The phrase "excellent cadavers" (cadaveri eccellenti), used by the Italian police when referring to high-profile victims of the Mafia such as politicians, judges and police chiefs (as opposed to less public victims claimed by day-to-day Mafia business). In a more general sense, cadaveri eccellenti means an unsolved murder in a game of the same name.Excellent Cadavers is now up on our MySpace and Facebook pages.
Thursday, September 18, 2008
Excellent Cadavers
Thursday, April 24, 2008
Political Action for Space
This means something. This is important.
Seriously. There's a lot of rhetoric out there that suggests organizations like NASA are overfunded. I don't think it's the case, and if you're an American, I suggest you find ways to let our lawmakers and future executives know it. The above is a good start.
And if you're not an American, I urge you to do the same thing towards your own governments, insuring that the pursuit of good science continues. Remember, it's not just about what's "out there" in space. These organizations do a lot of crucial work and data collection for what's going on right here at home on planet Earth.
Just our humble opinion.
-- MME
Seriously. There's a lot of rhetoric out there that suggests organizations like NASA are overfunded. I don't think it's the case, and if you're an American, I suggest you find ways to let our lawmakers and future executives know it. The above is a good start.
And if you're not an American, I urge you to do the same thing towards your own governments, insuring that the pursuit of good science continues. Remember, it's not just about what's "out there" in space. These organizations do a lot of crucial work and data collection for what's going on right here at home on planet Earth.
Just our humble opinion.
-- MME
Monday, April 14, 2008
Home Recording: A Repost
As most of those visiting right now are probably people referred here from Voiceover work, I figured I'd repost my little rant on home recording to bump it back to the top. E-mail if you have questions! Any of the three of us would be happy to help.
Home Recording
Also get onboard a good site like Gearslutz and read, ask and engage.
Most importantly, use your ears, pay attention, try to mimic things you like from other people's recordings and LEARN from doing it. We're all geeks, damnit. Isn't that how we learn to do everything?
That'll be 5 cents, please.
For Voiceover Artists
You're just starting out and you need a rig to practice with. Or you've decided to make your own demo (I don't recommend doing this from home, but if you have the time, the resources for sound effects and music without violating copyright laws, and the ambition to do a lot of research on what a good demo sounds like, why not take a stab at it?) Or your agent told you it's time to start doing auditions from the comfort of your domicile.
Don't panic. It's not rocket science.
Most of the musicians advice above also applies to you, although you might want to do a few things differently. If you're really on a budget, please read all the way through, because I have an inexpensive suggestion for you, too. Here are some alternative suggestions.
You might also consider buying a compressor, which will help tame and smooth the levels on your voice. Be sure you have a place for it in your signal chain. If you have a USB interface, for example, make sure it has "inserts" on it for you to add the compressor. Alternatively, you can use software compression (usually after you've recorded), but if your meters peaked in the red, you'll have to do the take again. External (hardware) compressors help to keep that from happening. Compressors range anywhere in price from $100 all the way up into the stratosphere, and usually the more expensive ones (remember you only need a one or two channel compressor...not a rack of eight) are more "transparent" on your voice (you really don't want to hear a compressor working.) That said, I'm rather fond of the Really Nice Compressor when it comes to inexpensive but transparent audio. Runs about $200.
Let me just reiterate. DON'T LET YOUR METERS GO INTO THE RED! In fact, if your levels peak somewhere between -12dB to -6dB, you're fine. A compressor (whether in your software program or externally) will help make that more consistent (and you will hear the difference.) If you have a compressor, try a ratio of about 3 to 1 (3:1), a fast attack of just a few milliseconds (if you have that option), and adjust your threshold control to around -10dB to -20dB. Turn up your preamp volume (on your interface) until your voice shows (on average) about 3dB to 6dB of Gain Reduction on your compressor's meters. If it's too quiet, you can bump the output level of your compressor up a couple dB, but not too much.
About "soundproofing", or more accurately, room treatment. Acoustics is complex science. It becomes expensive very quickly to try and treat a room for problem frequencies and sounds. That said, I can offer just a little advice.
I do recommend logging in to Gearslutz now and again, though. They've added a forum on post production in the past year or so which is a great place to post or find help on voiceover, editing, and just general questions and information about the industry. Audiobooks and Narration people check out Librivox, which is a great site for practicing your skills and contributing to the community at large.
Don't forget a mic cable, a mic stand and some kind of music stand if you think think you need one for your copy.
And for those who are really on a budget and persevered this long, try the Snowball mic, made by Blue Microphone. It plugs right into your USB port (no need for an interface, preamp, etc...) and should work fine in Audacity, GarageBand or REAPER. (Don't forget to check the preferences in your software for something like "Audio Devices." That's where you tell it what interface/mic, etc... you want the software to see.) It's not gonna sound as nice as the other mics, but if you're just starting out, practicing, or possibly even for auditions from home, it should get you going. It runs about $100.
None of this is ideal, but the industry is certainly headed in this direction at the moment, and this is all a good start for doing work (or practice) from home.
Of course, if you suddenly find yourself producing full quality commercials, audiobooks or other VO for clients out of your home (which adds self-directing and self-engineering to the already difficult skill of acting) you may want to upgrade to some higher end equipment (including a proper soundbooth like these - you may also be able to build your own.) These recordings really should sound pristine. Yes, you're gonna pay for it, but if people are paying you for the gig, then it's probably worth the investment. Alternatively, you can take some of the burden off yourself (allowing you to produce higher quality work) by shopping around for a studio that will give you a good deal. If you become a solid, steady client, they may make it well worth your while. Besides which, their rooms, equipment, and staff are specialized for this kind of work the way your talents, skills and connections are specialized for acting.
Hopefully I haven't overcomplicated what is already a difficult endeavor for most people. When you're on a budget, and you're just trying to figure out how to make a living doing what you love, I think any and all of the above is a good start.
