[DE] Wieder einmal hatte ich die Gelegenheit mit dem super Team von Old Continent an einem Video für Ihren Client Birdlife International zu arbeiten. Für die kurze Doku war Sound’r Film & Ton für die komplette Audio-Postproduktion zuständig. Das Resultat könnt Ihr euch unten anschauen bzw. -hören.
[EN] The amazing folks over at Old Continent produced this short docu for their client Birdlife International. Sound’r was hired to do the full audio post which included dialogue editing and restoration, sound design and final mix. The results of which you can see and hear for yourself below.
[DE] Blue Silver ist eine Animations-Schmiede spezialisiert auf 2D und 3D für welche ich schon eine Vielzahl an Clips vertonen durfte. Für den folgenden Clip in der Wiegand.Waterrides ihren neuen Slide Coaster vorstellt, lieferte Sound’r die komplette Audio-Postproduktion inkl. Sound Design, Musik Editing und Mix.
[EN] Blue Silver is an animation studio specialized in 2D and 3D with whom I’ve already worked on quite a few videos. For Wiegand.Waterrides, this video was produced to show off their new Slide Coaster. Sound’r created the complete audio soundtrack including sound design, music editing and mix.
[DE] Für Blue Silver’s Kunden Wiegand.Waterrides durfte Sound’r ein Video über ein neues Wasserrutschen Konzept vertonen. Also die komplette Audio-Postproduktion inkl. Sound Design, Musik Editing und Mix.
[EN] For Blue Silver’s client Wiegand.Waterrides, Sound’r was hired for the full audio post on a video introducing a new water-slide concept, including sound design, music editing and mix.
It’s been busy at Sound’r. From corporate imagefilms, public service announcements, short movies and documentaries to audio books, forensic audio restoration and of course advertisements; Sound’r has handled a lot of diverse projects in the past few years, a few more recent clips have found their way online and I’d like to share these today.
The clip below was directed by Jonathan Lennard for TheBeautyBitch.la. As with all clips below, Sound’r was responsible for the full audio post production including sound-, music- and dialogue-editing, sound design, mixing and mastering.
On the more corporate front we’ve had the pleasure of working on several productions for Munich based Blue Silver GmbH’s client Trelleborg AB. The first clip was incredibly fun creating the sound effects for and caused quite a bit of dusting to be done afterwards.
In this second clip it’s all about sealing and profiles … there’s an industry for everything!
For my good friends at the Old Continent agency in Brussels I’ve once again had the pleasure of working on a few projects that I’d like to present below starting with Old Continent introducing themselves. Again all audio post by Sound’r.
Next up a clip for iDay an NGO doing great work in Africa:
Some other projects created for the European Commission by Old Continent that we’ve had the pleasure of working on included the Lux Prize short documentary, The EU Photo competition and more.
Of course many, many more productions have passed through here in the past few months and Ill post more of those once they hit the web.
Thanks for watching and if you have any questions don’t hesitate to get in touch.
After more than a year of development, Blockadillo is slated for worldwide release on several Android stores (Google Play, Amazon and more) on January 22nd, 2015 and iOS shortly thereafter.
The game so far has been available only in Poland and Austria for a couple of months now and has gone into open beta just recently. Now, everyone can get their hands on this fun puzzle platform side-scrolling Armadillo adventure on January 22nd.
Sound’r created the entire audio & music experience for this game. Check out the trailer below!
To find out more or to join the beta check out www.blockadillo.com
Bob Katz, author of the „bible“ on mastering audio „Mastering Audio: The Art and the Science“, just recently released a new book that exclusively deals with Apple’s „Mastered for iTunes“ program. Mastered for iTunes (MFiT) is a program initiated by Apple to enhance the audio quality of recordings available through iTunes. In my previous blog post you can read about what said program entails. Put simply, it’s a great initiative and one that we as engineers should embrace, right now.
Bob’s book comes across like a trusted friend and colleague who gives you an informative tour, making sure that you, and with that, your clients get the most out of the MFiT program.
Broken down in 7 chapters, Bob will guide you through the whole process from assembling the album, over picking the right resolution (16, 24, 32 bits), the effects of lossy (AAC) coding, loudness and levels (3 chapters on this topic alone, I applaud this tremendously!) and finally on the tools you need (good news, most of them are cheap or even free!).
It’s hard to sum up some of the great things about this book because I feel I would end up just copying over the entire book. Yes, a lot of it, if you’re an audio or mastering engineer, you have heard about before on forums, AES talks, discussions with colleagues etc. But just like Bob Katz’s book on mastering did of putting *ALL* the relevant information together, so does this book.
