Sunday 17 October 2010

Pro Tools: Basic Automation Tips

Justin gives us basic automation tips to get us started making more creative mixes within Pro Tools 8.

Pro Tools: How To Layer Drums

Learn how to layer drum sounds within Pro Tools 8 to create bigger and more dynamic drum kits.

Pro Tools: How To Create a Stutter Effect

This video shows how to quickly create a stutter effect using the grid size within Pro Tools 8.

Pro Tools: Creating the Wobble Bass Effect

In this tutorial learn how to re-create the classic Wobble Bass effect within Pro Tools 8. This technique was made popular in Dubstep music by producers such as Skream, Rusko and Caspa.

Wednesday 13 October 2010

MIDI - Multiple tracks and routing.

Routing multiple MIDI tracks to the same Virtual Instrument.

MIDI - Merge

Overdubbing MIDI on a track.

MIDI - Print audio to track

Bussing Virtual Instrument audio to track for record and session optimization.

Rewire - The Basics

Basics of connecting applications to Pro Tools via Rewire.

Using Rewire with Reason 4

Treating Rewire with Reason 4 as another Virtual Instrument. Routing MIDI from Pro Tools into Reason via Rewire.

Thursday 7 October 2010

Pro Tools HD Native: use it without DSP hardware | MusicRadar.com

PRESS RELEASE: Avid today introduced Pro Tools | HD Native, enabling a growing market of music and post-production professionals to tackle demanding audio projects using the full capabilities of Pro Tools HD software running entirely on computer CPU host-processing power.
Taking advantage of the rapid advancement in the performance of computer processors, this newest member of the Pro Tools family couples the cutting-edge software features, premium sound quality and broad compatibility of Pro Tools | HD systems, with a highly efficient native audio driver. This combination offers customers outstanding performance without the additional dedicated processing hardware included in larger Pro Tools | HD DSP-assisted systems.
The Pro Tools | HD Native system offers customers a completely integrated professional hardware and software solution featuring a new Pro Tools | HD Native PCIe card and running Pro Tools HD software—delivering a new level of price-performance and simplified, open workflows for recording, editing and mixing. Providing the best audio quality, Pro Tools | HD Native uses Pro Tools HD Series interfaces for up to 64 channels of premium audio conversion and I/O. Support for SYNC HD enables accurate synchronization to picture for post-production workflows. For integrated monitoring and tactile control, the system integrates with Avid® ICON and C|24™ work surfaces, and features lossless session and project interchange with other Pro Tools and Avid video editing systems for simplified collaboration.

For more info :  Pro Tools HD Native: use it without DSP hardware MusicRadar.com

Tuesday 21 September 2010

Welcome

Welcome to a new podcast from the students of West Cheshire College at Ellesmere Port, Cheshire, England.

Over the next few months we hope to bring you recorded and live performances from solo artists and bands who are currently studying at the college. We hope to bring you interviews, news, and opinions from the students and maybe even some of the tutors !

We are still in the 'under construction' phase of the site so please try and be patient but feel free to bookmark us and keep returning to check what's happening. Feel free to use the chatroom and invite your friends to do the same, remember this site is for you to use and to contribute.

If you do have any material you would like to be considered for future podcasts, or ideas for the site, please get intouch with :

Ian England

Sunday 4 July 2010

Sound Engineer (Recording Industry)

Sound engineers work in recording and audio post-production studios, operating sophisticated electronic equipment to record music, speech, sound and other audio effects for music CDs, radio, film, TV, commercials, corporate productions, websites and interactive media.

The sound engineer is responsible for what the audience hears. Depending on the type of recording, they may:

•plan recording sessions with producers and artists
•position microphones
•operate equipment for recording, mixing and sequencing
•balance sound and add effects

Sound engineers record the sound onto a multi-track tape machine or a hard disk drive, before mixing and mastering for final production. The master can then be made into various formats, including CD, minidisc, DVD-A (Digital Versatile Disc-Audio), SACD (Super Audio Compact Disc), MP3 or digital audio files in different formats.

