Sound Device 633

Sound-Devices-633

In my traditions, working production equipment are often an unique choice in the markup of concepts from the expense of buying top notch gears in comparison, the use of consumer equipment, there are some short sightedness like trimmed down version of consumer grade level equipments throughout this video by Curtis Judd in the Rockies, for example if you are using sound recorders for youtube quality video sound recording. The sound capturing for pro gears are often deemed to be unnecessarily mention by Judd. His video review the SOUNDDEVICE 633, but if you are a professional artist for film Foyle and soundman at the highest end of sound mixing and capturing, investing in a Sound Device 633 would be in your own interest to create the sound from the highest end of equipment checklists and not to mentioned the video below will review the pro tips, and ideas that is necessary to pick the right professional equipment between commercial/consumer grades digital recorders like the ZOOM F8 and ZOOM H4N.

From the understanding of anything to pro gear I think it is the pricetag that is going to be your major investment and using your knowledge based to being able to understand your concept in sound design amid how your sound should turnout would be likely planned, with the artist or filmmaker and not just doing recordings without an intend of research, a lot of information can be found on internet if you look eager enough. And for soundtrack dubbing, and music the knowing of how to make foyle sound…, something I am falling back in to doing, yet is still an idea to be formed as I can hopeful to sell enough music to buy a SoundDevice633.

I find a lot of Asian filmmakers and visual artist is not communicating clearly on how sound should work with their visuals, and I am speaking out to Asian filmmakers like myself when I produce my first film I was lucky to be able to reused the sound from the DSLR camera in built sound recordings, at the time I had learnt a lot of problem after going in to post production. And then again, if you don’t try and learn your mistakes, you will not be able to see how to solve these problem next time. At the time I did not have many working footage for the film editor and in accordance to just luck really to be able to complete the film A.VISUALIST.

And also beware of solo copycats..haah, just a inside joke….

A lot of this is reference to Hong Kong Cinema, and by my case, I did noticing sound recordings without a Limiter is the main problem. From being a producer of music where I was able to find reason to work with sound engineers to learn more on sound mastering and mixing, but without working with sound and music I probably did not make it easier for myself to learn it.

I wish this blog will be able to help other to find genuine ideas to expand on their creative process uniqueness and share with their own community.

Classic Compressor – reviews

Focusrite_Console_02

In producer’s mind when they create a track or music, there are a few tools they will constantly go back in to for mastering sound. In some aspect, the sound quality coming from a computer or recording liveset are most often used is Compressor. Myself I do not do mastering for sound and music, alternatively I always believed to let the professional do the engineering for your sound.

From sound designer to producer, sound mastering and mixdown is the most important function before delivering a track. I am not an avid for mastering sound in my production, since I spend too much time thinking just upload, and upload as I please, and those who find my music rather mediocratic should be more familiar with the post modern concept on when to upload and when do you think your music and sound is rather for mastering. I think wasting time on your engineers for middle-ware production is rather a waste of talent.

So what is a Classic Compressor, check out this article on Sound on Sound, a UK magazine based in and outside of  London. An analogue compressor is a piece of hardware to create dynamic sound compression, does say much here until you checkout these links below

http://www.barryrudolph.com/mix/comp.html

https://en.wikipedia.org/wiki/Dynamic_range_compression

http://wiki.audacityteam.org/wiki/Nyquist_Effect_Plug-ins

Computer Music – the beginnings

interpreter

List of compositions by Johann Sebastian Bach

Lejaren Hiller

When we think about computer; The input/output trigger transformation visual mechanism on the thought on data crunching tools or development on website for data science, **the principle rearrangements of the shape and number,** are completely intensive movement for interruption….

OF generative processes, an equality of endlessly randomizing, repeating operations, or an application particles, like luminous sound from signifying the principle of design elements of numbers and trends taboo. In shaping the language of physicality in vision

A forming in modernism and historic of mythic-ism, we are not changing characterization, and neither is the creator who are generalizing in **Space with tactical unit or grouping of movement time imp development in an oneiric motion language.**

Computer Viruses in the 80’s

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What was the very first known virus written in 1981 called?

1981- The “Elk Cloner” for the Apple II Systems was created by Richard Skrenta. It infected the Apple DOS 3.3 and spread to other computers by floppy disk transfer. The “Elk Virus” was responsible for being the first computer virus to cause a massive outbreak ever in history.

The Albion One by Spitfire Audio

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I would think this would be the ideal virtual instrument packages to purchase a worth spent money on yourself if you are a serious producer whom look at a huge library to begin with your album EP/ LP (Long Play.) In virtual instruments  a lots of sound this might not consider sampling or jump sound, or Sensory Cue but rather become a DIY sound archivist. The principle of collecting sound or making a library that you will not rely on just one but all kinds of recordings for each album you create that will continued to collect sound as an sample for music. Production with virtual instruments and using libraries are not necessarily a way to created or to ease your workloads. A producer will make sampling less of the task but in fact it might give you more spatial range in order to create an ontime sequence and also create more uniqueness within your music. Collecting sound from in the field of recording out of the studio is a technique to create tonal sound principles, allowing a freer sequencing or design that the producer usually would not expect to have and by intentions the outcome of producing the programme of choice will inspire a holistic approach to sound recording for musician: basically like a refreshment is mainly for the approach for sound designer and producer’s projection on their tracks when being layered.

SPITFIRE AUDIO  built the library ALBION ONE based on the Albion Volume 1 (ceased distribution of sales in 2015 3rd quarters.)

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