Carrying on from our video showing how to use Vienna Ensemble Pro 5 (VEP5) on two Macs, a follow up question we were asked was about the huge libraries you may have sitting on external drives.
The good news is that you do not need to spend days installing all your library and sample assets on multiple machines thanks to file sharing. On the Mac this is pretty easy, so follow our steps shown here with one machine running Mavericks and the ‘slave’ machine running Yosemite.
Sharing Your Drives On A Mac
Open your System Preferences menu. Then chose the Sharing option.
You will then be presented with the following,
Tick the file sharing option in the left hand menu.
An Exclusive Sneak Peak of Sample Logic's new Cinematic Keys “blurring the line between music and sound design.TM
For those of you who have read my posts before, I am a post production dubbing mixer (spelt “re-recording mixer” in the US!) and a such, often have a section in a documentary or a drama where more tension or feel is needed for the scene. If this section has not been scored by the composer, the first quick response is often to borrow a bit of music from elsewhere in the programme and attempt a cheeky edit or two. But what if there is nothing suitable? How many times have we all been caught thinking I would love a bit of suspenseful underscore or drone here?
Whilst looking for a solution for this problem I came across Sample Logic and their unusual mission statement…
to design cutting edge tools for composers, producers, sound designers, musicians and performers of all musical styles and genres and to develop new concepts for sample libraries that focus on blurring the line between music and sound design.
As both a post mixer and a hobbyist guitarist, I can’t speak MIDI very well (I can barely even order a beer in it) and panic if a chord on on the keyboard needs more than four notes (root, third, fifth and “the other one”), so I have always traditionally hit fast forward when people spoke of samplers and other such dirty words. This “blurring the lines” really caught my eye and Joe Trupiano at Sample Logic took great pity on my sad & sampleless life and sent me some of his wizardly sampling cook ups to taste….
So what on earth is Cinematic Keys and the Sample Logic product line all about?
Last week in part 9 of this series on Audio Post Production Workflows Using Pro Tools, we finished our look at foley with Barnaby Symth. This week we move onto sound effects with Bernard O’Reilly….
Walter Much once said ‘the visuals knock on the front door and the audio creeps in the windows behind you’. Sound is the emotional way of telling the story, it can manipulate your perception of what you see. Your job as a sound editor/designer is to support the dramatic context of the scene, the emotional aspect of the story.
How I Start The Tracklay
My priorities depend on the characters, action, directors ideas and the story.
- I usually start with the most difficult sounds, they benefit the most from evolving and reviewing.
- Then add the atmos/ambience tracks - the bed on which all the other sounds are built.Backgrounds are more of a feel thing than a hear thing, they shouldn’t be too distracting.
- Next I move to spot effects - on screen sounds like, door closes, car passes, punches etc.
- Only then do I move onto the sound design. All the time reviewing, revising and updating as I go.
I usually find the last review pass before the pre mix is the most useful and creative. At that stage I’m not worrying about the small details, it’s more about tone and how it feels (and getting rid of sounds).
For those with long memories of earlier Pro Tools bundles then you may recall the Pro Tools Digi002 Bundle that came with SampleTank - in those days it was a welcome addition to the plug-ins it shipped with.
Over the years SampleTank had new competitors such as Structure and Kontakt to contend with, so there has been somewhat of a hiatus for those waiting for a new version.
SampleTank 3 was recently released and now SampleTank 3 Free (try saying that when you are drunk) has shipped. Each week IK Multimedia promise to release a free sound to use with it. This week it is a German Grand Piano - don’t worry if you can’t speak German as IK have translated it for us.
Anyway, you can download IK Multimedia Sampletank 3 Free here
Updated on Monday, September 1, 2014 at 7:31PM by Mike Aiton
Updated on Tuesday, September 2, 2014 at 8:10AM by Mike Aiton
At Pro Tools Expert there is a lot of discussion about what to buy, but in this post Editor Russ and post production contributor Mike Aiton want to share their experiences of buying and why ‘where to buy’ is just as important.
