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The term studio recording means any recording made in a studio, as opposed to a live recording, which is usually made in a concert venue or a theatre, with an audience attending the performance.
In the case of Broadway musicals, the term studio cast recording applies to a recording of the show which does not feature the cast of either a stage production or film version of the show.
The practice has existed since before the advent of Broadway cast albums in 1943. That year the songs from Rodgers and Hammerstein's Oklahoma!, performed by the show's cast, were released on a multi-record 78-RPM album by American Decca. (London original cast albums have existed since the early days of recording, however, and there are recordings in existence of excerpts from such shows as The Desert Song, Sunny, and Show Boat, all performed by their original London stage casts.)
Mixing is the process of blending all the individual tracks in a recording to create a version of the song that sounds as good as possible – the “mix”.
The process can include:
- Balancing the levels of the tracks that have been recorded
- Fine-tuning the sound of each instrument or voice using equalisation (EQ)
- “Panning” the tracks between speakers to create a stereo image
- Adding reverb, compression, and other effects to enhance the original recording
Mixing often also includes a good deal of editing – choosing the best bits of every take of a song, and sometimes even building musical elements from scratch. Sometimes there is so much editing involved it forms a separate stage in between tracking and mixing.
Arrangement, in music, traditionally, any adaptation of a composition to fit a medium other than that for which it was originally written, while at the same time retaining the general character of the original. The word was frequently used interchangeably with transcription, although the latter carried the connotation of elaboration of the original, as in the virtuosic piano transcriptions of J.S. Bach’s organ works by Franz Liszt, the Italian composer-pianist Ferruccio Busoni, and others. In later times the definitions were almost reversed, with arrangement connoting musical liberty in elaboration or simplification. In popular music and jazz, the word is often used synonymously with “score.”
Arrangements of vocal compositions were crucial to the early history of instrumental music. Thus, vocal polyphony of the late Middle Ages and the Renaissance, including motets, chansons, and parts of the mass, was intabulated (transcribed so as to suggest finger positions rather than pitches) for the use of keyboard and lute players, permitting them to perform singly music written for several singers.
During the Baroque period (c.1600–1750), interest in arrangement declined, perhaps because of the increased importance of instrumental music and the waning significance of vocal writing. Bach, who arranged many of Antonio Vivaldi’s violin concerti for harpsichord and organ, was a notable exception.
During the 19th century, with its stress on the piano, arrangements again became popular. Liszt transcribed Schubert songs as well as scenes from Wagner’s music dramas. Brahms wrote for orchestra an arrangement of his own Variations on a Theme by Haydn, originally for two pianos, and of Bach’s “Chaconne” from the Partita in D Minor for violin, which he recast as a piano study for the left hand. In the 20th century, Arnold Schoenberg in turn made elaborate orchestral arrangements of music by Bach, Georg Matthias Monn, and Brahms that amount to actual recompositions, quite unlike the popular Bach arrangements by Stokowski, Respighi, and others, which enjoyed a considerable vogue during the pre-World War II era.
Piano arrangements of opera and ballet scores, in particular, have long proven their value in the preparation of performances. Performance editions of problematically notated early scores often carry all the earmarks of highly subjective arrangements.
Mastering is the process of turning a collection of songs into an album (or single, or playlist, or podcast…) and combining them to create a final master for manufacturing. Or – it’s making your music sound the best it can be.
In mixing you are balancing the instruments to get a great mix of each song, in mastering you are balancing songs against each other to get a great sequence. This can vary from being a very subtle process, involving minor tweaks to polish the existing mixes, through to occasionally being a complete rescue mission for problem songs, or where detailed restoration is needed.
