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| www.JoenasrApp.com 1 JOENASR | Audio Post Production | Online/Offline Services
| www.JoenasrApp.com
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JOENASR
| Audio Post Production | Online/Offline Services
| www.JoenasrApp.com
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ABOUT US
| What are we? | What do we do? | What do we use?
Studio Complex with a huge multi language Library of Professional VO Talents/Actors |
Recording | Audio Editing | Sound Design | Foley Recording | Dubbing | Tracking & Over-
Dubbing | Audio Sync | BWF Restoration | ADR | Royalty Free Music Libraries | Radio Spots |
Radio Jingles | Music Composition for TVCs & TVSs | Soundtracks for Games | Film &
Documentary Scoring | Mixing in Stereo, 2.1, Quad, 5.0 and 5.1 | Mastering | Re-Mastering |
Re-Formatting | Vinyl Cutting | Mastered of iTunes | Visual Editing | 2D Animation | Graphics &
Web Design.
THE SOFTWARE APPLICATIONS & WORKSTATIONS THAT WE USE:
Avid Pro Tools | Steinberg Cubase | Steinberg Nuendo | Cakewalk Sonar | Sony Acid Pro |
Magix Sequoia | Avid MC | FCP | Adobe Collection | Lossless Quality Digital Converters
Part of a creative community that includes award-winning music for TV Commercials and
Documentaries... The environment at each of our studios has been designed by professional
artists for Agencies, Filmmakers, and Productions, offering unparalleled comfort, providing the
best of production and post-production facilities and media tutoring and consultancy... Online,
as well as Offline!
OUR INTERNATIONAL TEAM
| Who are we? | How many are we so far?
01|| Joe Nasr
Music Composer / Sound Director, for more than 10 years. Finishing his BA in Advertising and
PDMA in Music and Ethnomusicology, he worked as an Art and Music Director at Grey
Worldwide, and then stepped totally into the Music Industry in late 2007. Joe worked in Lebanon
as a Music Educator at Beirut School of Art and as an Audio Post Production Department at a
local TV Station, but had enough of this "Art versus that local Lack of Musical Knowledge Business
deals"; so he moved to Dubai... After a whole different experience, his whole Life suddenly
changed! Joe is still giving courses online, and he is currently working on an International
Paramount Pictures in-production Movie in Australia.
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02|| Simon Laham
Mastering Expert! After finishing his Electrical Engineering Degree, he went on to study Audio
Engineering in England specializing in Audio Mastering! He has more than 10 years of Audio
Production experience and 4 years in Mastering! He worked and assisted in professional
Mastering sessions in London and in Germany. Simon now owns one of the best acoustically
built, specifically designed by 21dB studio for Mastering only: CraftLabMastering! His Gears are all
handmade in England and Germany, carefully chosen to satisfy his ears in Analogue and Digital
Mastering! Simon is the last source in our post production services to finalize the audio and
perform that touch of magic after the mix is done!
03|| Elsa El Hage
Sound Designer Expert by all means, for more than 12 years of Audio Recording and Sound
Design experience. Studied Audiovisual and Cinema at ALBA where she became a teacher
there as well after she finished her Degree, then moved to France to have her Advanced
Courses in Sound Design! She records her own stuff in projects that need original sound materials
not using those common sound effects library samples that we find everywhere on the Net these
days. Capturing every audible nuance movements, Elsa toils to recreate reality and make your
projects sound as "Natural" as possible!
04|| Nataly A. Safy
Motion Designer / 2D Animator / Compositor. Finished her BA in Graphic Design and took a minor
certificate in Graphic Animation and in Music from the National Lebanese Conservatory. She
had been working in the Art field for more than 10 years, Nataly worked in several local and
international TV Stations, then stepped to Post Production Houses. Nowadays, she's holding an
Art Director position in a TV station. To add a hobby; that turned into a career, Nataly is the lead
singer of the band: "Pattes D'Elephant".
05|| Serge Fahd
Art Director / Graphic and Web Designer. Worked as a Graphic and Web Designer in Publishing
Houses in Kuwait, Advertising Agencies, and in TV stations in Lebanon. Apart from all this, Serge is
studying oriental singing in the National Lebanese Conservatory. He is also acting in many TV
series and Movies, His ‘Acting' on screen started as a hobby, then he took many courses in
‘Acting’ to become one of the pioneer actors in many local and abroad TVCs, TV Series, and
Movies in Lebanon.
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06|| Jad Mhanna
Music Composer / Sound Engineer for almost 13 years. Expert in Cakewalk Sonar. Worked at BKP
Dubai for more than 5 years. He has done most of BKP's high end quality music compositions for
TVCs, Documentaries, and Short Movies. Years have proven to be one of the pioneer composers
in Classical Music. Jad came back to Lebanon, built a professional studio as J.M.Productions
and began another strategical approach in his music career, composing songs for famous
Arabic Artists such as "Haifa" and many more...
