Friday, 21 October 2011

Chambord castle

The Chambord castle is located in Loire valley, France.

The Loire Valley, spanning 280 kilometres (170 mi), is located in the middle stretch of the Loire River in central France. Its area comprises approximately 800 square kilometres (310 sq mi).
The architectural heritage in the valley's historic towns is notable, especially its châteaux, such as the Château d'Amboise, Château de Chambord, Château d'Ussé, Château de Villandry and Chenonceau.
http://en.wikipedia.org/wiki/Loire_Valley

Chambord castle

First of all I feel I need to look into actual castle description. In french it is called Château de Chambord. Apparently, Château translated correctly in to English language means Plalace. So Sir Longford the Bold is not attacking a castle, but a palace!



The royal Château de Chambord is one of the most recognizable châteaux in the world because of its very distinct French Renaissance architecture which blends traditional French medieval forms with classical Renaissance structures. 
Chambord is the largest château in the Loire Valley; it was built to serve as a hunting lodge for François I.The original design is attributed, though with several doubts, to Domenico da Cortona. Some authors claim that the French Renaissance architect Philibert Delorme had a considerable role in the château's design, and others have suggested that Leonardo da Vinci may have designed it.
Chambord was altered considerably during the twenty years of its construction, (1519–1547)

Architecture

Châteaux in the 16th-century departed from castle architecture, while they were off-shoots of castles, with features commonly associated with them, they did not have serious defenses.The layout is reminiscent of a typical castle with a keep, corner towers, and defended by a moat. 

Built in Renaissance style, the internal layout is an early example of the French and Italian style of grouping rooms into self-contained suites, a departure from the medieval style of corridor rooms.



The massive château is composed of a central keep with four immense bastion towers at the corners. The keep also forms part of the front wall of a larger compound with two more large towers. Bases for a possible further two towers are found at the rear, but these were never developed, and remain the same height as the wall. The château features 440 rooms, 365 fireplaces, and 84 staircases. Four rectangular vaulted hallways on each floor form a cross-shape. The château was never intended to provide any form of defense from enemies; consequently the walls, towers and partial moat are purely decorative, and even at the time were an anachronism. Some elements of the architecture – open windows, loggia, and a vast outdoor area at the top.


The roof scape of Chambord contrasts with the masses of its masonry and has often been compared with the skyline of a town: it shows eleven kinds of towers and three types of chimneys, without symmetry, framed at the corners by the massive towers.
One of the architectural highlights is the spectacular double-helix open staircase that is the centerpiece of the château. The two helixes ascend the three floors without ever meeting, illuminated from above by a sort of light house at the highest point of the château.


The château also features 128 meters of façade, more than 800 sculpted columns and an elaborately decorated roof.
The château is surrounded by a 52.5‑km² (13,000‑acre) wooded park and game reserve maintained with red deer, enclosed by a 31‑kilometer (20‑mile) wall.


 

ISSUES: There are no statues of fallen heroes and the actual palace was built 100 years later than the project brief suggests! So when Sir Longford the Bold would have arrived at the place in 15 century he would have seen.... hmmm... forest perhaps. :)

Thursday, 20 October 2011

Software


a free software, cross-platform digital audio editor and recording application. It is available for Windows, Mac OS X, Linux and BSD.
The latest release of Audacity is 1.3.13, a beta, released on 11 April 2011.

Features and usage 

Audacity can also be used for post-processing of all types of audio, including podcasts by adding effects such as normalization, trimming, and fading in and out. Audacity has also been used to record and mix entire albums, such as by tUnE-yArDs. It is also currently used in the OCR National Level 2 ICT course for the sound creation unit.


