We have had a lot of exciting projects lately here at the K&R fortress. I will detail just a few to keep you informed on all we can accomplish for you!
Spanish Lip Sync— K&R All Media is completing a medical project for HHA Services, St Clair Shores and Dr. May VA Productions that involved translating the audio of several training videos into Spanish. Project included coordinating the script with the film and making sure all tracks matched up perfectly.
Video Shoot—K&R All Media recently completed three videos that will be used for website advertising for three different companies. They were complicated shoots involving multiple background changes and reshoots to make it all work.
Audio/Video Forensic Seminars—K&R Forensic will be presenting three Forensic seminars in Anchorage, Alaska during the week of November 2-7, 2010. The programs are approved for CLE credits and each program has been tailored specifically to the group we will be meeting with based on questions and concerns they currently deal with. Currently, we are scheduled to meet with the Office of Public Advocacy, Alaska Association for Justice and Alaska Public Defenders.
Electric Network Frequency (ENF) —This is an exciting new way to time/date stamp digital recordings that is being widely used in Europe. Currently, K&R Forensic is the only company in the U.S. actively using this technology in their analysis. ENF allows the analyst to match the electric "hum" on the recording to the "hum" recorded by the electric company for that same time period. It is used for authentication of digital audio and video recordings.
Kiosk Signage in Schools—We've completed sales agreements with two schools for DigiSign kiosks. The schools already have the kiosk design prepared and have also requested a 5-year subscription for content services. This is an exciting method of delivering digital media to the students and keeping them apprised of the latest events, schedule changes and upcoming activities within the school system.
Thursday, October 28, 2010
Friday, October 1, 2010
Audio/Video Forensics: Hollywood Revealed
It is truly fascinating how all of my businesses inter-relate and work together. An Audio/Video expert as relates to recording arts, I am also qualified as an Audio/Video Forensic Analyst and expert witness.
With my extensive recording and videography experience I have a unique perspective on how events come together. This in turn gives me a better understanding when interpreting the video and audio forensic projects I work on.
In November, I will be going to Anchorage, Alaska to present a seminar on the military base. I will also be presenting a lecture to the local law organizations, “Audio/Video Forensics: Hollywood Revealed”.
With this lecture, I will explain and show many examples of how perspective can alter the truth in video and audio recordings. I will show how, with the proper understanding and complete scope of reality, cases can be turned around.
We all know that no matter how trustworthy a witness, much of their understanding of the event in question relies on their interpretation. If you have ten different witnesses, you will get ten different stories. This is because, while each witness saw the exact same event, they each interpreted it based on their own personal experiences.
When analyzing forensic video and audio evidence, you have to suspend personal experience and rely solely on technical experience and facts. What you know to be true, based on what you actually see or hear on the recording. If segments of a recording are missing, that can change the whole interpretation. An experienced analyst can tell when a segment has been deleted. Sometimes, with an original recording this deleted information can be retrieved, thus giving the opportunity for a full, accurate analysis.
In some instances, perspective plays a huge part of analysis accuracy. Example: When Hollywood tapes a building blowing up, and the scene shows the building exploding in your face… do you really think they have the camera that close? Of course not. In such a case, the camera is a safe distance away with a special lens to pull the building and action in close. But in doing so, there are clues that the experienced analyst recognizes that tells them immediately how this shot was produced. This same experience is used when analyzing video evidence.
I look forward to educating these law enforcement individuals about the variety of ways that information can be interpreted and how I use technology and my audio/video background to dig down to the indisputable truth of the event.
With this knowledge I know that they will come away with a better understanding and respect for the valuable work done by forensic analysts and how it can help them to better present their cases.
With my extensive recording and videography experience I have a unique perspective on how events come together. This in turn gives me a better understanding when interpreting the video and audio forensic projects I work on.
In November, I will be going to Anchorage, Alaska to present a seminar on the military base. I will also be presenting a lecture to the local law organizations, “Audio/Video Forensics: Hollywood Revealed”.