Hours can be long and unpredictable, and night and weekend work is common. Sound engineers need to be flexible as their hours may depend on the availability of artists and producers and the needs of the production project.

Most of the work is carried out in recording or post-production studios which can be air conditioned, spacious and well equipped, but smaller studios may be more uncomfortable.

Earnings may range from around £15,000 up to £75,000 a year.

A sound engineer should have:

•excellent hearing
•the ability to listen and to differentiate between sounds
•a good sense of pitch, timing and rhythm
•a knowledge of sound recording and post-production processes
•a good knowledge of and interest in different types of music

Sound engineers are employed by commercial recording and audio post-production studios. Most of the major employers are based in London, but there are many smaller independent studios around the country. Many sound engineers are freelance. Competition for jobs as a sound engineer is fierce. Networking, the ability to make personal contacts and experience in the industry are vital.

It may be possible to enter the industry without formal qualifications. Some commercial studios and audio post-production facilities houses take on runners or assistants who perform routine tasks. If they show promise they may eventually work their way up to become a sound engineer. Larger studios may require applicants to have a related qualification. There is a wide range of relevant courses at various levels.

Sound engineers who have built up a reputation may become producers. Others may specialise in a particular area or go on to set up their own recording studios.

What is the work like?

Sound engineers work in recording and audio post-production studios making high- quality sound recordings. They operate sophisticated electronic equipment to record music, speech, sound and other audio effects for music CDs, radio, film, TV, commercials, corporate productions and websites, and for computer games and other interactive media.

The sound engineer is responsible for what the audience hears. Depending on the type of recording, they may:

•plan recording sessions with producers and artists
•position microphones
•help to set up the artists' instruments
•set and maintain the right sound levels and dynamics
•operate equipment for recording, mixing, sequencing
•balance sound and add effects
•mix tracks to produce a final master track

Sound engineers record the sound onto a multi-track tape machine or a hard disk drive, before mixing and mastering for final production. The master can then be made into various formats, including CD, minidisc, DVD-A (Digital Versatile Disc-Audio), SACD (Super Audio Compact Disc), MP3 or digital audio files in different formats.

The sound engineer works closely with producers and artists. In film and TV, where they are putting sound to images, they may also work with the director, editor and other members of the post-production team. The process may involve a number of versions, each requiring further refinement of the audio mix, until the final soundtrack is achieved.

Hours and environment

Hours can be long and unpredictable and night and weekend work are common. Sound engineers need to be flexible as their hours may depend on the availability of artists and producers and the needs of the production project.

Most of the work is carried out in a recording or post-production studio. Conditions vary from large air-conditioned, comfortable, spacious, well-equipped facilities to smaller studios which may be less comfortable.

Control rooms are often small, crowded and lit by artificial light. This can be uncomfortable, especially when the work lasts for many hours.

Salary and other benefits

These figures are only a guide, as actual rates of pay may vary, depending on the employer and where people live.

•A new sound engineer may earn around £15,000 a year.
•Experienced sound engineers may earn between £25,000 and £35,000.
•Senior and freelance sound engineers may earn up to £75,000 or more

Rates for freelance work vary. The Broadcasting, Entertainment, Cinematographic and Theatre Union (BECTU) can advise.

Skills and personal qualities

A sound engineer should have:

•excellent hearing
•the ability to listen to and differentiate between sounds
•a good sense of pitch, timing and rhythm
•an understanding of electronics and acoustics
•the ability to cope with long hours and tight deadlines
•excellent communication skills
•patience, tact and negotiation skills
•the ability to work effectively under pressure
•knowledge of health and safety procedures
•a good knowledge of different types of music (the ability to play an instrument being an advantage)

Interests

It helps to have an interest in:

•music
•computers and electronics

Getting in

Sound engineers are employed by commercial recording and audio post-production studios. Most of the major employers are based in London, but there are many smaller independent studios around the country.