07|| Anthony Saab
Music Composer / Sound Engineer. Holds a Bachelor of Arts in Musimedialogy. He is still pursuing
his advanced courses in Modern Music Harmony, Orchestration and Composition at the
L.N.H.C.M. His musical influences are too much into John Debney, James Horner, and Dany
Elfman's kind of harmonies and nuances... He is working as a Sound Engineer and Music
Composer at Audionese, also teaching Music Theory and Guitar Sessions at their Studios in
Lebanon. Aiming higher levels in orchestration projects. Anthony is now working on his debut
Album.
08|| Steven MacGaughen
Sound Engineer for more than 15 years of Audio Recording and Mixing. Studied Acoustics and
Audio Engineering in Los Angeles. He is basically a Live Sound Engineer who worked in LA with
famous artists and bands such as: Havana, Bill Hauffman, Massive Attack, Quick Sand Piracy,
Aftermath... Steve' is a top notch professional Mixer; working with us for mixing Big Live Sound
Events and Audio Post Production Projects.
09|| Daniel Samara
Sound Engineer / Drummer. From Toronto, Dan grew up to be one heck of a Drummer. His
musical journey started at a very young age. He took Theories of Music and Modern Harmony
lessons on Keyboards, this was his first step into music before he bought his first Electric Guitar
and that is when his whole musical perception changed. After being fully into metal music, he
found himself in the "Beat" and the "Groove" more than in "Melodies" and "Harmonies". He now
owns a Professional Studio in Toronto... He studied Sound Engineering through Books, Sessions,
and Online Courses, and with the big help of his musician cousin Joe Nasr. Dan has finished
recording his first Album with his band which will be released soon.
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10|| Sam Vallo
Music DJ Producer | Producing Electronic Music after a vast experience in the Electronic Music
Production Sphere in Egypt. He made his first step by joining the Ministry Of Sound DJ Academy
in early 2012 and graduated as an Official International DJ Producer. His debut albums were
released through Big Labels on Beatport and spread all over Egypt.
11|| Eddy G. Klan
Senior Editor for almost 13 years. Expert in Avid MC | FCP. He is now working with us as a Video
Editor on different platforms. He began his working experience in Graphic Design as he holds a
BA in Advertising and Marketing, then went into the Editing field and worked on many post
production projects (TVCs, Short Movies, and Documentaries for Arabia TV)... Edd' has his own
Editing Studio and he is very well known as one of the best and quickest editors in the Middle
East!
ONE OF OUR STUDIO COMPLEX PICS
| Lebanon |Dubai |Egypt |Toronto |Los Angeles
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VOICE-OVER TALENTS
| Huge Library of diverse Languages, Dialects, Accents, and Expressions (Men, Women, and Kids)
Arabic
Tagalog Armenian German
English
Chinese Turkish Hebrew
American
Persian Italian Greek
Australian
Bengali Spanish Malay
French
Ukrainian Portuguese Sinhala
Urdu
Hindi Russian Tamil
INSTRUMENT SESSIONISTS | WESTERN & ORIENTAL
| Pioneer instrument players capable of performing any given session
Classical Guitar
Classical Piano Keyboards Flute
Electric Guitar
Spanish Guitar Bass Guitar Harmonica
Violin
Viola Cello Trumpet
Trombone
Saxophone Drums Percussions
Tuba
English Horn Oud Ney
Qanun
Rababa Darbuka Xylophone
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SHOWREEL | MUSIC COMPOSITION
| TV Commercials | TV Shows | Radio Spots | Radio Jingles | Games Scores | Soundtracks | Artists
PEPSI
PAMPERS MILCO LACNOR
BLEDILAIT
ARIEL FORD LEXUS
ARABIA TV
PANDA SMINT BRAUN
EFES
GALAXY NIDO LOL
KAZADOO
OTV STOMP La2la2a TV BUMPERS
DETTOL
NISSAN MAZDA NESCAFE
A lot of Music Compositions and Post-Production Projects are uploaded every
month, yet you can check out most of the 2011 Projects and some of the 2012
Projects
On the Showreel webpage of the site
On the Behance Profile
On the YouTube Channel
On the Facebook Fan Base Page
On the Reverbnation Profile
On the Vimeo Channel
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WHAT IS AUDIO PRODUCTION & POST-PRODUCTION?
| The Knowledge | TheProcess | Art vs Technique | The Mixing Realm
What is Audio Post-Production?
