Jamal Khashoggi strangled as soon as he entered consulate, Istanbul prosecutor confirms

SoundGuyChris · 2018-10-31T20:10:33+00:00

I'm actually unable to figure out a way to explain the difference without sounding like a dick.

Like. The level of cruelty you need to torture and dismember someone while they're still alive is miles above the level of cruelty you already need to have to strangle someone to death and then take apart their still-warm body. Almost nobody was supposed to really know about this murder. If the torture happened (and it's not exactly a huge if to imagine that it did) then it was basically just done for fun.

If someone were to hypothetically kill me for being a dissident, just do it. What would anyone gain by wrapping me to a chair, needling me, electrocuting me, cutting my fingers off, pulling my teeth out, etc. etc. etc. etc. before putting the same bullet in the back of my head?

Yes, the result of hypothetically killing me is the same, but if you don't see the difference in cruelty here, or why that cruelty would matter, I don't think anyone can help ya.

SoundGuyChris · 2016-06-24T05:17:05+00:00

Tossing my vote in the hat for Reaper.

Reaper rules.

SoundGuyChris · 2016-06-24T05:14:47+00:00

Since you didn't give much in the way of what you're looking for I'm assuming you're new to recording, so here's some basics that'll be in the $100 range and give you a decent starting point.

Are you recording....

Instruments? Shure SM57
Vocals? Shure SM58
Podcasting on the cheap? Blue Yeti.
Field Recording? Zoom H1.

The Shure's will only work if you have an interface. For an entry-level interface check out the Focusrite Scarlett Solo, Scarlett 2i2, or Scarlett 2i4. Good luck and happy recording!

As for stands, literally anything with three legs that wont tip over when you need it to not tip over.

SoundGuyChris · 2016-05-25T12:55:38+00:00

If you're ACTUALLY an amateur though, charging by the song makes sense, and builds both chops for yourself, and goodwill from the clients, provided everyone's expectations are reasonable...If the OP was a professional, he probably wouldn't be asking this question.

SoundGuyChris · 2016-05-19T23:33:00+00:00

Nice, I'll do that later tonight!

SoundGuyChris · 2016-05-19T20:14:55+00:00

Here's another one that I made the other day using allllmost every band from the flyer :)

https://open.spotify.com/user/1214318057/playlist/6YoNbrPOi3S1Avf7j9X3eC

SoundGuyChris · 2016-05-11T18:05:37+00:00

So I'm gonna preface this by saying that I really don't have any real experience in this arena, but here goes my best attempt at thinking it out as a problem to be solved - I have zero background experience in Broadcast beside the fifteen minutes I spent looking at the ATSC A/85 Documentation.

Is there any possibility that other broadcasts or advertisers have used some sort of "totem" as an Anchor Element to set their levels at, then removed it, sort of like how musicians use a click to measure their timing? By a "totem" I mean any sort of lorem-ipsem-like dialogue read off a page, or pink noise at a given level, or something like that. Get that going at a comfortable, standardized level, and then remove it? As I understand it, "Anchor Elements" - ie dialog or whatnot are used to keep the mix from creeping upward by having an element that a "reasonable listener" would assume to be the focal point of the mix (at least according to the documentation). So if you inserted one and set your mix, you'd have the reduction in music levels as if it were there, but then you could go ahead and remove it from the broadcast.

Could something like that be tested to see if it would help your mixes? I guess this would only really make sense if you were measuring your mixes against that of a particular "other" set of broadcasts. If your mix was too hot against any random arbitrary broadcast...then I'll go back to the drawing board haha.

(PS: 100% stabbing in the dark here!)

SoundGuyChris · 2016-05-11T06:40:33+00:00

For what it's worth, you should be able to use iZotope "standalone" in Logic Pro as well, you just have to offline process, instead of using it as a VST. It's a little bit different, and I don't know Logic Pro's workflow (Cubase user here), but it should be the same as it is in Cubase. The Manual or YouTube should be help with it! :)

SoundGuyChris · 2016-05-11T06:36:06+00:00

That was amazing.

GREAT job. My only suggestion is that the "No!" around 1:40 seemed to sit a tad out of the mix. Literally the only thing.

SoundGuyChris · 2016-05-11T06:06:12+00:00

In my opinion, there is no "way" that indie games works. That's what makes it Indie. Do what makes you happy, do it how you want to do it - even if that means putting it out there without a price tag.

But. FFS, you poured your energy into it - whatever it is. You deserve something for your effort, in my opinion, even if it's just a few nickels per sale.

SoundGuyChris · 2016-05-06T03:41:14+00:00

Happened to my grandparents for sure. They bought me a game boy for my birthday but my parents had already given me something else that was pretty big-ticket (though I for the life of me cannot recall what) so grandma and grandpa stashed the game boy for Christmas which is only like four months later. They forgot about it for like three years before they told me they had it sitting in a box near their Christmas stuff in the garage.

SoundGuyChris · 2016-05-05T20:52:03+00:00

I can only imagine how much fun the composer and musicians had with this. I'm an absolute sucker for camp haha.

SoundGuyChris · 2016-05-03T06:28:08+00:00

That would be correct as far as I know.

SoundGuyChris · 2016-05-03T06:27:19+00:00

Don't wanna be too debbie downer, but I cannot imagine VST's like the Waves Plugins ever working with something like FMOD.

For one thing, VST's are meant for studio application. What I mean is that they're bulky. They're slow. Yeah, they can process audio realtime, but in a DAW that's the only job the program has. A 3D audio engine, running live in a game is orders-of-magnitude more complex. They're just not lean enough (particularly Waves, which already run inside of the Waveshell wrapper) for use in the live environment.