Nearly half of sound engineers are freelance, working on short-term contracts or for the duration of a project. Changes in technology have resulted in the wider availability of professional quality equipment, with a significant increase in self-employment.

Competition for jobs as a sound engineer is fierce. Networking, the ability to make personal contacts and experience in the industry are vital.

Jobs are rarely advertised. There are some websites that specialise in music industry or audio-visual jobs, such as www.uk.music-jobs.com and www.jobsav.co.uk Sound engineers also register in trade directories and post their details on trade association websites. Many find work through word of mouth or by recommendation.

Entry routes

It may be possible to enter the industry without formal qualifications. Some commercial studios and audio post-production facilities houses take on runners or assistants who perform routine tasks. If they show promise they may get the chance to use studio equipment and assist on sessions and eventually work their way up to become an engineer.

Practical experience is essential. Some people start off by working as unpaid volunteers in a studio. Other relevant experience can be gained from recording and mixing music in a home studio, hospital radio or community media or involvement in community music projects.

Larger studios may require applicants to have a related qualification. There is a wide range of relevant courses at various levels, including:

•VRQs
•National Certificates and Diplomas
•HNCs/HNDs
•foundation degrees
•degrees

Course titles include creative media production, music technology, audio technology, media and sound technology, and sound engineering.

There may be specific subject requirements for entry onto diploma and degree courses. Relevant subjects include maths, physics and music. Entry requirements vary so applicants should check with the college or university.

The Joint Audio Media Education Services (JAMES) has details of courses on its website. The most useful training involves a lot of practical studio time, so when choosing a course it is important to consider how much access there will be to studios and equipment.

Some students go on to specialise in sound at postgraduate level and courses are available at a number of universities.

The Diploma in creative and media may be relevant for this area of work.

Training

Even with a qualification, most sound engineers start their careers at a junior level and learn on the job.

Sound engineers need to keep up to date with changes in technology throughout their careers. Short courses and masterclasses may be available through trade associations, the BBC, the National Film and Television School and some local colleges.

Getting on

This is primarily a creative profession, where personal skills, experience and the ability to make contacts are just as important as qualifications.

Sound engineers who have built up a reputation may become producers. Others, once they have experience and can afford the set-up costs, may open their own recording studios.

The skills learnt as a sound engineer are highly transferable and can be used in radio, film, television and the theatre and for multimedia work. With experience, some sound engineers specialise in a particular area. Others may go on to work for equipment retailers or manufacturers.

Further information

Association of Professional Recording Services (APRS), PO Box 22, Totnes, DevonTQ9 7YZ. 01803 868600. Website: www.aprs.co.uk

BBC Training and Development. 0370 010 0264. Website: www.bbctraining.com

BPI, Riverside Building, County Hall, Westminster Bridge Rd, London SE1 7JA. 020 7803 1300. Website: www.bpi.co.uk

Community Media Association, 15 Paternoster Row, Sheffield S1 2BX. 0114 279 5219. Website: www.commedia.org.uk

Creative and Cultural Skills, Lafone House, The Leathermarket, Weston Street, London SE1 3HN. 020 7015 1800. Websites: www.creative-choices.co.uk and www.ccskills.org.uk

Hospital Broadcasting Association, PO Box 341, Messingham, Scunthorpe
DN15 5EG. Website: www.hbauk.co.uk

Joint Audio Media Education Services (JAMES). Website: www.jamesonline.org.uk

Music Producers Guild (MPG), PO Box 38134, London W10 6XL. 020 3239 7606. Website: www.mpg.org.uk

National Film and Television School, Beaconsfield Studios, Station Rd, Beaconsfield, Bucks HP9 1LG. 01494 671234. Website: www.nftsfilm-tv.ac.uk

Professional Lighting and Sound Association (PLASA), Redoubt House, 1 Edward Road, Eastbourne BN23 8AS. 01323 524120. Website: www.plasa.org

Skillset, Focus Point, 21 Caledonian Road, London N1 9GB. 020 7713 9800. Careers helpline: 0808 030 0900. Website: www.skillset.org

