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June 14, 2009
In ep 113, a bit of a discussion on patchbays,
Michael Rooney’s AATranslator software,
Peachey wanted to know about how to lay out the audio for a film mix,
somebody liked my Muggshot commercial and wanted to know about de-breathing techniques,
the Loudness War awareness campaign is reaching mainstream (with a Facebook group supporting an end to the madness),
a new album WITH dynamics caught me by surprise,
and Yuli Mitsner alerted us to a Mac app called Max (which sounds like the Mac equivalent of dbpoweramp) for converting audio files from one format to another.
November 9, 2008
Yes folks.
Believe it or not, we’re finally here!
The building of this video has been an absolute labour of love…. I’d estimate that it’s taken me about 20 hours of work to complete!
Maybe, that’s partly my inexperience at producing video podcasts, but hopefully, when you watch it, you’ll see where those hours went.
In an effort to ease the load on my hosting company’s servers, I will be setting up a torrent feed later tonight.
Check back here later for a link to the torrent file.
There’s also a copy of the file at YouSendIt, plus the copy here at audio2u.com.
To download manually from audio2u:
sl100.mp4 280MB
From YouSendIt here:
sl100.mp4 280MB
If you want to download a copy of the final mix of the song (featuring a couple of extra tweaks I did later), grab that here:
Fear of Holding On – 320 kbit joint stereo (13MB)
Towards the end of the podcast (or is that vidcast?), I mentioned that I would make the individual instrument tracks available to anyone who wanted to have a crack at mixing the song for themselves.
Drop me an e-mail and I’ll send you the link to download the files.
Just be warned… that’s an even bigger download than the mp4!!
The tracks are 32bit mono and total about 1.1GB!
The download will be in .rar format, so you’ll need an archive utility like WinRAR (or similar) which is capable of unzipping a .rar file.
January 6, 2008
I wasn’t planning on doing another podcast this early in the year, but a couple of e-mails came in, and I figured I may as well just get on answer ‘em!
This week, an “end of year” greeting from long-time listener, Gary Lerude. Thanks mate!
John Meadows asked about what effects or processes get over used, and which don’t get the attention they deserve. (NB. The one thing I should have also mentioned which doesn’t receive the attention it should is mic technique!)
And Vassya asked about why 44.1 kHz or 48kHz, dither, and headphones.
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October 14, 2007
This week, I read an absolutely amazing thread on prosoundweb about digital levels.
Some of the ideas fly a little bit in the face of some of the things I’ve suggested in the past (particularly with regard to tracking as hot as possible).
Having now finished reading it (I was still half way through it at the time I recorded this episode), the main gist of what was being discussed (and there were some pretty big industry heavyweights in there) was that if you are tracking in 24 bit, there is no need to aim for the hottest possible level to disc. These guys were advocating tracking with average levels around -20dBFS (and peaks around -12dBFS)! Now, if anyone had tried to sell me on that idea a week ago, I probably would have held on to my existing position and disagreed.
But no, the theory makes a whole lot of sense.
In a nutshell, the idea is this:
At 24 bit resolution, we’ve got 144dB of S/N ratio to play with (or you could refer to it as dynamic range if you wanted to).
NOTHING (Shall I repeat that? NOTHING) that you are going to record into your DAW has that kind of dynamic range.
Nothin’, zip, nada, nil.
For podcasters, the widest dynamic you’re likely to deal with will be your own voice, and even if you’re REALLY inconsistent with levels (and don’t own an outboard compressor), the most you’ll have to contend with might be in the vicinity of 50dB (from the quietest passage to the loudest passage)…. but even that is unlikely.
So, if you track with peaks at -12dB, AND you happen to have a soft passage 50dB below that (-62dBFS), you’ve still got 82dB of S/N below ya!
But why would you need to track that low?
Well, the theory (and according to these heavyweights who are tracking and mixing this way, the practise) suggests that if you track too close to full scale, you might introduce clipping when you start running plugins (EQ, compressors, peak limiters, whatever) that don’t operate at higher bitrates.
Look, it’s not a thread for the faint hearted, but if you have an interest in getting the best possible quality out of your digital audio setup, it’s worth the time and effort.
It took me 4 days to get through it because I kept on re-reading lines and paragraphs to make sure I understood it.
Also, the real meat starts about 7 pages in when Paul Frindle weighs in on the discussion.
OK, enough of that.
This week in the podcast, part 4 in the series on constructing your own promo: some tips on track laying.
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July 22, 2007
At last!
Just when you thought it was never gonna get here… the big one ton is here!
*** EDIT ***
To download the movie, go to
“BTP100 downloads“.
*** END EDIT ***
So, what’s in store for episode 100?
A promo remix in real time, for Rem Lavictoire.
Yeah yeah yeah, but what about the damned prizes, man? That’s all we’re here for!
Oh yeah, right…. ok.
Well, Peter Baker at Beatbox Music
has been kind enough to donate a copy of the Podcasting Production Toolkit CD.
This is a CD of royalty free music AND sound effects that you can use for polishing up your podcast!
While I will confess to not having heard the CD yet, I have dealt with Peter professionally for over 20 years, and he has always represented some of the finest music production companies around… and I have no reason to suspect that this won’t be an AWESOME collection of sounds to have at your disposal.
And to keep the CD theme going, I have 3 more copies of the Adobe Audition 2.0 Essential Training Guide from Lynda.com to give away as 2nd, 3rd and 4th prizes.
OK, so what do you have to do to win one of these great prizes?
Well, this is where you’re gonna hate me. I’m not going to tell you… just yet.
In order to make this fair, I’m going to hold off posting the details of the competition for 72 hours.
The reason for that is, it will give those on slower internet connections a chance to be involved too.
So, at around midday GMT on Wednesday (25th July 2007), I’ll post the details right here.
Nasty, aren’t I? 
In the meantime, enjoy the video!
July 1, 2007
Will you still need me, will you still feed me, when I’m sixty-four?
In episode 64, a listener query from John Meadows prompts a discussion on how to aviod getting nasty little clicks and pops when you’re editing. Bruce answers not only how to avoid it, but why it happens in the first place.
John also mentions a piece of software called Click Repair, which may come in handy for those wishing to digitise their old LP collections.
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October 8, 2006
In episode 66, Bruce describes his technique for editing an interview (when that interview is recorded to 2 separate tracks, and keeping both tracks in sync is of the utmost importance).
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September 15, 2006
In episode 64, Bruce completely rebuilds and remixes a promo for the Dead Science podcast in real time. Bruce delivers a step-by-step dialogue throughout, explaining not only WHAT he did, but WHY he did it as well.
Grab a 320 kbps version of this episode right here.
WARNING! File size is just over 120 MB!
This is definitely NOT for the bandwidth impaired!
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April 30, 2006
A few odds and ends this week, including the first in a series of “keyboard shortcuts of the week”.
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