uw6

– Sync
– Monitoring
– Mastering
– Surround (I mean immersive)
– Into the real-world

SYNC

SYNCHRONIZATION

1. SYNCHRONIZATION BASICS
2. MIDI
3. OPEN DISCUSSION

A. BASIC SYNCHRONIZATION TECHNIQUES

1. synchronization
a. basics

– read sync paragraph (p. 371)
– multiple-machine operation

b. time code
– SMPTE/EBU time code basics
– what is a TC “address” (p. 372)
o encoded onto magnetic tape (bi-phase)
o 00:00:00:00 (MIDNIGHT!!!)
– Frame Standards (p. 374)
o 30 fr/s b&w (non-drop frame)
o 25 fr/s EBU (Europe)
o 29.97 fr/s color (drop frame)
o 24 fr/sec film
– LTC
o can be read at fast, play and slow speeds
o video (window dub)
– VITC
– can be read at extremely slow and stop-frame speeds, due to rotary head video design

c. the time code synchronizer
– MASTER/SLAVE architecture
o Who’s the master? (page 386)
o audio/audio & audio/video synchronization

d. digital video’s need for precise timing
– House sync (black burst)

e. MTC (MIDI time code)
– synchronous MIDI/SMPTE operation
– enables time code to be distributed thoughout the MIDI chain
– 1/4 frame & other messages

f. Broadcast Wave (imbeds timecode within the soundfile stream)

g. MIDI timing clock
– very important to electronic musicians
– internal/external clock

h. Digital Audio Sync
– Not a time code structure at all … (digital’s need for exact relative timing)
– Digital word sync (non-TC sync) is often imbeded within word
– embedded structure allows simple timing sync between digital devices when copying

i. Word Clock (a different animal)
o Need for a precise clock lock
o clicks and pops

WORKING WITH A DAW

– Documentation
o Pictures
o Screenshots (especially good for instrument plugin settings)
– Backup (on/offsite)
– Using colors as a guide
– Using grouped tracks (stems)
– Always save your MIDI tracks
–

MASTERING

*** talk more about mastering ***

– Professional mastering engineer
o Preparation for the process (important)
 Whose work do you respect? (desert island records)
 Contact them and (if possible) get to know them a bit
 What do they need from you? (file preparation)
 Be present, not be there, skype or on-line (file transfer)

o Delivery (highest rate, -20 or so dB, no gain processing)
o Stems?
o The Gain Game (dynamics vs. volume)
o Automated vs. manual gain control
o What sound does the artist want vs. the mastering engineer’s experience
o Timing (up to the artist/producer)
o Carefully-designed and tuned environment
o Points of reference (the pro knows their room, professional detachment)

– Doing it yourself
o The hard edge of being too-close (points of reference, difficulties with detachment)
o Preparation and allow extra time
o EQ
o Dynamics
o Mastering plug-ins (one click does all?)
o All-in-the-session vs. the 2-step process
 EQ (master out)
 Dynamics (master out)
 Song timings (intro/outro included in track)
• Advantages to in-session mastering
o Total recall for changes

*** talk about backup strategies ***
– Share thoughts around the room

SPEAKERS

– When you and your ears “know enough” to make the call … spend your $$$ or wise-choices power here ($3k guitar or killer speakers)
– Symmetry in studio design
– LEDE studio design (a possible approach … meaning reducing reflections behind the speakers)
– American vs. British speaker design
– Alt speaker sets (2nd pair, portable “Bose”, earbuds, laptop … yes, laptop speakers)
– Monitor levels (monitoring at low levels)

SURROUND

– Speakers and speaker setup

MANUFACTURE

– Manufacture? What medium? (Digital Download, streaming)
– Youtube (free marketing)
– www.distrokid.com (all of the major dist. outlets for 19.95, unlimited tracks)
– https://davidmileshuber.bandcamp.com/music (commision, hi-def flac)
– www.cdbaby.com

RIGHTS AND RIGHTS ORGANIZATIONS

– What does the US and North Korea have in common?
– Buma Sembra (Amsterdam)
– Ascap/BMI

General thoughts

– motivation
– networking
– cost-effective mindset
– Don’t mortgage your house – DIY
– There are so many types of jobs out there … if it isn’t there, create it
– VOTE !!!