Further reading

Access All Areas - BPI

Careers Uncovered: Music Industry - Trotman

CRAC Degree Course Guide: Music, Drama and Dance - Trotman

Music Week Directory

Showcase - Hollis Publishing

The White Book - Ocean Media Group

Working in music - VT Lifeskills

Working in the Music Industry - How To Books


Magazines/journals

Computer Music

Future Music

Sound on Sound

Saturday 5 June 2010

Music Production Courses

Sound Engineering Certificate

Course overview

This course is designed for people who are more interested in the recording process and concentrates on recording and mixing of instruments such as drums and guitars. It is also suitable for people who would like to obtain a more professional sound from their recordings.

This course takes the sound engineering route and you will learn the skills necessary to professionally record musicians, vocalists and bands. If you are currently in a band you have the opportunity to record your own band and could have a polished demo at the end of the course. You will learn about subjects such as microphone techniques, multitrack recording, mixing and mastering techniques, using compressors, gates, eq, reverb and delays you will also be using the latest software recording packages such as Pro Tools and Logic 8.

If you don't have a band, then a typical project on this course will be to pick songs from a recent album that has been recorded at our studios then mix and produce them adding your own influence to the final product. We have excellent recording facilities which are totally free to use by students saving them £100's in studio time, which is another good reason to study with us.

This course is also suitable for people who are interested in a career in live sound engineering where you record and engineer bands and musicians in live venues or on location.

If you decide to enroll on a one to one course the structure and timetable is flexible where you are able to study during the daytime, evening and weekends. You can attend the course for two half days or one long day per week, it is also possible to accelerate and complete the course in just 4 weeks. Please contact the office and speak with an advisor for more details on how we can structure the course to suit your schedule.

For further information regarding this or any other course please call 0207 247 8800 and an advisor will be happy to assist you.

Snapshot of what you will learn during the course

Sound principles - Learn about frequencies, how sound travels and the influence of your environment on recordings
Signal flow – learn about mixing desks, soundcards, patchbays, signal routing and creating headphone mixes
Monitoring – understand the correct placement of monitors including active and passive systems
Live sound – learn the basics of setting up a pa system, engineering and recording live bands and performers
Recording software - Integrating music software such as Pro Tools or Cubase with pre amps, mics and soundcards
Mixing desks – learn about digital and analogue mixing desks including routing, monitoring, groups and buses
Microphone techniques – learn about dynamic and condenser mics, polar patterns and placement,
Recording – learn to mic up a drum kit, record guitars and vocals using digital and analogue mixing desks and soundcards
Musician psychology – the best ways of obtaining a good performance or take from musicians and vocalists
Production techniques – learn the ‘tricks of the trade’ to improve or remix traditionally recorded tracks using the latest software
Mixing with dynamic processors – learn to mix correctly by using parametric equalizers, compressors, gates and limiters
Mixing with effects processors - using a combination of hardware and software understand reverbs, delays and phasers
Mastering techniques – learn to master and fine tune your final mixes using both software packages and hardware
Music business – the basics of how to release your music including copyright, royalties, publishing and digital downloads

Course fees
One to one £949

Course Dates
This course is only available on a one to one basis.
How long does the course last? for one to one courses the timetable is determined by the student where he/she picks the days/weeks that suits their lifestyle. For example if you were to complete the course over the usual schedule it would take 8 weeks. but if you wanted to fast track the course it could be completed in as little as 2 weeks.

How many days? One evening per week for 8 weeks for group courses. One to one course timetables are determined by the student. For example, most people attend the course for 2 days per week for 8 weeks but some people prefer to study for 1 long day per week for 8 weeks. Others prefer 2 long days for 4 weeks.

What time of the day do I attend the course? it's your decision, we have morning, afternoon and evening slots in our timetable, we are open 10am to 10pm Monday to Friday and 12-5pm on weekends. Group courses are on Wednesday evenings starting at 7pm and finishing at 10pm.

