『E18 Audio and microphones chat Part 1 with Derek Lane』のカバーアート

E18 Audio and microphones chat Part 1 with Derek Lane

E18 Audio and microphones chat Part 1 with Derek Lane

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 Episode Notes In this episode Derek Lane and myself discuss some of our introduction to audio and a little about the art of choosing a microphone. If you wish to reach Derek you can email: info@lanesaudio.com Transcription: Kerry: Welcome to this episode of conversations with Kerry. And I'm delighted to invite a friend of mine on to discuss a fascinating topic. And that is, types and varieties of microphones because obviously, if you're going to record stuff, one of the things that you will need to do that is a microphone. And this fellow who I'm going to invite to the podcast, I met in 2011. I think it was Hello, Derek was it 2011? 2012? It was 11. And I was mystified because there wasn't a lot of hiss in his audio background, we were running an academy. I had headsets, and they hit like a snake. And I couldn't figure out why Derek's audio was so clear. And in fact, I think you'll find that it wasn't always this good either. You started off from humble beginnings as well, I think you told me you started off with some very entry level gear when you were young and upgraded as you as you got older. Derek: Yes, so basically, I had two options. When I recorded in the computer, when I first got an actual machine capable of recording audio without messing up things or freezing, I could either connect the really crappy microphone that came with the computer to the computer and pick up a lot of hiss and ambience from the kitchen because the computer was sort of in the dining room as a central Family Resource. Or I could record my audio on a tape, and then hook a tape deck to the computer and play it off of the tape. So then that gave me a different set of issues. So I could I could pick the poison as it were. Kerry: So on the one hand, you could have sort of iffy sounding audio from the computer's microphone with background, kitchen, ambience and whatever else. Or you could have tape hiss and the artifacts from the actual tape recorder? Derek: Pretty much. Yeah, I'm sure in my room, I had a mixer. And it was a Sony 3 Head Cassette deck. And so I could make good quality recordings for what it was and the time. But you still had the nice, wonderful, idiosyncratic characteristics of tape plus poor mp3 encoding because this was the late 90s, early 2000s. And I was on dial up so naturally, the sacrifices in the compromises were pretty nasty. Kerry: Yeah, if you're on dial up, and I remember these days quite well, because we were on dial up and stuff as well. Your general encode bit rate was 128 kilobits per second or lower. It was a meg a minute for music. And it took a long time to download that. I mean, you're looking at four and a half to five minutes at 56k. So you were looking at a mag every 20 minutes at 14, four, or a mag every 10 minutes at 28 Eight. So it took a long time to download things Derek: To break it down. If the song was five minutes long, it might take you 15 or so. Especially if someone was sending it to you over email, you know, and they had to upload it themselves. It was a if you wanted the song. In other words, you really, really wanted that song. Yes, that recording from your friend. Kerry: And in fact, I think I would argue that because media was more hard won back in the late 90s, early noughties. We valued the files in a way more because they were harder to get and harder to obtain. And it was like wow, I have whatever it is that I've managed to download. Now, one of the things you said to us as part of the recording course. Now, Derek taught recording courses for us for a number of years for the Cisco Academy for the visually impaired, overworked, underpaid, but did manage to have quite a lot of fun doing it and got him into the Jive of teaching. That you said An ounce of prevention is worth a pound of cure. So did these early years teach you that the cleaner and better your input sources and things were the ultimately better? Your final results could be? Derek: Yes, because audio cleanup software has advanced significantly over the last few years. But back then it technically worked but left its own mess in the wake of the audio that was preserved and quote unquote, restored. I mean, you had things like verbose audio wizard and dark pro 98 and ruber mechanic and that was about it. And the accessibility varied, the quality varied, it's just, it was. So if you could at the source, get your audio cleaner, not only would it sound better, even though you did have some rudimentary processing back in the day, but the computer itself would take, you know, anywhere, at least the one I had anywhere from, you know, 20 to 30 minutes to clean up a file, you know, a 10th, the length, it would take a long time to do. So that was another step. Kerry: And so you would essentially set your parameters and wait for the results of the job. So you'd literally go exist somewhere else, have a drink, eat lunch, come back, and then check what the results of the processing work. Derek: And if they weren't good,...

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