Greetings, everyone. For a final wrap-up on the topic of multichannel file editing, I wanted to showcase the last step in the process: exporting your mastered audio from Soundbooth back into Premiere Pro, or even perhaps a third-party software for authoring multichannel discs (audio-only *or* DVD/Blu-Ray). In either case, we’re still dealing with uncompressed, 32-bit WAV information. The files needn’t be encoded *before* inserting into Premiere, but you would want to encode to Dolby Digital or DTS if you’re looking to author DVDs with 5.1 audio through Encore CS4.
Now, I had a few emails after the first post asking, “Well, what do I do with the interleaved file once I’ve edited/mastered it in Soundbooth?” and the answer is simple: you export out as individual ‘stems’, each one representing the individual channels, ie, Front Left, Front Right, Left Surround, Right Surround, Center, Sub (LFE). Soundbooth CS4 will not allow you to re-export an interleaved file…but this is fine, as you’ll typically want stems anyway, and as mentioned, many third party softwares require either Dolby or DTS-encoded media, or individual 5.1 mono stems; and that’s what we’ll do here… Here’s the menu where you’ll export your mono channels
Hello friends. Having reached my 100th post last week, I felt like I needed to upload some new content to Vimeo, and showcase a bit more of the cool work that I’ve been doing alongside pals Karl Soule, Kush Amerasinghe, and of course, Johnny Encore.
And as the title of this post suggests, I’m referring to Johnny’s mid-autumn hit single, You’re In My Heart and InDesign. If you haven’t seen the video already, I think you’re really going to enjoy this. For starters, it takes advantage of the new Cartoon effect in After Effects CS4. However, there’s SO MUCH going on in this piece you really just have to experience it to believe it. Enjoy it here, in glorious HD with Stereo audio, courtesy of Vimeo…
You’re In My Heart and InDesign by Johnny Encore from Jason Levine on Vimeo.
On the audio side, because of some ‘difficulties’ that Johnny was having with certain members of the Acrobats, I had to step in and wound up playing drums and Hammond organ for the piece. In Johnny’s words, “The original take simply wasn’t DIRRRTY enough. Make it so.” And so, I did. Be sure to check out ‘Short & Suite’ on AdobeTV for details on how this was made, crunchy-sounding, cartoonified-brilliance and all.
Until next time,
Greetings, blog readers. Over the past few weeks, I’ve been deeply involved in prepping for a series of CS4 tours across the Nordics, and in the process, I’ve been collaborating with my colleagues on all kinds of things. Everything from sending assets back and forth, writing up how-to documents, waiting to receive files, etc. And beyond that, I’ve often needed a place to simply store my files, whilst I was waiting to upload/share new ones with the gang.
Enter Acrobat.com. Now, many of you may have heard about Acrobat.com and simply dismissed it as some kind of PDF-Mecca. But in fact, it’s much, much more. There are 5 basic elements that make up Acrobat.com, and I’ll talk to you about 3 of them that have truly become life-savers, but more importantly: they’ve changed the way I collaborate with my colleagues; a little something I like to call… Cross-Continental Colleague Collaboration
Hello, my friends! As the title suggests, this is officially my 100th post on the blog. And to celebrate my ‘100 random rants’, uh, blogs, I’ve got some great content to share with you from Adobe TV, as well as tour information for next month… Roger McGuinn on Adobe TV: You’ll know Roger as the guitarist, singer, and founder of The Byrds. Listen to how Roger uses Adobe Audition 3 to make Grammy-nominated albums, and is constantly re-defining the future of folk music…
I first met Roger back in the Cool Edit days, and was actually fortunate and honored to be able to provide some one-on-one training for him in the *then beta* version of Cool Edit Pro 2.0 (and the first pre-release version of the Loopology Library). At that time, spring 2001, he was in the process of recording an album, which would eventually become a collection of spontaneously-recorded, live, raw albums known as Treasures from the Folk Den. One unique element of this multi-stylistic melange of roots music classics was that Roger had the revolutionary idea to capture the entire album direct-to-disk, sans tape, into Cool Edit (now Audition). An Alan Lomax-esque journey for the new Millennium. Check out this true legend and musical innovator at Adobe TV. Photoshop Dream Girl, Part 2: In this (my favorite) episode, I talk about stylizing the overall track (both in stereo and mono) and creating (personally) the 50s doo-wop vocals that accompany Johnny Encore…all of them, from Hi to Low. 😉 Ba-doom, buh-doom, ba-dum….
