SOUND ENGINEERING RECORDING STUDIOS

SOUND ENGINEERING RECORDING STUDIOS LOCATION Communication Arts Building, Room CA 222 OFFICE HOURS Monday through Friday 10 am to 5 pm CONTACT Doug Fr...
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SOUND ENGINEERING RECORDING STUDIOS LOCATION Communication Arts Building, Room CA 222 OFFICE HOURS Monday through Friday 10 am to 5 pm CONTACT Doug Freeman, Sound Engineer 310 338 7368 SERVICES Book studio time for: recording and mixing soundtracks recording live music, dialogue, and Foley sound effects transferring audio mixing film, video, and recording projects creating music soundtracks (using SonicFire) Check out sound effects CD’s All recording studios are set up so that you can be your own engineer but if you require assistance, contact your instructor or teaching assistant. RECORDING ARTS STUDIOS Capabilities and Access GENERAL USE (Current enrollment in Production Class/Class list REQUIRED) Studio A - STR Pro Tools LE - DV toolkit

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Studio D - CA 203 Pro Tools LE with FCP - Screening, Theatre Mix, SONICFIRE Studio E - CA 013 (in P) Nagra 59.9 & audio transfer to Pro Tools (48K-16bit) Studio F - CA 215 Pro Tools LE Studio G - CA 216 Pro Tools LE Studio J - CA 214 Pro Tools LE (with non-sync VHS REFERENCE) Studio K - CA 218 Pro Tools LE, Sync recording to PIX (ADR/FOLEY) (200 level students and up) Studio V - CA 213 V/O booth (quiet) for use with Studio K, Studio J, or by itself. Studio H - CA 206 (Cart) Nagra 59.9 & audio transfer to CD-R Studio I - CA 004 (Cart) Nagra 59.9 & audio transfer to CD-R. Studio P - CA 014 Pro Tools LE –Sync recording to PIX (ADR/Foley) (300 level students and up) Studio Y/Z - CA 202 editing & computer DEMO

UPPER DIVISION AUDIO POST (RECA instructor approval required) Studio C - CA 208-210 Pro Tools MIX+, FCP, ADR /FOLEY, 5.1 Surround mix (Available to current 467/667 students only) Studio Q - CA 010 Pro Tools MIX+, FCP, 5.1 surround mix (Available to Students who have taken 467/667) Studio N - CA 011 Pro Tools DV Toolkit 15

Studio O - CA 012 Pro Tools DV Toolkit UPPER DIVISION RECA STUDIO’S (RECA instructor approval required) Studio L - BURNS108 Pro Tools MIX+, Multi-track recording studio Studio R - CA 015 Pro Tools MIX+ (OSX), Multi-track mix and synth recording Studio S - CA 211 Pro Tools MIX+, Multi-track mix and synth recording Studio T - CA 212 Pro Tools MIX+, Multi-track mix and synth recording LECTURE ROOM (NO STUDENT ACCESS) Studio M - CA 206 Equipment lab and lecture. STUDIO RULES NO FOOD, DRINK, OR SMOKING ALLOWED. THE RECORDING STUDIOS ARE NOT TO BE USED AS SETS , OR AS LOCATIONS FOR STUDENT PRODUCTIONS. STUDENTS MAY NOT RECONFIGURE OR REWIRE STUDIOS. STUDENTS MAY NOT MODIFY COMPUTER SYSTEMS, OR COPY APPLICATIONS, PLUG-INS, OR INFRINGE ON COPYRIGHTS. UNAUTHORIZED ACCESS, OR ALLOWING UNAUTHORIZED ACCESS IS SUBJECT TO A $500 FINE PLUS THE COST OF LOSS OR DAMAGE ATTRIBUTED TO SUCH ACCESS. ALL ACCESS REQUIRES A COMPLETED BOOKING FORM WITH THE PROPER AUTHORIZATIONS AND LOG BOOK ENTRY. SESSIONS CAN BE BOOKED A MAXIMUM OF 2 WEEKS IN ADVANCE AND A MINIMUM OF 24 HOURS IN ADVANCE (The maximum number of allowable sessions per week MAY vary as determined by the class instructor ).

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MAXIMUM NUMBER OF HOURS PER SESSION 1 hour/day: Studio D 2 hours/day: Studios F, G, J, K, V, P/E,C, I, M, N, O, Q, R, S, T 7 hours/day: Studio L STUDENTS MUST REPORT ALL PROBLEMS, REPAIRS, DAMAGE TO THE RECORDING STUDIO OFFICE IN WRITING. PLEASE USE THE SPACE PROVIDED ON THE STUDIO BOOKING FORM. CONFIRMED RESERVATIONS IN ADVANCED STUDIOS REQUIRE THE SIGNATURE OF THE RECORDING ARTS INSTRUCTOR WHOSE CLASS IS BASED IN THAT STUDIO. Studio L also requires the signature of an A-2. ONLY CURRENTLY ENROLLED LMU SFTV STUDENTS CAN BOOK STUDIOS. ONLY QUALIFIED ENGINEERS CAN BOOK ADVANCED STUDIOS. RECORDING STUDIOS ARE NOT AVAILABLE OVER SEMESTER BREAKS AND CLOSE THE MONDAY OF FINALS WEEK.