With this lecture, I will explain and show many examples of how perspective can alter the truth in video and audio recordings. I will show how, with the proper understanding and complete scope of reality, cases can be turned around.
We all know that no matter how trustworthy a witness, much of their understanding of the event in question relies on their interpretation. If you have ten different witnesses, you will get ten different stories. This is because, while each witness saw the exact same event, they each interpreted it based on their own personal experiences.
When analyzing forensic video and audio evidence, you have to suspend personal experience and rely solely on technical experience and facts. What you know to be true, based on what you actually see or hear on the recording. If segments of a recording are missing, that can change the whole interpretation. An experienced analyst can tell when a segment has been deleted. Sometimes, with an original recording this deleted information can be retrieved, thus giving the opportunity for a full, accurate analysis.
In some instances, perspective plays a huge part of analysis accuracy. Example: When Hollywood tapes a building blowing up, and the scene shows the building exploding in your face… do you really think they have the camera that close? Of course not. In such a case, the camera is a safe distance away with a special lens to pull the building and action in close. But in doing so, there are clues that the experienced analyst recognizes that tells them immediately how this shot was produced. This same experience is used when analyzing video evidence.
I look forward to educating these law enforcement individuals about the variety of ways that information can be interpreted and how I use technology and my audio/video background to dig down to the indisputable truth of the event.
With this knowledge I know that they will come away with a better understanding and respect for the valuable work done by forensic analysts and how it can help them to better present their cases.
Friday, September 10, 2010
K&R All Media Equipment Sale!
Cleaning out items we no longer need... You can reap the benefits!
VTR10A Audio Video Transmitter – The VTR10A is a 1 watt unit that transmits audio and video on VHF frequencies Ch20 through 30. Don't throw out that old TV. It was designed to drive the 10 watt amp LA 10B and beam antenna together producing a range of 15 miles. This coupled with a diversity receiver from Sony made it virtually drop out proof even with obstructions. This unit and amp have been discontinued accept for export only.
MDSE-11 Mini Disc Recorder – MAKE OFFER
WJ-MX50/30 & EDEROL Tally Upgrade – It is a small logic circuit that’s installed inside the mixer. It in no way changes the functions of the mixer and leaves the RS422 port free for use with a controller. The circuit senses the selected video input sent to the mix buss and provides a corresponding contact closure. Contacts are rated up to 1 amp and can be used for a LED “bulb n battery” signal system as well. It takes two days for install and testing. It costs $250.00US Shipping your unit not included. The toll free number is 888-802-0420 and I will be happy to answer any questions you may have and or schedule an install. If you have experience in electrical engineering and service, we are looking for franchised installers world wide. Exports welcome. We now have an install kit for the electrical minded person.
Mackie D8B and HR824 Digidesign D-control & 003 Stuck Fader Replacement – Please call us. Mix boards like the Mackie D8B are still very popular but have a fader stick problem that is totally annoying. The old procedure was to send the entire mixer in for repairs. A costly pain in the BIG BOX ass. You do not need to do this. We have an instructional DVD to show you what we need from you so we can replace them at a majorly reduced price. Costs are $50 each and for 8 is discounted to $370. And the turn time is one business day. Not weeks without your mixer. FYI: If you plan on purchasing a used D8B check for "stickers" and wisely negotiate a better selling price. Also check for boot up software version and CPU speed. We can up those too. For the fixes and free DVD call toll free 1-888-802-0420
Duncan Fader Repairs or Replacement For Audio Mixers – Please call us. Many mix consoles like vintage Neotek Model 2 and Elite used the Duncan 10k log taper 114mm glide fader. If you want new ones we have them at $100 each. A bargain because they are out of production. However we have perfected a repair process that may work on your old fader. The cost is $45 per fader which is less than half the cost of a new one. Call us toll free 888-802-0420 and we will explain what we need to make this work.
Morley Volume Pedal – Only used once. Mint condition. Make offer!