Can I change the content of the course? yes you can, the outline above is simply a guide. It's your course and you decide what subjects you want to learn with expert guidance from our experienced tutors (only available for one to one courses).

What's the cost? the course costs just £899 per student for one to one courses and £699 per student for group courses.

Can I pay in installments? unfortunately we are unable to offer payment plans at present

What's next? if you would like to enrol, telephone us on 0207 247 8800 (+44 207 247 8800 outside the UK) and we will do the rest!

It's easy to book a course just call 0207 247 8800

Check out musiceverything.com

Thursday 3 June 2010

Digidesign MBox 2 Mini USB-Powered Audio Workstation including Pro Tools 8 LE


The Digidesign MBOX 2 MINI USB Interface. The world’s smallest and most affordable Pro Tools LE system yet for your Mac or Windows computer.

The Digidesign MBOX 2 MINI literally puts the power of Pro Tools into the palm of your hand. Whether you’re a singer/songwriter who’s new to recording, or an experienced production artist on the go, Mbox 2 Mini packs professional features into a robust, compact, easy-to-use audio workstation, to compose, record, mix and master music wherever your inspiration takes you. Digidesign Mbox 2 Mini delivers superior sound quality and includes plenty of powerful creation tools for composing, recording and mixing audio. It comes with award-winning, easy-to-use Pro Tools LE software, which provides you with a number of professional tools, many used on major recordings and films. As Pro Tools is the industry standard, you are able to use your Mbox 2 mini-recorded sessions in any Pro Tools equipped studio around the world. Digidesign Mbox 2 Mini is professionally and durably built to withstand all the knocks and crushes it encounters as your traveling companion, and delivers superior sound quality. In addition to Pro Tools LE 8 software, an impressive collection of over 50 valuable plug-ins and applications are included with every Digidesign Mbox 2 Mini system. These outstanding plug-ins have been used on countless professional recordings and many are exclusive to the Pro Tools platform. Plugins including Xpand! Sample-Playback/Synthesis Workstation, Bomb Factory bundle, DigiRack Plug-ins.

The main features of the Digidesign MBOX 2 MINI include:

The world’s smallest and most affordable Pro Tools LE system yet for your Mac or Windows computer
Professional sound quality (up to 24-bit/48 kHz)
Two simultaneous analogue inputs and outputs
One XLR analogue input for connecting a microphone
Two 1/4 inch jack line-/instrument-level (DI) analogue inputs for connecting guitars, basses, keyboards, synthesizers, drum machines, and more
Zero-latency monitoring
Compact, rugged metal enclosure for maximum portability and durability
Powered by USB (USB 1.1 connection, cable included)
Front-panel volume control and monitor mute switch
Two 1/4 inch jack analogue monitor outputs
Stereo headphone output
48V phantom power
Kensington Security Lock
Award-winning Pro Tools recording, editing, and mixing
32 simultaneous audio tracks (128 virtual audio tracks)
Fully integrated MIDI sequencing with 256 simultaneous MIDI tracks
Over 50 processing plug-ins, virtual instruments, and compatible applications
Support for streaming ReWire applications into Pro Tools
Unique Beat Detective LE automatic groove analysis and correction tool
Support for the Digidesign Control|24 and Command|8 control surfaces
Huge selection of compatible third-party plug-ins and software options
Digidesign MBOX 2 MINI Works on Windows XP and Mac OS X computers

£229.00 (inc vat) BUY HERE

Wednesday 2 June 2010

New Product News


Pioneer EFX1000 DJ Effects Unit

The launch-product in Pioneer’s Club Professional Series, the Pioneer EFX-1000 digital effects unit offers clubs and pro-DJs an unprecedented level of sound processing. Developed with the help of some of the world’s leading DJs and club installers, the EFX-1000 is the world’s first DJ effects unit to deliver 24 Bit/96kHz digital sampling, using 32 Bit digital sound processing. This ensures a vastly improved audio quality in comparison to the other effectors currently available, while the impressive variety of on-board effects – including Delay, Echo, Trans, Flanger and Phaser – means that professionals can enjoy the widest-ever scope for creativity in their mixes.