It sums up everything you need to know on how to prepare your mixes and masters for MFiT and at the same time you gain a whole lot of extra knowledge. On top, it’s not nearly as dry as it sounds; actually, I’d have to say it was a fun read. (!)
I felt like I was continuously discovering little bonus tracks on a great album, for example in one case Bob describes receiving, what appeared to be, a clipped 32bit audio file but then explains why this is not as big a disaster as it first looks like. In another case Bob describes Sound Check as a country song backwards (no spoilers, read it yourself, but I was laughing out loud for some time).
Once you’ve read through the ~110 pages, not only will you feel like an expert on this topic (which is a rare feat for a book of this size) but Bob also asks you to join him at Digido’s portal for iTunes Music which contains a whole host of links and a forum which Bob himself is active on. It’s a bit quiet there at the moment and the website can be painfully slow (at least from Germany) but it’s definitely something to keep an eye on and have the opportunity to ask the master himself!
What the book doesn’t answer though (but apparently Bob hopes for, just as much as I do), is whether or not Apple will allow us to have Sound Check work on a per album instead of a per track basis as well. Apple has hinted at this in their own documentation and I was hoping Bob would know more about it (I’ll have to ask on the Digido forums which I haven’t gotten around to doing yet) but I feel it’s inevitable.
This is a must read for everyone working in audio who’s work will end up on the iTunes Store (so basically everyone)!
You will not get the knowledge required to make great masters for iTunes any easier than by reading this book.
After coming across an interesting thread on the gearslutz forums on the Mastering for iTunes program, I decided to take a closer look at what this program actually entails. Starting off with Apple’s official documentation which can be found here. The document opens with a bang:
If you follow the guidelines outlined in this document and audition sample AAC encodes on Apple devices, you can achieve dynamic range that’s superior to red book audio and a final product that’s virtually indistinguishable from the original recording. – Apple’s „Mastered for iTunes“
Now the document isn’t exactly free of marketing (albeit pleasantly low key), so I picked out the important bits and compiled them into a list which is as follows (my comments are in italics).
16 billion downloads encoded as AAC to date worldwide. Pretty sure that includes pre-AAC Plus downloads.
iTunes Plus: AAC 256kbps VBR
Two step encoding process: First SRC (Sample Rate Conversion) of master file to 44.1kHz, output is 32bit to prevent aliasing or clipping, the output file is then input to the encoder. No dither noise needed.
„Ideal master“ would be 24 bit, 96kHz „any resolution above that will benefit from our encoding process“
Don’t provide up or down-sampled files.
„As technology advances and bandwidth, storage, battery life, and processor power increase, keeping the highest quality masters available in our systems allows for full advantage of future improvements to your music. Also, though it may not be apparent because there may not always be a physical, tangible master created in LP or CD format, the iTunes catalog forms an important part of the world’s historical and cultural record.“
„You’re being provided with all the tools you’ll need to encode your masters precisely the same way the iTunes Store does so that you can audition exactly what they’ll sound like as iTunes Plus AAC files.“ This, in my opinion, is a big thing. With many other stores or websites you have no way of knowing what happens to your submitted masters and how they’re going to sound until they’re actually up on the site and you can buy a copy for yourself. Those tools can be found here.
„A growing consensus is emerging that digital masters should have a small amount of headroom (roughly 1dB) in order to avoid [clipping from oversampling in the D/A conversion process].“ Something that has been done for a long time now; initially a level of -0.3dB was considered safe but over time with better understanding of the whole issue of inter-sample peaks it went down to -1dBFS.
„The effect of Sound Check, as well as other volume-controlling technologies, is that songs that have been mastered to be too loud will be played back at a lower volume, letting listeners more easily notice any artifacts or unintentional distortion.“ Great feature when you shuffle your library by songs.
„Because many such technologies are available to listeners, you should always mix and master your tracks in a way that captures your intended sound regardless of playback volume.“
„[…] in order to qualify as Mastered for iTunes remastered content must begin with a high resolution digitization of the original analog source and must sound noticeably superior to the previously released version. Songs and albums submitted to the iTunes Store as remastered content will be reviewed to ensure that the sound quality shows discernible improvement.“ I wonder who does the reviewing and if they have exact criteria. Then again not disclosing those criteria might be beneficial to the program so that it can’t be abused as a marketing quick fix.
„iTunes won’t reject a master file based on the number of clips the file contains.“ Which shows that they don’t see themselves as a gatekeeper on account of technical details.