B&W TV Monitor WV-BM500U – Mint condition. Make offer!
CA327 and aVA90 Camera adapter – Never used! Mint condition. Make offer!
4-line, 4 FS800 phone system – This is an office phone system that is so simple to connect that it should be on the cover of "DUH" magazine. All you need are four lines with RJ45 jacks that the phone company of your choice will provide. It has 4 FS800 phones and lots of wire included. It was used in a small office and would work well at home as well. It has some cosmetic wear but is fully functional and an original. You can easily find additional cards to make it have "on hold music" and up to 16 more phones.
Make an offer on any item... we need it gone! Follow the link for images and details on all items listed: http://www.knr.net/vtr10a.htm
VTR10A Audio Video Transmitter – The VTR10A is a 1 watt unit that transmits audio and video on VHF frequencies Ch20 through 30. Don't throw out that old TV. It was designed to drive the 10 watt amp LA 10B and beam antenna together producing a range of 15 miles. This coupled with a diversity receiver from Sony made it virtually drop out proof even with obstructions. This unit and amp have been discontinued accept for export only.
MDSE-11 Mini Disc Recorder – MAKE OFFER
WJ-MX50/30 & EDEROL Tally Upgrade – It is a small logic circuit that’s installed inside the mixer. It in no way changes the functions of the mixer and leaves the RS422 port free for use with a controller. The circuit senses the selected video input sent to the mix buss and provides a corresponding contact closure. Contacts are rated up to 1 amp and can be used for a LED “bulb n battery” signal system as well. It takes two days for install and testing. It costs $250.00US Shipping your unit not included. The toll free number is 888-802-0420 and I will be happy to answer any questions you may have and or schedule an install. If you have experience in electrical engineering and service, we are looking for franchised installers world wide. Exports welcome. We now have an install kit for the electrical minded person.
Mackie D8B and HR824 Digidesign D-control & 003 Stuck Fader Replacement – Please call us. Mix boards like the Mackie D8B are still very popular but have a fader stick problem that is totally annoying. The old procedure was to send the entire mixer in for repairs. A costly pain in the BIG BOX ass. You do not need to do this. We have an instructional DVD to show you what we need from you so we can replace them at a majorly reduced price. Costs are $50 each and for 8 is discounted to $370. And the turn time is one business day. Not weeks without your mixer. FYI: If you plan on purchasing a used D8B check for "stickers" and wisely negotiate a better selling price. Also check for boot up software version and CPU speed. We can up those too. For the fixes and free DVD call toll free 1-888-802-0420
Duncan Fader Repairs or Replacement For Audio Mixers – Please call us. Many mix consoles like vintage Neotek Model 2 and Elite used the Duncan 10k log taper 114mm glide fader. If you want new ones we have them at $100 each. A bargain because they are out of production. However we have perfected a repair process that may work on your old fader. The cost is $45 per fader which is less than half the cost of a new one. Call us toll free 888-802-0420 and we will explain what we need to make this work.
Morley Volume Pedal – Only used once. Mint condition. Make offer!
B&W TV Monitor WV-BM500U – Mint condition. Make offer!
CA327 and aVA90 Camera adapter – Never used! Mint condition. Make offer!
4-line, 4 FS800 phone system – This is an office phone system that is so simple to connect that it should be on the cover of "DUH" magazine. All you need are four lines with RJ45 jacks that the phone company of your choice will provide. It has 4 FS800 phones and lots of wire included. It was used in a small office and would work well at home as well. It has some cosmetic wear but is fully functional and an original. You can easily find additional cards to make it have "on hold music" and up to 16 more phones.
Make an offer on any item... we need it gone! Follow the link for images and details on all items listed: http://www.knr.net/vtr10a.htm
Friday, August 20, 2010
OPEN HOUSE for Michigan Recording Arts Institute
Michigan Recording Arts Institute and Technologies will be holding an OPEN HOUSE! Visit us at our studio and see where we make music happen. August 25, 2010 from 5:00 pm – 8:00 pm. Bring a friend! RSVP required.
