Setting Up Best Settings For Recording With Interface
- Resolving Audio Interface Issues on Windows 10 | Sweetwater
- \
- Index of /pdf/VOICE/VOICE2012/Articles/Edge Studio
Newcomers Guide for ACX Narrators |
- Home - www.freeconferencecallhd.com
- How to Live-Stream and Record a Podcast with Others with Skype Mix Minus\
- Devall Records | Voice Over in English, French and Russian
Voice Over Xtra
How to clean up phone audio using Audacity? - telephone | Ask MetaFilter
- LibriVox Forum • View topic - PLEASE READ THIS BEFORE POSTING OR RECORDING!
- Tutorial - Audacity Settings for Recording - Audacity Manual
- Quality Preferences - Audacity Manual
- Tutorial - Selecting Your Recording Device - Audacity Manual
- Windows: accessing the Windows Sound controls - Audacity Manual
- Mixer Toolbar Issues - Audacity Wiki
- ASIO Audio Interface - Audacity Manual
- Connecting audio equipment - Audacity Manual
- DMA mode - Audacity Wiki
- Compression Made Easy
- Audio Interfaces | Sound On Sound
- Choosing A PC Audio Interface: The SOS Guide
- Advanced Compression Techniques, Part 1
- FAQ:Recording - Troubleshooting - Audacity Manual
- Focusrite Audio Engineering
- Category:Tutorial - Audacity Wiki
- Tutorial - Mixing a Narration With Background Music - Audacity Manual
- How to publish a Podcast - Audacity Wiki
- Audiobook Mastering - Audacity Wiki
- GarageBand - Audacity Wiki
- Ad Hoc Recording Studio - Audacity Wiki
- Sound Devices and Interfaces - Audacity Wiki
- Tutoriais - Audacity Wiki
- Improving Recording Quality - Audacity Wiki
- Tutorial - Recording and Editing - Audacity Manual
- Setup and Acoustics - Audacity Wiki
- Make Good Recordings with Audacity
- ACX
- Screencast-O-Matic
- The Podcast Dude - Don't just make a podcast—make an awesome podcast.
- Best Free Audio Recording Software for Windows and Mac | Digital Trends
- gatewave - Radio Reading Service for the blind |
- SPL – Sound Performance Lab
- The Secrets of Preventing Mouth Clicks in Voiceover
- Best Podcast Software and Tools for a Great Podcast
- Dan Kassis - Audiobook Creation Exchange (ACX)
- LibriVox Forum • View topic - Pro tools? Morphs into using AutoHotKeys in Audacity.
- Zencastr
- Microphones - The voice over guide
- Voices.com Releases 2016 Outlook on Emerging Voice-Over Trends | EURwebo
- Getting Started in Audiobook Narration | Voice Over Experts
- Do You Have The Pipes to Become a Voice Over Star? - AOL
- Demo - VoiceOverShare
- Podcasts Connect
- Free Voice Over Course |
- Subscribe Now! | Audiobook Creation Exchange Blog (ACX)
- Voices.com Releases 2016 Outlook on Emerging Voice-Over Trends | EURweb
- voice your Audiobook, Business Training, or Narration - fiverr
- Voice Over Xtra
- How to get started as an Audible narrator through ACX | Dan Kassis | LinkedIn
- Your Home Studio – I Want To Be A Voice Actor!
- Voice Over Resource Guide
- blogger Voiceover One - Overview stats
- Software We Use - Librivox Wiki
- Publish a podcast to iTunes
- Podcasts Connect
- iTunes Connect
- Recording Vocals & Voice Over with Free or Cheap Acoustic Treatment - YouTube
- Voice Over Resource Guide - Talent Agencies
- Voice Over Training: 9 Tips To Improve Your Speaking
- Voice Over Resource Guide
- The Complete Guide to Mixing Voice: EQ — Pro Audio Files
- Audacity Forum • View topic - VST Plugin Tutorial
AUDACITY
- Nyquist Effect Plug-ins - Audacity Wiki
- Free Compressor VST Plugins | Free VSTs Free VST'S
- Audacity / Mailing Lists
- Audio Library - YouTube
- release of the Postfish
- xget postfish audio processor - Google Search
- YouTube launches library of free music that anyone can use | The Verge
- Audacity Development Manual
- How Sound Works (In Rooms) - YouTube
or my two cents...downloading skype created my realtek echo and disabled the balance as well. Skype also created errors in my register which I had to use emerg disc to correct. Once Skype was removed and my reg errors corrected, the realtek sound and balance worked
For this, I’m using a ‘free’ compressor that will run in most major audio hosts – Stillwell Audio’s The Rocket. In reality, The Rocket isn’t free, but it does have an eternal demo mode so you can try it out. It’s also (like pretty much all of Stillwell’s plugins) pretty awesome. Go have a poke around their site, test their plugins and buy a few. Massive recommendation from me here ;). (Pro Tools? Go talk to FXPansion and get a wrapper on it ;)). Why The Rocket? It has exactly the features we want – superfast Attack, reasonably variable release (enough for us, most likely) and huge compression ratios.
How to remove Reverb – The Method
AKG Overheads - Grand Chapel Studios Drum Test Sessions
These files were from a quick recording test we did at Grand Chapel Studios a few weeks ago specifically to record Drums with full ambience – so it’s a really open recording. If I remember, this is an old Premier Olympic Kit. Additional Room mics have been muted and, before we got to this stage, we’ve put Audio Gating on the Kick, Snare and Toms to remove ambience before and after each hit. You might think this is a great way to De-Verb – and it is for close mics… but you try this on overheads… Not quite as nice.
