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About jkuehlin

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    Audio Engineer
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  1. What Software do you use?

    I have all DAWs. The two I use for film and game stuff are ProTools and Nuendo. I use Nuendo because of the Wwise connect features. Mainly ProTools HD for the integrated systems features (cloud networking, multi-seat server workflow integration, and HD camera sync) that are only available in ProTools. Also favor Pro Tools because the control surface options are far more extensive in this DAW than anything else available.
  2. Hi Dustin. I haven't had time to drop in here much lately. I apologize in advance if my responses are possibly a little sporadic. I'm listening on a JBL surround system and a pair of SM9's in a pretty well treated room. I'm getting a lot of bulkiness in the low 100's and 400's that I feel are giving the mix too much warmth. Its a little overpowering because I don't feel this has enough 8k, and the air at 12-20 rolls off. Its odd to say this, but I feel the entire 180-800 range is a little under compressed by modern mix standards here in 2018...as far as current mix trends go I think this mix would benefit from being tighter on the low end and brighter and the top. The other thing I wasn't getting a lot of was depth. One thing I might consider trying is running multi-band saturation in parallel particularly on the upper register of the strings. If I had this mix infront of me, I would try to get the top to open up more by doing this. If that didn't work, I'd try some non-modulation based imaging *(meaning don't use a SoundToys MicroShift or Eventide H3000), again in multi band. If you don't have an accurate well tuned room to work out of, you might consider of using a Waves, Izotope, or Boz Labs plug to collapse your stereo spectrum to mono in the low end using a graduated summing filter on your 2 bus. Next, at 2:50 or so, I would re-structure your verb busses in the strings, percussion, and choir. It almost sounds like you used verbs that came with those VI's and whatever's going on there is walking all over itself. I think these are really important for establishing space. I would probably go strait to my Bricasti for this (if you have access to a studio that has one). To make the verb really cut thought and shine, I'd consider throwing some transient design on the tail, and if I used my Bricasti, would make sure the pre-delays of were fine tuned to stay out of the way of the initial transients on anything the accents in the string groove or percussive hits. I hope this helps a little! I think there's some good stuff going on there musically! Its a pleasant track to listen to
  3. RSPE in California just told me the mainstay in VO booths at many of the major production houses is the BAE 1073...can someone confirm? However they said Millenia, Grace, and Avalon stuff is all rider acceptable to incoming VO artists. Was also wondering if anyone has any hands on experience with the Manley Voxbox? Asking about HARDWARE ONLY ...please do not reply telling me about plugins or how its not about the gear.
  4. Ideal Equipment for Sound FX

    Lol. Just a thought. Hit is up anytime you need further help with that setup.
  5. Ideal Equipment for Sound FX

    Nova, which side of game development are you fluent with? I would possibly be willing to trade off some audio training in exchange for some training help with scripting (in C#) if you're up for it.
  6. Ideal Equipment for Sound FX