Below is a list of fall classes with a brief description.
Audio Recording Techniques 1
Once taught at Oakland University now designed for private personal instructions. This course will familiarize you with studio terminology and the most standard forms of sound recording. It is your first step towards training for a position in sound related fields. It will help you in directing musical personnel for better sounding recordings, provide good training for related fields such as radio, video, sound recording, Foley, forensic audio and also improve your own sound reproducing for stage, video and home recording. In part one the emphasis is on the artistic aspects of recording techniques and equipment operations where you will discover the theories behind quality workmanship and the tools we use.
Audio Recording Techniques 2
A continuation of Audio Recording Techniques 1, this instruction set will continue to improve recording skills by applying techniques the student learned in Recording Techniques #1. In addition more emphasis will be placed on the technical aspects of analog and digital recording techniques. This will round out the understanding of how equipment works and how to maintain it. Also testing and reading of test meters and calibrations will be explored. Some mathematics is required and a simple pocket calculator and small volt meter will help. Additional topics are acoustics and studio designs. This course will make the student more in demand because the understanding gained will allow for an entry position with more responsibility.
Class Requirements: 1.) Passing Basic Recording Techniques #1 or passing our final exam if you can show proof of graduating from a similar basic recording techniques class taken elsewhere; 2.) A high school level algebra and basic science class; 3.) Basic electronics will be an added bonus.
Building a Computer Home Studio
This is a seminar on building your own IBM clone computer for recording audio and possibly video. We dispel myths and mysteries about the terminology and how parts work. We investigate your needs, then show you how to build a system to satisfy those needs. Students will be required to purchase a set of tools and the computer parts they need to finish assemblage. Some of the software we have will be free for use during the training. This will build a good foundation for understanding what goes on inside your computer so that you can grow your system to accommodate future upgrades and expansions
Video Production & Recording Techniques
Video recording techniques up till now has been a closely guarded secret. It's a mystery to most. Most new producers know what they want to accomplish, just not how to accomplish it. This class will introduce the student to the systems and how they work. Reading vector scopes, color corrections, wiring, interfacing, synchronous audio, production procedures, and much more will be touched on so that you will better understand terminology and what constitutes a correct picture.
Digital Recording & Computer Software (Foley)
This seminar is design to better understand how sound plays such an important roll in creating impact at crucial points within the productions. Most often this part of the production is left to the serious engineer only. You get one chance to get it right. You will see how to capture live sound as it is going down and then how it gets matched to the film for a final mix.
Forensic Audio/Video Techniques
The world of forensic audio video techniques is the pinnacle of accomplishments for any true audio video engineer. It is a culmination of all past experiences and involves a scientific analytical approach to audio and video. On the advent of digital miniaturization, more people are using recording devices for covert documentation of key events. This class is an introductory overview and will familiarize you with procedural court accepted analysis, enhancement techniques and conclusion summary techniques for CYA. Everything from "Chain of Custody" to voice gramming will be touched on. This will help you in directing and requesting techniques and procedures, maybe even do them yourself, while maintaining confidence in presenting your results.
Mastering/Correcting Mistakes
This is a seminar on digital mastering with Sound Forge and Wave Lab. Students learn the tools and processes of Digital Mastering and Editing. Normalize, Eq, Fade / in & out, Volume, Stereo Expand, Reverse, Pitch, Cut, Paste, Dynamics, Noise Gate, Magneto, Reverse, Smooth & Enhance.
Pro Tools Introduction
This seminar is designed to show you the techniques used by the experts who have worked in the big studios. It will help you in running your home studio in a professional manner by giving you the confidence to whiz through the most complex of challenges. Everything from audio and MIDI connections to synchronous setups and shortcuts will be shown. Digi 02 rack is the model we work with but the console and 01 will not be left out. The money you will save in the hardware we recommend will more than pay for this seminar.
