudn't Get it Right features a Down on the Farm tease.And finally, please tell your friends and neighbors we are back. Believe it or not these 'casts take a good bit of time to produce and it would be a waste if people weren't sharing this wonderful music.And finally a BIG THANK YOU to all of the tapers and fans who make these recordings and this wonderful project called the Everyday Companion possible.Peace, TedApril 10, 1999Electric FactoryPhiladelphia, PA(set one opener)Let's Get Down to Business,Pigeons,B of D >Rebirtha >Red Hot Mama >Diner >Greta >Goin' Out WestApril 9, 1999Salem, VA(set 2 opener)Pleas >Chilly Water >Dyin' Man >Chilly WaterStockholm SyndromeAugust 6, 2004Gothic TheaterEnglewood, CONorth >Couldn't Get it RightSource Info:4/10/99Source: Schoeps MK4 > Reutelhuber > DA-P1 @ 48 kHzLocation: FOB / DFC / ORTF / 6ftTaped by Jim Finn. Clone courtesy of Carter Lyle. Transferred by BobbyHurley.4/9/99Source: (fob/dfc) Schoeps mk4 (ortf @ 6.5 ft.) > Reutelhuber > DA-P1 @ 48 kHzTaped by: Jim Finn (clone courtesy of Carter Lyle)Transfer by: BobbyHurleyStockholm Syndrome8/6/04Taped and transferred by Todd RamsdenSource: FOB, 3' LoC, Drink rail: Audix m1290 > Lunatec V3 (optical out) > Nomad JB3DOWNLOAD the cast here(right click to save to hard drive):Everyday Companion Podcast #70Click here to subscribe through iTunes.
New Year Eve in Tepoztlan (Mexico). Fireworks and church bells to celebrate 2013 at midnight. Sound recorded by a double-MS setup Schoeps Microphone CCM41+CCM8+CMC5-MK4 Sound Devices 788T recorder + CL8 MS is encoded in STEREO Left-Right recorded on 31 of december of 2012 You can find the same sound in surround 5.0 (using doubleMS decoder by Schoeps) on: http://www.freesound.org/people/felix.blume/sounds/172956/ And the 2011 New Year Eve in Venezuela on: http://www.freesound.org/people/felix.blume/sounds/131921 And the 2012 New Year Eve in Peru on: http://www.freesound.org/people/felix.blume/sounds/140350/ more sounds on http://www.felixblume.com Please rate or comment the sound if you like it!
A train is passing by in the small town of Wuadley in the Wirikuta Desert (Mexico, State of San Luis Potosi SLP). Train horn and railway vibration at the beginning (recorded by the contact microphone). Sound recorded by a MS setup Schoeps mixed with a contact microphone Microphone CCM41+CCM8 Contact Microphone Aquarian H2aXLR Sound Devices 744T recorder MS is encoded in STEREO Left-Right and mixed with the Contact Microphone recorded in july 2012 sound is in 96kHz Same sound on freesound on http://www.freesound.org/people/felix.blume/sounds/166086/ more sounds on http://www.felixblume.com Please rate the sound or comment it if you like it !
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