I’ve written a lot about mastering here, but briefly the process involves:
- Balancing (not matching) the level and tonal balance (EQ) of songs
- Controlling the dynamic range – how loud and quiet each section is, for the right musical balance of variety and power
- Editing “tops and tails” – the beginning an end of each song, and the gaps, to create a compelling sequence
- Fixing any outstanding problems from the mix, if possible
- Creating a secure, reliable manufacturing master, including PQ information, UPC/EAN codes, ISRCs, CD-Text
Session musicians, studio musicians, or backing musicians are musicians hired to perform in recording sessions or live performances. Session musicians are usually not permanent members of a musical ensemble or band. They work behind the scenes and rarely achieve individual fame in their own right as soloists or bandleaders. However, top session musicians are well-known within the music industry, and some have become publicly recognized, such as the Wrecking Crew and Motown's The Funk Brothers.
Many session musicians specialize in playing common instruments such as guitar, piano, bass, or drums. Others are specialists, and play brass, woodwinds, and strings. Many session musicians play multiple instruments, which lets them play in a wider range of musical situations, genres and styles. Examples of "doubling" include double bass and electric bass; acoustic guitar and mandolin; piano and accordion; and saxophone and other woodwind instruments.
Session musicians are used when musical skills are needed on a short-term basis. Typically session musicians are used by recording studios to provide backing tracks for other musicians for recording sessions and live performances; recording music for advertising, film, television, and theatre. In the 2000s, the terms "session musician" and "studio musician" are synonymous, though in past decades, "studio musician" meant a musician associated with a single record company, recording studio or entertainment agency.
During the 1950s and 1960s, session players were usually active in local recording scenes concentrated in places such as Los Angeles, New York City, Nashville, Memphis, Detroit, and Muscle Shoals. Each local scene had its circle of "A-list" session musicians, such as The Nashville A-Team that played on numerous country and rock hits of the era, the two groups of musicians in Memphis, both the Memphis Boys and the musicians who backed Stax/Volt recordings, and the Funk Brothers in Detroit, who played on many Motown recordings.
At the time, multi-tracking equipment, though common, was less elaborate, and instrumental backing tracks were often recorded "hot" with an ensemble playing live in the studio. Musicians had to be available "on call" when producers needed a part to fill a last-minute time slot. In the 1960s, Los Angeles was considered the top recording destination in the United States — consequently studios were constantly booked around the clock, and session time was highly sought after and expensive. Songs had to be recorded quickly in the fewest possible takes. In this environment, Los Angeles producers and record executives had little patience for needless expense or wasted time and depended on the service of reliable standby musicians who could be counted on to record in a variety of styles with minimal practice or takes, and deliver hits on short order.
The instruments in a orchestral score are written from the highest sounding to the lowest sounding instruments in each of the four sections or the orchestra, woodwinds, brass, percussion, and strings. The type of instruments and the number of instruments being used in the score depend on the composers preference and the composition being written. The appearance of the score may also change depending on if the piece was written for concert or film. The example below represents the order of instruments found in a typical orchestral score, however there are many more instruments available to a composer than what’s listed below.
- Alto Flute
- Cor Anglais
- Bass Clarinet
- Alto Sax
- Bass Trombone
- Other Percussion (Triangle, agogo bells, tam-tam glockenspiel, xylophone, vibraphone, tubular bells, tenor drum, bass drum)
- Other Instruments
- Piano & Keyboards
- Choir (SATB)
- Violin 1
- Violin 2
Composing and songwriting are both the process of creating new music. They are essentially the same thing, but composition tends to mean instrumental or classical works, while songwriting is more contemporary music with lyrics.
Composing is, in many ways, the ultimate expression of your musicianship. Depending on how involved your composition is, it can be the most demanding, and rewarding, musical activity you will ever undertake.
The first inspiration for a piece of music can take many forms, and every composer or songwriter has a different technique to get from the inspiration to the completed piece of music.
However, all musical creations share four main aspects of composition which need to be developed along the way. These can be shown in a hierarchy, each supported by the one underneath it.
1. Lyrics - These are the words of the song. Obviously this is missing in instrumental music. Lyrics are usually sung and so require a melody, except in styles such as rap, where the lyrics are spoken.
2. Melody - This is tune, or main theme, of the music, which tells the musical 'story'. While it is often considered the essence of a musical creation, the melody sounds incomplete without harmony behind it.