Audio Post-Production is the process of creating the soundtrack for a visual program of some kind. Ever
since silent movies began to talk, filmmakers have been looking to control and improve the quality of the
sound of their creation. As soon as creators realized there was a way to control and enhance the sound of
their pictures, Audio Post was born, and has been a fact of life ever since. In Television, audio was originally
"live", like the visual program it was part of. As TV evolved, and the art form grew to include "videotaped"
and "filmed" programming, the need for Audio Post increased. Nowadays, it would be difficult to find any
feature film or television show that hasn't been through audio post.
What is involved in Audio-Post Production?
Audio-Post usually consists of several processes. Each different project may need some, or all of
these processes in order to be complete. The processes are:
1. Production Dialogue Editing
2. ADR (Automated Dialogue Replacement - if needed)
3. Sound Effects Editing and Design
4. Foley Recording (human sound and sound effects recorded in sync with the motion picture)
5. Music Composition
6. Music Editing
7. Mixing (also called re-recording in some countries)
8. Mastering
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What does all that mean?
It's really pretty simple, once you know the breakdown:
1. Production Dialogue Editing - In order for the production audio recorded on the set or on location
to be properly mixed, a Dialogue Editor needs to properly prepare it. This means locating the
proper take from the recorded production audio, checking sync (so it actually works with the
picture properly), and eliminate extraneous noise so the Mixer has clean dialogue to use during the
Mix.
2. ADR (Automated Dialogue Replacement) - In cases where the production audio is too noisy, or
otherwise unusable (bad line reading, airplane fly-by, etc.) the Dialogue Editor will "cue" the line for
ADR. This means replacing that line or lines of dialogue using the Automated process of Dialogue
Replacement. This process takes place on the ADR Stage, a specialized recording studio where the
actor can record lines in sync with the picture. Once a replacement line of dialogue has been
recorded, the Dialogue or ADR Editor will check the sync carefully, editing the take if necessary to
precisely match it to the picture, and prepare it for the Mixing Stage. This process is also known as
"looping".
3. Sound Effects Editing& Design - Ever wonder how they made the sound of Darth Vader's helmet
breath, or the Empire's Tie Fighters, or that great train wreck sequence from "The Fugitive"? - Sound
Effects Editors and Sound Designers are how. The process of adding sound effects
(backgrounds like: air, rivers, birds, traffic, and hard effects like: gunshots, door slams, body falls,
etc.) has been the domain of sound effects editors for years. Although originally edited using 35mm
magnetic film, recent years have seen the development of many different Digital Sound Editing
systems. More and more projects are using digital technology because of the efficiency and
quality it can bring to sound effects. Sound Designers use digital and analogue technology to
create sound effects that have never been heard before, or to artistically create specific "mood"
sounds to complement the director's vision of the visuals.
4. Foley - Taking its name from Jack Foley, the Hollywood sound effects person generally regarded as
the "father" of these effects, Foley effects are sounds that are created by recording human
movement in sync with the picture. Different from the environmental backgrounds and hard
effects that comprise edited sound effects, Foley effects are sounds like footsteps, prop
movement, cloth rustling, etc. The players involved in this process are the Foley Mixer, who records
the sounds, and the Foley Walkers who create those sounds. After the Foley Effects are recorded,
the Foley Editor will make any slight timing adjustments necessary to ensure that they are exactly in
sync with the final picture.
5. Music Composition - Music for film/TV falls into three general categories: Score, Source and Songs.
The Composer is the individual hired with the responsibility to prepare the dramatic underscore.
Source music is that music we hear coming from an on screen or off screen device of some kind;
some examples are radio source music, phonograph records, TV show themes, when seen on a TV
set in the shot, and many other similar variations. Source music may be original, or licensed from a
number of libraries that specialize in the creation of "generic" music. Songs may occupy either
function, depending on the dramatic intent of the director. Using "Pulp Fiction" as an example,
Director Quentin Tarantino hired a Music Supervisor (Karyn Rachtman, FYI) to "score" the picture
using period music of the 1970's almost exclusively. Most contemporary films use a combination of
score and source music.
6. Music Editing - The Music Editor assists the Composer in the preparation of the dramatic
underscore. Frequently working also with the Music Supervisor the Music Editor will take timings for
the Composer, (usually during a spotting session )in order to notate the specific locations in the film
where underscore or source music will punctuate the narrative. Once the underscore is recorded,
and the source music gathered, the Music Editor will usually be the person who edits or supervises
the final synchronization of all music elements prior to the mix.
7. Mixing - The Mixers have the responsibility of balancing the various elements, i.e., - the Dialogue
(and ADR), Music, Sound Effects, and Foley Effects, in the final mix. The Dialogue Mixer, (also called
the Lead Mixer or Gaffing Mixer) commands the mixing stage; his partners in the mix are the Effects
Mixer and the Music Mixer. On large features, it is not uncommon to have an additional mixer
handling just the Foley effects. On huge pictures with tight deadlines, it is possible that several
teams of mixers are working simultaneously on numerous stages in order to complete the mix by
the release date.