I'm starting to wish I had charged for this advice, but instead I'll just ask that if you find this useful, you contribute to our project by purchasing music and merchandise, coming to our shows (once we actually have shows), linking to our site(s), and spreading the word around about The Michelson-Morley Experiment (MME). Good luck, and HAVE FUN!
-Nick
Disclaimer: I make no warranties for the above information. It's just my opinion, and I'm just trying to help. =D
Home Recording
My brother(s) and I are all audio engineers as well as musicians and writers, and I am frequently asked about setting up a home recording rig. Of course, the side of the industry I work in is predominantly voiceover, but during a recent Slashdot conversation the topic came up (on the music side of things) and I decided to post my suggestion for a very inexpensive but effective basic recording setup. Some have suggested that I charge for such advice (I live in Los Angeles, where we invoice people because we breathed on them) but I think for something this basic that's ridiculous.
Of course, if you want a more detailed consultation or for me to come set it up for you, I'll be happy to take your money.
The first section is for musicians, and the second for voiceover artists.
For Musicians
I think the first rule of recording outside of a studio (speaking as an audio engineer who works in a studio) is to accept that your recordings will not sound like they were made in a studio. I think the second rule is there's nothing wrong with that. Though the majority of great recordings thus far have been made in a studio environment, I am periodically surprised by recordings made in less than stellar conditions that sound fantastic. This is a subjective art. You probably won't be making Steely Dan or Alan Parsons records, but Jason Falkner, Jack White and even Bruce Springsteen have made some great sounding stuff under less than ideal recording conditions and environments.
Here's some starter ideas.
Software: REAPER = $50 (Free until you can afford to pay for it, basically.) Alternatively, if you own a Mac, just use GarageBand. It's simple, powerful and built into the iLife package that comes with most Macs, as I recall.Don't forget a couple cables for your mic and instrument if necessary. Plug in your instrument of choice and have fun. Experiment with where you put the mic until you like the sound of it (and DON'T LET YOUR METERS GO INTO THE RED!) Pay close attention to how your choice affects the sound of the overall mix as you add tracks. Don't be afraid to experiment with software, sound or equipment. Remember, though there are good techniques, the only right techniques are the ones that sound good to you.
Interface: M-Audio FastTrack USB = about $100
Microphone: Shure SM58 = about $100. If you don't have any room treatment (loosely "soundproofing") then this mic will be your friend. It sounds pretty good on most things from voice to instruments, too.
Subscription: TapeOp = Free one year subscription (trust me...you'll want this)
Also get onboard a good site like Gearslutz and read, ask and engage.
Most importantly, use your ears, pay attention, try to mimic things you like from other people's recordings and LEARN from doing it. We're all geeks, damnit. Isn't that how we learn to do everything?
That'll be 5 cents, please.
For Voiceover Artists
You're just starting out and you need a rig to practice with. Or you've decided to make your own demo (I don't recommend doing this from home, but if you have the time, the resources for sound effects and music without violating copyright laws, and the ambition to do a lot of research on what a good demo sounds like, why not take a stab at it?) Or your agent told you it's time to start doing auditions from the comfort of your domicile.
Don't panic. It's not rocket science.
Most of the musicians advice above also applies to you, although you might want to do a few things differently. If you're really on a budget, please read all the way through, because I have an inexpensive suggestion for you, too. Here are some alternative suggestions.
Software: Audacity = Free to download, but don't forget to follow the instructions on the site for exporting MP3 files. Your client may not be too keen on waiting for much larger WAV files to download from their inbox. Audacity is a bit easier to use than REAPER, and though a bit less powerful, should be more than enough for doing voiceover work.
Interface: M-Audio FastTrack USB = about $100. Look, they just work. Alternatively, any device in this price range that has an XLR connection (the 3 pin cable) and a built in Mic Preamp (for turning the level of your mic up) will probably do the job. Most of the time, of course, the more you spend on a Preamp, the cleaner it usually sounds. Don't get bogged down in special features, though. Less bells and whistles on a device usually leaves you with a cleaner sound, and in voiceover you want it clean. Also make sure it has a USB connection (or Firewire if you have it) to get it into your computer.
Microphone: I'm gonna recommend you spend just a little more money on this than the musician would, cuz the SM57, though adequate, is probably not gonna treat your voice the way you want it to for speech. There are two types of mics to concern yourself with here. Dynamic microphones which tend to be less sensitive and don't require phantom power, and Condenser microphones which will pick up most everything in the room and require that your preamp provide +48V phantom power (most do...just look for the button on the preamp/interface that says +48V...it sends the power right up the microphone cable.) If your room is "noisy" or "boomy" (and most bedrooms and living rooms are), consider a dynamic mic. If you've got a closet packed full of clothes, or plan to do some room treatment (loosely "soundproofing"...see below), consider going with the condenser, which is more likely to pick up the nuances in your voice. All the mics I'm about to list are great, especially for the price.
SM7B (Dynamic) = about $350. A solid, all round mic that is good at keeping out electronic noise (buzzes) from Monitors, Computers, and other things you might have plugged in nearby.Of course, you can go with some of the mics less expensive than these, but (in my experience) you may have to deal with them having too much high end (showing off sibilance, breath and mouth noise) or boosting too much low frequency (boomy or muddy sounds.) Your results may vary.
RE-20 (Dynamic) = about $400. Guys with low or very textured voices will love this mic. Both this and the SM7B are used a lot in Broadcast applications, so if you've heard people on the radio, you've probably heard one or both of these mics.
AT4040 (Condenser) = about $300. I consider this to be the bottom end of the professional condenser mics (which is a compliment...high end professional condensers cost thousands of dollars.) It's clean, clear and neutral, and I would take it in a heartbeat over many of the mics that cost only slightly less.
Bluebird (Condenser) = about $350. This is a wonderfully smooth, rich mic for the cost, and adds a little extra presence for the ladies. Be careful if you have problems with sibiliance or mouth noise, though, as this mic does boost the higher frequencies just a little bit.