3. Harmony - This is progression of the chords in the music, which provides the distinctive background for the melody, giving it strength and context. It is a crucial element of any composition.
4. Structure - This is how the sections of a song are arranged around each other. It often involves the repetition of familiar themes in verse and chorus sections to create a consistent but varied dynamic throughout the song.
Finding and developing original musical ideas is a constant challenge, even for advanced musicians and experienced composers.
This tutorial looks at all four aspects of composition shown above, with a particular focus on melody and harmony, and the tools that music theory offers you to make the creative process richer and easier.
Underlying many of these tools is the concept of chord and scale relations, so make sure you have understood the earlier tutorial which covers this concept.
A film score (also sometimes called background score, background music, film soundtrack, film music, or incidental music) is original music written specifically to accompany a film. The score forms part of the film's soundtrack, which also usually includes pre-existing music, dialogue and sound effects, and comprises a number of orchestral, instrumental, or choral pieces called cues, which are timed to begin and end at specific points during the film in order to enhance the dramatic narrative and the emotional impact of the scene in question. Scores are written by one or more composers, under the guidance of, or in collaboration with, the film's director or producer and are then usually performed by an ensemble of musicians – most often comprising an orchestra or band, instrumental soloists, and choir or vocalists – and recorded by a sound engineer.
Film scores encompass an enormous variety of styles of music, depending on the nature of the films they accompany. The majority of scores are orchestral works rooted in Western classical music, but many scores are also influenced by jazz, rock, pop, blues, new-age and ambient music, and a wide range of ethnic and world music styles. Since the 1950s, a growing number of scores have also included electronic elements as part of the score, and many scores written today feature a hybrid of orchestral and electronic instruments.
Since the invention of digital technology and audio sampling, many modern films have been able to rely on digital samples to imitate the sound of live instruments, and many scores are created and performed wholly by the composers themselves, by using sophisticated music composition software.
Songs are usually not considered part of the film's score, although songs do also form part of the film's soundtrack. Although some songs, especially in musicals, are based on thematic ideas from the score (or vice versa), scores usually do not have lyrics, except for when sung by choirs or soloists as part of a cue. Similarly, pop songs which are "needle dropped" into a specific scene in film for added emphasis are not considered part of the score, although occasionally the score's composer will write an original pop song based on their themes, such as James Horner's "My Heart Will Go On" from Titanic, written for Celine Dion.
Multichannel systems refer to the system that incorporate two or more transmission channels or recording process and more then two loudspeakers. These systems are widely used in the cinemas and the home theater. The major issue for these systems is the compatibility between these systems itself for different applications as well as the compatibility between these systems and the regular stereo or mono system. This is the reason why these systems started to be standardized just in the last few years.
The main configuration of the system for home theater is the 5-1 or 3-2 system illustrated in the following drawing. This configuration may be applied with different transmission system or recording process and it is independent of the coding formats.
Commercials Producers create radio advertising in response to client briefs and station promotions for radio stations. This brings together high-level radio production skills with an understanding of the creative potential of radio and audio content to market and sell products and services.
Radio Commercials Producers may manage client briefings, generate and pitch ideas, and write scripts or work with writers. They may cast actors and voiceovers, select music, and organise and run recording sessions. They may also edit and produce finished commercials and other advertising material. They may produce trailers to promote client-sponsored events or competitions, or to build the station brand and promote the station itself.
They need to work closely with colleagues involved in sales and marketing, sponsorship and promotion, as well as programming, to ensure that audience and client expectations are met, and that revenue is maximised.
Although there is no commercial advertising on BBC Radio, local stations or national networks employ Radio Producersor Broadcast Journalists who are responsible for each station's programme trails and promotions. The production of BBC-wide trails and promotions is outsourced.
The role description here covers the role of a Commercials Producer in commercial radio. However, aspects of this role are relevant to community radio staff or volunteers with responsibility for commercials or trails.