Mike’s Pro Tools Dealer History
When I upgraded to HDX from my HD3 I bought my HDX card and Slate Raven from Media Pros. I had always been a loyal customer of Scrub, but they weren’t Raven dealers. Also I had to to have all my purchases on one invoice (for VAT reclaim purposes), so I was forced to jump ship as I was determined to buy a Slate Raven.
Russ’s Pro Tools Dealer History
I have used HHB Scrub for several years. About 4 years ago they guided a post house I was running through a complex Pro Tools HD upgrade. They were across the street which was handy, however they are a dealer sitting in the middle of Soho, the film and TV capital of London with hundreds of companies they need to serve. However they were brilliant, they helped us navigate the pre-sales, the financing, the install and several glitches afterwards. So when I came to buy my Sonnet it was a no-brainer, again Ben Scully worked very hard to get me the best price and a fast delivery, he even sorted out one for me to try before I made the commitment.
Mike’s HDX Card Death?
Last night Pro Tools crashed. Upon re-launch, the HDX card needed a firmware update. Why? Who knows., so I duly obliged. After updating the firmware, you have to power off, remove the plug and press the start button to purge the computer motherboard of power (thank for the tip Neil), then re-power. After re-powering and re-launching Pro Tools 11.2.1 I get the same message about the HDX card needing a firmware update. after several cycles of this I tried a few different things: such as updating the firmware from 10.3.8 and 11.1.3 - same result. I then thought maybe my OS is corrupt, so I booted from my back up and tried the same things - same result. The I booted from my partition I made with a fresh install of OSX 10.8.5 and nothing else. I then installed Pro Tools 11.1.1 and tried to install the HDX driver - which failed. This made me believe that my card was “up the Swanee” (a quaint english colloquialism for “shagged”).
Russ’s DOA Sonnet Chassis
My Sonnet Chassis arrived a few days later. As already mentioned Scrub organised a demo one for me to evaluate so I knew how they worked and how much noise they made. So imagine my surprise when I plugged in the power to my brand new Sonnet Chassis to hear what sounded like a mouse having his nuts fried. I called Scrub immediately to tell them that the Sonnet Chassis was DOA and explained the issue of the odd noise coming from the PSU.
In this video tutorial Russ shows how to use Vienna Ensemble Pro on 2 Macs over ethernet.
The video explains how to set up Pro Tools, see both Macs on one screen, connect both instances of VEP5 and then route it back to Pro Tools.
Recording VO Tip 1: Avoid Using Expansion Or Gates
When recording voice-overs or ADR, do NOT use expansion or a gate (even if you have rumbling air con) - it makes the noise floor variable in level and therefore harder to track when using Cedar DNS One or with iZotope RX3 when mixing.Sort the problem at source - or after the recording, not during.
Recording VO Tip 2: Dealing With Clicky Voices
Does you recording talent have a clicky palette? Give them water with lemon juice or a tart green apple, and the acid will activate their saliva glands and reduce the stickiness (their stomachs will also gurgle less!)
Recording VO Tip 3: Always Name Tracks
Always name your VO recording track with the VO Artist’s name as well as the programme or episode name. When you forget their name (due to session pressure or Alzheimer’s) it enables you to have a look and see. Also, months down the line, when you think “ah yes that’s the voice I would recommend” to one of your other clients, you have a record. It also helps if you suffer from stray files!
Designed For Multichannel Sound Up To Auro-3D® 11.1
Create true surround and 3D sound with multi-channel impulse responses. Using the IR1 Impulse Response Set, you have over 54 sets with impulse responses, including 42 for Auro-3D® 11.1 sound. All 54 sets comprise various configurations and impulse responses for 5.1 surround sound, stereo, quad and mono applications.
Recorded with the highest quality equipment with up to 10 simultaneous audio channels in true 3D sound, you have the IR1 Impulse Response Set from Soundeffects.ch (including 54 sets of large and small rooms). Create any atmosphere - from stereo and 5.1 surround sound to the new 3D formats such as Auro-3D® 11.1 - and be compatible with the future.