Be sure to check out new episodes from my fellow evangelist colleagues: ‘Taming the Web’ with Greg Rewis, Flash Downunder with Paul Burnett, and Cafe Fibonacci with Rufus Deuchler.
And last, but certainly not least…I’ve got a tour coming up…the CS4 Production Premium Nordic Tour 🙂 As mentioned earlier, here are the dates and registration links for each country: 2 Feb 2009, Finland 4 Feb 2009, Norway 6 Feb 2009, Denmark 9 Feb 2009, Sweden
And lastly, a big thanks to everyone for reading! It’s really been fun, and I appreciate your comments immensely. Here’s a toast to the next 100! Prost!!
Until next time…
Hey there, friends. Well, it’s amazing how certain posts can go somewhat unnoticed, and with something like a musical instrument (and a personal tale of love to go along with it) suddenly, the comments start flying in! It’s great to see that many people are interested in these kinds of stories/rants, and I’ll be sure to try and do more in the future.
That being said, there were several requests to actually ‘hear’ what this bass sounds like. Well, until I get around to uploading my proper recordings, I went ahead a captured a short little video, playing a few riffs, showcasing the tuning, the intonation, and emphasizing just how big and thumpy this bass can be (completely untreated, by the way…no compression, no EQ, just amplification). Here it is…
Hey friends! This is one of those posts that I felt compelled to write, simply because a feeling was re-awakened inside of me, prompting my need to shout-aloud about it!
What’s that feeling you say? Well, LOVE of course! Love…for my instrument. Now, before your minds go wandering in the gutter, let me state that I’m speaking of my Rickenbacker 4003 bass.
Love is all you need…especially when it comes in Fireglo
I’ve had this particular bass nearly twenty years, and it was truly the sound and the instrument I always wanted (at least, on the 4-string side; on the keyboard front, it was always a Minimoog and a Fender Rhodes Suitcase ’73). Yes, the Rick is what Paul McCartney played on ‘Paperback Writer’, as well as on Sgt. Pepper and Magical Mystery Tour (and, nearly all of Wings) Chris Squire of YES, Geddy Lee from RUSH, Glenn Hughes of Deep Purple; they all played them. But the primary impetus for wanting one was the tone, the thumpy, legato nature of the sound, and the purity of each fretted note.
The point of this ridiculous rant is this: If you’re lucky enough to play an instrument, and you possess the one that you purchased years ago (years before you could even afford such a thing) and you nurtured, and cared for it greatly, and played it until your fingers bled, you’ll find that it ALWAYS has the same effect on you, every time you play it. Even when lots of time goes by. And then, suddenly, you plug-in one sunny, Saturday afternoon. You haven’t tuned in almost a month; you fret a chord in the upper register (but still below the 12th fret). And when you release, the sound is not only PERFECTLY in-tune, but the intonation, the tonality, the quality of the sound, of this one chord is simply MUSIC to your EARS…well, then you’ll KNOW that you’ve been having a love affair with an inanimate object.
Nearly 20 Years, and still going strong. I love you, Rick…enbacker.
Until next time,
And, for those who requested to ‘hear it’…here’s a short video I put together on Vimeo.
Hello, my friends. As we usher in the New Year, I figured what better way to start blogging than to do a nice, techie post regarding something that literally NO ONE knows about. In fact, I imagine that this will not only inspire many to tryout Soundbooth CS4, but more importantly, it may change the way (some of you) think about audio-post for DVD, as well as working with surround audio in general. In short, I’m going to showcase how you can use Soundbooth CS4 to edit, trim, repair, and do some basic mastering on multichannel (6 chan/5.1 to be exact) audio files. For this example, I’m using a 32-bit uncompressed, interleaved WAV file (the native multichannel format for Premiere Pro & After Effects, and a standard) that I created and exported out of Audition 3. Importing a 6-channel WAV file; channels are displayed top to bottom, LF, RF, Ls, Rs, C, LFE