My Christmas Message of Peace

DJ Spooky is now "Artist" in Residence at The Metropolitan Museum of Art.

Are you fucking kidding me? I was doing that in the 1980s when it was new and cool. Regardless, he sucks, though gets to cash in. The "art" world is bogus, inbred and 30 years behind. If you attend any of his events you are too.

This is why Punk Rock remains valid. The Met is the new disco. Fuck it up. ^^

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The Earpocalypse Is Upon Us!

If the Mayans were right, and of course they were, we’re in audio-end times. You better believe it. According to that ancient calendar, the last blast of sound produced – ever -- will be this Friday, 12/21/12! So it stands to reason that Friday, the day of the Sound Production Final, will heretofore be known as the Earpocalypse.

   
It’s sure been a long time coming, but at least that gave us time to prepare.  

I’ve decided the best way to go is laughing, and to that end, the Earpocalypse will commence 7PM sharp with comedian James Impellizeri, who New York Times Entertainment critic Megan Angelo calls “a rapacious, irreverent new comic, exploding on the New York scene like no one since greats like Louis C.K., Todd Barry and Mike Birbiglia.”

James Impellizeri at The Comedy Cellar, New York. Photo by Ruthie Arroyo

Straight outta his recent sold-out sets at Dangerfield’s, Gotham Comedy Club, Carolines, The Comedy Cellar, Stand Up New York and The Duplex, Impellizeri’s  brief, prescient set of comedy just prior to our final exam will break the tension, engender goodwill and peace in the holiday season…and thoroughly prepare us for the evil audio  he’s opening for; and our ultimate undoing.

Following the final, I hope you will stay for an intimate after-party; and I intend to play a few old skool Hip Hop tunes among other things,  properly heralding the Mayan End Times. So, sit back, relax, hear some kickass Docs, and after, get busy in a mellow party underground atmosphere. The Earpocalypse. The end is upon us. NJCUlater.

<3 <3 <3

Earpocalypse fact: The monitor speakers used for the Earpocalypse final-final and after soiree are vintage Altec 9844-8B studio monitors. These were used in a lot of famous studios including Electric Lady, and variations in Gold Starr, Western Recorders, most of the classics. The Beatles used Altecs. There is a lot of info on-line about 2 way horn loaded speakers, which can produce sound not only loudly, but also with virtually immeasurable distortion. That is one reason why recording studios still use this type of monitor loudspeaker. I do a lot of research with 2-way horn speakers. Ask me anything. : )

Altec 9844 studio monitors

The mighty Altec A-2. I think it's about 12' high, with 4 partially horn-loaded 15" woofers. These were for movie theaters; there would be 3 behind the acoustically transparent screen. Many large old theaters still use these.

Back view showing the compression driver, mounted to the mouth of the 811-B horn.

John Cale at the Quadraphonic Edit room at CBS in NYC. In the back are the rear pair of 9844s for the control room's quadrophonic monitoring setup.

I have done a lot of research with 2-way horn speakers.

Musicians in Gold Star recording studio, probably a Phil Spector session. The Altecs in the studio are model A-7s.

Nancy Sinatra in Western Recorders, 3 Altec A-7s above.

Phil Spector and the Ronnettes in Gold star with Altec looking on.

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Buddy Rich Work One Rants

Seinfreld on the famous Buddy Rich (from Work One) Tapes:

Buddy was a Black Belt in Karate. Rich in his later years:

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Sound Prdn: Work 3

I will add more to this post, stay tuned, but for now:
Download Work 3 in .PDF here.
Please note the corrections stated in class.

I will be posting some docs here, I will also play some in class. First off let's go with a video doc, before we advance into the world of radio (sound) docs. This one is excellent and represents a high standard. Watch and listen to it. It's riveting and presents the subject factually, unlike the more impressionistic, artistic method used in the Portrait:
Inside Japan's Nuclear Meltdown

As auditioned in class, the Studio 360 link includes photos and other stuff:

Studio 360 in Japan

BBC: Inside California's Porn Industry

Candy for you Toastgirl fans:

I have visited the cafe profiled in the Studio 360 doc several times, "The Lion," Tokyo, Japan.

No photos are allowed. But on my last visit I was really intent and managed to grab a few shots of the visually beautiful speaker system which is the focal point of this café.

The Lion, Tokyo

Patrons enter the wooden cathedral-like room (with balcony) and sit to listen, meditate, read…and be quiet. The seats are like pews. The point is, to listen. There is no chatting, unless a beverage is ordered. Sources are mostly vinyl.

