Review”Folks, this book is a treasure chest. Don’t call Producing Great Sound for Digital Video, Second edition by Jay Rose an audio primer or even a reference source, it’s much more… It’s like taking a class taught by a caring, affable, pro. The writer’s intimate and accessible style is what makes this book a great value for any individual mesmerized in audio. Whether you’re just starting in the field of digital audio/video production, or are a seasoned pro, you’ll find info in this book that will improve your end product.”
— John Hartney, Creative Cow.com
“A veritably outstanding book… I in truth enjoyed the read. This book is an ABSOLUTE MUST if you will be shooting on a budget and doing sound yourself. You’ll learn what mics to use in the field, how to repair an echo, how to deal with line noise, cheap fixes for potentially costly problems–and that’s just the beginning…. this book will instruct you tips and tricks that will make your head spin. This book may in a literal sense save you THOUSANDS in post production.”
— Biagio Messina, AccessDV
“Crammed full of practical counsel on recording, editing, and mixing audio for your production, including some of the technical basics.”
— Trish Meyer, Cybmotion
“Most folks who write with regards to doing sound for moving pictures, on film or on video, focus on the sexy stuff–mostly writing music, now and then doing foley, often times talking technical. Jay Rose doesn’t mess around. He digs right into the hardcore side of audio for moving pictures — recording and editing dialog, sound effects, and music. He debunks mutual myths, shows the reader how to make do in limited-budget, time-constrained situations, and puts it all in context on a technical level. Producing Great Soundtracks is an valuable collection of step-by-step how-to info combined with the technical reasons things do or don’t work. It’s necessary reading for any person severe regarding making a living doing moving pictures.”
— Dominic Milano, Digital Video Magazine
About the AuthorClio-and Emmy-award-winning sound engineer Jay Rose is originative conductor of the Digital Playroom. Specializing in post-production audio, his clients include PBS, Buena Vista Home Video, and Turner Network Television. Rose has written regarding audio for Videography, Recording, and Premiere Full Motion magazines.
Great Sound
Make your film or video project sound as good as it looks with this finish training course by audio guru Jay Rose. You get hundreds of professional, real-world proficiencies that you may apply from preproduction through the final mix. This is a solution-oriented guide with FAQs, how-tos, tips, and time savers.
You’ll get a primer on how sound and digital audio work as well as technical setups, guidelines, and real solutions for:
* budgeting, scheduling, and preproduction planning
* microphones and room acoustics
* recording dialog, voice-overs, ADR, and effects
* postproduction hardware
* levels and digitizing
* working with music and sound effects
* manufacturing the final mix
New to this edition:
* data on the latest cameras and field recorders
* selections amidst single- and double-system, and digital workflows
* the deviations amongst established video soundtracks and dialog-driven storytelling.
Please visit the author’s internetsite for further and added resources: www.dplay.com/book/pgs3e
* Having trouble with the sound on your video project? Find the solution in this best-selling guide.
* Includes time-tested guidelines and recommendations that work no matter what hardware or software package you use
* The audio CD includes diagnostics, demos, and tutorial tracks to hone your skills.
OK, here’s the deal: If you want to build a quality stereo system, SOUND DEADENING IS NOT OPTIONAL; IT IS MANDATORY.
Why is that?
Let me ask you a question: Do you want to listen music, or road noise? Do you want your license plate to be quiet, or rattle when the bass hits? Do you want to listen your tires, or do you want to listen MUSIC?
I know I want to listen the music, and as such, I never do a real car stereo installation without using sound deadening material.
So, with all of that said, let’s take a closer look at sound deadening.
Sound deadening comes in a great deal of forms, but the two main types are spray on, and matting.
Spray on deadening comes in either an aerosol spray paint may or in a huge bucket. The aerosol may is outstanding for little jobs, but if you plan to go crazy with the deadening, you’ll want to buy it in bulk. When you buy it in bulk, you’ll likewise need a nozzle of a great deal of sort. Usually this may be purchased with the huge bucket of sound deadening. This type of sound deadening material works best for tight areas, and where you want a medium amount of sound deadening.
The other kind of sound deadening comes in sheets and is used with an adhesive on the back of the sheet. This deadening is more difficult to work with, but much more effective than the spray-on type. It is ordinarily used on more prominent areas, or where more deadening is needed.
Because sound deadening may get expensive, the smart installer installs it where it is most effective. To figure this out, take a drive in your car with the radio off. Listen to where the most noise comes into the vehicle. The main places I look to deaden are around the wheel wells, the firewall (of course), the doors, the roof of the trunk, beneath the rear seats, and beneath the center console.
SO! Check out those places, check out any other place where noise comes through, and commence figuring out how much material you’ll need.
This rule ought to go without saying, but get more material than you think you’ll need. The reason for this is because once you have the material installed, you’ll want to do a second listening, only this time with the music turned on. You will most unquestionably find rattles that weren’t noticed before. You will probably also find galore places where you’ll want to bulk up on sound deadening.