Audacity's features:

  • Importing and exporting of WAV, AIFF, MP3 (via the LAME encoder, downloaded separately), Ogg Vorbis, and all file formats supported by libsndfile library. Versions 1.3.2 and later support Free Lossless Audio Codec (FLAC). Version 1.3.6 and later also support additional formats such as WMA, AAC, AMR and AC3 via the optional FFmpeg library.
  • Recording and playing back sounds
  • Editing via Cut, Copy and Paste (with unlimited levels of Undo)
  • Multitrack mixing
  • A large array of digital effects and plug-ins. Additional effects can be written with Nyquist
  • Built-in LADSPA plug-in support. VST support available through an optional VST Enabler.[11]
  • Amplitude envelope editing
  • Noise Removal based on sampling the noise to be removed. Surface noise from records, for example, can be removed with hardly any discernable effect on the music.
  • Audio spectrum analysis using the Fourier transformation algorithm
  • Support for multi-channel modes with sampling rates up to 96 kHz with 32 bits per sample
  • Precise adjustments to the audio's speed while maintaining pitch (Audacity calls it changing tempo), in order to synchronize it with video or run for a predetermined length of time
  • Changes to the audio's pitch without changing the speed
  • Features of modern multi-track audio software including navigation controls, zoom and single track edit, project pane and XY project navigation, non-destructive and destructive effect processing, audio file manipulation (cut, copy, paste)
  • Conversion of cassette tapes or records into digital tracks by automatically splitting the audio source into multiple tracks based on silences in the source material
  • Support for multiple platforms — Audacity works on Windows, Mac OS X, and Unix-like systems (including Linux and BSD), among others
    • The latest stable version supports Windows 98/ME/2000/XP/Vista, but Windows 95 and NT are not supported. Windows 7 support is still provisional. For Windows 7, the developers recommend the latest 1.3.x Beta
  • Audacity uses the wxWidgets software library to provide a similar graphical user interface on several different operating systems.

 

Limitations

A plug-in is required for VST plug-ins in Audacity 1.2.x. Audacity lacks dynamic equalizer controls, real time effects and support for scrubbing. MIDI files can only be displayed.

Only "provisional" support is provided for Windows 7, although the program can be made to run under it with certain known issues, involving launching the application, recording and playback and the interface. Development of the Audacity 1.3 beta series is focusing on providing full Windows 7 support.

Audacity does not currently support WMA, AAC, or most other proprietary or restricted file formats.

 Steinberg Cubase

Cubase is a music software product developed by Steinberg for music recording, arranging and editing as part of a Digital Audio Workstation.

Operation

Cubase creates projects which allow the operator to edit MIDI files, raw audio tracks, and other associated information like lyrics, and to present them in a range of formats including musical scores, editing console, event lists, etc. The operator can also mix the various tracks down into a stereo .wav file ready to be burned onto a CD in Red Book format or .mp3 burnt to CD or DVD as files or to be published on the Web.

While MIDI is a fairly ubiquitous standard for representation of digital music, there is no broadly accepted standard for the interchange of complete projects containing both MIDI and audio between Cubase and other competing recording/editing software (e.g. Logic Pro, Pro Tools, Digital Performer, or Cakewalk), so while actual pure recorded audio information can be exchanged, it is hard to import a whole project (with specific edits, instrument information and automation) in its native format from Cubase to another application and vice versa. The cross-platform OMFI format (which is supported by Cubase SX and newer version) resolves this issue to some extent.
http://en.wikipedia.org/wiki/Steinberg_Cubase 

 Sony Sound Forge 


Sony Sound Forge (formerly known as Sonic Foundry Sound Forge) is a digital audio editing suite by Sony Creative Software which is aimed at the professional and semi-professional markets.
A limited version sold as Sound Forge Audio Studio provides an inexpensive entry-level digital audio editor; it was formerly known as Sonic Foundry's Sound Forge LE.


Features
 

Supported formats
 (i): Supported multichannel format
http://en.wikipedia.org/wiki/Sound_Forge

Tuesday, 18 October 2011

Remote recording devices

Library options:

Marantz PMD660 recorder


SPECIFICATIONS

Digital Audio Systems
System: Solid State Recorder
Usable Media: CF Memory Card,
Microdrive
Recording Formats: MP3 (MPEG Audio Layer III) compression, PCM (16 bit linear PCM)
Recording Bit Rate: MP3 mono
64kbps, MP3 stereo 128kbps
Sampling Frequency: 44.1, 48kHz
Number of Channels: 2 (stereo), 1 (mono)

Audio Performance
Frequency response: 16,000Hz (-0.5dB)
Signal-to-noise ratio: LINE 80dB
IEC-A weighted; MIC 60dB
Total harmonic distortion: LINE 0.06% at 0 VU (PCM); MIC 0.15%
Dynamic range: 80dB