Please visit us at www.mirecordingarts.com for schedule and registration details.
Below is a list of fall classes with a brief description.
Audio Recording Techniques 1
Once taught at Oakland University now designed for private personal instructions. This course will familiarize you with studio terminology and the most standard forms of sound recording. It is your first step towards training for a position in sound related fields. It will help you in directing musical personnel for better sounding recordings, provide good training for related fields such as radio, video, sound recording, Foley, forensic audio and also improve your own sound reproducing for stage, video and home recording. In part one the emphasis is on the artistic aspects of recording techniques and equipment operations where you will discover the theories behind quality workmanship and the tools we use.
Audio Recording Techniques 2
A continuation of Audio Recording Techniques 1, this instruction set will continue to improve recording skills by applying techniques the student learned in Recording Techniques #1. In addition more emphasis will be placed on the technical aspects of analog and digital recording techniques. This will round out the understanding of how equipment works and how to maintain it. Also testing and reading of test meters and calibrations will be explored. Some mathematics is required and a simple pocket calculator and small volt meter will help. Additional topics are acoustics and studio designs. This course will make the student more in demand because the understanding gained will allow for an entry position with more responsibility.
Class Requirements: 1.) Passing Basic Recording Techniques #1 or passing our final exam if you can show proof of graduating from a similar basic recording techniques class taken elsewhere; 2.) A high school level algebra and basic science class; 3.) Basic electronics will be an added bonus.
Building a Computer Home Studio
This is a seminar on building your own IBM clone computer for recording audio and possibly video. We dispel myths and mysteries about the terminology and how parts work. We investigate your needs, then show you how to build a system to satisfy those needs. Students will be required to purchase a set of tools and the computer parts they need to finish assemblage. Some of the software we have will be free for use during the training. This will build a good foundation for understanding what goes on inside your computer so that you can grow your system to accommodate future upgrades and expansions
Video Production & Recording Techniques
Video recording techniques up till now has been a closely guarded secret. It's a mystery to most. Most new producers know what they want to accomplish, just not how to accomplish it. This class will introduce the student to the systems and how they work. Reading vector scopes, color corrections, wiring, interfacing, synchronous audio, production procedures, and much more will be touched on so that you will better understand terminology and what constitutes a correct picture.
Digital Recording & Computer Software (Foley)
This seminar is design to better understand how sound plays such an important roll in creating impact at crucial points within the productions. Most often this part of the production is left to the serious engineer only. You get one chance to get it right. You will see how to capture live sound as it is going down and then how it gets matched to the film for a final mix.
Forensic Audio/Video Techniques
The world of forensic audio video techniques is the pinnacle of accomplishments for any true audio video engineer. It is a culmination of all past experiences and involves a scientific analytical approach to audio and video. On the advent of digital miniaturization, more people are using recording devices for covert documentation of key events. This class is an introductory overview and will familiarize you with procedural court accepted analysis, enhancement techniques and conclusion summary techniques for CYA. Everything from "Chain of Custody" to voice gramming will be touched on. This will help you in directing and requesting techniques and procedures, maybe even do them yourself, while maintaining confidence in presenting your results.
Mastering/Correcting Mistakes
This is a seminar on digital mastering with Sound Forge and Wave Lab. Students learn the tools and processes of Digital Mastering and Editing. Normalize, Eq, Fade / in & out, Volume, Stereo Expand, Reverse, Pitch, Cut, Paste, Dynamics, Noise Gate, Magneto, Reverse, Smooth & Enhance.
Pro Tools Introduction
This seminar is designed to show you the techniques used by the experts who have worked in the big studios. It will help you in running your home studio in a professional manner by giving you the confidence to whiz through the most complex of challenges. Everything from audio and MIDI connections to synchronous setups and shortcuts will be shown. Digi 02 rack is the model we work with but the console and 01 will not be left out. The money you will save in the hardware we recommend will more than pay for this seminar.