When reproducing music, noise and distortion are your biggest enemies. Sound deadening will go a long way towards fixing these problems.
In addition to silencing road noise, sound deadening works outstanding for reducing rattles in your vehicle. For example: Say you just mounted a good deal of high powered speakers in your doors. Because vehicle manufacturers never intend for high powered speakers in the doors, they aren’t designed to handle the vibrations.
To repair the vibrations (which sound HORRIBLE), just cut out a ring of sound deadening material, and utilise it to the spot where you mount the speaker. Mount the speaker to the top of the sound deadening material, and be sure the speaker is bolted down tightly. Now, undertake turning up the stereo again. Did this fix the problem? If not, undertake applying another layer of sound damping material.
Another trick: Have you ever noticed that sure panels in your vehicle vibrate when sure bass frequencies play? Get a great deal of of the spray-on sound deadening material, and implement it to the back of the panel to dramatically decrease the vibrations. For more prominent panels, use sound deadening sheets.
Another trick: Does your license plate rattle when the bass hits? Don’t look like an idiot, fix it! Take galore sound deadening material, and implement it to the back of the license plate and the license plate frame. Try the bass again, only this time you won’t embarass yourself when you drive through a parking lot!
Good luck and good sound!
-Honest AEB
Great Sound Image
Great Sound Picture
Great Sound Photo
Great Sound Photo
Most helpful client reviews
4 of 4 humans found the following review helpful.
 Fantastic, worth each penny
By T. Dowse
This is an outstanding book. It is written exceedingly without doubt or question and thoroughly, without sentiment too arid or boring. The author without doubt or question has a sense of humour, as well as a wealth of experience of working on soundtracks for a huge range of budgets (corporate to feature film). I genuinely read it cover to cover, non-stop, and have read dipped into it various times since. It is utile for people at all levels, from total beginners to people with a good overview of all distinct features of professional production (like me).
I am surely going to buy his other book (Audio Postproduction). The subdivisions on post in this book were great, and I’ve already learnt a big amount. But it just left me hungry for more.
I don’t like to write gushing reviews, but this actually was a outstanding book. If somebody asked me if I knew of a good book for video sound production, I would commend this whole heartedly, without a second thought. I’ve already leant it to a trusted colleague, who has been in the business for 30 years, and he decisive after a week to buy his own copy.
But I will throw in one drawback…having read this book, I just now wish I had the budget for hollywood facilities on each production I work on. And I don’t. So try to do not forget to keep your feet on the ground. Decent soundtracks may still be made on comparatively low budgets. Even on productions where I am writing, shooting, producing, and editing – this book has undoubtedly given me sufficient to make severe improvements to my sound recording, processing, and mixing.
In summary – if you are severe in regards to sound (and you genuinely ought to be if you want to develop decent video), and you feel like you need to know more, buy this book!!
4 of 4 people found the following review helpful.
Just wat I was looking for
By K. J. Broekema
I am working at an Internet video course based on Flash Actionscript 3.0. As a professional consultant/trainer I have no problem with the content and as a former scientific programmer I have no problem with AS3.0. Video nonetheless was altogether new for me. It took me rather a lot of time to get to recognise the camera and how to set up a temporary greenscreen studio. Shortly thereafter I encountered two things:
1) The way to present spoken text in front of a camera is radically dissimilar from the way I always staged tekst in front of an audience. You can’t make faults and you will have to speak in soundbytes and oneliners just like politicians do.
2) Nomatter how good the Flash visuals and other visuals are, sound is the vehicle that communicates the message.
I am closely through the learning phase. I have made a simple autocue and purchased a wireless Lavalier microphone. So far I have expended more time and cash to get the audio right than to create the visuals. Most study books in regards to video integrate only one chapter regarding audio. This is perfectly not enough. This book is completely regarding audio and it is very thourough. It gave me the selfassurance to handle the audio part.
4 of 4 humans found the following review helpful.
If you want better Sound…
By john livings
I have been using, Producing Great Sound for Film and Video, Third Edition (DV Expert Series) For regarding a year.
After reading the Book, (And listening to the CD) I now use it as a Reference Manual.
I have Shot Video and Recorded Sound for a few years and always was struggling with the Audio, After reading Jay’s books (This one and “Audio Postproduction for Film and Video”) I am in truth getting a handle on the Audio.
I commend buying or checking out at the Library at least 2 of Jay Rose’s books. [...]
1-Producing Great Sound for Film and Video, Third Edition (DV Expert Series) by Jay Rose
2-Audio Postproduction for Film and Video, Second Edition (DV Expert Series) by Jay Rose
If you Shoot and Edit Video/Audio and want to take your Audio a Quantum Leap forward, Both Books will have to be in your Studio.
Good Luck, John
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