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8. Mastering - The final "magical" touch of the sound after a decent Mixing. It is the technical and
creative act of balancing, equalizing and enhancing, analog or digital tracks so that the finished
product will have attained the maximum musicality and competitiveness in the open market. To
simplify, Mastering is the process of putting anything on your final mix to make the final sound goes
from good to great to better in all its aspects.
What does the Production Sound Mixer do?
The production mix team is the individuals charged with recording your live dialogue, in sync with the
camera team. The Production Sound Mixer is your most important ally at this stage in the movie's
production. Although you will be anxious to complete as many setups as possible during each shooting
day, a little extra time given to the sound mixer to allow him to capture scene ambience (called room
tone/room noise) will pay off handsome dividends later during our dialogue editing. The production mixer
will have with him a boom operator, who handles the boom mics, and usually a cable person, who will be
in charge of wrangling the audio cables needed to mike the set appropriately. Usually they will record on a
Nagra recorder, but digital recordings on Portable Time code DAT machines are becoming more common.
We Are Shooting Our Film On Location...What Now?
Generally, each day after the completion of the shoot, the production audio rolls will be sent to an audio
post house for transfer to "dailies" form. If the film is being edited filmstyle, using 35mm mag audio and film
dupes (as opposed to electronically, using an Avid or Lightworks edit system), the production select takes
will be transferred to 35mm mag film. This sprocket-based medium will allow the film editor or assistant to
sync that day's select film takes with the audio track that corresponds to it.
If the production is being edited electronically, using a computer based edit system; the options are a bit
different. Frequently, a video post house will be engaged during shooting to telecine the selected and
printed film takes. In addition, they will transfer the production audio from Nagra or DAT and generally
synchronize the dailies onto some form of videotape, for later digitizing into the Avid or Lightworks editing
system.
Syncing dailies at the video house eliminated the need for the assistant film editor to do it, and allows the
assistant to load the editing system instead. An important task to accomplish during the digitizing is for the
assistant to correctly log in the dailies time code that is recorded on the Nagra or DAT location tracks. This
will allow the EDL (edit decision list) that is created later on to accurately reflect the original time code that
was shot with that scene, and allows the audio post house to electronically automate the re-loading of the
production dailies, should they need to be replaced.
And this goes on all during the filming?
Yes. Dailies transfers will continue until there are no more dailies coming in, and shooting has wrapped.
During this time the editor may also need reprints of previously transferred takes, or prints of previously
unprinted takes. They are processed in the same manner.
We are done shooting...now what happens?
Now the real fun begins. The editor has been syncing dailies all during shooting, choosing which scenes
should begin to form the final cut. During the next several weeks, the process of editing will continue as the
decisions are narrowed down to final choices. It is at this time that the final form of the film begins to take
shape. Although the film editor may have been assembling the "editor's cut" during the shooting period, the
first formal edit period is generally referred to as the director's cut, and it is when the first full assembly of the
film is refined.
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Do I need Audio-Post during editing?
Well, yes. During the editing you may still need reprints of selected takes or outtakes. The audio post facility
will duplicate these for you. But the real job is starting to come into view: the locked cut.
What is the 'Locked-Cut'?
In short, the final version of the finished film! Although it may receive a small edit here or there in the next
few weeks, the film is essentially "locked" into this form.
Audio Post begins now in earnest!
Once the cut has been locked, the film can be spotted for the placement of sound effects and music. The
Supervising Sound Editor, the Director and possibly the Film Editor and Composer will gather at one or more
spotting sessions to determine the film's audio post needs. "Spotting for music" is the process of viewing the
locked cut and deciding where the music score will be, and where the source music will be needed.
"Spotting for sound" is the process of determining: if and where any dialogue problems may exist, so that
ADR can be cued to be recorded where sound effects are needed and what kind what Foley effects will
be needed in the film, and where If Sound design (the creation of special sound effects), will also be
needed.
What actually happens after 'Spotting'?
The real job of audio post has now begun. In the next weeks or months, the sound editors will locate and
synchronize all of the sound effects needed in the film. If necessary, they will create Field Recordings of new
sound effects needed for the film. The Foley supervisor will cue all of the Foley effects that will be open in
browser PRO version Are you a developer? Try out the HTML to PDF API pdfcrowd.com needed; they will be
recorded by the Foley Mixer and the Foley Walkers; the ADR supervisor will cue all of the Automated
Dialogue Replacement lines that need to be recorded during the ADR sessions, and the Music Editor will
begin providing for the needs of the Composer and/or music supervisor. The Dialogue editor(s) will begin
preparing the production audio for final mixing, and the ADR editors can commence editing in the ADR
lines, once they have been recorded.
