JUNE. 2005

ISSUE 2, No. 1

June 23, 2005

>> Article: Extend the Power of Production Music Tracks

>> The Script

>> The Voiceover

>> The Transfer

>> The Edit

>> The Mix

>> Key Tips

Featured Article

Extending the Power of Production Music
using simple and inexpensive
audio editing tools

One of the great strengths of library music is its ease of use. You buy a track, drop it into your video timeline and viola, instant soundtrack perfectly timed to your production.

As a creator of production music, I understand the need for songs that have an emotional impact which are also timed to fit broadcast standards.

UnqiueTracks sells most songs as a bundle of mixes. You receive a Full Length mix (3-5 minutes in length), a :60 and :30 second broadcast mix, and a series of remixes and transitions. We call it our Soundtrack Tookit.

However, for larger projects like corporate film or DVD promotional videos, the use of very simple and inexpensive audio editing tools, can greatly multiply the capabilities of your music library tracks.

Sample Case:
Cellar Master - Promotional DVD

The following article is written by Paul Strutt, of Code Computing, creators of Cellar Master.

It describes the process and tools used to create a 12 minute soundtrack using sections from a UniqueTracks Soundtrack Toolkit.

The tools used are all under $100. I've added links to all of the tools Paul mentions. But you can search for others yourself at Download.com, or Shareware.com (search on "audio editing" or "WAV editing", "MP3 editing", etc.)

Cellar Master - DVD Video Project

Code Computing has produced a new piece of software aimed at pub landlords and bar owners for stock control.

A key part of our marketing strategy was to have an informative video, available as a download and on DVD. This would be used for mailings and to support telesales activities.

We couldn't afford to have this done professionally, so we set about doing it ourselves. This is a description of how we achieved the finished result.

The Script
We first wrote down what we wanted to say, in the same kind of language we would use if we were talking directly to a customer.

That text was then organized and broken down into logical sections:

• Introduction,
• Background,
• Business issues
• Product features

The paragraphs were then put into a Word table, with extra columns for time duration and content details.

The Voiceover
The voiceover was then recorded. First we tried recording using a mic direct into the PC, but there was too much fan noise, etc. We then used a DV camcorder with an external, high quality mic on a stand. [Using a stand] is very important, otherwise you get all the motor noise as well! A silent environment is vital here!

The Transfer
Once we were happy with the narrative (which needed a lot of ‘takes’!), the files were transferred from the DV tape to the PC into a video editing package. [For video editing], we used Pinnacle Studio. We created a “video” file with an audio track and a blank screen.

We then exported the audio track as a WAV file and deleted the video. Next we opened the new audio file using GoldWave, a WAV editor. This allowed us to:

1. chop up the big WAV file into sections
   corresponding to our master storyboard.
2. delete the ‘out-takes’, etc.
3. Calulate the exact running time

One of the most time consuming parts of the process was finding the right backing music. I probably spent 8-10 hours listening to dozens of music tracks off the Internet. It had to be royalty-free, reasonably cheap and of good quality.

Most of the stuff I found was cheesy rubbish which sounded like it had been composed on a Stylophone! I knew what I wanted… it need to be engaging, but discrete enough not to overpower the narrative, and with enough variation not to sound too repetitive.

When I found the UniqueTracks site, I quickly located and decided upon Waiting For Tomorrow. It fitted the bill almost exactly. I hooked together a quick demo intro sequence in Pinnacle Studio. This was just a collection of relevant images with an oil painting effect, with dissolve fades and some title sequences. I timed the video to fit Remix 2, then cut a DVD and showed to everyone. It was met with great approval, so the decision on the backing track was made. Waiting For Tomorrow was quickly purchased from UniqueTracks as an MP3 download.

The Edit
Allowing for the right periods of silence between sections, we now knew the exact running time of the video – around 12 minutes. I now had to make the backing track fit the narrative, but even the longest (full) version of Waiting for Tomorrow was only 5 minutes or so.

The track was opened in GoldWave. The track comprises 3 main sections. I was able to copy the middle section and paste it multiple times. This brought the track up to 8 or 9 minutes. Luckily, it has a bridge section which has no percussion, so it was quite easy to join [loop].

I also ‘cut’ various samples from the track, which would come in handy later. Finally, the whole track was ‘normalized’ to increase the volume of the quiet sections and to reduce the loud parts. We needed a very level soundtrack!

The Mix
The next part was done in the multi-track mixer Acoustica's MP3 Audio Mixer. Firstly, the original narrative audio was laid on Track 1. This included the audio from the video ‘interview’ sections and gave me an exact template of the timeline to work from.

The extended Waiting For Tomorrow track was then loaded up on Track 2, and was ‘slid’ into position until the first sequences worked together. From then, it was mainly a question of doing a ‘DJ mix’: raising the music volume when the voice was absent, and lowering during speech. This is done quite simply on the track timeline.

It was also essential to get the music to fit the narrative. In some cases, a mini-loop was added, in others, a silence was introduced into the narrative to get the timings right. At one point, the intro is replayed to create anticipation, using some of the samples as a bridge.

I timed the backing track to end about 18s after the narrative, to allow for the closing credits as the music finishes.

Once I was happy with all of the timings and relative volumes, the narrative on Track 1 was muted and the whole thing saved as a WAV file, so we now had the original audio track with linked video, plus a separate synchronised backing track.

The finished WAV file was then imported into our video editing software, which allowed us to infill all the titles, screen cams, photo’s, silent video clips and closing credits.

Key Tips:

Use a powerful PC – you’ll need LOTS of hard disk space, e.g. 200Gb for video work like this. And the rendering will take forever on a slow machine.

Use the best possible quality formats to start with, e.g. WAV for audio and the highest resolution video. The files will be huge, but you won’t sacrifice quality.

Gather plenty of material – video, stills, etc. A good ratio is 10 minutes for every minute of finished viewing! You will need numerous ‘takes’ of each scene.

You can read past issues of Underscore here

If you like the content presented in Underscore
please consider forwarding this issue on to a friend.

If you have received this newsletter from a friend, you can receive your own free subscription by clicking this link or by sending us a blank e-mail.

When you join you'll receive 10 fully-licensed rhythm loops which you can use in your production work.

Underscore is only sent to those that request it. UniqueTracks does not support unsolicited e-mail (spam) in any form. If you feel you have been subscribed without your permission, please reply to this e-mail and we will investigate.

We respect your privacy and will not share your details with anyone else. Please see our full Privacy Statement. UniqueTracks is a member of the Better Business Bureau's Privacy OnLine program.

Published by John Bickerton
Creative Director, UniqueTracks.com
(c) copyright 2005 UniqueTracks.com
PO Box 150414, Van Brunt Station
Brooklyn, New York 11215
USA

 

Recognized as one of the world's top authorities on digital audio workstations, author-teacher-musician-composer Colby Leider teaches you everything you need to know to transform your computer into a top-tier recording studio, music composition workbench, and complete musical instrument! In fact, in these pages Colby Leider shows you how to create, record, and mix without ever leaving your computer—even music that would not be otherwise possible without the power of modern technology.