Please visit us at www.mirecordingarts.com for schedule and registration details.
Friday, May 14, 2010
Not So Fast There, Bubba!
No values without a bit of history…
Back in the early days of broadcast, both 10.0 and 12.5 mW into a 500 ohm line were used as common reference levels that indicated 0VU. In May of 1939, we adopted the current standard of 1mW into a 600 ohm line.
Now you would think that this was driven by the recording industry.
NO No no! It was driven by the telephone company’s standard of limiting the signal level of transmission for a minimum of crosstalk and still provide a satisfactory signal to noise ratio in copper phone lines.
It just so happens that the audio industry then adapted that standard and it has been with us in the recording world ever since.
So our first standard reference level for analog gear is 1mW into a 600 ohm line and is denoted as a dBm. Or more completely as 0VU dBm.
Now I ask you, is your meter set to read dBm?
Next week we will talk about the dBv and others.
Back in the early days of broadcast, both 10.0 and 12.5 mW into a 500 ohm line were used as common reference levels that indicated 0VU. In May of 1939, we adopted the current standard of 1mW into a 600 ohm line.
Now you would think that this was driven by the recording industry.
NO No no! It was driven by the telephone company’s standard of limiting the signal level of transmission for a minimum of crosstalk and still provide a satisfactory signal to noise ratio in copper phone lines.
It just so happens that the audio industry then adapted that standard and it has been with us in the recording world ever since.
So our first standard reference level for analog gear is 1mW into a 600 ohm line and is denoted as a dBm. Or more completely as 0VU dBm.
Now I ask you, is your meter set to read dBm?
Next week we will talk about the dBv and others.
Friday, May 7, 2010
Oh That Stupid Audio Engineer
More and more lately, I find myself wanting to discover the true engineer in audio recording. Instead, all I seem to find are knob jockeys. These are people who are into the Hollywood version of the art of engineering. True engineering involves so much more!
Did you know that the word “engineer”, as described by Webster, is “a person who manages a project”? Engineering is the act of managing a project. Based on this definition, I would say that management of a project, which can determine if it is huge success or failure, is a pretty important position.
This being the case, wouldn’t it behoove you to pick a person truly qualified to manage your recording project? With this challenge in mind, I have come up with some questions that will help you determine if you have a qualified “true engineer”.
Ask your prospective engineer what that zero on the VU meter means. I can promise you, you will get all kinds of answers as your prospect scrambles for the right words. You can even give them a hint. It is a one word answer. How can they go wrong? But I bet you will not get that simple, one word answer from them.
So what IS the answer?
Ok… enough of the suspense… Drum roll please!
Ratio! The zero on the VU meter is a ratio of some predefined value and the ratio is equal to that value set. How simple can that be? Your true engineer would not hesitate over this answer and would easily be able to expand upon it… if he is a true engineer.
Now my next question… what is that value? In my next blog I will explain the importance of this understanding and also give some more questions you might want to include in you quest for that professional, the “True Engineer”.
Did you know that the word “engineer”, as described by Webster, is “a person who manages a project”? Engineering is the act of managing a project. Based on this definition, I would say that management of a project, which can determine if it is huge success or failure, is a pretty important position.
This being the case, wouldn’t it behoove you to pick a person truly qualified to manage your recording project? With this challenge in mind, I have come up with some questions that will help you determine if you have a qualified “true engineer”.
Ask your prospective engineer what that zero on the VU meter means. I can promise you, you will get all kinds of answers as your prospect scrambles for the right words. You can even give them a hint. It is a one word answer. How can they go wrong? But I bet you will not get that simple, one word answer from them.
So what IS the answer?
Ok… enough of the suspense… Drum roll please!
Ratio! The zero on the VU meter is a ratio of some predefined value and the ratio is equal to that value set. How simple can that be? Your true engineer would not hesitate over this answer and would easily be able to expand upon it… if he is a true engineer.
Now my next question… what is that value? In my next blog I will explain the importance of this understanding and also give some more questions you might want to include in you quest for that professional, the “True Engineer”.