    For a mic, I asked the question earlier on this forum and got shit for relevant answers. Someone mentioned a Zoom H4 which is $200. That makes perfect sense for field recording, but no sense for foley work, since you're DAW is sitting right there on the Foley stage, and I don't see how you could possibly get a $200 mic to give you anything good. Everyone else answered without reading the damn question. But other places, I've heard the Sennheiser MKH series is pretty common for foley. So far, I've used an SM81 and AKGC414 for recording sounds, and they've worked, though I'm sure there's better stuff out there. That was just what was available in my mic locker. If you're total budget is only $1000-$2000 (assuming you already have a computer), I might consider an Rode NT4. They're just under $500, but your mic important. I'd advise buying it from Guitar Center or somewhere you can return it for two reasons 1) ...incase you try it and think it's shit. 2)...incase you try it and can't tell the difference between the NT4 and a $30 behringer mic. Keep in mind you'll have to spend time at first playing with the placement of the mic. Foley guys spend a lot of work making stuff sound like stuff that it's not. As far as DAWs, I use all the major software out there. At a base level, it doesn't really matter. Reaper, Logic, and Studio One are all acceptable choices. Pro Tools if you're a student because a student copy is $9/month. Reaper does a LOT of stuff for $70, but its learning curve is arguably a little tougher than Studio One. If you're starting from square 1, you may need to dedicate some time to learning how to use these things. Audio cards...I highly recommend one of these if you're just starting out. https://www.sweetwater.com/store/detail/Scarlet2i4G2?gclid=CjwKCAiAxarQBRAmEiwA6YcGKDQUuzFIRWBVZAjLMsH0UJTBW9ZgeKdgihV1lfmWu7M47zKOHu_roRoCr9UQAvD_BwE Here's what it looks like... With this, you don't need a dedicated card. This acts as your card. Just plug it to your USB port, and it sends all the audio in and out of your system. So your mics go into the front, and your speakers hook up to the back. Its pretty idiot proof. There is a one channel version of this, but BUY THE TWO CHANNEL VERSION. You want 2 inputs for recording sound effects, because it gives you the option to run stereo. The Rode NT4 mic I mentioned earlier is stereo. Last, you need monitors. DO NOT try to do this with headphones. DO NOT try to do this with hi-fi stereo speakers, and DO NOT try to do this with Logitec computer gaming speakers. There is a specific speaker called a studio monitor and you MUST have a pair. This is non-negotiable. A dirt cheap pair of shit monitors is better than an expensive pair of headphones, because they are the correct tool for this particular job. You can start with these if you just wanna get your feet wet...Here's the dirt bottom, but they're sufficient for getting you started in my opinion. https://www.monoprice.com/product?p_id=605800&gclid=CjwKCAiAxarQBRAmEiwA6YcGKOGyYaStSCAsHuwtSS_KHkfVcRrT3k_tOa8aUdfWZF96qHBFHXkr7RoC73MQAvD_BwE Some other options are Yamaha HS8's, JBL LSR, KRK Rokit...you're in the $400-$600 pr pair range with those (I think). These are not high end pro speakers, but they'll get you going. You don't have the budget to acoustically treat a room. You're not even remotely close. For now, just throw all kinds of random shit in the room, and try to get it dead. That means minimize any echoyness or sound you hear bouncing around off the walls. Carpet is helpful. If not, then rugs. There's absolutely nothing you can do for $2000 to really get your sound under control. If you can stuff boxes, bags of clothes, a mattress...whatever...stacks of books...along the shelves, that stuff will all help dampen the room. If you go bare minimum of acceptable, usable, and functional, here's where you're at: Speakers $200. Mic $450. Daw $100/yr. Interface $150. Cables and stands...maybe $100. Foley pit itself...Hmmm....I maybe $200? Hell dude...I'd go dumpster diving or talk to junkyards and thrift shops to collect props. The last thing you'll need is plugins. Incase you don't know, this is sound processing software that lives inside your DAW. It expands and enhances your ability to warp, mangle, and re-shape sound. You really have to be intentional about what you're getting. I almost think it'd be better to wait and see what you do with the hardware, then I would advise you to check back in a couple weeks or a month to re-evaluate what exactly you limitations are. Audio plugins will chew through a sound designers budget faster than anything else you can buy. Probably best to wait and see what you can or can't do with the Pro Tools plugins first. Check back anytime...would love to see what you come up with.
  7. I see. I haven't gotten to that point yet, but I'm about to in the next few weeks. I'm just now beginning to experiment with middleware. @AFV, i'll tell you how I was planning on 'practicing' for myself...My plans was to use that stupid ass roll-a-ball demo from the Unity shop and just make random zones and change music up when the ball rolls over difference place on the map or runs into different objects. Does anyone else know if there is a reason that won't work? What I really want to know how to implement is cue-ing additional multi-track stems under certain game conditions, then withdrawing them under contrasting conditions. I understand what you're asking about layering loops, and I'm anxious to get in there and screw with this stuff myself. I personally don't give a shit I'm practicing on, because I figured the mechanics of the technology are what you would end up applying to a paid project later anyway. @nsmadsen, why do you have to buy a game to practice this stuff? Can't you do this with the already finished tutorials on the Unity site? You can download the finished game and you have access to all the code. ...and AFV, one other thing I was wanting to do was add and subtract multi-stem loop layers independently of zones. For example, if a players hit points drop below 'x', then the music speeds up as he's about to die...or the music gets heavier as the players life gets lower. I can conceptualize this, but if anyone else has actually done this in Wwise, and wants to share the process, I'd love to hear it!
  8. Is your problem the middleware workflow, knowledge of audio editing tools, or the actual music aspect?
  9. Adequate recording equipment for the business