Inputs
MIC IN L/R: XLR (1:GND, 2:HOT, 3:COLD), Input sensitivity: 1.2 mV rms /6.5k ohms
LINE IN L/R: 1/8" mini jack,
Input sensitivity: 300 mV rms /20k ohms

Outputs
LINE OUT L/R: 1/8" mini jack,
Standard level: 2 V rms max. /2k ohms
Headphone: 1/8" mini jack, Output power: 8 mW /32 ohms
Speaker Output power: 150mW /16 ohms
Phantom power: +48V, 5mA

General
Power consumption: 4W (DC)
Battery Type: AA (x4)
Recording/Playback Battery life (Alkaline): 4 Hours (typical)
Dimensions: Width 4.5" (113 mm), Height 1.9" (47 mm),
Depth 7.2" (183.5 mm)
Weight: 1.1 lbs. (0.5 kg)

Included Accessories
AC adapter x 1
USB cable x 1
Audio cable x 1
Carry strap x 1
Screws (ISO 3x10 mm) x 2
Plastic pin and retainer x 1
CD-ROM x 1
User guide x 1


Digital wave Pro Marantz PMD660






Marantz PMD620 recorder

SPECIFICATIONS

Digital Audio Systems
System: Solid State Recorder
Usable Media: SD/SDHC Cards
Recording Formats: MP3 (MPEG1 Audio Layer III) compression, WAV 16/24-bit linear PCM
Recording Bit Rate: MP3 Mono:
96/64/2kbps; MP3 Stereo: 192/128/64kbps
Sampling Frequency: 44.1, 48kHz
Number of Channels: 2 (stereo), 1 (mono)

Audio Performance
Frequency response: 20Hz-20kHz (+/-1dB)
Signal-to-noise ratio: MIC 68dB, LINE 80dB (IEC-A weighted)
Total harmonic distortion: MIC 0.06%, LINE 0.02% at 0 VU
Dynamic range: 81dB

Inputs
MIC IN L/R: 1/8" stereo mini jack, Input sensitivity: 12 mV rms /30kohms
LINE IN L/R: 1/8" stereo mini jack, Input sensitivity: 500 mVrms /20k ohms

Outputs
LINE OUT L/R: 1/8" stereo mini jack; Standard level: 1 Vrms/10k ohms
Headphone: 1/8" stereo mini jack
Speaker power:
150mW/8 ohms
Phantom power: 5V, 1mA (max)

General
Power consumption: 1.5W (DC)
Recording/Playback Battery life (Alkaline): 5 Hours (typical)
Dimensions: Width 4" (102mm), Height 2.5" (62mm), Depth 1" (25mm)
Weight: 110g (4oz) (w/o batteries)

Included Accessories
PSU & AC Lead
USB cable x 1
Audio cable x 1
Wrist strap x 1
CD-ROM x 1
User guide x 1
SD Card (512Mb) x 1
Tripod Mount/Belt Adaptor x 1
    

Online Manual





Purchase options:

Zoom H1 recorder

SPECIFICATIONS

Simultaneous Recording Tracks: 2 
Simultaneous Playback Tracks: 2 
Functions: Lo-cut Filter, Auto-Record Level, Marker  
Recording Media: microSD memory card(16MB-2GB), microSDHC memory card(4-32GB)  
Recording & Playback Formats: WAV (Quantization: 16/24bit, Sampling frequency:44.1/48/96kHz), MP3 (Bitrates: 48/56/64/80/96/112/128/160/192/224/256/320kbps, Sampling frequency: 44.1kHz) 
Display: 127 segment custom LCD, back-lit 
Built-in Stereo Mic: Unidirectional condenser  
Mic Gain: 0 to +39dB (Minimum gain with digital attenuation: -28dB) 
Maximum Sound Pressure Level: 120dB SPL 
Mic/Line Input: 3.5mm (1/8") stereo mini-jack (Plug-in power supported)  
Input impedance: 2kΩ (Input level: 0 to -39dBm)  
Phones / Line Output: 1/8" stereo phone jack  
Output Load Impedance: 10kΩ or more  
Rated Output Level: -10dBm  
Phones Output Level: 20mW + 20mW into 32Ω load  
Built-in Speaker: 400mW 8Ω  
USB Interface: Mini-B type (USB2.0 High Speed compatible), Mass Storage Class operation  
Power Requirements: LR6 or Ni-MH AA battery x 1, or AC adapter (AD-17, USB to AC type)  
Battery Life (LR6 AA batteries): 10 hours (MP3), 9.5 hours (WAV)  
Dimensions: 44(W) x 136(D) x 31(H)mm  
Weight: 60g (without batteries) 
Optional Accessories (APH1 Accessory Pack): UK PSU, USB lead, mic stand adaptor, desktop mini-tripod, foam windgag and soft case