Thursday, April 29, 2010
Mastering Your Songs
You’ve poured your heart and soul into your music.
It deserves that huge sound you’ve been dreaming about. The mastering engineers at K&R All Media Productions can give your music the soaring highs and booming lows it needs to compete against the multitude of other releases out there.
Every major label release is mastered to prepare it for radio play and retail sale. The reason? In the studio you record one song at a time, resulting in songs that all peak at different levels and have different EQs. A CD mastering engineer can unify your album with skillful use of EQ, gain and compression to give it a consistent sound from track to track. This process also allows the engineer to pump up the volume of your overall album so it’s as hot as can be and sounds unbelievable.
With mastering from the K&R All Media you can get the professional sound you want at a fraction of the cost. You’ll get the same exact treatment that perfectionists such as Eminem, The Roots and Jason Newsted of Metallica fame have received from us. All for as low as $99 a song.
A fresh pair of ears can be the difference between a good-sounding CD and a great one. A real advantage of post production is that an unbiased sound professional has the opportunity to evaluate your master and determine how to get the most out of your production. After you’ve spent weeks or even months in a recording studio listening to your CD over and over again, a fresh pair of ears can put the project into perspective for you and let you know whether or not your CD will benefit from post production. After all, you only have on chance to make your music sound its best. The choice is up to you.
The mastering engineer, to improve your recording, can:
• Raise the overall level.
• Even out the song levels and EQ individual tracks for cohesion.
• Correct minor mix deficiencies with equalization.
• Enhance flow by changing the space between tracks.
• Eliminate noises between tracks.
Free Preview!
We’re so confident that mastering can make a huge difference in the majority of recordings, that we are offering a FREE Mastering review – upon request – when you place a new CD replication order. As part of our mission to make your CD project a success, a K&R engineer will preview your master to determine whether or not your CD would benefit from post production. Call us and we’ll give you our honest opinion with no sales pitch.
It deserves that huge sound you’ve been dreaming about. The mastering engineers at K&R All Media Productions can give your music the soaring highs and booming lows it needs to compete against the multitude of other releases out there.
Every major label release is mastered to prepare it for radio play and retail sale. The reason? In the studio you record one song at a time, resulting in songs that all peak at different levels and have different EQs. A CD mastering engineer can unify your album with skillful use of EQ, gain and compression to give it a consistent sound from track to track. This process also allows the engineer to pump up the volume of your overall album so it’s as hot as can be and sounds unbelievable.
With mastering from the K&R All Media you can get the professional sound you want at a fraction of the cost. You’ll get the same exact treatment that perfectionists such as Eminem, The Roots and Jason Newsted of Metallica fame have received from us. All for as low as $99 a song.
A fresh pair of ears can be the difference between a good-sounding CD and a great one. A real advantage of post production is that an unbiased sound professional has the opportunity to evaluate your master and determine how to get the most out of your production. After you’ve spent weeks or even months in a recording studio listening to your CD over and over again, a fresh pair of ears can put the project into perspective for you and let you know whether or not your CD will benefit from post production. After all, you only have on chance to make your music sound its best. The choice is up to you.
The mastering engineer, to improve your recording, can:
• Raise the overall level.
• Even out the song levels and EQ individual tracks for cohesion.
• Correct minor mix deficiencies with equalization.
• Enhance flow by changing the space between tracks.
• Eliminate noises between tracks.
Free Preview!
We’re so confident that mastering can make a huge difference in the majority of recordings, that we are offering a FREE Mastering review – upon request – when you place a new CD replication order. As part of our mission to make your CD project a success, a K&R engineer will preview your master to determine whether or not your CD would benefit from post production. Call us and we’ll give you our honest opinion with no sales pitch.
Friday, April 23, 2010
Your Ear's Perception of Direction
The fact is one ear cannot discern the direction from which a sound comes. Two ears are required to get the job done. The ability of two ears to localize sound sources in space is called binaural effect, and is the result of the use of three cues received by the ear: interaural arrival time differences, interaural intensity differences and the pinnae.