The radio piece on The Lion from Studio 360 first turned me on to it:

The Lion’s web site:
http://lion.main.jp/

I doubt a café of this nature could survive in NY or NJ; interesting cultural difference. Too bad, would be nice.

This is a great radio doc which was originally done in German. The version I had with a killer English narration is lost. This is a translation version which is OK. But the doc is still great.
Bells in Europe

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Snd Prod Pet-O-Philes

"No Time To Chat, (Gotta Feed My Cat)" by Cat Touch.
I am at a loss for words.

BTW, the Soundcloud player below will allow you to download at full quality AIFF. Click the down arrow.



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Pi Subwoofer Project Part 2

Sub parts, sans wood.

To see how you can model speaker boxes for low frequency performance, download this shareware (PC only), WinISD Pro:
http://www.linearteam.dk/default.aspx?pageid=winisdpro

After you install, create a new project, click “add new” and manually enter the elrctro-mechanical parameters for the LAB 12 driver below.

After you have done that, save your project and we’ll take it from there. A reference list of T-S parameters may be found here:
http://diyaudioprojects.com/Technical/Thiele-Small-Parameters/

Note, WinISD Pro will not quit. This is not a virus, it’s a bug. To quit it, go to your Windows Task Manager. In Applications, select WinISD Pro and “end process.” See image.

Click here for Pi Subwoofer Project Part One

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Sound Prdn: Flying Pro Tools Solo

Cans jacks on 003

When you work on your individual projects, you’ll use headphones to monitor, not speakers. There are two headphone (cans) jacks on the front panel of the 003 controller. The left one is #1, the other #2. Chose either.

Volume “Phones” pot locations for both headphone jacks are shown in the image below. The Monitor pot is for speakers. Don’t forget your friendly “mute” button.

Bottom row of dark grey pots: first two for cans. Top row of light grey
pots: first one is mic input trim for Analog Input 1

Here is the folder hierarchy for your sessions. Let’s say your name is Rick Sashay:

Desktop->Student Sessions->FALL 2012->Rick Sashay->Rick Sashay Work II

Since the workstations are not networked, you will be tied to one particular rig for the duration of your project. Central will spread your session bookings so that there will be fewest people working on each rig.

Do not attempt to move sessions around between workstations. Do not attempt to do work outside of the edit lab and copy it to a Media Arts workstation.

Do not change preferences or attempt to customize anything on the computer. Do remember to have fun.

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Pi Subwoofer Project Part 1

3 Pi Sub, beautifully veneered,
at a trade show.

This is an intro to our subwoofer build project.

We will construct a professional, high quality subwoofer designed by Wayne Parham. It is called the 3 Pi Subwoofer. Read about it here.

The low frequency transducer, a 12" driver, is one of the best pro units, the EminenceLab 12.

The 3Pi Subwoofer gives excellent performance down to and below 20Hz. The cabinet will house a “plate amplifier,” which is an amp built into the speaker box.

In terms of low frequency extension, acoustical output and quality, this sub will be vastly superior to the small one I built for Radio CRA, shown below, left.

Small, budget sub I built for
RadioCRA

You’ll have to do a little reading. Start with the link at the top of this post, then read these below. I am currently searching for more beginner friendly readings. Glean what you can. From the Pi Speakers Forum:

Hoffman’s Iron Law:

http://audioroundtable.com/forum/index.php?t=msg&goto=15489#msg_15489

Vented box:

http://audioroundtable.com/forum/index.php?t=msg&goto=42557#msg_42557
more:
http://www.parts-express.com/resources/home-howtoguide/choose.cfm#choose2
and a few more paragraphs:
http://www.diysubwoofers.org/prt/

We will talk about construction methods later. Here are the plans from a CAD drawing my friend made of Wayne Parham’s design:

Now, our sub won't have fancy veneer. It will sport a utilitarian finish, perhaps Duratex, or truck-bed liner paint. I am thinking it will have wheels so we can roll it into classroom for playbacks and MARS CRC for awesome monitoring.

I have a circle jig and router, to cut precise round holes. We need 2, one for the driver, the other for the port, or vent. I can't cut the plywood sheets easily, however.

Router makes nice holes, fine dust.
Hazardous. We'll do it outside.

Wood dust destroyed living conditions in my apartment while building the little sub. So I am looking into getting our plywood cut by someone else to the above specs. After the sheets are cut, we will use the circle jig and router to remove our appendages...I mean, cut the holes, then glue the box together. I have large clamps to do this. We'll do all that at school and I expect problems, yes.