Over the next few months we’ll be discussing some of the terms and definitions that go into creating an audio brand. Our hope is that you’ll become a little more educated about audio branding and at the same time we hope to dispel any myths that may be lurking around.
For the first part in the series lets talk about a word that gets thrown around quit frequently, mnemonic.
A mnemonic is tough to pronounced (neh-mah-nick) and even harder to spell. The job of a mnemonic device is to assist in memorizing something. Most of these devices are auditory in nature like acronyms and catchy phrases, however, visual and kinesthetic mnemonics are possible. In some cases like your email chime these devices can train you like a dog.
In audio branding we tend to use audio logos as a mnemonic device. They are short, snappy and typically tied to a visual logo. The other advantage to using an audio logos is that they can be used throughout the brand such as on an on-hold system.
Mnemonic devices are a useful trick in the advertiser’s bag. Give it a try next time you need to remember something.
The Briefing Phase
When you first come across a commercial production your client will most likely have thought about mostly everything in the production. Thus, it is in the Briefing phase where you need to identify the needs of your client. The mood and feeling, the kind of music, the imagery in the video component (if a TV ad), the voice-over actor and the reaction they expect to see from their public. What is the purpose of the commercial? Are we trying to sell a new product or service? Are we trying to divulge a brand or an idea? What is it we are trying to achieve?
Often times they will have already prepared some samples of music that sounds like what they have in their head. These are important reference materials for us as music composers. The client will have many expectations of you and a lot of times it won’t be clear what element in those samples best demonstrates whats best for the production. Collective brainstorming with the client and the reference material proposed is important to understand and identify all the elements that satisfy what the client is thinking. It is also at this time where you should propose any of your own reference materials.
Being briefed properly is essential to getting things right with less revisions (and thus less of your and your clients’ expensive time).
The Research Phase:
After a proper briefing its time to get back the studio and have a careful listen to all the reference material brought up in the Briefing meeting. Use this time to identify all interesting elements in the Reference Material. Are there any rhythmic elements that can drive the mood? Are there interesting melodic patterns we can inspire ourselves on? What elements work with the video (if there is one)? What elements don’t work?
Taking apart the reference material gives us rough building blocks to craft our own piece of music. Don’t forget to consider any sonic branding when there is one. Think about how to integrate it into the song structure and into the mood. Also consider whether it is a strong element or a more discrete one. Sketch out the song structure, determining key, tempo, instrumentation and rhythmic components.
Composing for commercials is largely free-form and genre-free. What drives the mood is the only constraint and experimenting with various ideas before committing to one is a must. Its important to remember that we are working with a constrained timeframe and we will often have tight deadlines. Experiment with various things but remember to keep the foundation simple. Do not clutter the music with too many elements as you will often have other audio elements that will clash with the music. Recording sketches of your idea can save you a lot of time later on.
The Production Phase:
The production phase starts with laying down the basic rhythmic foundation. Because often we will be working with a short time frame, with only 30 seconds or so, our song will often consist of a few repetitions of a short chord progression resolving on the I chord at the end. Thus getting a good, solid loop which works for most of the song is vital as it will be the foundation for setting the mood. Keeping it simple is more often than not the way to go as the base will have to cut through the mix and be heard even after other sonic elements are added (like the voiceover and sound effects).
At key moments we can add flair to draw attention to important information or tension building. "Remember that cool melody line you heard in the reference material? Let’s do something like it when the car we are trying to sell first shows up". Hinting at the a sonic brand melody is a very interesting and subtle way to do this and works well in many situations. Once all punctuating elements are placed have a full listen and see if you missed anything.
Add any ear candy you see fit, being careful not to over produce. When you think you are done mix the song into a more manageable stereo or 5.1 stem and listen to any elements that may clash with the voice over or sound effects. Make any necessary changes and send to the client for a listen.