-Interaural arrival time differences refer to the path the sound takes to get to each ear. You hear a twig break to the right of you. Naturally, your right ear is going to hear that sooner than the left since the path for that sound is shorter. Your left ear does not hear the twig snap until after that sound has traveled the additional distance to that ear.
-Interaural intensity differences follow the same principle, but refers instead to the intensity or volume of the sound. Using the same twig example, your right ear has no obstruction between it and the sound. It is a clear path. Your left ear, on the other hand, hears a lesser sound level that was created by the acoustic shadow of your head.
-The pinnae utilize two ridges in your outer ear to help the brain determine the exact direction which the sound came from. The timing between the sound hitting the first ridge and the second, clarifies exactly where the sound is coming from.
These three cues, integrated together, tell you where sound is coming from.
Why does this matter to you, the recording artist? Understanding these basic concepts about how the ear works can make the difference between a successful, money-making album and a bomb. We all want to produce the best product possible. Choosing a professional studio with an audio engineer who understands and works with these sound concepts will make your recording the best it can possibly be.
Later we will talk about how you do this in a studio.
-Interaural arrival time differences refer to the path the sound takes to get to each ear. You hear a twig break to the right of you. Naturally, your right ear is going to hear that sooner than the left since the path for that sound is shorter. Your left ear does not hear the twig snap until after that sound has traveled the additional distance to that ear.
-Interaural intensity differences follow the same principle, but refers instead to the intensity or volume of the sound. Using the same twig example, your right ear has no obstruction between it and the sound. It is a clear path. Your left ear, on the other hand, hears a lesser sound level that was created by the acoustic shadow of your head.
-The pinnae utilize two ridges in your outer ear to help the brain determine the exact direction which the sound came from. The timing between the sound hitting the first ridge and the second, clarifies exactly where the sound is coming from.
These three cues, integrated together, tell you where sound is coming from.
Why does this matter to you, the recording artist? Understanding these basic concepts about how the ear works can make the difference between a successful, money-making album and a bomb. We all want to produce the best product possible. Choosing a professional studio with an audio engineer who understands and works with these sound concepts will make your recording the best it can possibly be.
Later we will talk about how you do this in a studio.
Tips to Prepare for Recording Session
You are ready to bring your talent to a professional studio. Before you do, the following tips will go a long way to making your hard work sound the best it possibly can.
-Record your songs played live, whether at a rehearsal or live gig. A simple cassette recording may help reveal weak parts of a song.
-It sounds basic, but be sure to have all of your musical and vocal parts worked out ahead of time.
-If using sequenced material, have it all ready before the session.
-For those using a click track, be sure your drummer is comfortable playing ot it.
-Plan and rehearse more songs than you plan to record. Some songs just do not sound as strong on tape as they do live. Example: if you are planning a four-song EP, prepare six songs, just to be on the safe side.
Remember, the studio can do a lot to perfect your sound, but they need quality components to start with. That is up to you, your talent and your preparation.
NOTE: For a comprehensive list of recording session preparation tips, see this article: http://www.knr.net/rectips.htm
-Record your songs played live, whether at a rehearsal or live gig. A simple cassette recording may help reveal weak parts of a song.
-It sounds basic, but be sure to have all of your musical and vocal parts worked out ahead of time.
-If using sequenced material, have it all ready before the session.
-For those using a click track, be sure your drummer is comfortable playing ot it.
-Plan and rehearse more songs than you plan to record. Some songs just do not sound as strong on tape as they do live. Example: if you are planning a four-song EP, prepare six songs, just to be on the safe side.
Remember, the studio can do a lot to perfect your sound, but they need quality components to start with. That is up to you, your talent and your preparation.
NOTE: For a comprehensive list of recording session preparation tips, see this article: http://www.knr.net/rectips.htm
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