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SOFTWARE
AND HARDWARE TOOLS FOR A BETTER MIX EXPERIENCE | |
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Douglas
Spotted Eagle Sundance Media Group Stockton, Utah, USA ©2002 Douglas Spotted Eagle All rights reserved. |
| Article Focus: Grammy-winning producer Douglas Spotted Eagle answers questions about mixing audio for video, with particular focus on DV editing. The article covers the physical environment, software and hardware tools, mixing techniques, and mastering audio for video. This is part 2 of a 4 part series and covers SOFTWARE AND HARDWARE TOOLS FOR A BETTER MIX EXPERIENCE |
While some of the hardware tools were covered in Part One, there are many hardware and software tools that can be used to make the mix task go easier. Starting with hardware, it's a good idea to have a small mixer on hand not just because it allows for immediate control of volume, input of audio, etc, but also because it makes for a convenient feed for a cassette deck, MiniDisk player, record player, and any other outside tool you might need to quickly input. Also, a mixer allows for the use of hardware such as a tube compressor, EQ, etc. Most of these tools are found in the average NLE audio toolset, but sometimes a favorite unit may be desired. Sundance Media Group frequently uses an older DBX tube compressor for audio, because it warms sound in a way that software simply can't.
The next piece of hardware that is valuable is an externally based sound card. As surround sound becomes the norm, this will become a requirement. Devices made by companies such as MAudio, Echo Audio Labs, Frontier, Aardvark, and others are all excellent choices.
For surround mixing, a sound card that can do 6 channels is required. For 7.1 surround sound, a card that has 8 channels is required. Some video editing tools have the capability of going straight to external sound cards and their discreet outputs. Avid Composer, Sony Vegas Video are two of those. With Vegas, 24 independent outputs may be used. For mixing surround in a secondary application that allows for video display, but not video editing, Cakewalk's SONAR, Sony's ACID, Syntrillium's Cool Edit Pro 2.0 are all excellent choices. With any of the aforementioned tools, a video file may be viewed in time with imported stereo audio, and then secondary center, rear right, rear left, and center signals may be generated. Microsoft's new Corona (code name for Windows 9) will allow for streaming of surround sound, as does REAL Networks REAL 9 codec. We'll cover surround sound mixing in a later tutorial, but it also must be pointed out that DVD authoring tools either currently, or will soon allow for Dolby's AC-3 files to be embedded in the audio stream for DVD authors in the desktop environment. Therefore, a soundcard like these will be necessary for nearly every DV/DVD author in the very near future if surround sound is desired in the final product.
Next
on the 'must have' list is a deck that allows for audio monitoring. This
could be as simple as using a camera to listen through, and to monitor
from. Have the ability to plug your speaker monitor inputs directly into
the outputs of the camera, or have the ability to plug the camera
outputs directly into a mixer. Remember, the camera or tape device is
where your audio will live in the end. Don't rely on the meters in your
NLE to tell the truth, because latency, poor code, or just plain
unusable meters are often the case. Some NLE's don't even offer
reference meters, so your ears, mixer, camera are your last line of
defense and protection against delivering an inferior product. Carefully
monitor the print to tape as it goes down. Switch between headphones and
speaker monitors for a closer idea of the mix. Remember, earphones will
increase perception of low frequencies. Use with caution! Hearing the
audio is critical; seeing it to picture is even more
critical.
Suggested tools for the consistent editor might be a firewire converter, such as the Canopus ADVC 100, the Sony MAC-2, or the PowerR Director. Using a full-time converter prevents wear and tear on a camera, plus most of the converters allow for direct analog to digital conversion that will interface with a firewire card. These boxes will allow video to be viewed on a television or viewing monitor, and listened to through any device available.
A good microphone for voice overs is important. Often, this is overlooked by video editors, and inexpensive Radio Shack mic's end up carrying the day for the most important communication portion of the video production. Mic's from Audio Technica, Audix, Shure, EV, and so many others are available at price ranges from $75.00(US$) to $1200.00(US$), with the mean average falling into place around $200.00(US$) for a good microphone. Make sure a good table top stand is used, and better still, a table top iso box. This will assure that voice overs are recorded well, without external noise. Be certain that a cardiod (heart shaped pattern) mic or a hyper cardiod mic is used, to eliminate external noise/audio from leaking into the mic. Another hardware tool that isn't essential, but very handy, is a HUI, or human interface device. Our favorite is the Contour ShuttlePro, because it works with nearly every application we use here. Jog shuttle wheel combined with 13 user-assigned buttons, this tool really speeds up editing and mixing because it reduces time spent moving fingers back and forth between the keyboard, mouse, and any peripheral tools.
First
on the list of acquisition: a compressor. Compressors allow quiet
passages to be louder, and loud passages to be more quiet. This is very
important for keeping the attentions of the viewer. Audio that is all at
one level is boring. Think of the last film you saw. Recall how tension
is created by using quiet audio, with a sudden rush of volume as the
tension rises? This is a classic trick employed by composers for
hundreds of years.