The Post-Production Phase:
The post production phase consists mainly of conforming to changes and client requests. If you have done your homework right you probably won’t need to do a complete new track. There are bound to be changes however and identifying what the client wants changed is important. Often times a client will listen to the track and find one thing he doesn’t like or that needs more grandeur and will express his or herself as if they didn’t like the track at all. Go with your gut and make the changes you feel are necessary to achieve what you believe is what the client wants. Music is very subjective and small changes can go a long way into pleasing or not your public. Remember that it is not about what you like or dislike, it is about what works or not for the project.
In the end, composing is a very free form art. There are many valid approaches and you should always use what works best for you but following a set process can speed up the process and allow you to meet your deadlines. Marketers can be a tough crowd but pleasing them is often pleasing the end customer as well, and as such being methodical about your creations can go a long way to your success.
Preserve precious audio recordings of voices from the past. Listen to your favorite old records and cassettes again on your CD or MP3 player.
Our top-of-the-line audio hardware and software, plus our in-house audio expertise, enable us to create high quality digital reproductions of your original recordings.
Once we have a digital file, we can improve the original sound quality and restore damaged or degraded audio.
First up, there are 'two sides' of a song that needs to be cleared. The master is one side and the publishing is the other side. If you own or control both sides (this is what the industry refers to as one-stop) of your songs then the clearance process can be quick and easy.
When a music supervisor wants to use your song they will always first send you a REQUEST of USE.
A request means that they have found a place for the track in a show BUT it is not 100% confirmed, meaning it may not go ahead. Things that may stop a placement from getting approval could be; the scene gets cut, the producer has discovered another song they'd like to use, or the show/production gets cancelled.
The initial request will outline the Term, Territory, Media and Fee.
The Term: reflects how long they will license your music for.
The Territory: reflects the location/s in which the license will allow it to be used.
The Media: reflects the media platforms in which the license allows them to use your track.
The Fee: you will normally be provided the fee that they would like to offer for the use of the track - this will cover both the master and publishing side of the song.
The stock standard TV show sync deal for an under-the-radar track is;
TERM – Perpetuity (meaning forever)
TERRITORY – World (all countries)
MEDIA – All forms of Media now known or hereafter devised (Describes any distribution method (now and in the future) or means of transmission for any viewing device such as television media (including free, basic cable, pay, subscription, satellite, pay-per-view, on demand, video-on-demand, subscription- on demand and closed circuit); non- theatrical media (including Common Carriers and public areas); all audio visual devices and products for personal use such as (video discs and other digital video devices.); internet or virtual private network communications streaming, downloading or other wise); networking technologies and storage and retrieval devices)
FEE - will always vary based on the shows budget, the reach of the show and where the song is placed.
The initial request document will also need details on who owns the song.
Knowing who owns the song is the most important factor when clearing a song. If a song has multiple writers, with different splits and different PROS, then you need to have all the correct info ready-to-go to send to the music supervisor. Details on who owns the master are also normally required. All of this information allows them to formulate the final license agreement and the cue sheet, which allows everyone to receive their performance residuals when the placement goes to air. Getting the information right from the start is the key to reducing headaches for everyone involved in the paperwork trail.
The second step is when you receive a CONFIRMATION OF USE.
This is normally a one or two pager that informs you that the song will be used and clarifies all the information you have already provided to them. This is where every detail should be tripled checked especially the writers/publishers details as this information will be on the cue sheet.
The third step is the LICENSE AGREEMENT.
This form will complete the paperwork for the license and covers details of the agreement.
Basically you both agree that:
• They can use a song that you own/control in their production.
• They will pay to use it a certain way, in a certain place for a certain time.
• You will both follow the contract.You can both be held accountable to each other. A court may decide that you, or they, have to pay money as compensation for failing in your promises. E.g. if you don't own the song and they use it, the person who does own the song and the production company may take legal action against you. Or, if the production company uses your song in a way that is outside of the agreement, then you may take action against them to seek compensation.
The final step is GETTING PAID and GETTING A CUE SHEET.
The time it takes to get paid for your upfront license fee depends entirely on the accounting practices of the business that has licensed your song. Just be very mindful that it can take up to 3 - 9 months to get paid from the first air/streaming date.