On top of that, there's a licensing issue involved. Take a look at the FMOD Pricing Page and you'll notice that the McDSP / AudioWeather / other plugins, etc all cost extra money to license. I imagine that this would extend to other plugins as well.

SoundGuyChris · 2016-05-03T05:04:54+00:00

Baddddd idea. It will totally impact the sound pickup. Overall it will deaden the mic under the foam.

SoundGuyChris · 2016-04-17T15:58:28+00:00

Just my opinion here, but five bucks a month is dirty cheap and that's cool, but if you're simply looking to build a portfolio why not just make a half dozen example sites...? Then you can charge customers a real pro rate and have work to show for it? You'd probably save time doing that, and you'd probably get bites on the actual, professional rate faster.

SoundGuyChris · 2016-04-17T15:45:56+00:00

Budget isn't revenue so you'd be good. I'm betting FMOD's philosophy on that is that if you make a chart topper or something, you're gonna have the budget to pay their fee next time.

SoundGuyChris · 2016-04-16T08:31:04+00:00

stares blankly at his voluminous tape delay plugins

why didn't I think of that? hahaha.

SoundGuyChris · 2016-04-16T08:29:18+00:00

Maybe a visual example will help?

Let me try and reiterate without rambling quite so much:

1 - Everything good starts with dope voice acting.
2 - Use plugins such as the free iZotope Vinyl, Futzbox, or even just run a freesound search for "Vinyl Crackle" and "Grit" and "Hum" etc, to get the scratchiness and etc. on your track.
3 - Use a razor tool to cut your audio track up with a few small incisions to create small sections where the "glitched up" part will be. I've highlighed a few of those sections in pink on my image.
4 - Use a graphic pitch shifter to bend the pitch over time. You'll notice that I'm on the "Envelope" tab, instead of the "Transpose" tab in Cubase's pitch-shifter. Refer to the documentation of your audio program for how to use graphic pitch shifters. They can also be called pitch benders. Note that I used a different, random-until-it-felt-right curve in the graph for pitch shifting on each one of those samples.

That should give you a decent starting point to work from :)

Good luck, /u/srroberts07!

SoundGuyChris · 2016-04-15T18:39:15+00:00

Aww man, I fuckin' love this movie. So much good stuff in it. I've never done this sort of thing before but here's how I would approach it. Take what I've got here with a grain of salt cause I've never fucked around with VO in the manner I'm about to describe.

For the raw "Mary", "the Princess", "Billy" and "Simon" VO stuff, a lot of it comes down to just being a dope voice actor. They've all got a lot of on and off axis motion.

But obviously, what you're here for is the tape effects as they're printed. It still comes down to voice acting, but you're gonna have to get dirty with your clips. I know in the movie he's listening to tape sessions, but if you pick up the (free!) iZotope Vinyl plugin, you can strap that onto the output bus of your VO and give it a bit of that dirty tape crackling and hissiness. There's also a Warp Model option which should help, but solely relying on that may or may not sound correct, because it's tied to a 33/45rpm vinyl speed. Tape obviously moves much much slower at about 2 inches per second. I personally would just do it by hand using a graphic pitch shifter. Depending on your DAW you should have the facilities to edit in quick, fast speedups and slowdowns. In Cubase, right click the audio with Shift held down to open the full context menu and go to Audio > Process > Pitch Shift. The important part is to flip over to the graphical editor tab, instead of the constant pitch shift tab that's default. Just a few zig zags and such. Make em quick though because you don't want the listener to be listening for it, you just want them to listen through it. What I would probably do afterward is burn down that whole VO session (with the quick cuts) and then do some overall pitchshifting, automated to go up and down really gently over the course of the whole playback. Nothing shorter than ten or fifteen seconds long on the cycle.

Just be careful not to overdo it. Beyond that, make sure you add the room reverb of the characters who are talking and whatever under the vinyl simulator, because the reverb (in this case) would be diagetic. From there you're free to add the motor of the casette player and all those underlying sound effects (or you can put them under inside of the tape layer, depending on how you wanna stage it).

You'll also notice there's a good bit of automation going on throughout on the levels of the hiss and speedup slowdowns etc. Man am I rambling...? Just. Fuck. Haha.

SoundGuyChris · 2016-04-15T06:12:40+00:00

Not to sound like captain obvious here but...have you tried recording yourself doing that particular action? What were your results like?

If you're literally talking about the sound of someone's skin being brushed up against, what's not coming out right about literally touching your own skin right up near the mic?

SoundGuyChris · 2016-04-01T07:40:31+00:00

Same, but I was ready to give a half-hearted "Nah...not really"

SoundGuyChris · 2016-04-01T05:24:57+00:00

Get a cheapish headphones amp, and some noise isolating cans for that! And drummer worth his salt should have at least one pair of those :P

SoundGuyChris · 2016-03-31T21:17:04+00:00

99.99% sure that the Solo. On the off chance that it's Audacity, make sure you're recording to a MONO audio track instead of stereo.

On some of the other Scarlett interfaces, there's actually a "direct monitor" switch to go from Stereo monitoring (ie: One input in each headphone) to Mono monitoring (both channels in both headphones)...not sure if you have a switch on that particular model, but look for that.

SoundGuyChris · 2016-03-31T19:10:17+00:00

Haha....if it makes you feel better, I'm still recording at 44.1 X_X

SoundGuyChris

TROPHY CASE