Online Manual

Recording

The most realistic sound effects may originate from original sources; the closest sound to machine-gun fire that we can replay should be an original recording of actual machine guns.
However, real life and actual practice do not always coincide with theory. Often recordings of real life do not sound realistic on playback. That is why we have Foley and f/x.

Less realistic sound effects are digitally synthesized or sampled and sequenced (the same recording played repeatedly using a sequencer).

Depending on the effect, recordists may use several DAT, hard disk, or Nagra recorders and a large number of microphones. 

Processing effects

The most common sound design tool is the use of layering to create a new, interesting sound out of two or three old, average sounds.

Techniques

Typical effects used:

  • echo - to simulate the effect of reverberation in a large hall or cavern, one or several delayed signals are added to the original signal. To be perceived as echo, the delay has to be of order 50 milliseconds or above. Short of actually playing a sound in the desired environment, the effect of echo can be implemented using either digital or analog methods.
  • flanger - to create an unusual sound, a delayed signal is added to the original signal with a continuously-variable delay (usually smaller than 10 ms). This effect is now done electronically using DSP.
  • phaser - another way of creating an unusual sound; the signal is split, a portion is filtered with an all-pass filter to produce a phase-shift, and then the unfiltered and filtered signals are mixed. Phasers are often used to give a "synthesized" or electronic effect to natural sounds, such as human speech.
  • chorus - a delayed signal is added to the original signal with a constant delay. The delay has to be short in order not to be perceived as echo, but above 5 ms to be audible. If the delay is too short, it will destructively interfere with the un-delayed signal and create a flanging effect. Often, the delayed signals will be slightly pitch shifted to more realistically convey the effect of multiple voices.
  • equalization - different frequency bands are attenuated or boosted to produce desired spectral characteristics. Moderate use of equalization (often abbreviated as "EQ") can be used to "fine-tune" the tone quality of a recording; extreme use of equalization, such as heavily cutting a certain frequency can create more unusual effects.
  • filtering - Equalization is a form of filtering. In the general sense, frequency ranges can be emphasized or attenuated using low-pass, high-pass, band-pass or band-stop filters. Band-pass filtering of voice can simulate the effect of a telephone because telephones use band-pass filters.
  • overdrive effects such as the use of a fuzz box can be used to produce distorted sounds, such as for imitating robotic voices or to simulate distorted radiotelephone traffic. The most basic overdrive effect involves clipping the signal when its absolute value exceeds a certain threshold.
  • pitch shift - similar to pitch correction, this effect shifts a signal up or down in pitch. For example, a signal may be shifted an octave up or down. This is usually applied to the entire signal, and not to each note separately. One application of pitch shifting is pitch correction. This effect is ubiquitous in karaoke machines and is often used to assist pop singers who sing out of tune.
  • time stretching - the opposite of pitch shift, that is, the process of changing the speed of an audio signal without affecting its pitch.
  • resonators - emphasize harmonic frequency content on specified frequencies.
  • robotic voice effects are used to make an actor's voice sound like a synthesized human voice.
  • synthesizer - generate artificially almost any sound by either imitating natural sounds or creating completely new sounds.
  • modulation - to change the frequency or amplitude of a carrier signal in relation to a predefined signal. Ring modulation, also known as amplitude modulation, is an effect made famous by Doctor Who's Daleks and commonly used throughout sci-fi.
  • compression - the reduction of the dynamic range of a sound to avoid unintentional fluctuation in the dynamics. Level compression is not to be confused with audio data compression, where the amount of data is reduced without affecting the amplitude of the sound it represents.
  • 3D audio effects - place sounds outside the stereo basis
  • reverse echo - a swelling effect created by reversing an audio signal and recording echo and/or delay whilst the signal runs in reverse. When played back forward the last echos are heard before the effected sound creating a rush like swell preceding and during playback

http://en.wikipedia.org/wiki/Sound_effect 

Sound Effects

Sound effects or audio effects are artificially created or enhanced sounds, or sound processes used to emphasize artistic or other content of films, television shows, live performance, animation, video games, music, or other media.