After dry, some sanding and painting. We are going for performance, not looks. But I'm sure it will look cool to me. More details to follow. Please use the comments section to sign up for the build.

This image shows the awesome construction of the LAB12, for inspiration.
I have already bought Wayne Parham's OEM version of this woofer. It has a provision to mount a cooling plug which removes heat more efficiently, for use in insane applications. You will like it. : )

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Sound Prdn: Work II Acoustic Portrait

Here is the official assignment for Work II. Monitor this thread. Feel free to ask questions in the comments section.

WORK II: ACOUSTIC PORTRAIT: Overview:

Student is required to create a sonic portrait of a very specific subject of his choice. As a cubist painter shows more than one view within the portrait, the student will present the subject from a variety of different perspectives. This requires field recording in different modes, e.g.: interviewing/ambience/discrete sources/walk-throughs; recorded with required variance in microphone perspective. The microphone, representing the listener’s ear, must be placed very specifically and creatively to obtain raw material useful to paint a sonic portrait. Close micing reveals intimate detail and exclusivity. Greater distance adds space and surrounding environmental information, providing location and context.

Just as a painted portrait reveals the subject thoroughly, so should the acoustic portrait.

The student transfers the source recordings to CD, logs, and transfers selected elements into a Pro Tools digital audio workstation for editing. All previously learned rules of editing apply. There will be a requirement of two tracks, one stereo, one mono. Interview and point source recordings must go to a mono track. Ambience and sounds with significant spatial components must go to the stereo track. The student must demonstrate himself to be a good recordist. This requires proper recording in the field with either a stereo or mono microphone as appropriate. Total time: 2-4 minutes. Submission includes: Final edit/mix on a stereo audio CD; Microtrack source recordings on audio CD; Pro Tools session on approved MAD workstation.

Further important details:

Work Two: Acoustic Portrait:

This is an addendum/assignment sheet to the overview given in class this week. Please be aware there are conditions regarding what subjects you can and can not use for your Work. Obtain approval for your subject in class on 11/20/12.

Be certain to record in the appropriate mode for your source material. Stereo or mono, as detailed in class on 11/20.

Get room tone in the field. When you’re through recording an interview, get at least 30s of ambience (matching record level and mic position.) You will use this later to cut in “silence” to space passages – to help maintain cadence. Slate “room tone” just before rolling. This helps you log and dub. N.B.: When you dub the tone, take it several times, including the slate, so you can find it; and since you may need more than 30s worth (though probably not for a project of this short length.) It’s essential to dub room tone at exactly the same level as you dubbed the vox. This makes the room tone as “loud” as the spaces between words. It can then be easily intercut.

Skillfully select mic position. Proper interview vox micing is standard and already detailed. Be sure to use the 635A for interviewing. Remember to minimize or eliminate handling noise, plosives and wind noise. If you get these on your source recordings you must cut them out or face grading penalties. Please do vary mic position when not interviewing, as detailed 11/20. A film composed entirely of close-ups, for example, doesn’t give the viewer enough, yes? Round-out your recordings by placing the mic at various distances from the sound source. This gives the ear perspective. We’ll hear space as well as close-in detail.

Log and mentally edit as per Work One. Have at least 60 minutes of source recording; the mental cut therefore saves data storage space and time. Use an appropriate structure.

Techs:

50-edit minimum, 2-4 minutes final edit mix. Mono, 635A sources go to mono Pro Tools track. Stereo, stereo electret mic, sources go to a stereo Pro Tools Track. The stereo track may serve as a bed for the mono track, if desired. I will look at your Pro Tools session as well as listen to your CD. No late work. Total time: 2-4 minutes. Submission includes: Final edit/mix on a stereo audio CD; Microtrack source recordings on audio CD; Pro Tools session on approved MAD workstation. All work, including subsequent assignments, must be accomplished solo and at the Media Arts Department as detailed.

Do Not Choose:

The following as subjects:

·      Your car

·      Yourself

·      Family member

·      Pet

·      Computer/internet or gaming related

·      “Day in the life of…,” i.e. waking, eating, showering, going, doing routine.

·      NJCU campus

·      Journal Square or transit system

·      Bogus or dramatized subjects

Additionally:

Obtain approval for your subject in class next week. Your due date for this assignment is 12/11/12, 3 weeks, including time for subject selection and approval. Label all materials. Make sure all your sessions are properly booked. Remember this is solo work.

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Garden of the Finzi Continis

I made copies of the assignment, they are at the left computer monitor. The project is due next week.

The bike Foley stereo bounce is located here:
sound drive->student sound->post->post 2012->finzi bike Foley bnc

Import that into a stereo track.

The file is a dual mono WAV, so it imports without conversion. (shift/cmd/I)
The dual mono file will go into a stereo track. Don't place it on 2 mono tracks. Dual mono bounces are native to directly import into PTools. Stereo interleaved for CDs or other final mix outputs.
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Splicing Leader and Trailer

Here's how you splice leader and trailer tape onto your work:

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Sound Production Alert

PLEASE NOTE UPDATE:
The official word as of Tues, 11/6, 9 AM, is that day and night classes have resumed. So both sections of Sound Production will meet. However the night class will be abbreviated because PATH service is not fully restored.

NJCU has officially cancelled night classes as of now until further notice. Here’s the official word:

“Daytime classes at the NJCU Main Campus have resumed as of November 5, 2012.  In recognition of the city-wide curfew, all evening classes scheduled to begin at or after 6:00 PM are cancelled. All other classes scheduled to begin before 6:00 PM may not extend beyond 7:00 PM.  The University will close at 7:00 PM.  This schedule will be followed until further notice.

For further updates please visit the University website at www.njcu.edu.”

 

This makes it unclear as to the situation for Tues Sound Production. Additionally, I have transportation problems, like everyone else. Please keep apprised of developments and monitor this blog. To get notifications for comments on this post, follow these instructions.

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Halloween Ritual Listening

If you have power, turn out the lights, light a candle in your jack-o-lantern, and listen to this:

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Post Class: NJCU Closed

NJCU has officially announced it is closed Weds, 10/31.
Hope all is well with you.
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Subscribe to Posts for Comment Notifications

Besides adding this blog, you should subscribe to any particular post so you can receive notifications of new comments. Click on "subscribe by email" below the comments section.

This is how it looks:

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Sound Production Work I

Sound Production 210
Prof. Vincent Tese

Work One: Music /Vox Edit

                

            Please review your notes regarding dubbing from source CD to half track. In this instance, you will dub in stereo, left and right, from CD, with handles, and at 15 IPS (high speed). Remember to mirror the left patch to the right side, the dub is stereo now! Obtain an appropriate L-R channel balance of the program material carefully when setting levels. Continue using the 45 degree angle on the splicing block while editing. Remember to fully insert your headphone plug to final click to correctly hear both channels.

The two CD sources run approximately 74 minutes each. Disc one is primarily music (scratchy vinyl junk,) and disc two is detritus as well, primarily vox (voice). To decide what material you’ll use, first listen to and log from the Jam CDs you’ve created.

Consider the logging process integral to the editing process. Note and therefore dub only material that is interesting to you and can be useful in forging juxtapositions to other elements you dub. You will then endeavor to make those edits real by using an Otari editor. To decide what material you will dub, first listen to and log the Jam CDs you’ve burned. Please be aware that certain items on the CDs must be used in your piece. For details on this requirement, see the addenda sheet. Something to consider: One seven inch reel of tape at 1.5 mil and 15 ips = fifteen minutes of roll time; not a lot when your source totals about 150 minutes.

When thinking about making interesting sonic juxtapositions, there are two approaches. One way is to make literal connections between the sounds you are editing together. For example, I might have a saxophone wailing and cut to a person speaking, from an interview segment, who is talking about saxophones. One sound addresses the other literally. The second approach is to make acoustical connections. Taking the same wailing sax, if I cut to the sound of a homeless man drunkenly yelling, the sound of both elements work together, though there is no literal connection, a sonic connection is clear. This requires that the sounds match from an auditory standpoint.

Technical Specs:

15 ips stereo, half track. Tails. Presented in a box and properly labeled. Six-eight feet of leader (white) and six-eight feet of trailer (red). Box label includes all of the above info plus name, assignment title and section. Works presented in any other fashion receive no grade. No source material other than what is available on the source CDs may be used. All production work must be accomplished through the Sound Facility at the Media Arts Department via open reel editing as prescribed. I may check the facility log, so make sure all your sessions are properly booked. You must have 50 edits, minimally. See the addenda for details regarding required inclusions. Your work must time out between one and three minutes. You are presenting Work One leadered, with no extra tape whatsoever. (No blank, unrecorded magnetic tape allowed. Leader/trailer can only be used at the head and tail.) Note:  No editing allowed on the dub station Otari.

Addenda will be posted at a later time in the comments section of this post. Please feel free to ask questions here.

For your convenience you may download a PDF of the assignment here.

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