IR1 Impulse Response Set Features
- Avid TL Space
- Audio Ease Altiverb 6 and 7
- Audio Formats
- Stereo / TrueStereo
- 5.1 Surround
- Auro-3D® 11.1
- 24Bit / 96kHz (TL Space), 24Bit / 48kHz Altiverb (Altiverb supports impulse response max to 48kHz)
- 42 Sets with Stereo to Auro-3D® 11.1 Impulse Responses (containing 88 5.1 Surround Sound Sets, 176 True-Stereo Impulse Response Sets)
- 8 Mono to Auro-3D® 11.1 Setups (containing 16 Quad and 5.1 Surround Sound Sets, 32 True-Stereo impulse response sets)
- 5 Stereo to 5.1 Setups
- 6 Mono to 5.1 Setups
- 4 bathrooms
- 10 corridor and hallways (industry, basements, domestic)
- 15 Halls (lobbies, 3 theater and opera hall)
- 22 domestic rooms, (living room, kitchen…)
- 3 staircase
- Impulse responses recorded through walls and from far away to create room tones
We have managed to get another batch Of VocALign Project plug-ins from SynchroArts and so we can offer a great deal on the awesome VocALign Project 3, the best tool for getting audio aligned with the minimum of fuss in Pro Tools and all other popular DAWs. The price in a snip at just £120, that’s 40% off the normal price but only for 2 weeks so don’t delay or you might miss it!
Can I Upgrade From VocALign Project?
Yes you can upgrade from it to VocALign PRO or Revoice PRO as it’s a full license.
Its Not Just For Pro Tools It Will Work on All Major DAWs
Even better, once you obtain your license, it will authorize all of the following plug-ins on specified Windows and Mac OS systems:
- VocALign Project 3 - Audio Suite (for Pro Tools 7 to 10)
- VocALign Project 3 - AAX (for Pro Tools 11)
- VocALign Project 3 - Audio Units (for Logic 8 or higher, and other DAWs using AU) (Not Windows)
- VocALign Project 3 - VST3(for Cubase 4.5.2 or higher, Nuendo 4.3 or higher, and other DAWs using VST3)
VocALign Project Main Features:
- VocALign Project takes just seconds to automatically align two audio signals so that the timing of one matches the other
- Simple, intuitive operation
- Sophisticated pattern matching techniques that reject guide track noise and work with different speakers, singers, words, instruments and sounds
- Works with 16- and 24-bit audio
- The aligned audio can be auditioned within VocALign Project
- User interface allows adjustment of selected audio regions for processing, and the scrolling, scalable display allows visual confirmation of sync
- User-adjustable processing presets ensure optimal performance
- Pitch of aligned audio is unchanged
We have seen with the Acon Digital plug-ins we have offered so far, that they are able to produce plug-ins that perform well above their price point and the Restoration Suite is no exception.
What’s In The Restoration Suite?
Digital Restoration Suite consists of four audio restoration and noise reduction plug-ins that are the result of several years of research within the field of noise reduction and audio restoration algorithms:
DeNoise is a plug-in designed to reduce stationary noise, such as broadband noise, hiss, wind noise, buzz and camera noise. Great efforts have been put into preserving as much of the original signal as possible during the noise reduction process. As a result, DeNoise can reduce or in many cases completely remove the noise in a very transparent manner without loss of transients, attacks or “air” in the recording.
DeHum targets hum and buzz typically introduced by poorly grounded electrical equipment, but also other tonal noise sources like electrical motor noise.
DeClick is designed to remove impulsive noise such as clicks and crackle. These distortions are frequently encountered on LP and 78 RPM records, but also occur in digital recordings due to drop-outs or distorted data packets.
DeClip restores audio recordings distorted by analog or digital clipping.
Acon Digital Restoration Suite is available in 32 and 64 bit versions, as AAX or VST for both Windows and OS X or as AU plug-ins for OS X.