Friday 28 May 2010

Free audio-editing software

"Audacity The Free, Cross-Platform Sound Editor"
"Audacity is a free, easy-to-use audio editor and recorder for Windows, Mac OS X, GNU/Linux, and other operating systems. You can use Audacity to: Record live audio. Convert tapes and records into digital recordings or CDs. Edit Ogg Vorbis, MP3, and WAV sound files. Cut, copy, splice, and mix sounds together. Change the speed or pitch of a recording. And more! See the complete list of features." -

http://audacity.sourceforge.net/

Wavosaur - free audio editor
"Wavosaur is a free sound editor, audio editor, wav editor software for editing, processing and recording sounds, wav and mp3 files. Wavosaur has all the features to edit audio (cut, copy, paste, etc.) produce music loops, analyze, record, batch convert. Wavosaur supports VST plugins, ASIO driver, multichannel wav files, real time effect processing. The program has no installer and doesn't write in the registry. Use it as a free mp3 editor, for mastering, sound design. The Wavosaur freeware audio editor works on Windows 98, Windows XP and Windows Vista." -

http://www.wavosaur.com/

Free audio-editing software
WavePad from http://www.nch.com.au/

"Q. Is WavePad really free? Yes. We make WavePad free in the hope you will like it and buy WavePad Masters Edition in the future."

"WavePad Sound Editor Professional Audio Editing Software This audio editing software is a full featured professional sound editor for Windows or Mac. It lets you make and edit music, voice and other audio recordings. When editing audio files you can cut, copy and paste parts of recordings and, if required, add effects like echo, amplification and noise reduction. WavePad works as a wav editor or mp3 editor but it also supports a number of other file formats including vox, gsm, real audio, au, aif, flac, ogg and more."

A free sound file format converter
Switch Sound File Conversion Software is a free utility that converts wav, mp3, ogg, flac, aac, wma, au, aiff, ogg, msv, dvf, vox, atrac, gsm, dss and other file formats into the mp3 or wav formats. A paid-for version can deal with even more formats, but the free version should meet the needs of most users. There are other sound utilities made available from the site, all of which work together to provide an impressive sound-processing suite. All versions of Windows versions are supported and the file size is only 312KB. - http://nch.com.au/switch/index.html

DeepRipper - Free powerful AudioCD ripping utility

"DeepRipper is freeware that can convert music files from AudioCDs into practically any format you'd like, including: MP3, WAV, OGG, and others. DeepRipper offers sophisticated encoding settings, but comes with ready made embedded sound quality presets. DeepRipper is a stand-alone application and doesn't need [the paid-for] DeepBurner to run." - http://www.deepburner.com/

Going back to Windows Media Player 6.5
If you dislike using Windows Media Player 9.0 as much many people do, then you can take a trip back in time to when good old version 6.5 was king. It runs all of the codecs that version 9.0 does, but doesn't use nearly as much of the system resources. Just enter mplayer2 in the Start => Run box in any version of Windows that could run version 6.5, and then browse to open a media file.

How to identify a sound card

If you need to identify the sound card installed in your computer in order to download driver updates from its manufacturer's site, open the Device Manager (if you don't know what the Device Manager is, look it up in the Windows Help files). Look under the heading Sound, video and game controllers (in both Windows XP and Windows 9x systems). The make and model of the sound card should be provided there. If you can't identify the make and model of the card from the information provided, click here! to go directly to the links of some free ID utilities.

This might be necessary, because the information provided in the Device Manager might be inadequate, the sound chip might be built into the motherboard, or, if it is in the form of an AGP or PCI adapter card, it can be difficult to identify the make and model by removing and examining it.

The Windows System Information utility in Windows XP and Windows Vista and Windows 7
Another useful source of system information is provided by the System Information utility.

