CLC Radio PROduction page::
(macs_cant) CLC Radio PROduction page::
(macs_cant)
The song here, at How do they do that? I think I figured it out here......well, OK, but if the flash movie didn't have a play button embedded, then I still got it, baby!00
The offerings of others.....
A ton of related audio info all engineers know, but students of audio need to learn:
++ http://www.stolaf.edu/depts/music/elmus/acoustcs.htm ++
And another;
http://ccrma.stanford.edu/courses/422/projects/WaveFormat/
(which is really culed from;)
http://www.lightlink.com/tjweber/StripWav/WAVE.html
then, of course;
Eddie Ciletti: From Digital Audio to Vacuum Tubes!
++++
A short word about Electronic Music at St. Olaf's: Why?
==========================================
Let us never forget Paul Schmidt's His Web Page for very pertinent audio recording info! As of 6-12-2006, he says he will update it with still more audio goodness. And, as of 2-23-2007, he did!
A word about Mr. Paul Schmidt:
Recorder Player of the Month
Paul Schmidt, WSEMS
Paul Schmidt is a Chicago and Wisconsin area freelance musician, who makes his living outside of music as a senior electrical engineer in the industrial automation field. Trained in voice, piano, organ, reed, woodwinds and brass, he currently focuses on low brass and historical musical situations. He plays tuba, trombone, euphonium, bass trumpet, and baritone and tenor horn with many pick-up groups (lots of weddings and church services) and several regular ensembles, from orchestras to brass quintets.... He spends much time traveling and playing with America's oldest Civil War band, The First Brigade Band, as 1st OTS (Over the Shoulder) Saxhorn, an early 19th Century euphonium. He is also very involved with low brasses of the 1500s through early 19th Century, including such rare beasts as the serpent and ophicleide. He is one of the better known serpent players worldwide, traveling, teaching, lecturing, performing, and conducting workshops in America and Europe, as well as writing and publishing content and music for serpents and ophicleides.
Paul and his serpent currently attend WSEMS meetings and he plays recorder on occasion. He brings to the group his arrangements for recorder, some edited from pieces originally written for other instruments. He is also really into reptiles. Besides playing serpent, he manages the publishing firm Heavy Metal Music and the home page of the United Serpents, serpentwebsite.
Although up to arouns mid 2007 there have been very few players in the Audio-over-IP market (NEVER confuse AOIP with VOIP - they are NOT the same thing and are related only through "Over-IP"), lately Harris Broadcast Communications (updated at NAB2006, then announced to be coming Spring '06) has introduced an excellent solution called Intraplex NetXpress that we of CLC Radio were VERY SERIOUSLY INTERESTED in purchasing. NetXpress is the Next-generation Intraplex system which transports multiple services over IP to create today's most reliable and cost-efficient audio networking platform, VOIP, PBX, T1/E1, their emulations, and AOIP.
Above: just one of the coolest uses of gif and script I have seen in a long time - this has no connection with CLC or CLC Radio, I just want you to check it, at:
http://home.comcast.net/~jtgale01/welcome.htm
From Dan's Pop Links Page:
Create Digital Music's Software Reviews
CIN 233 does NOT exist in the 2006-2007 catalog but was listed for Fall 2006 in the soft-cover version released in the Summer/Fall catalog. The 'CIN' may be a mis-print.
| Subj CatNo | Course Title | Units |
|---|---|---|
| COM 173 | Introduction to Digital Sound | 3 units |
| Introduction to Digital Sound will introduce students to the basics of producing audio for the web and CD ROM. Students will optimize audio by using popular audio software. | ||
Schedule: COM 173 is offered in the Spring 2007 and Summer 2007 and Fall 2007 term(s). The 2007-2008 Catalog number will become DMD 173
|
||
| Subj CatNo | Course Title | Units |
|---|---|---|
| ART 280 | Audio Production | 3 units |
| The Exploration of Audio Production is a unique application of field and studio production techniques, lecturing in sound theory, recording live audio, utilizing and learning how microphones are used for certain situations, operating studio and field mixers, learning the proper way to handle equipment and utilizing the ProTools software package. ProTools is one of the leading industry standard programs used to digitize audio signals. Altering sound waves, audio sync with video, and other various techniques will be explored within the software program. In addition to classroom lectures and lab assignments, students will be organized into production units. As skills are developed each production group will be responsible for producing studio and field audio recordings. The class projects will be brought back to the sound studio for critiquing purposes. | ||
Schedule: ART 280 is not currently offered in the upcoming term(s). |
||
Yeah, we know, "ART", even though this should be a MUS course, but by the course description, it could prove useful, however, we do teach all of that and more at CLC Radio. I also had to put a space between sound and waves in the description above, as the two words are never combined as to be one word.
