CCH Audio

Members
  • Content count

    249
  • Joined

  • Last visited

Community Reputation

1769 Excellent

About CCH Audio

  • Rank
    Member

Personal Information

  1. What are game developers looking for lately

    I don't think I see any 1 style used more than others. As for the length I would say between 3 to 4 minute loops with maybe 2-3 modular changes. The modular part is usually the most important. Most games aren't linear and the music has to be able to change to quickly accommodate what's happening on screen. If you have a linear emotional arc it's not going to match up. So I would say modular music is what I find people looking for the most.
  2. Feedback: original track in the style of Megaman X

    Really nice work, I like it a lot. I'd like to hear a bit more of those chugging guitars which are pretty buried under the synths. Maybe just move them around in the stereo field a bit to just to get them to poke out a little. But other than that I think it's great!
  3. Hard to tell if it follows well or not. Can you post the temp track as well?
  4. Wow those are some super jaunty tunes, Danny Elfman would be proud. The composition is fun, light-hearted, bubbly, which I'm guessing is what you were going for, nice work. On the downside, that library is really bad. Using just about anything else is going to be a big step up in quality. You don't have to go nuts and drop a ton of money on Vienna, but maybe wait for EastWest or Symphobia to go on sale and this will sound 1000% better. I wouldn't even start on the mixing/mastering until the sample quality is better.
  5.   Yeah agreed that's a pretty good deal. It would be on the AFTRA side of the contracts, even though it's technically SAG-AFTRA now. It's a little under scale, but you can also do voice work like this under the ultra-low budget contract which falls more in the $60/hr range.
  6. I like it a lot. I'd like to hear those flute (piccolo?) trills at :10 and :14 a little more, but other than that it sounds great, nice work.
  7.   iZotope RX is an amazing tool for removing aberrant sounds as well as cleaning up voice-over. You can use it to kill room tone, reverb, clicks, mouth noise, rumbles, and any aberrant noise (like a door closing). For anything recorded on location or outside a well built studio I can't recommend it enough. Even with stuff in the studio I still use the 'dialogue de-noiser' to just smooth out a VO. The basic pack is amazing and really cheap.
  8.   Sort of, but punch refers to the attenuation (or expansion) of transient events rather than the whole sound. So by more punch you actually want to add presence to those transients so that big piano hits feel big. On the opposite side if you wanted it to sound smoother (less punch) you would compress those transient events. So you'll want to use an envelope shaper rather than a compressor/expander to get more punch.
  9.   It's pretty rare for the client to be there because they don't really have the expertise to tell if something is good or not in the raw state like that. They only know if they like it when it's done. Usually it's a creative director who will either be in the control room or on a phone patch. Depending on how particular they are and/or how much they want to throw their weight around it can be much faster or much slower. On the client side they don't usually correct things piece-meal when they get the finished product because they've already approved the pitch and they've already listened to the auditions so they know what they're going to get. If there are pickups you need, they'll be very easy in this medium because you're not hard locked to time. As for the 'wow' example it was more the creative trying to be assertive with a new account rather than a actual problem with the performance.   Make sure to get someone talented, listen to their demo reel and make sure they can really do this. Also make sure they're set up right, because if it's recorded bad, it's going to sound bad. Most voice actors will have a home studio built out or at least a whisper room. Also make sure they have a decent microphone, if USB is mentioned, move on (c: You don't want to waste a bunch of time trying to polish a turd.   Finally I would recommend against automatic stack services like Auphonic. Editing voice over is the easiest type of sound engineering to learn and even if you're brand new at this you're going to be able to do it better than an automatic process. They also normalize which is a big no-no in the world of voice over, spend some time learning the basics and you'll be very glad you did.
  10. I do a lot of recordings for long-form dialogue like audio books and industrials. For a trained professional actors it will be about 3 hours or recording per finished hour and then 2 hours of editing per finished hour. So 1 hour of dialogue for an expierenced actor & editor would be 5 hours or work total (3 recording + 2 editing).   I've also worked with a lot of less skilled non-union actors and that can vary a great deal. That's going to depend on the quality of the performance you want and the skill of the person. At the extreme I once spent half and hour recording the word 'wow' for a talking bottle of car-care product. On the other hand they can sometimes be just as good as a professional actor. But to give an average I would say 5 hours recording per finished hour and once again 2 hours of editing per finished hour.
  11. The sound design that's there is good, you've hit on all the big events on the screen. But if you want to make it really impressive I would add in all the little sounds, the things people won't notice directly but add up to a great sounding scene. Put in the ambience, the creaking houses, when Cogsworth bumps into those tires, grass moving, cloth sounds, the little water drops in the vault, etc. Go over it frame by frame, put in everything, mix it up, and it'll sound a lot better. It's especially important in the scenes without music, like the combat sequence right at the end which feels very empty at the moment.
  12. Feedback on Music and Sound Design

