More on volume. Moron volume.

So essentially there are 3 values to remember:

• The Program Loudness
• The Loudness Range
• The True Peak level

Mixing for broadcast loudness. 

At least this is what TC Electronic says.

"Studies have shown that 95% of the viewers will change the volume on their TV or receiver if the loudness jump or difference is an increase of 5 LU or decrease of 8 LU."

That seems like a pretty important thing to keep in mind I haven't heard anyone else mention.

For the real details check out this paper. 

I really need to get all of this information into my head, and figure out how to actually do it. 

Wigglewhumpus

Immersion in sound.
Wavemaker is novel writing software.

Film mixing.
Alex North biography.
Optimizing Kontakt. This is a YouTube video for an older version of Kontakt so I don't know how much is still relevant.
Cinematic Studio Strings sound great.
Reading orchestral score.
2016 Stereo Room by Eventide Clockworks. VST plugin.
I don't know I'll ever keep the Strauss' in my brain.
Ear training.
Moar ear training.

Almelem

Mac Rogers as John the Baptist in Almelem.

I mean that's all you really need to know.

Wigglesnork

Cinematic Strings.
Evolution Media Music briefs.
Chicago citation generator. I really don't understand how to use it more than just entering things in by hand.

Auto Hot Key.
Pasting text without formatting using Auto Hot Key.
I'm still using notepad myself.

Three things

Did I mention I was interviewed by Scriptophobic?

Rivets on the Poster also published a review of our movie Pandora Machine.

Weathering prop weapons, a step-by-step. Using sand as a mask is a pretty interesting idea.

Wordslike

Heed the Call.

artefact
normalisation

Those are a couple words I'm likely to spell incorrectly as I am writing papers using UK English.

I am prejudiced toward Chicago Style, I admit, but I have to say that MLA (with all those in-line citations) is harder to read (Bellware, 2018.)

Mourning and Music in Blue Velvet.

One big thing I have learned whilst working on my Master's degree is where the bar is. I get so up in my own head that I can't hear things. And just having a tutor once a week to tell me if I'm standing on an island or sinking in the middle of the ocean is really incredibly helpful.

Aforetain

My first assignment is due on Monday. Oddly, it is a graded assignment, yet it does not count toward my grade. Indeed, there is a lot of work which is ungraded.

To try to get better at this kind of work I'm going through the Thinkspace seminars on Orchestral Mixing with Jake Jackson.

Things:

ProTools finally allows you to apply "gain" to individual clips. That's pretty much all you can do with the individual clip, but at least you can do that now.

I probably need to deal with mixing stems right back into the project. I haven't been doing that yet. in my life.

Man, they spend a lot of time dealing with the inherent limitations in ProTools. I forgot what a pain in the tuchus it is to just add a reverb to the end of a bit of a track. Holy cats.

Guy Michelmore's pedagological sense really works for me. Technically it's his sense of androgogy or some such. But he's able to articulate pretty much everything. You know I have this whole thing about the difference between a "master" of something and, say, a "journeyman" is the ability to teach the thing (er, disregarding the sexism in the terms.) It's his ability to articulate complicated ideas that works for me.

Interleaved stereo -- apparently the mastering person at AIR thinks they don't sound as good as separate tracks. I suspect that ProTools just sucks.

Convolution reverbs -- I'm gonna guess that most of the differences between different convolution reverbs is the impulse responses they use but there's probably some maths differences too. I suspect it's a case of everything else mattering first.

Learning or not

On the East West piano patches the "DYN" patches allegedly have a more concave dynamics curve. That's the difference. So the Internet says.

99 Dollar Orchestra.

Frequencies of notes based on A=440.

Flute making.

Python script for calculating dimensions in flute making.

Opinion in academic writing.

Netflix has new delivery specs. What's nice is they publish them.
79dB SPL at -20db FS at the mix position. Well, or 82dB SPL.
Folding down 5.1's? Bring the center channel down -3dB.
But the big deal is -27dB LUFS on gated dialog for the entire program.

We're not the best people in the world

The Citation Machine makes citations. I think JSTOR does too.
University of Oxford online library system.

Okay. So I have two weeks to do the first assignment. But these first three assignments each are from a pool of 6 possible choices. So I kinda need to figure out which of these six in the pool I'm doing for each formative and for the summative assignment.
Interestingly the assignments are different from the chapters in the module. And the chapters in this module are actually in a course I took over the summer in order to do a better job on the portfolio I submitted.

Required Viewing

I've seen all these movies but one. The Social Network.

Obviously, I'll be watching them all again, I just thought that was interesting.

Required Viewing (for both Film Music in Practice Modules)

American Beauty. (1999). [film] USA: DreamWorks SKG: Sam Mendes.

Batman. (1989). [film] USA: Warner Bros: Tim Burton.