Typically, the next few weeks or months are occupied with sound editing of all types. The Director will be
checking on the various aspects of the sound job as time progresses, to be sure that his vision is being
realized. Usually, there is provision for one or more "effects reviews" where the effects are listen to and
approved. The same goes for Foley, Dialogue, ADR, Sound Design and Music. When everything is
completed and approved, the next step is Mixing (also called 'dubbing' or 're-recording').
What happens during the Mix?
During the mix, the edited production dialogue and ADR, sound effects, Foley and Musical elements that
will comprise the soundtrack are assembled in their edited form, and balanced by a number of mixers to
become the final soundtrack. In New York, open in browser PRO version Are you a developer? Single-mixer-
sessions are more commonplace than in Hollywood, where two-mixer and three-mixer teams are the norm.
The mixers traditionally divide the chores between themselves: the Lead Mixer usually handles dialogue
and ADR, and may also handle music in a two-man team. In that case, the Effects mixer will handle sound
effects and Foley. In three-man teams, they usually split Dialogue, Effects and Music; sometimes the music
mixer handles Foley, sometimes the effects mixer covers it. To keep the mix from becoming overwhelming,
each mixer is actually creating a small set of individual sub-mixes, called STEMS. These mix stems (dialogue,
effects, Foley, music, adds, extras, etc.) are easier to manipulate and update during the mix.
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When Mixing is done, what then?
After the mix is completed and approved, films generally require a last step called Print-mastering, which
combines the various stems into a final composite soundtrack. When this is completed, an optical or digital
sound track can be created for a feature film release print. It is also usual at this time to run a 'M & E' (which
stands for Music and Effects) track. This is essentially the film's soundtrack with the English language
dialogue removed. This allows foreign language versions of the project to be dubbed easily, while
preserving the original music, sound effects and Foley. During the M & E, effects or Foley that are married to
the production dialogue tracks are removed along with the dialogue. To "fully fill" an M & E for a quality
foreign release, those effects and Foley must be replaced. Television movies usually do not require print
masters, unless they have been created using SURROUND SOUND techniques. In most cases, the final stems
are combined during a process called LAYBACK, at which time the soundtrack is united with a final edited
master videotape for ultimate delivery.
What about "Optical Soundtracks"?
Almost all of the release formats, including the digital ones have provision for some kind of optical
soundtrack, even if only as a backup. The optical soundtrack refers to the two-channel soundtrack that is
carried on the optical track of the film release print.
How do I get an "Optical Soundtrack"?
Once your surround sound format has been selected (see the paragraph below for more), you need to
order an optical soundtrack negative for the film. In the case of LCRS mixes, a traditional two-channel;
Print-master track is created, and this is sent to an optical sound house for the creation of the optical
negative. The optical sound house will record the soundtrack onto 35mm film using a special camera, and
some will also develop their own soundtrack masters. Once the optical negative is shot and developed, it
can be incorporated into your answer printing process, and a composite answer print containing your
complete soundtrack can be printed or "shot" at your film lab. This usually happens during the first or
second trial answer print phase.
Now what about those names we keep hearing or reading on Movie Posters:
THX - Dolby - Ultra/Stereo - DTS - SDDS?
This is a BIG question. This one point alone causes much confusion amongst filmmakers. Please take a
moment and read this paragraph carefully. If you need more information after that, please contact either
Gnome Productions or Magnolia Studios and we will help you out.
First, about THX!
THX [tm] is not something that you DO to your soundtrack, it is just a set of sound reproduction or mixing
conditions that optimize the sound of your film's soundtrack in exhibition. Simply put, the THX standards that
many dubbing stages and movie theatres adhere to are a way of being certain that "what you mix is what
you get", so to speak. You may choose to mix in a stage that is THX certified, and you may not. If you do,
your soundtrack should sound reasonably the same in THX theatres all around the world. It is this
standardization that THX brings to the filmmaking community.
To make sense out of the rest of the names, we need to know about Film (and Television) Surround Sound
Film sound tracks (and some television ones) go beyond just Left and Right Stereo Channels; there is a
Center Channel (CC) for the dialogue, and at least one ‘Surround Sound’ Channel (SSC).
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The SSC is used to project the sound out into the theatre, to "surround" the audience. This is to enhance the
illusion of being "in the picture". This ‘four-channel format’ is called LCRS (for the Left, Center, Right and
Surround channels that the soundtrack contains). Although the technical means behind this process is
beyond the scope of this discussion, suffice it to say that it works well enough to have become a standard
format for release prints for many years.