You might also consider buying a compressor, which will help tame and smooth the levels on your voice. Be sure you have a place for it in your signal chain. If you have a USB interface, for example, make sure it has "inserts" on it for you to add the compressor. Alternatively, you can use software compression (usually after you've recorded), but if your meters peaked in the red, you'll have to do the take again. External (hardware) compressors help to keep that from happening. Compressors range anywhere in price from $100 all the way up into the stratosphere, and usually the more expensive ones (remember you only need a one or two channel compressor...not a rack of eight) are more "transparent" on your voice (you really don't want to hear a compressor working.) That said, I'm rather fond of the Really Nice Compressor when it comes to inexpensive but transparent audio. Runs about $200.
Let me just reiterate. DON'T LET YOUR METERS GO INTO THE RED! In fact, if your levels peak somewhere between -12dB to -6dB, you're fine. A compressor (whether in your software program or externally) will help make that more consistent (and you will hear the difference.) If you have a compressor, try a ratio of about 3 to 1 (3:1), a fast attack of just a few milliseconds (if you have that option), and adjust your threshold control to around -10dB to -20dB. Turn up your preamp volume (on your interface) until your voice shows (on average) about 3dB to 6dB of Gain Reduction on your compressor's meters. If it's too quiet, you can bump the output level of your compressor up a couple dB, but not too much.
About "soundproofing", or more accurately, room treatment. Acoustics is complex science. It becomes expensive very quickly to try and treat a room for problem frequencies and sounds. That said, I can offer just a little advice.
Parallel surfaces are bad. For soundwaves they act just like a mirror, bouncing them back and forth, back and forth, until those soundwaves finally run out of juice. Try to place the mic somewhere that isn't between parallel walls (or place it somewhere you have a bookshelf, clothing, or some other surface that can break up the soundwaves, reflecting them in different directions, as well as absorbing some of them.) Parallel surfaces are usually responsible for the "hollow" or "echoey" sound in your recordings.You may not find the TapeOp subscription as helpful, but it is free, and they do review a fair amount of hardware and software that might come in handy for you one day. Just don't get too bogged down in the equipment. Remember, if it sounds clear and clean, there's probably no reason to mess with it.
The biggest problem in most rooms is bass frequencies. They especially love to build up in corners or anywhere flat surfaces meet. The only thing that kills bass frequencies is really dense material (well, not the only thing, but for our purposes, the only thing) such as bookshelves, couches, beds, really heavy blankets piled up in a corner and a closet full of clothes. Hanging a blanket behind your mic is not gonna stop those bass frequencies from bouncing back at your mic (though it may nip out a few of those irritating treble or high pitched frequencies). When you walk into a nice studio and it sounds so nice, quiet and clear, it's because they knew how to get rid of those bass frequencies. Don't stress yourself out about it, but do be aware of them.
Try not to set your mic right next to your computer or monitor. Well, try it, and if you don't hear your computer or monitor then good for you! (Note: In your headphones! Microphones and speakers do not make happy combinations near each other...) Your life just got easier. Otherwise, set it at least a few feet away, and make sure the end of the mic you speak into is facing away from any extraneous noise. All the mics I suggested reject most sound that comes from behind them (though a little bit may reflect back off the wall behind you...see how that works?)
You can drop money on the myriad types of foam, mini-booths and paneling to try to deal with echos, noises, reflections and problems, but without professional advice I wouldn't recommend you go too far. Much of the expense of building a professional studio is in the acoustics. It's just not worth the cost of getting carried away unless you'd rather be running a studio than performing your craft. Try things, use your ears and use your friends' ears. If you think it sounds close to what you hear in a real studio (or better yet on the air) then you've probably dealt with your acoustic problems as well as you can.
I do recommend logging in to Gearslutz now and again, though. They've added a forum on post production in the past year or so which is a great place to post or find help on voiceover, editing, and just general questions and information about the industry. Audiobooks and Narration people check out Librivox, which is a great site for practicing your skills and contributing to the community at large.
Don't forget a mic cable, a mic stand and some kind of music stand if you think think you need one for your copy.
And for those who are really on a budget and persevered this long, try the Snowball mic, made by Blue Microphone. It plugs right into your USB port (no need for an interface, preamp, etc...) and should work fine in Audacity, GarageBand or REAPER. (Don't forget to check the preferences in your software for something like "Audio Devices." That's where you tell it what interface/mic, etc... you want the software to see.) It's not gonna sound as nice as the other mics, but if you're just starting out, practicing, or possibly even for auditions from home, it should get you going. It runs about $100.
None of this is ideal, but the industry is certainly headed in this direction at the moment, and this is all a good start for doing work (or practice) from home.
Of course, if you suddenly find yourself producing full quality commercials, audiobooks or other VO for clients out of your home (which adds self-directing and self-engineering to the already difficult skill of acting) you may want to upgrade to some higher end equipment (including a proper soundbooth like these - you may also be able to build your own.) These recordings really should sound pristine. Yes, you're gonna pay for it, but if people are paying you for the gig, then it's probably worth the investment. Alternatively, you can take some of the burden off yourself (allowing you to produce higher quality work) by shopping around for a studio that will give you a good deal. If you become a solid, steady client, they may make it well worth your while. Besides which, their rooms, equipment, and staff are specialized for this kind of work the way your talents, skills and connections are specialized for acting.
Hopefully I haven't overcomplicated what is already a difficult endeavor for most people. When you're on a budget, and you're just trying to figure out how to make a living doing what you love, I think any and all of the above is a good start.
I'm starting to wish I had charged for this advice, but instead I'll just ask that if you find this useful, you contribute to our project by purchasing music and merchandise, coming to our shows (once we actually have shows), linking to our site(s), and spreading the word around about The Michelson-Morley Experiment (MME). Good luck, and HAVE FUN!
-Nick
Disclaimer: I make no warranties for the above information. It's just my opinion, and I'm just trying to help. =D
Where Are They Now?
One of the difficulties of being a "band" separated by several hundred miles is that it's sometimes hard to keep the momentum going. Well, we haven't gone anywhere, and granted our last attempt at progress was hindered, but rest assured we are not done. Personal lives have intervened for a moment, as life often does, but we will continue to work on new material, and eventually even put out that album - yes, the one fabled in song and story.