In Windows XP systems, this can be accessed via System Tools under All Programs => Accessories (Programs => Accessories in Windows 9x systems), or quickly by entering msinfo32 in the Start => Run box in Windows XP and Windows 9x systems.

In Windows Vista, to use the System Information tool, follow these steps: Click Start, type msinfo32 in the Start => Start Search box, and then click System Information in the Programs list.

In Windows 7, to run the utility, just enter msinfo32 in the Start => Search programs and files box to be presented with a clickable link called msinfo32.exe.

Thursday 27 May 2010

Sound Cards and Sound Production: The Hardware



The sound in a high-end desktop PC is usually produced by a sound card (also known as an audio card) that is installed on the computer's motherboard in an adapter slot, an example of which is shown in the image above. The sound card, in turn, is attached to other peripheral devices such as a CD/DVD drive in order to produce sound via the operating system, which uses the card's software driver and a sound player, such as the Windows Media Player (WMP), or a third-party sound player such as a Winamp, Real Player, or Apple's QuickTime.

It is also possible for the sound chip to be incorporated into the desktop or laptop/notebook PC's motherboard. If that is the case, it is called integrated sound. Most of the devices in a laptop/notebook PC are usually integrated on the motherboard, including the sound chip. However, laptop PCs are evolving into upgradable computers that have separate, removable graphics cards and processors. The hard disk drives have always been upgradable.

A sound card can be supplied to a laptop PC/computer via a PC card via a CardBus/PCMCIA slot (old technolody), or via an ExpressCard/54 slot (current technology).

External USB or FireWire sound devices, sometimes called a sound card, that plug into a USB or FireWire port on the computer, are available. They work externally to the computer in the same way as an internal sound card. You can enter the search terms usb sound cards or firewire sound cards in the Google search box at the top of this page to find examples of these sound peripheral devices.

Sound card reviews

There are UK and US several websites that provide reviews of the latest sound cards and the sound devices that provide a PC with sound, such as USB sticks. You can find those websites by entering the words sound card reviews in the Google search box provided at the top of this page (with its Web radio button enabled). Here is a good UK website:

Test Freaks - Sound card reviews -

http://www.testfreaks.co.uk/sound-cards/

USB stick sound cards
If you don't have a high-end sound card installed in your desktop or laptop PC, you can add a sophisticated sound capability by using a USB stick sound card from around only £17. Here are a few examples:

Sound Blaster X-Fi Go! [£40] -

"Ultra-realistic gaming audio with headphone surround. Creative's Sound Blaster X-Fi Go! brings incredible gaming audio to any computer, anywhere! Designed just like a USB stick it plugs into a PC to bring you incredible X-Fi headphone surround and maximum realism, thanks to its EAX Advanced HD support. Its 1GB memory stores the installation software and lets you save your game settings and levels. Ideal for LAN parties, it supports hundreds of titles under Windows XP and Vista - and even fits on your key ring for maximum portability! The Sound Blaster X-Fi Go! is the fast and easy upgrade to Xtreme Fidelity." - http://uk.store.creative.com/products/product.aspx?catid=1&pid=17872

Terratec Aureon Dual USB Sound Card for PC and Notebook [£17] -

Read the purchaser reviews.

http://www.amazon.co.uk/Terratec-Aureon-Dual-USB-Notebook/dp/B000WL23KC

Sound Blaster How-to Guide
The Sound Blaster How-to Guide provides comprehensive information on getting the best from a Sound Blaster device. It is broken down into a Gaming Mode, an Entertainment Mode and an Audio Creation Mode. -

http://www.creative.com/products/soundblaster/howto/

(For complete article go to PC Buyer Beware)

Thursday 20 May 2010

Equipment

Audio engineers in their daily work operate and make use of:

Mixing consoles
Microphones
Signal processors
Analog-to-digital converters
Tape machines
Digital audio workstations
Music sequencers
Digital-to-analog converters
Loudspeakers
Preamplifiers
Amplifiers

Education

Audio engineers come from backgrounds such as Electrical Engineering, Electronics Engineering or the Fine Arts, and many colleges and accredited institutions around the world offer degrees in audio engineering, such as a BS in audio production. The University of Miami's Frost School of Music was the first university in the United States to offer a four-year Bachelor of Music degree in Music Engineering Technology. In the last 25 years, some contemporary music schools have initiated audio engineering programs, usually awarding a Bachelor of Music degree to graduates. Additionally, a number of audio engineers are autodidacts with no formal training.