Use afclip command line tool to check for clipped samples, also includes inter-sample clipping. Free inter-sample clipping check tool, works great and fast!
This one’s interesting: „You might decide to take the listener on a dynamic journey through an album as a complete work, raising and lowering the volume level across the sequence of tracks to increase the music’s emotional impact.“
But then: „Sound Check is a feature in iTunes and all iOS devices that lets listeners hear all their songs at approximately the same volume. It first determines the loudness of a track and then stores that information in the files‘ metadata. […]. The metadata is then used to raise or lower the volume of each track to prevent jarring volume changes while a device is shuffling songs.“
This is the really big thing: „Sound Check can also correctly set the volume per album, rather than per song, allowing albums that rely on volume differences between tracks, such as „The Dark Side of the Moon by Pink Floyd, to maintain their intended volumes.)“
Now this last thing is something worth taking a closer look at. Bob Ludwig, in an interview from June 2012, said:
„If Apple would only allow the possibility to have an entire album carry a single Sound Check value. If Sound Check were to work in this manner and if it was turned on by default, dynamic music will sound much better than squished recordings and yet an album would maintain the correct level from song to song – the quiet middle movements of a concerto would remain quiet in comparison to the louder movements. Without the ability to have a unified ‘Sound Check’ level for an album it presently undoes part of my job to make the levels flow correctly.“ – Bob Ludwig, CEPro Interview
Apple’s document is from January 2012 so one would think that by now Apple would have included the album Sound Check feature in iTunes. In my own testing by ear I couldn’t conclusively say that this feature had indeed been implemented. I certainly could not find any information whatsoever on either Apple’s webpages, nor on the rest of the internets on how and if Sound Check across a whole album is already available and if so how it is used/configured. Considering that Apple got in touch with Bob Ludwig and other mastering engineers, one would assume that this was indeed brought to their attention and that we’ll see this feature coming soon.
I really hope we’ll hear more about this new feature shortly. Apple was set to release the new iTunes at the end of October, however the new iTunes webpage now states it’ll be coming in November (usually with Apple that means 2-3 days before December). We’ll know more shortly, hopefully.
Obviously this is a hugely important topic to us audio engineers but sadly until iTunes‘ Sound Check isn’t turned on by default on all devices (iPods, iPhones etc.) and iTunes software as well as other platforms and playback software, we as engineers can’t fully take advantage of the amazing dynamic range we could achieve and still have to find a balance between the loudness war and dynamic range. To this extent, do check out the K-System by Bob Katz and www.dynamicrange.de.
So while I wait for my copy of Bob Katz’s book, „iTunes Music: Mastering High Resolution Audio Delivery: Produce Great Sounding Music with Mastered for iTunes“, to arrive and on which I’ll post a review on this site, I leave you with this:
“The sound of a kiss is not so loud as that of a cannon, but its echo lasts a great deal longer.”
The Haas effect is one of those psychoacoustic effects that a lot of audio folks forget about or have often never heard of but it’s extremely useful to know about and can make a huge difference to how you mix. The Haas effect is closely related to the precedence effect (often also referred to as the law of the first wavefront). In short our ears/brain will always localize the first sound we hear, even if a reflection of that sounds comes from somewhere else we still perceive that sound has having come from the original first received sounds direction. A single reflection (>1ms delay, up to 10dB louder) will increase the perceived loudness and width without changing the localization and without making it sound as if it was a separate sound event and this even goes up from 5ms to 30ms. We still perceive that as one sound.
There are some factors that increase or decrease that time threshold where we start perceiving things as an echo instead of one sound but you can easily try this out for yourself with a panned reverb or delay plug-in. What you see is not what you hear in this case and it’s important to know about when mixing.
Most commonly this effect is exploited in large events / concerts where a single front of speakers wouldn’t be able to cover the whole audience at a suitable SPL. In such cases delay towers are set up that are calibrated to delay the sound by the time it takes the main stage speakers to reach the point of the delay tower (~340m/sec), then 10-20 ms of delay are added on top. Why those extra 10-20ms? That’s the part where the Haas effect is exploited to make sure that the audience still perceives the original sound as originating from the stage speakers but increase the SPL. Otherwise we would perceive the sound as originating from the delay towers which will make the audience feel disconnected from the performer on the stage. Another positive side effect of this is that the people standing right underneath or slightly in front of the delay towers (who will experience some leakage especially in the lows to mids as those frequencies are less directional) again won’t perceive the delay towers speakers as the originating sound source. You can imagine it would be quite disconcerting to watch a concert in front of you and have the music reach you from behind you!