Casablanca. (1942). [film] USA: Warner Bros: Michael Curtiz.

From Russia With Love. (1963). [film] GB: Eon Productions: Terence Young.

Gladiator. (2000). [film] USA: DreamWorks SKG: Ridley Scott.

Gravity. (2013). [film] USA: Warner Bros: Alfonso Cuarón.

King Kong. (1933). [film] USA: RKO Radio Pictures: Merian C. Cooper & Ernest B. Schoedsack.

King Kong. (2005). [film] USA: Universal Pictures: Peter Jackson.

Lawrence of Arabia. (1962). [film] GB: Horizon Pictures: David Lean.

North by Northwest. (1959). [film] USA: Metro-Goldwyn-Mayer (MGM): Alfred Hitchcock.

Psycho. (1960). [film] USA: Shamley Productions: Alfred Hitchcock.

Skyfall. (2012). [film] GB: Eon Productions: Sam Mendes.

Star Wars: Episode V - The Empire Strikes Back. (1980). [film] USA: Lucasfilm: Irvin Kershner.

The Adventures of Robin Hood. (1938). [film] USA: Warner Bros: Michael Curtiz.

The City Lights. (1931). [film] USA: Charles Chaplin Productions: Charles Chaplin.

The Dark Knight. (2008). [film] USA: Warner Bros: Christopher Nolan.

The Godfather. (1972). [film] USA: Paramount Pictures: Francis Ford Coppola.

The Good, The Bad and The Ugly. (1966). [film] IT: Produzioni Europee Associati: Sergio Leone.

The Lord of the Rings: The Fellowship of the Ring. (2001). [film] USA: New Line Cinema: Peter Jackson.

The Mission. (1986). [film] US: Warner Bros: Roland Joffé.

The Pink Panther. (1963). [film] USA: Mirisch G-E Productions: Blake Edwards.

The Social Network. (2010). [film] USA: Columbia Pictures: David Fincher.

There Will Be Blood. (2007). [DVD] USA: Paramount Vantage: Paul Thomas Anderson.

Stuf and such.

Cakewalk is back.

Unfilter tries to un-EQ stuff.

BBC's 50 Modern Classics podcast. About modern classical music.

An audio jobs blog.

Netflix loudness delivery spec.

Adagio For Strings chord progression.

I don't know if I posted this before. These be the books I must of read.

INDICATIVE READING

Required

Cooke M (2008) A history of film music (1st edition). New York: Cambridge University Press

Hill J and Gibson P (1998) The Oxford guide to film studies (1st edition). Oxford: Oxford University Press

Karlin, F. and Wright, R. (1990). On the track. 1st ed. New York: Schirmer Books.

Rona, J. (2000). The reel world. 1st ed. San Francisco: Miller Freeman Books.

Recommended

Adler, S. (2002). The study of orchestration. 1st ed. New York: W.W. Norton.

Jones C and Jolliffe G (2000) The guerilla film makers handbook (1st edition). New York: Continuum

Monaco J (2009) How to read a film (1st edition). Oxford: Oxford University Press

Jacob, G. (1940). Orchestral technique. 1st ed. London: Oxford University Press, G. Cumberlege.

Mancini, H. (1977). Sounds and scores. 1st ed. Greenwich: Northridge Music Inc.

Piston, W. and Piston, W. (1955). Orchestration. 1st ed. New York: W. W. Norton & Company.

Read, G. (1979). Music notation. 1st ed. New York: Taplinger Pub. Co.

Rimsky-Korsakov, N., Shteinberg, M. and Agate, E. (1912). Principles of orchestration. 1st ed. Berlin: Edition Russe de Musique.

This list of required and recommended materials applies to the whole course. Where additional specific recommendations are made, they will appear in the module handbooks. For the latest complete recommended resources, please visit our website: www.thinkspaceonline.com

Day one

I can confirm that Andrew does have an unconditional place on the following course:

COURSE: MA Profession Media Composition

START DATE: September 17th 2018

END DATE: September 17th 2019

MODE OF STUDY: FT1 (Full Time - 1 year)

COST: $12,950

Today was the first day of induction.

Mad Pulp

Dig Bill Cunningham's new project. Killer Comics.

New monitor, bun card

Sceptre 43" Class 4K (2160P) LED TV (U435CV-U)

Out of the box, as a computer monitor, the text is rough - even turning Sharpness down in the menu only helped a bit. The key is getting into the factory menu - Press "Menu" then the numbers 7343 while at the main menu - and changing the Sharpness curve to 0 across the board.

My monitor is dying a horrible death. So I had to order a new one from WalMart. I know.  Anyway, those instructions above are from a review on the WalMart site. Monitor is $189 plus tax.

I like Postable for sending fun cards for birthdays. I made my own design for this year. Will probably draw another animal for next year.