Meanwhile, we may be making a few changes in how we do things. I said it from the start, this is an experiment. I don't know if we'll continue using the creative commons license for now, but I do want our music to continue to be easily available and accessible. The major labels have had their day, and it's time the rest of us had ours. Many a debate has been waged in the halls of Slashdot about copyright, its benfits and ills, but for now I think we will lean in that direction and hope to enjoy the continued goodwill of anyone that might be listening by reassuring you that what has up till now been free to distribute non-commercial with attributions will continue to be so (we can't very well revoke the CC licenses we've already put forth and nor should we.)
And you're probably wondering, "what ever happened to Cycle Minus Two"? What's with this "album" thing? Well, we will continue striving to make cyclic releases the ultimate goal, but the album is still quite in vogue, at least among online retailers. It can quickly become prohibitively expensive for us to distribute, market and promote individual songs through certain (names shall not yet be mentioned) online music retailers due to the way in which they accept submissions for sale. In the short term at least, there will be albums, but Cycle Minus Two continues.
Encouragement, comments, suggestions, criticisms, vitriol and spite are all welcome, so long as they do not include spam, overt commercialism or falsehoods.
Well, maybe falsehoods are okay, but only if they're really, really good. Otherwise we'd best stick to truth, reality and things as they actually are.
Meanwhile, we may be making a few changes in how we do things. I said it from the start, this is an experiment. I don't know if we'll continue using the creative commons license for now, but I do want our music to continue to be easily available and accessible. The major labels have had their day, and it's time the rest of us had ours. Many a debate has been waged in the halls of Slashdot about copyright, its benfits and ills, but for now I think we will lean in that direction and hope to enjoy the continued goodwill of anyone that might be listening by reassuring you that what has up till now been free to distribute non-commercial with attributions will continue to be so (we can't very well revoke the CC licenses we've already put forth and nor should we.)
And you're probably wondering, "what ever happened to Cycle Minus Two"? What's with this "album" thing? Well, we will continue striving to make cyclic releases the ultimate goal, but the album is still quite in vogue, at least among online retailers. It can quickly become prohibitively expensive for us to distribute, market and promote individual songs through certain (names shall not yet be mentioned) online music retailers due to the way in which they accept submissions for sale. In the short term at least, there will be albums, but Cycle Minus Two continues.
Encouragement, comments, suggestions, criticisms, vitriol and spite are all welcome, so long as they do not include spam, overt commercialism or falsehoods.
Well, maybe falsehoods are okay, but only if they're really, really good. Otherwise we'd best stick to truth, reality and things as they actually are.
Wednesday, February 27, 2008
Casus Belli (A Status Report)
Well, I think the RPM challenge is going to be a success, but not exactly the way we'd hoped. We're discussing now whether to take what we have and turn it in (which really buys us little more than a little publicity), or whether to work on it an extra two weeks to get it just right before releasing it. Frankly, we're probably better off trying to improve the quality of the work than rushing it to press, as it were, but we'll keep you posted.
In the meantime, however, be sure to check out our MySpace (lower quality due to file size constraints) and Facebook (higher quality) pages for our new song from the previously mentioned album, Casus Belli. It's an odd choice for a single (at 14 minutes long), but it really is a powerful piece for us that we're really proud of, as well as indicative of what we are trying to accomplish with The Experiment. The subject matter is uncomfortable and hopefully controversial. Have an open mind.
To quote a liner note from a favorite album of mine, "Listen to it loud, with the lights off."
No. I mean it.
-Nick
In the meantime, however, be sure to check out our MySpace (lower quality due to file size constraints) and Facebook (higher quality) pages for our new song from the previously mentioned album, Casus Belli. It's an odd choice for a single (at 14 minutes long), but it really is a powerful piece for us that we're really proud of, as well as indicative of what we are trying to accomplish with The Experiment. The subject matter is uncomfortable and hopefully controversial. Have an open mind.
To quote a liner note from a favorite album of mine, "Listen to it loud, with the lights off."
No. I mean it.
-Nick
Friday, February 22, 2008
Revolutions (The RPM Album)
We're about halfway through the RPM album (tentatively titled, Revolutions) which is both good news and bad news given that the "rules" of the challenge require us to have it done and sent before the end of the month. Nevertheless, we also have a tentative track listing, though not necessarily in the following order.
Well, you could ask us really, really nicely...so long as you promise to share it with all your other friends.
-Nick
- The New Frontier
- Lost
- Good Knights
- Halfway There
- Casus Belli
Well, you could ask us really, really nicely...so long as you promise to share it with all your other friends.
-Nick
Wednesday, February 13, 2008
New Cosmic Theory Unites Dark Forces
I know it's not that simple, but even this article comments on certain similarities between this united "dark fluid" and aether. We're not talking about luminous aether here, of course, but you must admit, aether is far more fun a term than "dark matter" and "dark energy."
-Nick
-Nick
Wednesday, February 6, 2008
Dark Matter
Mathematics says there is such a thing as "Dark Matter", but Einstein's Special Theory of Relativity suggests (or perhaps demands) that there is no such thing as luminous aether.
I'm all for everything lining up beautifully in the realm of mathematics, particularly when it comes to physics (which may as well be the study of everything), but it seems counterproductive to so quickly dismiss some of the more peculiar claims in physics without considering how a couple of scientists who set out to quantify and understand a certain property of the universe discovered instead that it didn't exist.
So say some people, anyway.
Then again, even Einstein wasn't happy with spooky action at a distance.
-Nick
I'm all for everything lining up beautifully in the realm of mathematics, particularly when it comes to physics (which may as well be the study of everything), but it seems counterproductive to so quickly dismiss some of the more peculiar claims in physics without considering how a couple of scientists who set out to quantify and understand a certain property of the universe discovered instead that it didn't exist.
So say some people, anyway.