BOOKING PROCEDURES To Reserve a Sound Studio: Request to see the LOG BOOK and check the availability of the studio and/or time to do your session.(There are different log books for each studios.) Get a Studio Booking Form and fill in all the necessary information. A staff member will then approve your session and enter it in the log book. A staff member will give you a key, code or TESA authorization to access studio(s). You must return your key immediately after your last scheduled session. You will be fined $10.00 per day per key for late returns. Lost keys are subject to a $250.00 fee.

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SOUND EFFECTS CD’S To check out sound effects: Search for sound effects in the CD catalog binders. They can be found at the RECA Studios desk. A staff member will get your CD’s for you but will not help you look for sound effects. Write your name, student ID#, and phone number in the Sound FX CD book. The request will be signed and dated by a staff member. You can borrow a maximum of 6 CD’s at once, for 24 hours. You will be fined $10.00 per day per CD for late returns. You will be charged $100 for each CD that is lost or damaged.

STUDENT RESPONSIBILITY Upon completion of a session, students are obligated to: Account for all equipment, microphones, cables and mike stands. “Normalize”’ the console and all equipment. Clean studio area. Remove all personal data from hard drives. You will be held responsible for damages caused by negligence, abuse or loss and/or theft of equipment. This includes damage and/or theft caused by your guests. A contract between musicians, the student, and the appropriate instructor must be signed prior to using sound in Studio ‘L’. The student who books a studio has full responsibility for the safety and proper use of its equipment and for the conduct of his/her guests. No one other than authorized LMU students, faculty and staff may operate RECA Studios’ equipment. The student who books a session is required to ensure that the studio’s monitoring system (control room speakers, headphones, etc) are operated at a responsible listening level at all times. Excessive monitoring levels are hazardous to both people and equipment. Students must provide their own storage media and are SOLELY responsible for the proper use and care OF THEIR MEDIA. It is the student’s responsibility to use all available means to protect themselves from the potential of data loss. Students are advised to periodically back up and make safety copies of their work. 18

Student’s may not store data on RECA Studios’ computers! Student files stored on RECA computers are subject to erasure without notice. RECA Studios reserves the right to stop or cancel any session at any time. TO PROTECT YOURSELF, review the equipment list provided in the sound studios. All equipment should be accounted for and in good condition. Should you find a discrepancy, immediately call RECA Studios (x87368). During evenings and weekends Public Safety should be contacted (x82893). DO NOT PROP DOORS OPEN DURING SESSIONS, OR LEAVE STUDIOS UNSUPERVISED. SECURELY LOCK THE FACILITY WHEN YOUR SESSION IS OVER. GUIDELINES FOR LMU STUDENT MIXES By the time you’re ready to do your mix you may be so impatient just to get the project done that you’ll be tempted to skip over these recommendations. Please don’t -- record levels are especially important in film and television. When you’re listening to something like a music CD you are free to choose a playback level anywhere from “Soft Background Listening” to “Annoy the Neighbors.” But for film mixing, record and playback levels are not so arbitrary. In the professional world, speaker playback levels in a good THX-certified theater are “carved in stone” so that the loudness a filmmaker hears in the mxing room should match the loudness heard in a good theater. To get this agreement between the mixing stage and the theater requires some standardized reference levels. TV broadcast also has rather strict requirements about where average record levels should fall. For all these reasons some “target” or point of reference for audio loudness is needed, and this usually takes the form of a constant tone recorded at the beginning of a tape. This tone is recorded at “Reference Level” or “Standard Operating Level”, which represents a signal strength that is strong, but not too strong. Your subtlest sounds will fall well below that level; your strongest sounds will be above. For digital recording there are a number of competing standards used for reference levels; these are designed to fit the technical specs of different release formats. At LMU we have chosen a reference level of -12 dBFS. This is the default level for Final Cut Pro and is commonly used for mini-DV; it also works well for TV broadcast, home video, and formats such as Beta SP tape (supported by most film festivals.)

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Technical Specifications: •

Students should use a digital reference level of -12 dBFS for workstation mixing (as the digital equivalent of the analog reference of “0” on a VU meter.) The reference tone that accompanies the color bars recorded at the head of a tape should be recorded at this level.



That same reference level will be used to set playback levels at screenings.



Tapes should be labelled with the following information: Audio: Stereo (Left Only, Right Only ) Reference Level: -12 dBFS

For more details on getting a good sound mix for your project, please consult the “Sound Post FAQ” on the LMU workstations. In it you’ll find some help with questions like these: • What kind of bad production sound can I fix in post? • How do I make edited dialog scenes sound smoother? • How can I do some of my sound work in Pro Tools? • How do I set mix levels? • How can I make the mix sound better? And please remember that the Recording Arts staff on the second floor of the SFTV building are available to help you through the process. Post-production sound can be one of the most satisfying phases of your production - you don’t have to worry about bad weather or other location nightmares, for one thing. Just remember that to get the most out of your sound mix, you need to budget adequate time into your schedule by setting some realistic deadlines and sticking to them. Only then will you have the chance to play around and get creative.

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