LCRS - You've probably already figured out that you cannot reproduce a four-channel soundtrack from a
medium that only plays back two tracks. You are very right. In order to reproduce the LCRS soundtrack
from a traditional film optical soundtrack (more on optical later) you need a way to encode the
channels....the Matrix The Surround Sound Matrix Encoder (or, how to put FOUR into the space where TWO
should go!) The solution is to use an encoding device that can fold the four channels of audio down into
the two channels available on the film's optical soundtrack. When the audio tracks have been processed
this way, they are labeled Lt/Rt [Left total/Right total] in order to distinguish them from ordinary Left/Right
Stereo soundtracks.
The Surround Sound Matrix Encoder is a necessary piece of hardware that the audio post house must have
available during your film's mix, in order to create the surround soundtrack.
The Licensing of Surround Sound formats now we're really getting into the heart of the matter.
Dolby Labs, Ultra-Stereo Labs, DTS (Digital Theater Systems) and Sony [SDDS] all have technologies
available for the encoding of film surround soundtracks into film release prints. Although these processes
vary somewhat as to their method, they essentially accomplish similar things. Additionally, some of these
vendors offer Digital Encoding Additionally, some of these vendors offer Digital Encoding formats (Dolby
Digital, DTS and SDDS currently, and Ultra-Stereo soon to come.
The Differences in Surround Sound formats...
In the most basic form, Theatrical Surround Sound consists of LCRS: Left, Center, Right, and mono Surround.
A soundtrack can be encoded into this format by using a Dolby or Ultra-Stereo encoding matrix during the
film's Print-mastering session. DTS also has a process called DTS Stereo that can create a typical LCRS film
soundtrack (check with DTS directly for more on their specific processes...).
Surround Sound formats beyond L-C-R-S: Some of the surround sound encoding processes can create
different, more complex soundtrack formats; Dolby SR/D and DTS, for example, can create six-track
soundtracks for release, and Sony's SDDS is an eight-track format. In the case of six tracks, you get Left,
Center, Right, Left Surround, Right Surround and a Subwoofer channel (for enhanced low-frequency
response). The split surrounds (as they are called) make it possible to move sounds around in the surround
speakers, or to use stereo background sounds for even more impressive film soundtracks (Jurassic Park
comes to mind, here).
And if you heard ‘Jurassic Park’ in a good THX theatre with a DTS open in browser Pro version - Are you a
sound developer or critic? Digital soundtrack, you should know what the Sub-woofers are there for! That T-
Rex really gave the sub-woofers a run for their money, as well as Jeff Goldblum... Six-track sound
reproduction has been with us for a while, since 70mm film releases have had the ability to deliver a six-
track soundtrack that was magnetically encoded on the release print. This, unfortunately, was very
expensive to produce, and problematic to control quality. Sony's SDDS (Sony Dynamic Digital Sound) uses
an eight-track delivery configuration that adds two speakers in between the Left/Center and Center/Right
positions in the front speaker wall. Known variously as InterLeft, InterRight or LeftCenter and RightCenter,
these channels allow for additional separation of music, effects and dialogue in the front speaker wall,
while preserving the split surround format.
The Differences in Digital Sound delivery methods, the three digital systems (Dolby, DTS and SDDS) use
proprietary methods to deliver the digital audio to the theatre; two of these methods (Dolby, SDDS)
encode the digital soundtrack onto the release print.
DTS uses a different method, that of encoding a "timing stripe" onto the release print, and synchronizing a
digital audio playback from an accompanying CD-ROM that carries the encoded soundtrack. In either
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case, the digital audio is reproduced in the theatre with the same fidelity it was recorded at during the
encoding process. This system neatly bypasses the traditional limitations of optical soundtracks:
Noise, Bandwidth limitations, and Headroom (transient peak) Limits.
Soundtracks sound cleaner, clearer and louder as a result. Please don't take this as a condemnation of
optical soundtracks. A well-mixed movie can (and they still do) sound great with a well-produced optical
soundtrack.
To summarize this difficult topic!
THX specify a set of standards that affect how sound is recorded and reproduced in a movie
theatre. You get the benefits of the THX standard whenever you mix in a THX-certified mixing stage.
There is no additional fee required. You may display the THX logo in your film's credits if you sign a
simple one-page form.
Dolby Surround is a 4-channel optical surround format; this format is encoded in the optical
soundtrack You must license this format from Dolby Labs; There is a license fee for this service.
Ultra-Stereo is a 4-channel optical surround format; this format is encoded in the optical soundtrack
You must license this format from Ultra-Stereo Labs; There IS a license fee for this service.