The above course was "added" to the catalog at the end of Spring 05 for inclusion in the Fall 06 - but as you can see, no one at CLC has chosen to ask qualified faculty to teach this course. Also, they have NOT chosen an indoor existing facility to become the :studio":
| ESR Elevator Service Room CC Custodian Closet ST Storage EL Elevator L012 Holding Room-IV Dept. L011 Multi-Purpose Studio L010 Recording Studio |
L009 Video/Tape Storage L008 Setup L013 AV service Desk L007 Storage L003 Dark-Room L002 Setup L035 Ceramics Lab |
| Subj CatNo | Course Title | Units |
|---|---|---|
| LTA 171 | Audio-Visual Media and Equipment | 3 units |
| This course is intended to develop an appreciation for the nature of Audio-Visual materials and an understanding of their use in educational settings. Emphasis will be placed upon the physical operation of common A-V equipment and selection and evaluation of various media. | ||
|
Schedule: LTA 171 is offered in the Spring 2006 term(s). Check the Class Schedule for availability and details. (Open Class Schedule in pop-up window.) |
||
This one actually sounds promising and is part of a complete AS in LTA (Library Technical Assistant degree!)
| Subj CatNo | Course Title | Units |
|---|---|---|
| ART 272 | Introduction to Video Production | 3 units |
| Students are introduced to the concepts and processes of visual storytelling with an emphasis on motion pictures. Students will learn file theory and techniques in all phases of production, which will give them a foundation for future production classes. Narrative skills will be strengthened through using still photography for storyboards, computers and video equipment to produce various individual and group projects. | ||
Schedule: ART 272 is offered in the Fall 2007 term(s). |
||
Mentioned here due that if you have Video Production techniques presented with no audio techniques, you have just killed 85% of your Video Production. For the most part, Vdieo or Film without Audio is useless - priceless, but useless.
http://pixelcorps.tv/gear_media_tech
|
Through the College of Lake County's Joint Agreement Programs, you can get an AAS for Radio Broadcasting Technician (in real preparatory to be used at Gateway's station). Their AAS in Sales & Marketing may not be offered through the agreement - check with a CLC counselor and a Gateway liaison to be sure. The courses are under the same name of "Radio Broadcasting" but are split into 3 tracks: 2 for Radio Production and 1 for Video Production.
Gateway's Radio Station: http://www.wgtd.org/
WGTD is affiliated with Wisconsin Public Radio and National Public Radio and is a member of the Associated Press; so in light of this, that affiliation is its own word of caution.
And yes, although http://www.gatewaysportsweb.org/archive.asp provides Live and Archived sports coverage, we can't yet endorse it (as of June 29th, 2007), as their archive sounds like crap.
Listen to CLC Radio Sports on Live365.com for better examples, instead, and avoid the ear ache.
Archives from the latest Live CLC Groups: The CLC Jazz Bands, Choirs, and Wind and Concert Bands - for your pleasure.
Remember: These concerts were the first also broadcast L I V E from CLC !
AUDIO pre-PRODUCTION-post at CLC RADIO...
Now don't get me started, I do realize that there are at least 3 newer types of music synthesis as well as the newest hybrids of the 7 basic types! Don't go shootin' the messenger> just learn to crawl before you brawl...
Full Digital Audio Pre- and Post-Production Services are available for any department wishing such through CLC RADIO by Dan Prowse (x2637). This includes Audio-for-Video editing.
Because we charge for our time and equipment use, we will endeavor to have our systems up and running at 95%. This up-time is only possible through the generous, but most times, "Just part our job, ma'am.", geek-squad of CLC "ITS". Yep, they are IT. They are all you need! Thank you, Steve, Kim, Linda, Brent, , No Particular Order, Dave, Nels, Wendy, Ben, Pedro, John C., Scott (when he was "one of them"; now? meh)
***These services are approved for us to charge at the following rates:
All charges will be governed by the Executive Director of Student Life and CLC Fiscal & Ethics' policies, as well as possible SGA sanctions.
