The sound I created for my clients advert for Nike super fly boots was highly successful as it was fast paced, energetic and dynamically engaging. When I received my brief from my client he asked for fast paced dynamic and with a heavy bass soundtrack coinciding with a more retro tech dynamic. I used these specifications and tried to create a soundtrack that conformed tightly to the specifications given. Overall I believe my soundtrack has been reasonably successful minus the issues I had with as few of my latter sounds which in the end were unable to be imported into Cubase due to a unknown issue I was unable to resolve whilst their absence is perhaps not noticeable in the final mix it would however have added greater texture to the final product. I have been unable to contact my client for his final view on the soundtrack due to the fact his in currently in Thailand but his initial feedback from the rough edits was universally positive and I have faith he would of approved of the final version.
Wednesday, 4 July 2012
Microphones
Most of you will have used a dynamic mic at sometime or another -- if it looks like a mesh ball on a stick, then it's almost certainly a dynamic model. In live sound, nearly all the mics used are dynamics, and in the studio, instruments such as drums, electric guitars, and basses may also be recorded using dynamic mics. Dynamic microphones have the advantages of being relatively inexpensive and hard-wearing, and they don't need a power supply or batteries to make them operate. So, how do they work?
Capacitor mics have been around for several decades, and although modern capacitor mics do incorporate a few small technical improvements, the sound character has actually changed very little -- some of the best-sounding models were designed over 20 years ago. Basically, the heart of any capacitor mic is a pair of conducting plates, one fixed and the other in the form of a moving diaphragm. When the spacing between the plates changes (as it does when the diaphragm vibrates) the capacitance varies, and if a fixed electrical charge is applied to the capacitor, an electrical signal is produced which faithfully represents the diaphragm vibration.
Tuesday, 3 July 2012
Evidence
-At this stage i have simply imported a simple audio mixdown and have begun experimented with various EQ adjustments to get a feelfor how i may best apply said effects. Below you can see the various ajustmnets i made to the EQ experimententing with both high and low frequency.
-In this screen shot i can be seen experimenting with basic time stretch and fades for the closing section of the imported audio mix track which was key in order for my swoosh effects to be introduced into the mix and close the video properly and with the dynamic intended
- Below can be seen examples of timed analysis sheets in my earlier Pink Panther project these are used to break down the time codes of where certain effects need (or would be most appropriate to apply) the detailed descriptions help the producer and editor to understand what is exactly required of them and at what points certain sounds should occur in the mix corresponding to relative timings.
-Here can be seen an example of applying midi to a previous pink panther product in order to orchestrate the extension of a large telescope by travailing up the notes to create a cartoon extend effect in a Major key.
-This image show the use of the KORG audio recording system a piece of kit Ive been more recently introduced to and decide to apply to my work for studio recording as oppose to our previous use of the H2 ZOOM simply due to the increase in quality delivered by the KORG.Below can be seen the diffrent layouts with which i attempted to record sound however not all the recordings made the cut and many were not of the quality i desired.
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