Then again, even Einstein wasn't happy with spooky action at a distance.
-Nick
Sunday, February 3, 2008
Coolest Gadgets Ever
Okay you steampunk kids. Here is an incomplete but still fascinating list of some of the coolest gadgets ever invented...before the 20th century.
The article, of course, is typical Wired fare. Not so much informative most of the time as intriguing, but a little research via Wikipedia or other sources reveals some of the more interesting facts about these devices.
I know what you're thinking. "What does this have to do with the band?"
Uh...everything.
Enjoy.
-Nick
The article, of course, is typical Wired fare. Not so much informative most of the time as intriguing, but a little research via Wikipedia or other sources reveals some of the more interesting facts about these devices.
I know what you're thinking. "What does this have to do with the band?"
Uh...everything.
Enjoy.
-Nick
Monday, January 28, 2008
Home Recording
My brother and I are both audio engineers as well as musicians and writers, and I am frequently asked about setting up a home recording rig. Of course, the side of the industry I work in is predominantly voiceover, but during a recent Slashdot conversation the topic came up (on the music side of things) and I decided to post my suggestion for a very inexpensive but effective basic recording setup. Some have suggested that I charge for such advice (I live in Los Angeles, where we invoice people because we breathed on them) but I think for something this basic that's ridiculous.
Of course, if you want a more detailed consultation or for me to come set it up for you, I'll be happy to take your money.
The first section is for musicians, and the second for voiceover artists.
For Musicians
I think the first rule of recording outside of a studio (speaking as an audio engineer who works in a studio) is to accept that your recordings will not sound like they were made in a studio. I think the second rule is there's nothing wrong with that. Though the majority of great recordings thus far have been made in a studio environment, I am periodically surprised by recordings made in less than stellar conditions that sound fantastic. This is a subjective art. You probably won't be making Steely Dan or Alan Parsons records, but Jason Falkner, Jack White and even Bruce Springsteen have made some great sounding stuff under less than ideal recording conditions and environments.
Here's some starter ideas.
Also get onboard a good site like Gearslutz and read, ask and engage.
Most importantly, use your ears, pay attention, try to mimic things you like from other people's recordings and LEARN from doing it. We're all geeks, damnit. Isn't that how we learn to do everything?
That'll be 5 cents, please.
For Voiceover Artists
You're just starting out and you need a rig to practice with. Or you've decided to make your own demo (I don't recommend doing this from home, but if you have the time, the resources for sound effects and music without violating copyright laws, and the ambition to do a lot of research on what a good demo sounds like, why not take a stab at it?) Or your agent told you it's time to start doing auditions from the comfort of your domicile.
Don't panic. It's not rocket science.
Most of the musicians advice above also applies to you, although you might want to do a few things differently. If you're really on a budget, please read all the way through, because I have an inexpensive suggestion for you, too. Here are some alternative suggestions.
You might also consider buying a compressor, which will help tame and smooth the levels on your voice. Be sure you have a place for it in your signal chain. If you have a USB interface, for example, make sure it has "inserts" on it for you to add the compressor. Alternatively, you can use software compression (usually after you've recorded), but if your meters peaked in the red, you'll have to do the take again. External (hardware) compressors help to keep that from happening. Compressors range anywhere in price from $100 all the way up into the stratosphere, and usually the more expensive ones (remember you only need a one or two channel compressor...not a rack of eight) are more "transparent" on your voice (you really don't want to hear a compressor working.) That said, I'm rather fond of the Really Nice Compressor when it comes to inexpensive but transparent audio. Runs about $200.
Let me just reiterate. DON'T LET YOUR METERS GO INTO THE RED! In fact, if your levels peak somewhere between -12dB to -6dB, you're fine. A compressor (whether in your software program or externally) will help make that more consistent (and you will hear the difference.) If you have a compressor, try a ratio of about 3 to 1 (3:1), a fast attack of just a few milliseconds (if you have that option), and adjust your threshold control to around -10dB to -20dB. Turn up your preamp volume (on your interface) until your voice shows (on average) about 3dB to 6dB of Gain Reduction on your compressor's meters. If it's too quiet, you can bump the output level of your compressor up a couple dB, but not too much.
About "soundproofing", or more accurately, room treatment. Acoustics is complex science. It's become expensive very quickly to try and treat a room for problem frequencies and sounds. That said, I can offer just a little advice.
I do recommend logging in to Gearslutz now and again, though. They've added a forum on post production in the past year or so which is a great place to post or find help on voiceover, editing, and just general questions and information about the industry. Audiobooks and Narration people check out Librivox, which is a great site for practicing your skills and contributing to the community at large.
Don't forget a mic cable, a mic stand and some kind of music stand if you think think you need one for your copy.
And for those who are really on a budget and persevered this long, try the Snowball mic, made by Blue Microphone. It plugs right into your USB port (no need for an interface, preamp, etc...) and should work fine in Audacity, GarageBand or REAPER. (Don't forget to check the preferences in your software for something like "Audio Devices." That's where you tell it what interface/mic, etc... you want the software to see.) It's not gonna sound as nice as the other mics, but if you're just starting out, practicing, or possibly even for auditions from home, it should get you going. It runs about $100.
None of this is ideal, but the industry is certainly headed in this direction at the moment, and this is all a good start for doing work (or practice) from home.
Of course, if you suddenly find yourself producing full quality commercials, audiobooks or other VO for clients out of your home (which adds self-directing and self-engineering to the already difficult skill of acting) you may want to upgrade to some higher end equipment (including a proper soundbooth like these - you may also be able to build your own.) These recordings really should sound pristine. Yes, you're gonna pay for it, but if people are paying you for the gig, then it's probably worth the investment. Alternatively, you can take some of the burden off yourself (allowing you to produce higher quality work) by shopping around for a studio that will give you a good deal. If you become a solid, steady client, they may make it well worth your while. Besides which, their rooms, equipment, and staff are specialized for this kind of work the way your talents, skills and connections are specialized for acting.