DTS is a 6-channel digitally-encoded surround format; this format is encoded on an external CD-
ROM, but the timing and other information in encoded on the film release print; You must license
this format from Digital Theatre Systems (DTS). There is a license fee for this service.
Dolby Digital is a 6-channel digitally-encoded surround format; it is encoded on the film release
print; You must license this format from Dolby Labs; There is a license fee for this service.
SDDS is an 8-channel digitally-encoded surround format; it is encoded on the film release print; You
must license this format from Sony Corporation - SDDS division; There is a license fee for this service.
I have got a video project - What's this DVD, AC-3?
Relax - take a breath - and we'll walk you through this...
It's actually pretty simple Surround Sound program on video materials are now released in a number of
analog and digital forms... Straight Left-Right Stereo program is still utilized a lot for Television, and Industrial
formats... VHS Home video releases can be encoded in Dolby Surround (L,C,R,S), just like feature films;
Laserdisc releases have also been using digitally encoded L,C,R,S surround formats, just like VHS New Digital
Video Release Formats allowed for new Digital Sound Format AC-3.
AC3 - is a digitally-encoded surround sound format that is capable of reproducing six tracks of sound AC-
3 actually refers to Dolby's Audio Compression 3 format used to compress the data DVD releases are also
utilizing AC-3 digital sound format as well as traditional Surround Sound All of these formats can easily be
handled or prepared by a knowledgeable sound house.
Please contact Joe ([email protected]) or Simon ([email protected]), if you have any specific
questions or any further inquiries concerning this subject.
My Print Isn't In Sync!
Well, we didn't say this would be easy, just that we could help take some of the mystery out of it for
you...You should Immediately contact your post-sound house and tell them what you've experienced. The
Sound Supervisor on your show should be willing to take some time and help you sort this out. In the
meantime, here are a few things that you can check on:
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Some likely possibilities
(1) If the Final Mix Printmaster has been transferred or copied, be sure the copy was done correctly. We
have had experiences where a perfectly fine Printmaster was thrown out of sync because a copy was
made first, and the optical shot from the copy;
(2) If the soundtrack DRIFTS from being in sync to gradually being more and more OUT of sync during the
reel, suspect this possibility: If the Printmaster is on Multitrack tape, the SMPTE code on the tape could cause
the optical soundtrack to drift in speed; If you mixed to VIDEO TAPE, a slight difference between 29.97
frame code and 30.00 frame code could throw you out of sync by many frames over 1000 film feet. If the
soundtrack was shot on Mag, a mistake in running the film chain at video speed could cause the Mag to
be "off-speed", just like the Multrack tape example above;
(3) If the Mag Printmaster was in sync when you reviewed the final mix, check to be sure the film lab didn't
accidentally "misprint" the soundtrack by moving the optical negative a perf or two, or a frame or two
when they married it to the picture. This can easily happen IF THE HEAD POP or TAIL POP is not EXACTLY
CORRECT on your final Printmaster.
(4) If you print mastered in 2000-foot film reels, and FOR ANY REASON these reels were then separated and
rejoined later, this poses a prime opportunity for sync to slip. If the beginning of a 2000 foot reel is in sync,
and the last 1000 feet is suddenly (and consistently) out of sync until the end of the reel, suspect this
phenomenon immediately.
(5) If one or two shots suddenly are out of sync but were IN sync when you mixed, ask yourself this: did you
mix from an Avid or Lightworks (or other electronic edit system) output? If so, it's possible the film negative
was not cut to the exact same shot length as the electronic output; Have you verified the length of all
optical effects? If you have inserted optical effects, they may not have been counted exactly right, and
you may have gained (or lost) a perf or frame or two in the effect; either way, your soundtrack will lose sync
right then and there, and STAY out of sync for the rest of the reel (unless another optical effect error
magically puts it back in sync again!)
(6) Finally, when all else fails, it is remotely possible that the optical negative might be off-speed. A quick
call to the optical sound house will help them verify this for you. accepted standards.
7
WHAT
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WHAT IS MASTERING?
| The Science | The Equipments | Dynamics vs. Loudness | The Magic
e Science Pro
cess s | Re
CD-Text vs. CD Database
There are two different sources from which CD Track information is obtained.
For less confusion, please note:
CD-Text shown on some CD-Players is inserted within the metadata (PQ codes) while burning a Red
Book CD. Specific software is used to insert this information (CD-Text, ISCR Codes, Track
Start/End…).
Since its release in 1996, CD-Text has been adopted (slowly) but not by all CD Players or CD-ROM
manufacturers.
CD Track information; shown on iTunes, Windows Media Player or other software media players, is
linked to an Online Database Server from which any user can upload or download information
regarding an Album (Track Title, Genre, Artwork, Comments, Lyrics, Year...etc.)