Internal Clubs and Organizations: Audio at $10.00 per hour, Audio-for-Video at $15.00 per hour. (Example: A Mixed CD for the Lancerrettes routines)
CLC Departments for use as educational supplements for class presentations: Audio at $15.00 per hour, Audio-for-Video at $20.00 per hour. (Example: Music and narration for a slide show of a trip to Cuba)
Any outside entity: Audio at $25.00 per hour, Audio-for-Video at $35.00 per hour (Exception= other non-profit groups doing business in Lake County, IL. - such as schools, churches, OMNI Youth Services, etc. - Audio at $15.00 per hour and Audio-for-Video at $25.00 per hour). Example: Mixing of Music and Sermons, synchronization of music recorded at high quality to fit with a low quality audio-on-video where the video quality is at least good, but the inherent sound is poor and needs to be replaced.
A non-refundable 25% deposit will be charged upon time booked. If our staff can not make the time, your deposit will be returned immediately or you can choose for us to hold it so that we may book another time slot, at a reduced rate. (reduced rate blocks must be booked within 5 days of original slot booking). No block of live recording time shall exceed 4 hours per day, most times booked over 1 hour will probably be booked for weekends only.
All charges will include the use of our equipment with at least one engineer of our choosing present at all sessions. Any engineer will be qualified in his or her area of expertise on whatever software the engineer assigned is comfortable with. The following software list is the pool from which we can choose from, this is not a "shopping" or "wish list" for clients to choose from, except of course where EDL's have been pre-written for A/V projects.
We have and use SONAR XL 4 and Project 5, Adobe Audition 1, 1.5, 2 (formerly known as Syntrilium's Cool Edit Pro, but we still maintain CEP v2.2 just in case), Sony (formerly Sonic Foundry - not to be confused with the O&A website!) SoundForge 8, Vegas DVD Pro 5.0 (for simple Video Edits but mainly for Audio-for-Video tracking), Acid Pro 5, Vegas 6.
We have over 400 Various Audio plug-ins - mainly DX and VST, some RTAS, and newer formats, incl.: The 40 Hyperprism set, Adobe AfterEffects, Stage Research's SFX Pro Audio and FX Machine RT module (for real-time audio effects and production use).
We can also create music using FruityLoops, Producer 5, Band-in-a-Box 2005 or 2006, AbletonLive2 through 5 and CARBON Reaktor Series and REASON for quick music production and assembly, which again all include various DXi and VSTi virtual instruments. You name it, we'll download it and install it (but, we won't necessarily buy it, so be prepared for the inevitable noise-injection popular in most demo software).
CPUs and OSs:
We have 1 MacG4 400MHz Dual Processor with OS 9.21 / Silver Server and the Cougar OS with a Layla 8x8.
1 OmniTech Beige Box (2.6GHz, 2GB RAM) with another Echo card.
3 MPC's (1 new Grey Box) each with 1 or 2 Audigy Pro 2ZS Soundcards per those 3.
We have an M-Audio Transit and the Firewire 410 (FireWire version of the OmniStudio for USB) for field recording.
If you need it, we have stand-alone versions of
all the vintage synthesizers in virtual form (Moog, Arp2600, Odyssey (called
Oddity), Nord, Buchla, DYI soft-synths (the kind where you can actually
design the circuits with drag-n-drop),
Also: Dream Station 1.0
by Audio Simulation,
VAZ Modular 2.0
by Software Technology, Gigasampler
by Nemesys.
And, yes, we have C-sound and its companion, Max/MSP (with Externals as well as Jeff Burns' Max Patches) to tide you over for experimentation and a huge waste of harddrive space!.
I decided against purchasing the M-Audio LX4 2.1 / 5.1 Monitor System for the main studio.
