The Sound Workshop ’11, was held on the 19th, 20th & 21st of September 2011 in the Youth Centre (MCSE). The event was organized by Alliance française de Male’ and Island Music, in Male’, Maldives.
The main aim of this event was to exchange knowledge, in related disciplines, via theoretical presentations and hands-on experiences, on what it takes to get a better sound. The program included detailed presentations, live-demonstrations and opened a great networking opportunity, so that, via this network, knowledge can be shared at a personal level.
It was an intensive 3-day workshop with more than 86 registered participants and an attendance rate over 70 pax per day. Johann Berby conducted master classes on rhythms, grooves and techniques, while Théo Croix demonstrated sound phenomena live. Continue reading “Sound Workshop ’11”
More often that not, beginners are lead to rely a bit heavily on presets programmed-in by the manufacturer, and usually get stuck with a tone, that initially sounds great, only to be criticized by others later. What’s happening?
Lately, this has been a recurring question that I get asked. So, I thought I’ll blog it to clear up the misconception for audio enthusiasts.
In this case, Stereo and Mono refer to Stereo or Mono Tracks. Recording a Mono source onto a Stereo Track does not automatically make it “stereo”, nor does it serve any useful purpose. It will merely add to the file size and unnecessary processor loads. This will be the same as duplicating a mono track. Making program material stereo is a part of the Mixing Process in which, a stereo image is created and balanced. It is easier and a better practice to create a stereo image using mono channels.
To the contrary, if the content is from multiple sources (such as a choir, audience or room reverberation), then recording them with two or more mic sources into respective channels, would be the norm.