Different Professional Branches

There are four distinct steps to commercial production of a recording. Recording, editing, mixing, and mastering. Typically, each is performed by a sound engineer who specializes only in that part of production.

Studio engineer could be either a sound engineer working in a studio together with a producer, or a producing sound engineer working in a studio.

Recording engineer is a person who records sound.

Mixing engineer is a person who creates mixes of multi-track recordings. It is not uncommon for a commercial record to be recorded at one studio and later mixed by different engineers in other studios.

Mastering engineer Typically the person who mixes the final stereo tracks (or sometimes just a few tracks or stems) that the mix engineer produces. The mastering engineer makes any final adjustments to the overall sound of the record in the final step before commercial duplication. Mastering engineers use principles of equalization and compression to affect the coloration of the sound.

Game audio designer engineer is a person who deals with sound aspects of game development.

Live sound engineer is a person dealing with live sound reinforcement. This usually includes planning and installation of speakers, cabling and equipment and mixing sound during the show. This may or may not include running the foldback sound.

Foldback or monitor engineer is a person running foldback sound during a live event. The term "foldback" is outdated and refers to the practice of folding back audio signals from the FOH (Front of House) mixing console to the stage in order for musicians to hear themselves while performing. Monitor engineers usually have a separate audio system from the FOH engineer and manipulate audio signals independently from what the audience hears, in order to satisfy the requirements of each performer on stage. In-ear systems, digital and analog mixing consoles, and a variety of speaker enclosures are typically used by monitor engineers. In addition most monitor engineers must be familiar with wireless or RF (radio-frequency) equipment and must interface personally with the artist(s) during each performance.

Systems engineer is a person responsible for the design setup of modern PA systems which are often very complex. A systems engineer is usually also referred to as a "crew chief" on tour and is responsible for the performance and day-to-day job requirements of the audio crew as a whole along with the FOH audio system.

Audio post engineer is a person who edits and mixes audio for film and television.

Ambiguous Titles

Audio engineering is a part of audio science dealing with the recording and reproduction of sound through mechanical and electronic means. The field draws on many disciplines, including electrical engineering, acoustics, psychoacoustics, and music. Unlike acoustical engineering, audio engineering does not deal with noise control or acoustical design. An audio engineer is closer to the creative and technical aspects of audio rather than formal engineering. An audio engineer must be proficient with different types of recording media, such as analog tape, digital multitrack recorders and workstations, and computer knowledge. With the advent of the digital age, it is becoming more and more important for the audio engineer to be versed in the understanding of software and hardware integration from synchronization to analog to digital transfers.

The expressions "audio engineer" and "sound engineer" are ambiguous. Such terms can refer to a person working in sound and music production, as well as to an engineer with a degree who designs professional equipment for these tasks. The latter profession often develops the tools needed for the former's work. Other languages, such as German and Italian, have different words to refer to these activities. For instance, in German, the Tontechniker (audio technician) is the one who operates the audio equipment and the Tonmeister (sound master) is a person who creates recordings or broadcasts of music who is both deeply musically trained (in 'classical' and non-classical genres) and who also has a detailed theoretical and practical knowledge of virtually all aspects of sound, whereas the Toningenieur (audio engineer) is the one who designs, builds and repairs it.

Individuals who design acoustical simulations of rooms, shaping algorithms for digital signal processing and computer music problems, perform institutional research on sound, and other advanced fields of audio engineering are most often graduates of an accredited college or university, or have passed a difficult civil qualification test.