As I have covered in prior articles, many recorders and apps that can record dual mono do so as a “stereo” file, which can later be converted to dual mono, for better control during editing.Īudio Hijack Pro is no exception, although the setting to accomplish it is somewhat hidden in an advanced dialog box, as shown above. (Spoiler alert: In an upcoming article, I’ll be covering how to make phone interviews with true mix-minus using a new portable audio recorder, and without the need of any computer or external mixer, but that is not what I did with this episode of CapicúaFM with Sole Giménez.)Īudio Hijack Pro not only allows recording both sides of your Skype audio conversation, it allows you to record dual mono, so you (the Skype user) and the interviewee are on independent tracks. However, Piezo currently only records to compressed formats, and I am a purist who prefers to make all original audio recordings in uncompressed AIFF or WAVE, so I still use Audio Hijack Pro to record phone calls on my Mac. Some people prefer to use Rogue Amoeba Software’s more recent product called Piezo, which is both cheaper and simpler to use. I have been a licensed user of Audio Hijack Pro for many years. (You prepay Skype -now part of Microsoft- and the call is deducted from the prepaid balance.)Įver since Übercaster became unusable after Mac OS updates, I have been using Rogue Amoeba Software’s Audio Hijack Pro (currently US$32 directly from them) to record Skype audio calls. CapicúaFM: First podcast I recorded with Bossjock Studio from June 25, 2014īasic workflow I used for the most recent CapicúaFM episodeĪs I have done many times in the past, I used Skype to make an international phone call to the interviewee, using what is now unofficially known as SkypeOut.Cure audio spill in multi-mic situations with an AT-MX351a automatic mixer from May 10, 2014.Bossjock Studio creates a “live” radio studio in your iPad/iPhone/iPod Touch from April 20, 2014.Prior articles covering live-to-drive audio recording Information about how to subscribe to CapicúaFM free is available here. By the way, the CapicúaFM program is in Castilian (the most widely used Spanish language, but one of several others), but even though you may not understand it, you’ll hear beautiful music from Sole Giménez’s latest album, Cómo hemos cambiado ( How we’ve changed) together with my voice as we discuss her album, Mexican terminology & misunderstandings, and Mexican food. Ahead is the workflow and the final recording I used with CapicúaFM’s latest episode, including many of the audio apps used.Ībove is CapicúaFM’s current episode, so you can hear the final product of the production covered in this article. However, that isn’t practical when you’re interviewing a Spaniard singer/songwriter like Sole Giménez (ex-Presuntos Implicados) about her latest album via an international phone call, and also want to intertwine pieces of her own music based upon her sometimes unexpected responses. The Equalizer offers seven PEQ plus high- and low-pass filters similar EQ is also available on the reverberation buses.Previously, I described how to produce a podcast live-to-drive using BossJock Studio with an automatic mixer (article links ahead). Another new feature update is a per-speaker Equalizer, Carpentier adds. The HOLOPHONIX built-in reverberation engine also offers new features such as a “Room Size” parameter that lets users adjust the reverb effect more finely. The algorithm can now control circular, rectangular, or curved-shaped loudspeaker layouts with non-uniform spacing.” “With HOLOPHONIX 1.7, Wave Field Synthesis now also supports non-linear speaker arrays, including 2D surround setups. “Previously, the Wave Field Synthesis algorithm was restricted to linear speaker arrays with regular spacing between the transducers,” says Thibaut Carpentier, Researcher at IRCAM, Lead Developer, and Head of the SPAT project. Developed with several musical, theatrical and scientific institutions, the HOLOPHONIX processor was designed by Amadeus in a collaboration with the STMS (Sciences et Technologies de la Musique et du Son), a laboratory founded in 1995 and hosted by the Institut de Recherche et Coordination Acoustique/Musique and affiliating the CNRS, Sorbonne Université, the Ministère de la Culture, and IRCAM around an interdisciplinary research theme dealing with music and sound sciences, and technologies.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |