Recent content by JoeGriffin

Only thing I'd add to what's been said is: if you have the effect chain set up at the recording session, and you think that the actor might give a better performance if she hears the effected sound in her ears, then split the signal (or use 2 mics) to record a clean track and an effected track...

Very probably, but we had gallons of fake blood shooting straight into the actor's face and kinda needed to try something...:shock:

Just as a side note, condoms work better than latex surgical gloves. For Evil Dead: The Musical we worked with huge amounts of stage blood of various consistencies from water to syrup, and tried just using the fingers of latex gloves. We lost more high end and signal with the gloves than with...

Well, you kinda have to. I don't have the exact numbers in front of me, but the human ear hears something like 140 dB of dynamic range, a CD can reproduce approximately 90dB...and LPs were even worse (about 45 dB of range). Capturing a live event onto these playback media pretty much requires...

I've had issues with building a workspace in v5.x and moving it to a 6.x machine. Crashes, doesn't see sound files, all sorts of issues. Creating the show from scratch in 6.x seems to be more stable but I still get crashes when editing, say every 5 or 6 steps. Running the show once it's built...

+1 on everything Wolf said, first off.Lots of magazines, courses and online-atoriums focus on the gear and not the design process, so it's cool that you ask. You might look at sound-designer blogs: Nick Keenan (http://theaterforthefuture.com/), Heather Fenoughty...

I have a Bachelor of Arts in Telecommunications. In the 1980s, Michigan State University rolled their audio and video production majors into the Telecommunications major, so officially it's a TC degree with a focus in audio engineering. Plus I "minored" in theatre, though they didn't really call...

+1 on Gearslutz and ProSoundWeb. There is also a creative music recording messageboard at messageboard.tapeop.com, and Digidesign has a ProTools-specific board at their site. I would agree with the people who said to split it up, and I also agree with the idea of mixing the "representative"...

I've designed ambiences that run through entire scenes on a number of productions. I'm kind of getting away from it lately, but mainly because I tend to work in cycles and right now I'm trending towards a more minimalistic approach. Anyway, the key thing is to establish the ambience at the...

I've done several shows at a local high school using SFX as the playback system, with a student operator, and it works really well. For live, quick Qs we mapped a second playlist in SFX to a MIDI keyboard and triggered them manually. Again, worked great. If I was equipping the theatre now I...

Good thought--I had forgotten that plug was free. It's very useful for this sort of stuff.

Another good site is Audiosparx.com.

Thanks for the specifics. For a '40s radio, that's a mono AM broadcast. I'd limit the bandwidth (at that period AM radio topped out at 5kHz, so roll off frequencies above that) and add some compression/limiting, and then try to use EQ to replicate the odd low-mid peak that AM broadcasts all seem...

Quite a lot of it depends on what effect you're going for. Groove noise is a good thing to add if you want to make a record-player sound, but probably not if you're looking for a telephone. Think about what the characteristics of the technology you're trying to replicate actually are: limited...

Actually, ProTools HD and LE software only works with Digi hardware. ProTools M-Powered software works with M-Audio hardware.