Hopefully I haven't overcomplicated what is already a difficult endeavor for most people. When you're on a budget, and you're just trying to figure out how to make a living doing what you love, I think any and all of the above is a good start.
I'm starting to wish I had charged for this advice, but instead I'll just ask that if you find this useful, you contribute to our project by purchasing music and merchandise, coming to our shows (once we actually have shows), linking to our site(s), and spreading the word around about The Michelson-Morley Experiment (MME). Good luck, and HAVE FUN!
-Nick
Disclaimer: I make no warranties for the above information. It's just my opinion, and I'm just trying to help. =D
Of course, if you want a more detailed consultation or for me to come set it up for you, I'll be happy to take your money.
The first section is for musicians, and the second for voiceover artists.
For Musicians
I think the first rule of recording outside of a studio (speaking as an audio engineer who works in a studio) is to accept that your recordings will not sound like they were made in a studio. I think the second rule is there's nothing wrong with that. Though the majority of great recordings thus far have been made in a studio environment, I am periodically surprised by recordings made in less than stellar conditions that sound fantastic. This is a subjective art. You probably won't be making Steely Dan or Alan Parsons records, but Jason Falkner, Jack White and even Bruce Springsteen have made some great sounding stuff under less than ideal recording conditions and environments.
Here's some starter ideas.
Software: REAPER = $50 (Free until you can afford to pay for it, basically.) Alternatively, if you own a Mac, just use GarageBand. It's simple, powerful and built into the iLife package that comes with most Macs, as I recall.Don't forget a couple cables for your mic and instrument if necessary. Plug in your instrument of choice and have fun. Experiment with where you put the mic until you like the sound of it (and DON'T LET YOUR METERS GO INTO THE RED!) Pay close attention to how your choice affects the sound of the overall mix as you add tracks. Don't be afraid to experiment with software, sound or equipment. Remember, though there are good techniques, the only right techniques are the ones that sound good to you.
Interface: M-Audio FastTrack USB = about $100
Microphone: Shure SM58 = about $100. If you don't have any room treatment (loosely "soundproofing") then this mic will be your friend. It sounds pretty good on most things from voice to instruments, too.
Subscription: TapeOp = Free one year subscription (trust me...you'll want this)
Also get onboard a good site like Gearslutz and read, ask and engage.
Most importantly, use your ears, pay attention, try to mimic things you like from other people's recordings and LEARN from doing it. We're all geeks, damnit. Isn't that how we learn to do everything?
That'll be 5 cents, please.
For Voiceover Artists
You're just starting out and you need a rig to practice with. Or you've decided to make your own demo (I don't recommend doing this from home, but if you have the time, the resources for sound effects and music without violating copyright laws, and the ambition to do a lot of research on what a good demo sounds like, why not take a stab at it?) Or your agent told you it's time to start doing auditions from the comfort of your domicile.
Don't panic. It's not rocket science.
Most of the musicians advice above also applies to you, although you might want to do a few things differently. If you're really on a budget, please read all the way through, because I have an inexpensive suggestion for you, too. Here are some alternative suggestions.
Software: Audacity = Free to download, but don't forget to follow the instructions on the site for exporting MP3 files. Your client may not be too keen on waiting for much larger WAV files to download from their inbox. Audacity is a bit easier to use than REAPER, and though a bit less powerful, should be more than enough for doing voiceover work.
Interface: M-Audio FastTrack USB = about $100. Look, they just work. Alternatively, any device in this price range that has an XLR connection (the 3 pin cable) and a built in Mic Preamp (for turning the level of your mic up) will probably do the job. Most of the time, of course, the more you spend on a Preamp, the cleaner it usually sounds. Don't get bogged down in special features, though. Less bells and whistles on a device usually leaves you with a cleaner sound, and in voiceover you want it clean. Also make sure it has a USB connection (or Firewire if you have it) to get it into your computer.
Microphone: I'm gonna recommend you spend just a little more money on this than the musician would, cuz the SM57, though adequate, is probably not gonna treat your voice the way you want it to for speech. There are two types of mics to concern yourself with here. Dynamic microphones which tend to be less sensitive and don't require phantom power, and Condenser microphones which will pick up most everything in the room and require that your preamp provide +48V phantom power (most do...just look for the button on the preamp/interface that says +48V...it sends the power right up the microphone cable.) If your room is "noisy" or "boomy" (and most bedrooms and living rooms are), consider a dynamic mic. If you've got a closet packed full of clothes, or plan to do some room treatment (loosely "soundproofing"...see below), consider going with the condenser, which is more likely to pick up the nuances in your voice. All the mics I'm about to list are great, especially for the price.
SM7B (Dynamic) = about $350. A solid, all round mic that is good at keeping out electronic noise (buzzes) from Monitors, Computers, and other things you might have plugged in nearby.Of course, you can go with some of the mics less expensive than these, but (in my experience) you may have to deal with them having too much high end (showing off sibilance, breath and mouth noise) or boosting too much low frequency (boomy or muddy sounds.) Your results may vary.
RE-20 (Dynamic) = about $400. Guys with low or very textured voices will love this mic. Both this and the SM7B are used a lot in Broadcast applications, so if you've heard people on the radio, you've probably heard one or both of these mics.
AT4040 (Condenser) = about $300. I consider this to be the bottom end of the professional condenser mics (which is a compliment...high end professional condensers cost thousands of dollars.) It's clean, clear and neutral, and I would take it in a heartbeat over many of the mics that cost only slightly less.
Bluebird (Condenser) = about $350. This is a wonderfully smooth, rich mic for the cost, and adds a little extra presence for the ladies. Be careful if you have problems with sibiliance or mouth noise, though, as this mic does boost the higher frequencies just a little bit.