We do have ProTools available (thanks to CLC's educational license package!), but will not instruct in its use as we know the majority of ProTools users can afford it or have had it purchased for them. Many artists recording "at home" have released media using all the other softwares listed above. Also, we do not wish to compete with a class listed already teaching ProTools (listed per the CLC Course Catalog Fall05 as ART 288)
Future Music Ideas:
video, live mixing and projection - acoustic music, digital
transformation
play inside see
hear now - our informational video
Past and Future suggestions for music beds: These are free for the taking as speculative solutions.
p://CHRONICLE:chronicle1@172.24.6.218:21/CHRONICLE
The following are archived live broadcasts of variety:
test mp3 direct
wclcJan 26 2004 100pm Guy Papa - Country.mp3
Seminar 1 Non-Credit / Non-signup
overview
This survey covers
Audio Basics: electrical considerations, computer set-up basics
Physics review: wave properties, studio set-ups
Audio editing basics will be taught.
The concept of digital representation of analog audio will be mastered.
Simple stereo recording (aka capturing) using various (deliberately) sound card configurations and
allowances as well as using microphones - with regard to proper mics and mic
techniques.
Multi-track audio editing will be reviewed and its principles will be applied to
student-picked/invented final projects.
FINAL PROJECTS will be collected on last seminar day (called: ALL LAB DAY) and
will be available by 1 week before FINALS WEEK on the CLC RADIO WEB SITE for
anyone to "stream-listen"1 and learn from!!
There may be more of an emphasis and priority given to those wanting to learn
Radio Production Techniques as related to Adobe Audition/Cool Edit, but the
instructor will also follow the lead of the seminar attendees as a whole in order to
facilitate a cohesive learning environment as some of you will want to work on
projects together and hand in final projects as team efforts.
Also, the instructor realizes and expects that late comers are inevitable due to
scheduling and other conflicts, and will endeavor to offer small group
and individual discussions on topics not yet understood by those entering late. The
topics re-reviewed would most likely be the wave properties review and audio
recording principles covered earlier in the survey, and would be opened again to
any student(s) not yet fully understanding the concepts integral audio mixing - analog OR digital.
To recap:
CLC Radio Audio Production is a standard and often used blend of location and studio production techniques, with a necessary audio theory, fact, and even law lecture component. In recording live lab audio you will discover when, how, and most importantly IF microphones are used. You will operate actual studio, portable, and stationary Live devices and the safe and proper way to handle them. Sometimes working with our vast array of softwares will seem daunting, but the principles and nomenclature for each are very similar. You will learn how to alter sound through judicious and ridiculous (usually comic or surreal) affect.
+++Remember, ALL of these things mentioned can only be taught in a general approach. To be fully realized each major component should be made available as separate courses at CLC, and perhaps in the near future, the audio futures of CLC will become CLC's reality.
Seminar 2 Non-Credit / Non-signup
"The Business of Business Audio Designs: (aka; BAD)" by Dan Prowse, Jr.
--- now
developing an
overview of some of the following....
The Battle might be Televised:
Why we won't compete: 
More sick audio links:
Audiovisual Environment Suite (AVES)
Create, Share And Distribute Audio Visual Online Presentations With Photos And Audio: Zooomr
EarthStation1.com - Classic Old Time Movie, Old Time Radio, Old Time TV & Historical DVDs-CDs-MP3s
The Official Effusion A Cappella Website McGill, Montreal, Quebec, Canada
NARA - Research - Motion Picture Films and Sound and Video Recordings
Sometimes pictures are not enough
Web Content Accessibility Guidelines 1.0
Sound Effects, Ringtones, Production Music, Royalty Free Music, MP3 WAV Sound Effects
Welcome to Computer Music Journal
Jack plug - Wikipedia, the free encyclopedia
http://www.sengpielaudio.com/Calculations03.htm
XLR connector - Wikipedia, the free encyclopedia
BNC connector - Wikipedia, the free encyclopedia
Switch - Wikipedia, the free encyclopedia
Speakon connector - Wikipedia, the free encyclopedia
TOSLINK - Wikipedia, the free encyclopedia
***AT ANY TIME, CHARGES MAY BE DISCOUNTED OR WAVED BY DECISION OF THE EXECUTIVE DIRECTOR OF STUDENT LIFE and/or ACTIVITIES. Please keep in mind that CLC Radio may also be required to meet revenue each year just as all clubs and organizations.
+++ Who's rippin' off whom?
1 the term "stream-listen" is used when stream-only listening is made available. This purpose-built audio link takes into account all manner of making the audio non-downloadable, non-recordable locally or remotely bit-for-bit, but still listenable through streaming only, leaving the only method of copying through available output jacks on a soundcard, in an effort to curtail most bit-for-bit indiscriminant downloading.
