FILM PRODUCER | WRITER | HUSBAND | FATHER
One of my favorite books is written by Derek Sivers, the founder of CD Baby.
His book – ANYTHING YOU WANT
One section that I remember vividly is titled “Trust, but verify” In it, Derek shared how he had built a system to handle most of the process behind CD Baby’s service of uploading customers music to the different online distributors like iTunes, Amazon, etc.
I’ve been working as an editor for a quasi-tv-show-training-series lately, which is a little out of the norm for me. However, while I don’t consider myself a professional editor, I try to do the things I know how to do as professionally as possible. I ran into a small issue today that I could’ve just accepted, and spent the extra time fixing. But the change required would be so small and easy to implement, and would save me so much time in future edits, that I felt it important to point out.
One of the most basic, yet fundamental questions I ever get asked as a sound engineer, whether talking about live or recorded sound, is:
What makes sound GOOD?
This will be a longer post, going deeper into the different aspects of live and recorded sound, and what makes it good or bad.
TOTAL READ TIME: 15-20 MINUTES
Whether you’re recording audio or amplifying sound for a live performance, the quality of the sound is one of the first things an audience will notice if it’s bad. If your intent is to grow an audience or a fan base, or have audience members come back again, you can’t have bad sound. It’s within this context that we’re covering these following topics, specifically, the qualities of good sound and how to overcome the problems that cause bad sound.
So you want to be a recording engineer/live sound engineer/filmmaker/screenwriter, and you’re going to college to figure out what you want to do. The typical questions you ask someone like me are: “How did you get started?” “What classes did you take?” “How much does a degree matter?” “What advice to you have for me?” …