    Thanks for the feedback all (c: I'm going to remix this a bit with your suggestions in mind and master it.
  13. I'm ok with the composition, but I'd like to hear more punch and probably more low end in it; sounds a bit thin at the moment.
  14. Feedback on Score

      To mono out low frequencies for some instruments I like to use Waves Vitamin, I'm sure there are other plugins out there as well. You could also achieve the same effect with a series of sends and low/high passes and stereo width tools.   For tape I usually use the ATR-102 from Universal Audio or Kramer Master Tape from waves. I'm not familiar with the one built into Logic but from the looks of that tape plugin you'll want to make sure the delay is off on that dropdown arrow and you'll want to set that feedback level to 0. You'll probably want it more like 80/20 for the dry/wet setting. That flutter setting could be useful as well, you don't want a lot of it, but a little wow/flutter help with synth strings.   On a side note I noticed the plugin seems to be in half English and half German. My German is very rusty, but I did remember enough to see 'default setting' at the top, maybe see if there's a tape saturation setting and adjust from there. Viel Erfolg!
  15. Feedback on Score

    I listened to 'from revealing 2' and I think it could be pretty good with some mixing changes. When you have a track thats build on long sustained string drones you need something to break it up. You're using the big drum hits to do just that, but they're mixed too far under so your ear never really follows them. You can't really side-chain strings and drums without it sounding odd, so that leaves you with stereo field and EQ. The drums already sound wide but they may be too far out. Maybe move them closer to center a few degrees. The low end of the drums come through because the strings are mostly higher, but our ears will always favor mid-high over mid low. The strike of the drum is going to be higher in the 3khz range and that's what we're not hearing clearly enough. Boost the drum EQ around 3khz and maybe add a little compression punch. When you do this the drums may end up getting kind of muddy from the EQ/Comp change, I would mono out their sub-300hz levels and keep the higher frequencies where they are.   The mid strings sound kind of fake but they're not too bad. The high strings that come in near the end at 1:22 or so are way out on their own in the upper frequencies, since there's nothing to really mask them they sound very fake and kind of bad. I would give them a gentle low pass at like 12-15khz. If you're using a multiband comp or limiter on the master bus I would also set the upper EQ threshold a bit lower as well to help keep them in check.   In general it could use some tape warmth for sure. These big emotional scores gain a lot from some low-mid range distortion. Anything where you can either add some flux manually or just get that 15ips sound.   It's hard to say what it will sound like after all that, but I would imagine the reverb is going to need some changes as well. Right now it sound like it's a large space, but really dry. If you want to go for the concert hall sound, go for it. If you want it to feel tight and clear, go for it. Just don't do something in between because as it sits it sounds wrong.   Finally just looking at the wave-form you can see it's not mastered properly. Once again if you want to brick wall it, go for it and if you want a lot of dynamics, go for it, but don't leave it halfway between. With a lot of mastering practice you can get a big AND dynamic sound out of something, but that's a big intricate job that can't be easily summed up in a post like this.