WAVES, long known for their plugin quality, definitely is one of the industry leaders for both the Mac and PC worlds. Their C1 compressor is found on the majority of international releases from the big name musical groups, and a number of video editors are now discovering what a good compressor can do.
Also in that same vein, Sonic Timeworks makes an amazing tube emulative compressor worthy of complimenting any NLE system out there. Sony's built in compression is very solid, as is Cool Edit Pro's compression.
Next in line for required processing tools are decent Equalizers. Now, in the past, digital EQ's have sounded brittle and harsh. With tube and analog emulation being fairly commonplace, in addition to 32 and 64 bit processing, digital EQ's have warmed up substantially. Every toolbox should have a great EQ. There are MANY of these, so in the name of fairness, brands recommended may differ from the brands we use here at Sundance Media. One fantastic EQ, used by many, is the TC Works EQ system, in either their Native EQ or Essentials tools. Their Native EQ bundle uses a virtual joystick for intense control. Signal can be split left or right for separate control of each channel if desired.
Our
Swedish friends over at Ultrafunk/Sonitus make a fairly awesome EQ as
well. With great presets made for killer bass, screaming top end, or
just over all balance, their manual controls are also easy to use, quick
to access, and don't nail the CPU as heavily as some plug-ins do.
Sonitus also makes a wide variety of other plug-ins as
well.
Sony, the creator of noise reduction software for the PC has a strong reputation in the area of noise reduction. We've used Noise Reduction 1 on many restored recordings found in National Archives, as well as other places. We most recently used it to restore old recordings from Frank Zappa's guitar player and vocalist, Ike Willis. While not designed to specifically work on preset noise, Noise Reduction from Sony does an excellent job on unwanted noise, and is easy to use. Sony's noise reduction suite also includes declicker and vinyl restoration tools similar to those from WAVES. Arboretum also makes a noise reduction application for the PC, although we found it to be lacking in the quality we desire. Over all, we found the WAVES package to be the most accurate and clean, but at a price of double the cost of the Sony tools. Other desirable plug ins would include a stereo image widener, Exciter or Optimizer, and Time Stretch tools. Widening a stereo image is very important to action visuals or high motion video to demonstrate aural movement along with the visual movement. This gives the action a sense of space, and also allows music and sound effects to remain intense while leaving some room in the mix for voice. We'll cover techniques for this in the 3rd part of this series.
Time stretch tools are great for syncing out of sync audio where the sample rate might be slightly off. They are also great for creating monster or chipmunk voices, in addition to other effects. Currently only one company makes decent time stretch tools; Sony, and it's available in their XFX plug-in tool kit. Most time stretch applications will do pitch shifting, however, pitch shifting effects rarely do time stretch. While far from necessary, a decent reverb is quite handy, and can be used to add ambience and space to a voice over or talking head. While most talking heads are recording via lavalier mic, this technique often removes all room ambience from the person's voice. This isn't always a welcome sound, and can usually be alleviated by adding a small touch of reverb. There are many, many software reverbs available. We've recently begun experimenting with the new PSP 42 reverb, the first software-only reverb allowed to carry the name of the reverb giant, Lexicon. Modeled after the industry standard Lexicon PCM 42, this new reverb really screams, and sounds just like it's physical world counterpart. (Looks just like it too.) This also is a great tool for creating predelays for those big verbs, or for creating spatial effects for the big screen.
To learn more about HDV, visit www.vasst.com/login.htm |
Quiet passages make loud
passages seem more intense, and the reverse holds true. Compressors help
develop these sounds. Moreover, a compressor can take the narration of a
headshot and bring it under control in those areas where the speaker
gets overly excited, or leans away from the microphone, too close to the
microphone, etc. Compression comes in two basic flavors in the
NLE/software world. Decent, and great. Nearly all NLE's have compressors
built into them, some just barely eke out their duties, others do
better. For assured greatness in compression, there are a couple we've
found that really scream.
This tool is used by sampling a
section of noisy audio where dialog or other information are not
present, and those samples are then intelligently applied to the entire
file or portions of the audio file, and noise is removed without
affecting desired audio to any great extent. X Hum works the same way,
with the exception that it's tuned for working directly on 60hz
hum.
An
Exciter/Optimizer enhances all frequencies, but allows for greater
clarity and depth in the top end of any mix. The BBE 422 is probably the
most famous of these, as the BBE technology has been licensed to many
portable music devices, and has been used on hundreds of thousands of
hit records. Only recently has this been made in a software model, and
is starting to be used on many video/film projects. There was a time
that no studio in the world would be considered 'pro' unless they had
one of these, and although we have a hardware version here in the
studio, we use the software model instead these days. The 'Excitement'
gives harmonic depth to whatever signal is present, offering better
clarity and punch for any audio mix. No matter what the audio relates
to, this process will enhance any project.
Arboretum also
has a finishing tool, called the Ionizer. We've only had limited time
with this tool, and so can't comment beyond what they offer on their
website. Specs look to be good, price is right, but since we haven't
heard it, we can't comment on their sound quality.