You might also consider buying a compressor, which will help tame and smooth the levels on your voice. Be sure you have a place for it in your signal chain. If you have a USB interface, for example, make sure it has "inserts" on it for you to add the compressor. Alternatively, you can use software compression (usually after you've recorded), but if your meters peaked in the red, you'll have to do the take again. External (hardware) compressors help to keep that from happening. Compressors range anywhere in price from $100 all the way up into the stratosphere, and usually the more expensive ones (remember you only need a one or two channel compressor...not a rack of eight) are more "transparent" on your voice (you really don't want to hear a compressor working.) That said, I'm rather fond of the Really Nice Compressor when it comes to inexpensive but transparent audio. Runs about $200.
Let me just reiterate. DON'T LET YOUR METERS GO INTO THE RED! In fact, if your levels peak somewhere between -12dB to -6dB, you're fine. A compressor (whether in your software program or externally) will help make that more consistent (and you will hear the difference.) If you have a compressor, try a ratio of about 3 to 1 (3:1), a fast attack of just a few milliseconds (if you have that option), and adjust your threshold control to around -10dB to -20dB. Turn up your preamp volume (on your interface) until your voice shows (on average) about 3dB to 6dB of Gain Reduction on your compressor's meters. If it's too quiet, you can bump the output level of your compressor up a couple dB, but not too much.
About "soundproofing", or more accurately, room treatment. Acoustics is complex science. It's become expensive very quickly to try and treat a room for problem frequencies and sounds. That said, I can offer just a little advice.
Parallel surfaces are bad. For soundwaves they act just like a mirror, bouncing them back and forth, back and forth, until those soundwaves finally run out of juice. Try to place the mic somewhere that isn't between parallel walls (or where you have a bookshelf, clothing, or some other surface that can break up the soundwaves, reflecting them in different directions, as well as absorbing some of them.) Parallel surfaces are usually responsible for the "hollow" or "echoey" sound in your recordings.You may not find the TapeOp subscription as helpful, but it is free, and they do review a fair amount of hardware and software that might come in handy for you one day. Just don't get too bogged down in the equipment. Remember, if it sounds clear and clean, there's probably no reason to mess with it.
The biggest problem in most rooms is bass frequencies. They especially love to build up in corners or anywhere flat surfaces meet. The only thing that kills bass frequencies is really dense material (well, not the only thing, but for our purposes, the only thing) such as bookshelves, couches, beds, really heavy blankets piled up in a corner and a closet full of clothes. Hanging a blanket behind your mic is not gonna stop those bass frequencies from bouncing back at your mic (though it may nip out a few of those irritating treble or high pitched frequencies). When you walk into a nice studio and it sounds so nice, quiet and clear, it's because they knew how to get rid of those bass frequencies. Don't stress yourself out about it, but do be aware of them.
Try not to set your mic right next to your computer or monitor. Well, try it, and if you don't hear your computer or monitor then good for you! Your life just got easier. Otherwise, set it at least a few feet away, and make sure the end of the mic you speak into is facing away from any extraneous noise. All the mics I suggested reject most sound that comes from behind them (though a little bit may reflect back off the wall behind you...see how that works?)
You can drop money on the myriad types of foam, mini-booths and paneling to try to deal with echos, noises, reflections and problems, but without professional advice I wouldn't recommend you go too far. Much of the expense of building a professional studio is in the acoustics. It's just not worth the cost of getting carried away unless you'd rather be running a studio than performing your craft. Try things, use your ears and use your friends' ears. If you think it sounds close to what you hear in a real studio then you've probably dealt with your acoustic problems as well as you can.
I do recommend logging in to Gearslutz now and again, though. They've added a forum on post production in the past year or so which is a great place to post or find help on voiceover, editing, and just general questions and information about the industry. Audiobooks and Narration people check out Librivox, which is a great site for practicing your skills and contributing to the community at large.
Don't forget a mic cable, a mic stand and some kind of music stand if you think think you need one for your copy.
And for those who are really on a budget and persevered this long, try the Snowball mic, made by Blue Microphone. It plugs right into your USB port (no need for an interface, preamp, etc...) and should work fine in Audacity, GarageBand or REAPER. (Don't forget to check the preferences in your software for something like "Audio Devices." That's where you tell it what interface/mic, etc... you want the software to see.) It's not gonna sound as nice as the other mics, but if you're just starting out, practicing, or possibly even for auditions from home, it should get you going. It runs about $100.
None of this is ideal, but the industry is certainly headed in this direction at the moment, and this is all a good start for doing work (or practice) from home.
Of course, if you suddenly find yourself producing full quality commercials, audiobooks or other VO for clients out of your home (which adds self-directing and self-engineering to the already difficult skill of acting) you may want to upgrade to some higher end equipment (including a proper soundbooth like these - you may also be able to build your own.) These recordings really should sound pristine. Yes, you're gonna pay for it, but if people are paying you for the gig, then it's probably worth the investment. Alternatively, you can take some of the burden off yourself (allowing you to produce higher quality work) by shopping around for a studio that will give you a good deal. If you become a solid, steady client, they may make it well worth your while. Besides which, their rooms, equipment, and staff are specialized for this kind of work the way your talents, skills and connections are specialized for acting.
Hopefully I haven't overcomplicated what is already a difficult endeavor for most people. When you're on a budget, and you're just trying to figure out how to make a living doing what you love, I think any and all of the above is a good start.
I'm starting to wish I had charged for this advice, but instead I'll just ask that if you find this useful, you contribute to our project by purchasing music and merchandise, coming to our shows (once we actually have shows), linking to our site(s), and spreading the word around about The Michelson-Morley Experiment (MME). Good luck, and HAVE FUN!
-Nick
Disclaimer: I make no warranties for the above information. It's just my opinion, and I'm just trying to help. =D
The RPM Challenge
The Michelson-Morley Experiment is now officially entered in to the annual RPM challenge. We have just the 29 days of February to write and record 35 minutes worth of music. There's no prize except self satisfaction and the joy of a job (hopefully well) done.
We'll be releasing the material on CD and for digital download (as well as it being available on RPM's digital jukebox.) Of course, if you acquire the music without purchasing it you are more than welcome to enjoy and share it, but we could use any support you can afford. We'll try to keep the prices to a minimum.