    You don't want to duplicate the channel so it comes out of both speakers. You want the single channel to come out of both speakers Do a quick google or youtube search on 'panning' in audacity...that'll help.
  10. My company

    Look kid, you gotta have something to show for yourself before you can expect people to buy into your 'revenue sharing' incentive. You need to show good game design documents, a marketing strategy, a source of funding, and that you have some kind of skill set that will keep everyone else from having to do all the work FOR you. Your best shot is to approach people "Hey, I want to learn how to make games for fun. Does anyone want to make one together?" Best not to annoy professionals...build a team with other volunteers. Offering some experience (on your end) in exchange for other experience on their end is your best bet for now. Realistically, you need to bring more to the table than merely having an idea for a game.
  11. Adequate recording equipment for the business

    Where exactly are you positioning that mic in relation to the violin? You also have a lot of reflections coming off your walls. Is this setup in your house? Try moving your instrument into a the largest room available. You don't have to move your entire computer rig and monitor, just run an extension cable to your mic and headphones. putting the mic as close to the sound hole (if not directly above the instrument) as possible. Don't shoot it in from the side. Place it maybe a foot above where the bow meets the strings. The idea is to capture as much of the body as possible, and the mic like doesn't pick up equally well at distances. Also, that last recording is only coming out the left side of the speaker. If you are only recording one mic, you want to capture the track in mono. Not stereo. Which DAW are you using?
  12. Hello. If this topic is in the wrong section, I apologize. Mods, please move it so I know the appropriate category to put these questions in in the future. Or recommend better category to post questions like this one in so I'll know for next time. I would like to experiment with building a sim type game. Can someone point me toward a resource that might help me understand how to lay out squares then allow the user to freely construct walls? Nothing beyond that for now, just an interface that places strait mono colored walls on a grid.
  13. Cinematic enough or too much? Choir / Orchestra

    Hey Peter. Those are some ridiculously good tracks in my opinion. I spent a good chunk of time browsing through your website. That stuff is very well put together in my opinion. When I a/b it to similar content on a good pair of monitors, I agree with Nate that there's a definite difference in the low end, but it shouldn't be a hard fix. I would love to give some more detailed thoughts on this, particularly with the balance of voices in the middle section, and the way the synths are layered into the rest of the composition, but its hard to do without pointing to specific min:sec markers. Can you post that track as an mp3 (even if it has the "bonix music" still in the background)? Or maybe put it on soundcloud just so there's a counter on the playback device? ...also, can you tell us what you're using for reference mixes (if any) and what your main VI's were for this? That might help too.
  14. Adequate recording equipment for the business

    Given the technology that's available today, for a single instrument, most indie game devs will hardly be able to tell the difference between a competent $1000 setup vs a $10K setup. That's not intended to be a slap in the face to game devs, and sure they take a lot pride i their work. But the bottom line is they don't care nearly as much about your gear as someone who knows their way around the freelance recording business. So if you took a Rode NT1, or a AKG C414, or an SM81 (all $400-$800 mics) and pointed it at a violin, the difference in sound quality between one of them things and a Brauner VM1, Blue Bottle, or C800 (all $6000+ mics) is going to be evident to a highly discerning sound engineer but more than enough for a game audio project. I use $40K in mics with a 700 channel quarter million dollar console. Believe me...No one cares. I would go ahead and try that Steinberg package. Buy it from somewhere you can return it, and if you don't like it, send it back lol.
  15. That was coming from upstairs in the dialogue department. Not the VO artist. I told them I'd have one for them if they felt it was necessary. If they're really that nit picky about it, I figured worst case scenario, I'd order one from guitar center then return it. They had said they'd fly the actors out to my location then the director would possibly remote in over Source Connect. I'm not sure how much point there is in dicking around with 5 mics unless the U87 for some reason sounds bad off the cuff. I dunno. ...by the way, I haven't heard back from this group. I didn't chase this contract aggressively...rule of thumb: if you smell B.S., proceed with caution lol...right?
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