A cue sheet should be provided by anyone who has licensed your music. The cue sheet acts as a record of use, and a report for PRO's to pay on. If you are not sent a cue sheet always ask for one and then send it to your PRO.
A cue sheet is essentially a tracking report that allows songwriters and publishers to be paid for the broadcast/streaming use of their song. A cue sheet includes details such as the production and episode, writers/publishers details, the airdates, the length it was used, and when it was used. It also outlines how it was used with in the production such as featured, vocal, instrumental, or background use. The production company will always send the cue sheet to the PRO, but you should always request one so you can send it to your own PRO rep, and have on file for your own record.
Sheet music is a handwritten or printed form of music notation that uses modern musical symbols to indicate the pitches (melodies), rhythms or chords of a song or instrumental musical piece. Like its analogs – printed books or pamphlets in English, Arabic or other languages – the medium of sheet music typically is paper (or, in earlier centuries, papyrus or parchment), although the access to musical notation since the 1980s has included the presentation of musical notation on computer screens and the development of scorewriter computer programs that can notate a song or piece electronically, and, in some cases, "play back" the notated music using a synthesizer or virtual instruments.
Use of the term "sheet" is intended to differentiate written or printed forms of music from sound recordings (on vinyl record, cassette, CD), radio or TV broadcasts or recorded live performances, which may capture film or video footage of the performance as well as the audio component. In everyday use, "sheet music" (or simply "music") can refer to the print publication of commercial sheet music in conjunction with the release of a new film, TV show, record album, or other special or popular event which involves music. The first printed sheet music made with a printing press was made in 1473.
Sheet music is the basic form in which Western classical music is notated so that it can be learned and performed by solo singers or instrumentalists or musical ensembles. Many forms of traditional and popular Western music are commonly learned by singers and musicians "by ear", rather than by using sheet music (although in many cases, traditional and pop music may also be available in sheet music form).
The term score is a common alternative (and more generic) term for sheet music, and there are several types of scores, as discussed below. The term score can also refer to theatre music, orchestral music or songs written for a play, musical, opera or ballet, or to music or songs written for a television programme or film; for the last of these, see Film score.
What is Ringtones?
Ringtones are melodic sounds a cellular or cell phone makes when an incoming call or message arrives. Since cellular phones are significantly more sophisticated than landline phones, ringtones can be personalized to suit the owner's personal taste. A variety of ringtones have appealed to consumers, increasing handsets saleability.
Why use Ringtones
There are a number of reasons consumers use distinct ringtones.
1) Distinguish Callers - Advanced feature sets allow for different sounds to signify different callers.
2) Identification - When you are in a meeting and a phone rings you will know if its yours without having to look
3) Fun - Lets face, having a cell phone with personality and character is appealing to general consumers
What is Karaoke
Karaoke is a form of interactive entertainment or video game developed in Japan in which an amateur singer sings along with recorded music (a music video) using a microphone. The music is typically an instrumental version of a well-known popular song. Lyrics are usually displayed on a video screen, along with a moving symbol, changing color, or music video images, to guide the singer. In several Asian countries such as China, Cambodia or the Philippines, a karaoke box is called a KTV. The global karaoke market has been estimated to be worth nearly $10 billion.
The term "karaoke" is also used by recording engineers to refer to an instrumental version of a recording (i.e., to a version of a recording with no vocal track).
The concept creating studio recordings that lack the lead vocal has been around for nearly as long as recording itself. Many artists, amateur and professional, perform in situations where a full band/orchestra is either logistically or financially impractical, so they use a "karaoke" recording; they are, however, the original artists. (This is not to be confused with "lip synching," in which a performer mimes to a previously produced studio recording with the lead vocal intact.)
Even though the availability of audiobooks in a digital form is relatively new when compared to older audio technologies, the origins of audiobooks dates back as far as the 1930s. They were often used as an educational medium and were found in schools and libraries. Before audiobooks were available digitally, talking books, as they were often referred to, were sold in physical form on analog cassette tapes and vinyl records. However, with the invention of the internet, a vast selection of audiobooks are available online from many different sources.