We also appreciate your encouragement!
-Nick
We'll be releasing the material on CD and for digital download (as well as it being available on RPM's digital jukebox.) Of course, if you acquire the music without purchasing it you are more than welcome to enjoy and share it, but we could use any support you can afford. We'll try to keep the prices to a minimum.
We also appreciate your encouragement!
-Nick
The Quiet Earth
In 1981, author Craig Harrison wrote a compelling and cerebral novel titled, "The Quiet Earth" (adapted for the screen in 1985 by Geoff Murphy.) It is an intruiging exploration of mankinds self-destructive tendencies, fear of isolation, and the possibility of alternate realities.
MME is using the title for a five act space opera that shares many similar themes with the novel and film, though a radically different story. It consists of the following tracks:
1. Calling You
2. Prometheus of Mars
3. Eraser
4. Rainshine
5. The Quiet Earth
Due to the nature of the project the songs will be released out of sequence. Comments, analysis and criticism are welcome.
-Nick
MME is using the title for a five act space opera that shares many similar themes with the novel and film, though a radically different story. It consists of the following tracks:
1. Calling You
2. Prometheus of Mars
3. Eraser
4. Rainshine
5. The Quiet Earth
Due to the nature of the project the songs will be released out of sequence. Comments, analysis and criticism are welcome.
-Nick
The Idea of Cycles
We at Michelson-Morley recognize that times have changed since the days of vinyl albums, 8-Tracks, cassettes and CDs. In many ways the "album" is a concept whose time has passed.
Living up to the "Experiment" in our name, we are attempting to release our material in "Cycles" rather than "Albums." The difference will be that our music will come over time rather than in one unified format. This allows us to produce and release a lot more material without the hindrance of deadlines, marketing goals and greedy middle men (and women) trying to milk material for more than it's really worth.
In addition, our initial release - "Cycle Minus Two", will be available via the Creative Commons (Attribution, Non-Commercial, Non-Deriaitave Works) License, allowing our friends, fans, listeners and critics to share our music so long as we are credited, our music is not used commercially without our express permission, and no derivative works are produced using our work without our permission. Future cycles may use different licenses depending on the success of "Cycle Minus Two".
The other advantage of Cycles is that it allows us more control in the promotion of our music, merchandise and mythos, while allowing us to receive significantly faster feedback from our audience. If it sucks, it won't take a long time and a lot of money before we find out about it. And of course by using Cycles we'll be able to improve, modify and alter our mixes and arrangements as we see fit. So long as the music is free to share, we see this as a benefit for us as artists and for you as participants in the Experiment.
Clever marketing? Probably, but not something we can make money off of by itself. Consequently, if you like what we are doing then we ask that you please support us by purchasing merchandise, attending shows (once they start happening), and if you are in a position to do so, licensing our music for commercial use as these will likely be our only sources of income from this venture. Of course, if you don't have the money to spend (and we know what that's like), then we ask that you support us by telling your friends, calling your DJs, linking to our sites, reviewing our music, publishing detailed college level analysis on our lyrics and song structure (or lack thereof), and of course by listening and enjoying whatever it is we do that you like over and over and over and over and over again (preferably in your car and at parties...very, very loud.)
We also hope to delve into some non-commercial participatory adventures where we and other artists can exchange works in the creation of new works (and yes that falls under derivative works, and yes that means we'll provide express permission in exchange for the same permission.) In this way we as artists and creatives can branch out and find new ways to promote ourselves and, frankly, to have fun co-operating, collaborating, competing and just making cool stuff because it's fun.
We at Michelson-Morley welcome your comments, concerns, criticisms, ideas, suggestions, agreements, arguments and analysis on us, on you, and on them. We do not, however, welcome your spam, and neither should you.
We hope you enjoy your flight.
-Nick
Living up to the "Experiment" in our name, we are attempting to release our material in "Cycles" rather than "Albums." The difference will be that our music will come over time rather than in one unified format. This allows us to produce and release a lot more material without the hindrance of deadlines, marketing goals and greedy middle men (and women) trying to milk material for more than it's really worth.
In addition, our initial release - "Cycle Minus Two", will be available via the Creative Commons (Attribution, Non-Commercial, Non-Deriaitave Works) License, allowing our friends, fans, listeners and critics to share our music so long as we are credited, our music is not used commercially without our express permission, and no derivative works are produced using our work without our permission. Future cycles may use different licenses depending on the success of "Cycle Minus Two".
The other advantage of Cycles is that it allows us more control in the promotion of our music, merchandise and mythos, while allowing us to receive significantly faster feedback from our audience. If it sucks, it won't take a long time and a lot of money before we find out about it. And of course by using Cycles we'll be able to improve, modify and alter our mixes and arrangements as we see fit. So long as the music is free to share, we see this as a benefit for us as artists and for you as participants in the Experiment.
Clever marketing? Probably, but not something we can make money off of by itself. Consequently, if you like what we are doing then we ask that you please support us by purchasing merchandise, attending shows (once they start happening), and if you are in a position to do so, licensing our music for commercial use as these will likely be our only sources of income from this venture. Of course, if you don't have the money to spend (and we know what that's like), then we ask that you support us by telling your friends, calling your DJs, linking to our sites, reviewing our music, publishing detailed college level analysis on our lyrics and song structure (or lack thereof), and of course by listening and enjoying whatever it is we do that you like over and over and over and over and over again (preferably in your car and at parties...very, very loud.)
We also hope to delve into some non-commercial participatory adventures where we and other artists can exchange works in the creation of new works (and yes that falls under derivative works, and yes that means we'll provide express permission in exchange for the same permission.) In this way we as artists and creatives can branch out and find new ways to promote ourselves and, frankly, to have fun co-operating, collaborating, competing and just making cool stuff because it's fun.
We at Michelson-Morley welcome your comments, concerns, criticisms, ideas, suggestions, agreements, arguments and analysis on us, on you, and on them. We do not, however, welcome your spam, and neither should you.
We hope you enjoy your flight.
-Nick
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