Dialogue and music recordings are never referred to as sound effects, even though the processes applied to them, such as reverberation or flanging effects, often are called "sound effects".

many different disciplines, including:
  • Hard sound effects are common sounds that appear on screen, such as door slams, weapons firing, and cars driving by.
  • Background (or BG) sound effects are sounds that do not explicitly synchronize with the picture, but indicate setting to the audience, such as forest sounds, the buzzing of fluorescent lights, and car interiors. The sound of people talking in the background is also considered a "BG," but only if the speaker is unintelligible and the language is unrecognizable (this is known as walla). These background noises are also called ambience or atmos ("atmosphere").
  • Foley sound effects are sounds that synchronize on screen, and require the expertise of a Foley artist to record properly. Footsteps, the movement of hand props (e.g., a tea cup and saucer), and the rustling of cloth are common foley units.
  • Design sound effects are sounds that do not normally occur in nature, or are impossible to record in nature. These sounds are used to suggest futuristic technology in a science fiction film, or are used in a musical fashion to create an emotional mood.

Video Games

The principles involved with modern video game sound effects (since the introduction of sample playback) are essentially the same as those of motion pictures. Typically a game project requires two jobs to be completed: sounds must be recorded or selected from a library and a sound engine must be programmed so that those sounds can be incorporated into the game's interactive environment.

http://en.wikipedia.org/wiki/Sound_effect


Sounds for Star Wars game.


 

Saturday, 15 October 2011

AMBIENT Sound

Ambient sound or ambient audio means the background sounds which are present in a scene or location. Common ambient sounds include wind, water, birds, crowds, office noises, traffic, etc.
Ambient sound is very important in video and film work. It performs a number of functions including:
  • Providing audio continuity between shots.
  • Preventing an unnatural silence when no other sound is present.
  • Establishing or reinforcing the mood.
http://www.mediacollege.com/audio/ambient/

FOLEY

FOLEY http://en.wikipedia.org/wiki/Foley_%28filmmaking%29

Foley is a term that describes the process of live recording of sound effects that are created by a Foley artist, which are added in post production to enhance the quality of audio for films, television, video, video games and radio.[1]

The term "Foley" is also used to describe a place, such as Foley-stage or Foley-studio, where the Foley process takes place. "Foley" gets its name from Jack Donovan Foley (1891-1967), a sound editor at Universal Studios in the 1950s who became famous for his advancements in synchronized sound effects.

 

Common Foley tricks http://en.wikipedia.org/wiki/Foley_artist


  • Corn starch in a leather pouch makes the sound of snow crunching[1]
  • A pair of gloves sounds like bird wings flapping[1]
  • An arrow or thin stick makes a great whoosh[1]
  • An old chair makes a controllable creaking sound[1]
  • A water soaked rusty hinge when placed against different surfaces makes a great creaking sound. Different surfaces change the sound considerably[1]
  • A heavy staple gun combined with other small metal sounds make good gun noises[1]
  • A metal rake makes a great fence sound (it can also make a great metallic screech when dragged across a piece of metal)[1]
  • A heavy car door and fender can create most of the car sounds needed but having a whole car in the studio is better[1]
  • Burning plastic garbage bags cut into strips make a cool sound when the bag melts and drips to the ground[1]
  • ¼” audio tape balled up sounds like grass or brush when walked on[1]
  • Gelatin and hand soap make great squishing noises[1]
  • Frozen romaine lettuce makes great bone or head injury noises[1]
  • Coconut shells cut in half and stuffed with padding makes great horse hoof noises[1]
  • Cellophane creates crackling fire effects[1]
  • A selection of wooden and metal doors are needed to create all sorts of door noises but also can be used for creaking boat sounds[1]
  • A heavy phone book makes great body punching sounds[1]

 

Other:

Burning fire - crushing dry paper or plastic wrap. 

Rain - rice