If there was ever an empty slate in the field of video production, it is making a music video.
In the last 25 years, the invigorating art form of making a music video has grown to be one of the most influential and individually stylistic modes of production in the industry. From the first frame to the last, music videos serve as a blank canvas to your mind’s eye, a place to show the world what you can really do when let loose with a camera. But, if you let your creative juices drown your common sense approach to production, your music video masterpiece could wind up a public-access catastrophe.
What is a Music Video production?
Despite all of the artistic freedom involved with making a music video , the end result still has to serve one purpose: promotion. The music video is a promotional tool for the artist. It sometimes serves as a conduit to attention from a label, but more often it is a catalyst for CD sales or artist song downloads. While a hit video can do a lot for you as a director, its primary goal is to serve the music artist.
Licensing For Making a Music Video
No matter how you slice it, there’s a business model lingering behind any sort of marketable art form. When it comes to potential legal quagmires, music is right at the top of the list. That’s why it is so important for you to make sure you are covered before you give the first “action.”
If you’re dealing with a musical group that pays dues to ASCAP (American Society of Composers, Authors & Publishers) or BMI (Broadcast Music, Inc.), you will need to obtain a synchronization license which allows you, as the producer of the video work, to use the copyrighted music in timed relation with a visual image. Even if you are working with a musical act with no formal representation, it is best to keep everything on the level. An informal document agreed upon and signed by both parties that gives you the right to create a work of art based on the piece of music is at least something you can have in your back pocket should the musical act one day rise to the top and you need to retain the rights to showcase your work. For more information on licensing, visit www.bmi.com or www.ascap.com.
ADR (Automated Dialogue Replacement) is a method of superimposing dialogue that has been recorded in a controlled, acoustically treated space. Location dialogue oftentimes becomes problematic when the ambient noise of the environment is too high, the equipment malfunctions, or when the talent is just not projecting over what should be background noise.
Almost every modern Hollywood film has anywhere from 30% to 70% ADR dialogue, so it’s an integral part overall of any film’s success. If executed properly, ADR can even salvage entire scenes.
A Word About ADR Looping
Before we begin, there are a few key elements to ADR that you must strategically plan to set up the recording session correctly. By looping, play back of a repeating loop from the film is fed to the recording talent while simultaneously recording the new dialogue. There are two types of looping: visual looping and audio looping. With visual looping, the actor will listen to the location take several times to get a feel for the delivery before attempting to track the dialogue. When recording however, the talent will not hear the previous location take but will watch the scene to match lip sync. In their headphones/monitors they will hear the line they’re delivering real-time. Visual looping requires a split video feed if the ADR is not recorded in the control room.
Audio looping will typically produce the most desirable results, however it is usually much more time extensive. The session is performed the same way as visual looping, excluding the video monitor and without muting the original dialogue track. Many ADR engineers even use a hybrid of these techniques.
Always break up the looped lines into smaller sections to maintain consistency and sync. For better sync when beginning the line, try recording three beeps exactly one second apart each, with the final one being one second before the first word starts. This provides an audio cue; essentially a metronome, to start the talent in the correct rhythm of the ADR line.
Dubbing, in filmmaking, the process of adding new dialogue or other sounds to the sound track of a motion picture that has already been shot. Dubbing is most familiar to audiences as a means of translating foreign-language films into the audience’s language. When a foreign language is dubbed, the translation of the original dialogue is carefully matched to the lip movements of the actors in the film. Dubbed sound tracks rarely equal the artistic quality of original foreign-language sound tracks, however, and hence subtitles may be preferred by viewers as a means of understanding the dialogue in foreign films.
Dubbing is often employed in the original-language version of a sound track for technical reasons. Filmmakers routinely use it to remedy defects that arise from synchronized filming (in which the actors’ voices are recorded simultaneously with the photography). Synchronously recorded dialogue may be unclear or inaudible in a long-distance shot or because of accidental air traffic overhead, or it may simply be impossible to conceal a microphone close enough to pick up the actors’ voices intelligibly. Dubbing allows the filmmaker to obtain high-quality dialogue regardless of the actual conditions that existed during shooting. Dubbing is also used to add sound effects to the original sound track. It may also be used in musicals to substitute a more pleasing voice for that of an actor who performs a song on camera.