Step 1. Duplicate the Overheads. Here you can see we’ve ended up with AKGL & AKGR, and another pair of tracks, Copy of AKGL and Copy of AKGR. These tracks are identical. We’re also de-verbing the Coles 4038 Mono OH, but we’re just going to ignore that for the moment.
AKG Overheads - Closeup
Step 2. Send your main pair of Overheads (AKGL and AKGR) to a Group Channel. Here you can apply any EQ or Compression that you want on the original sound. When you’re happy with that, we can get on with getting rid of that Ambience.
Step 3. Duplicate that Group Channel, give is a sensible name, and the route your COPY tracks (Copy of AKGL and Copy of AKGR in this case) to this new channel. This channel should sound Identical to your previous Group – Excellent!
Cubase Mixer - showing identical Overhead Channels
Step 4. Click the Polarity/Phase button on the new Channel. The sound from your Overheads should vanish. This is a good thing.
Polarity/Phase button on second Overhead channel
Step 5. This is the last, but most importnat step – it’s going to require a bit of tweaking, but I’ll give you a starting point. Pop a copy of The Rocket in the last pre-fader Insert on the copied channel. If you’re not sure which that is you really should look it up – it’ll allow you much more flexibility in the long run. In Cubase 6 – that’ll be Slot 6. If you can’t find it out – pop The Rocket it in the last slot, and any time I mention mucking around with the channel volume – muck around with the ‘Parallel Compression’ knob in The Rocket – it’ll do the same thing.
Stillwell - The Rocket - De-Verbing like a Pro
Turn the Attack to its lowest setting (to the Left). Leave the Release quite high to start with (we’ll be tweaking that anyway – 500ms will do), whack the Ratio on 20:1, and then select the GR (Gain Reduction) Meter on the right. Now, drag that threshold DOWN. Really… DOWN. We want The Rocket to be hammering the audio. Don’t touch Detector HPF or Parallel Compression (previous note taken into account :)). What you should notice, if you play the audio now, is that you hear something. In fact, you’ll probably hear a lot. What’s happening is that, although the two channels are of inverted polarity/phase, the compressor is vastly changing the inverted channel making it different (and much quieter) than the original channel. They will no longer cancel out. We now need to tweak to get rid of the reverb.
The Gain Reduction meter should be flying to the left, and probably hanging around there. We don’t want that – we need to shorten the release time so the compressor recovers faster. We want the compressor to hit immediately a drum is hit (hence the short attack) but stop compressing during the ambience. For an extreme effect, turn the release down to about 50ms, then edge it back up until you get the kind of ambience reduction you’re after.
I went for fairly (2) subtle reduction on these tracks but you can take it a lot further. Here, try playing the two players in parallel (press play on the first, then play a second or so later on the second) and you can do a comparison. Back in your DAW, for a bit more ‘tweakability’, you could go more extreme on the overall settings and then blend it in more subtly by pulling down the volume of the inverted track in the Mixer. You may also find that in the mix, you can be more brutal with the effect… other instruments are great cover ;).
This also opens up a lot of different avenues. What if we start EQing portions of the inverted phase track – we could let more reverb through in certain frequency ranges. Here, we’re working with a classic style compressor – we have static attack and release times, and a variety of ratios to choose from. But what if we chose a limiter with program dependent release? What about the compressors with program dependent or interesting non-linear release curves? (3) What happens if you start mucking around with Transient Designers as well? In fact, on a later revision of this, we were using the Universal Audio SPL Transient Designer to tweak the release in the overheads and I’ve also had good results generally with Transient Monster – it really adds to the effect.
This method, as far as I can work out, is definitely one for punchy, short lived sounds like Drums and picked Acoustic Guitars. I’ve yet to try any commercial De-verb products, but I imagine they also struggle with long, relatively quiet sustained sounds with minimal dynamics. I can’t immediately think of any simple, non-spectral processing dealing with that (though I’m not saying it can’t be done… leave that to the fantastic mathematicians, engineers and theorists who work for these companies – hats off to those guys :)). Also, with this method, you can’t simply remove the ambience that is absolutely tied to the transients themselves – when the drummer hits the drums, the microphones _will_ pick up the room – we’re just hiding the effect of that in the ‘release phase’. But equally, try not to record in an environment which is unsuitable or un-adaptable for the sound you’re after :).
So, there you go – removing reverb for free. Any thoughts?
Footnotes:
(1) If Stillwell or UA aren’t to your taste, or you want a Transient Designer which is totally free – try Flux Bittersweet 2. It’s a cracking plugin.
(2) Definitely a fast job here. I’m not totally happy with the release pattern on this recording, but as a demo, it works quite nicely. Can you hear the ‘mistake’? :).
(3) Plenty of options here. On PC and Cubase – you should definitely try Variety of Sound ThrillseekerLA. It’s got everything we need. Cross Platform – how about Vladgsound Molot – absolutely love this compressor generally – great on the Drum Buss ;). Oh, and you might try FXPansion DCAM FreeComp – though this has program dependent release., it’s also a fantastic compressor. With all of these, turn off any saturation provided by the plugin first – it’ll muck around with your phase cancellation. Finally, there’s no harm in using a DAW bundled compressor… It’ll still work. I just liked The Rocket for this.