The filmmakers of some countries rely on dubbing to supply the sound track of an entire film, because the technique can be less expensive and troublesome than synchronized filming.
In multimedia, picture dominates over the sound as a rule. Because the modern times require more precise and stringent rules, deadlines for making audio-video projects are, most often, unrealistically short. Design gets more and more attention, while time, concentration and energy usually run out when it comes to creating high-quality sound. Modern technology made tools for creating multimedia projects to get closer to a large number of enthusiasts, but is it enough for creative development? Of course not! It is still in the service of the IDEA.
This is the reason that classifies a highly specialized professionals into integral part of large advertising teams created with only one aim - to make them fathers of GREAT IDEAS, which asks not only for the perfection of the individual segments of the idea (script, image, sound ...), but also for their meaningful interaction. Beside sound design, making of original music for television commercials, vocal recording (acting, signing and official), Simone Production House pays great attention to TV adaptations (synchronization of) existing foreign tv spots.
Our VOICE TALENTS base consists of over 40 different male and female announcers. We work with branded and recognizable commercial readers, as well as lesser-known voices, but also experienced and with quality. We have cooperation with a large number of actors and singers.
So, we can respond to every task in the fastest deadline. Also, we offer the possibility of synchronization to other languages.
(Serbian Vocals, Croatian Vocals, Bosnian Vocals, Montenegro Vocals, Macedonian Vocals, Slovenian Vocals, Hungary Vocals, Germany Vocals, Spanish Vocals, English Vocals, American Vocals, French Vocals, Russian Vocals, Albanian Vocals).
Professional experience in the world of Dramatic Art enables our tv adaptations to have:
- REFINEMENT AND EMOTION IN EXPRESSION
- DICTION WITH QUALITY AND MELODICALLY OF SPEECH
And these are the FOUR MOST IMPORTANT factors that makes a new foreign advertisement' adaptation stands out in a sea of similar.
There are a few misconceptions when it comes to what sound design for film is, so let’s get that out of the way first…
Sound design is not about assembling neat effects, loud gunshots or using a car crash SFX for every bang or crash in your film.
It is not about having the loudest film.
Sound design is a process of experimentation to create an audio environment that supports the on-screen action and engages the audience. The true sound designer is constantly listening, learning and experimenting.
Getting a good mix starts with clean and healthy signals from your sound recordist and boom operator. The dialogue to your film is an essential part of what’s going to translate the pictures to your audience in an emotional direction.
So let’s dive in and explore the principals and techniques of obtaining a good mix for a film:
- Gain staging and Volume
Compact disc manufacturing is the process by which commercial compact discs (CDs) are replicated in mass quantities using a master version created from a source recording. This may be either in audio form (CD-Audio) or data form (CD-ROM). This process is used in the mastering of read-only compact discs; CD-Rs, CD-RWs, and DVDs are made somewhat differently, though the methods are broadly similar.
A CD can be used to store audio, video, and data in various standardized formats defined in the Rainbow Books. CDs are usually manufactured in a class 100 (ISO 5) or better clean room; they can usually be manufactured to quite strict manufacturing tolerances for only a few US cents per disk.
CD mastering differs from burning, as the pits and lands of a mastered CD are moulded into a CD blank, rather than being 'burn marks' in a dye layer (in CD-Rs) or areas with changed physical characteristics (in CD-RWs). In addition, CD burners write data sequentially, while a CD pressing plant 'writes' the entire disk in one physical stamping operation.
Here you can make your choice among wide verity of our services. you may make one or multiple choices. As soon as we get your request, we will get back to you with the rates .Please note that If the audio services you are looking for has not been listed here ,you can still contact us via the email address below for getting more help and information.
info [at] 3fmusic.com