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CraftLabMastering Setup
As Mastering is different than Mixing (room acoustic/structure, gears and ears), we, at CraftLabMastering,
have chosen to stick as possible to International Mastering standards.
Our reference room has:
An NC of 30, a result of an isolated machine room for less noise in the control room (for delicate
fadeouts).
An inclined ceiling that reflects mid/high frequencies behind the listening position and produces a
balanced tonality with a precise imaging.
A 32 ms difference between the direct sound and the early reflections; no obstacles within the
equilateral triangle!
Cables are kept as short as possible for minimum noise (no insert patch or useless connections)
Custom designed hand-made tube and solid state Mastering Processors for a unique sound
character and maximum dynamic range! (no squashed sound yet competitive results!)
All processors are analogue, no digital plug-ins.
Special Mastering DAW capable of inserting all metadata required for CD duplication/replication
(PQ, ISRC, UPC/EAN, text)
DDPi format for album delivery for minimum burning errors and more reliability.
3way wide band passive midfields to mimic best a home listening position and go down to 25Hz!
Our fresh set of ears and experience in the audio field in London and Germany have let us implement
unique Mastering techniques with an advanced usage of the high-end gears we have!
Verification Process @ CraftLabMastering
Digital media are subject to data dropouts and burning errors.
CraftLabMastering special measurements tools ensure through an internal media verification test, the
integrity of the disc surface with minimal C1 errors (BLER) and zero C2 or CU error.
Every single project then passes by a last auditioning quality control (QC) through different playback
systems and environments.
What is a DDP file?
DDP stands for Disc Description Protocol also known as DDPi as in image or DDP file set. It is a delivery format
that ensures an error protected audio material supplied by the mastering studio and suited for CD/DVD
replication.
A DDP file contains audio as an image file with 3 additional sub-files that carry all other necessary disc
information.
CraftLabMastering includes an additional checking file to verify data accuracy between transfers.
Nowadays, DDP is becoming the audio industry for optical discs replication due to their reliability and the
Robust-Data-Error (if any) Correction Algorithms. Audio CDs on the other hand, introduce more errors on
burning and playback with less reliable Error-Correction.
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What is an ISRC code?
ISRC: International Standard Recording Code.
It is a 12-digits code that gets allocated (on the CD) to each track that goes out into distribution. This is the
code that identifies the owner of the track and country of origin each time it is downloaded or played on
the Radio/TV. The ISRC is free of charge and can be downloaded.
What is Dither?
Dither is a random low level noise (similar to a hiss) added to the signal to trim digital distortion known as
quantization error. Dither must be used when reducing word-lengths (mainly down to 16-bit).
There are different algorithms to accomplish dither but they all fall into two flavors:
Flat-shaped dither which is similar to white noise.
Noise-shaped dither which adds the noise to an unheard (by human) audio band.
All dither sounds different and every music demands specific dither type. Dither must be added once and
at the end of the signal chain. Therefore it is the Mastering Engineer's responsibility to insert and choose the
right dither type.
Try it yourself:
Start with a 32-bit sine wave.
Truncate it to 8-bit using dither.
Notice the added hiss (dither). It is gentle to our ear.
Truncate the 32-bit to 8-bit without adding dither.
Notice the unnatural digital distortion. It is unpleasant to our ear.
It is arguable that 8-bit file is a low quality sound therefore with a 16-bit Redbook CD there is no need to
dither. However, with some kind of music we clearly hear the difference (dynamic and low level tracks for
example), and generally on the fade outs (with any kind of music). Dither is our friend while digital distortion
is not!
What is Mastering?
Mastering is the final creative stage in the music production process. It is the bridge between the
final mix-down and the CD duplication/replication plant.
Mastering involves 3 stages:
1. Adjusting unpleasant sounds
2. Quality enhancements
3. Final output delivery
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Stage one: Adjusting unpleasant sounds (the Lab part)
Through a careful and critical listening to the audio material, and by keeping up a good communication
with the client and his indications, most issues in the audio can be resorted, whether it is in the frequency
domain, level, dynamics, phase balance, disturbances or noise. Over compressed material could also be
surged to get its life back!
Mid field monitors set up is a standard in Mastering. It mimics a home listening situation. Near Field Monitors
are best suited for recording and mixing studios, not for Mastering. This is why we at CraftLabMastering
chose 3-way passive midfields as reference.
Stage Two: Quality enhancements (the Craft part)
This creative phase gives the project its sound identity and style by the use of the finest analog and digital
mastering processors in different approaches and techniques. That way, music clarity is enhanced, a
dimensional and airy sound could be created, warmth or punch is added (if appropriate) and dynamic
range is maximized.
Within the era of loudness war, a lot of commercial music suffers from hyper compressing and hard limiting
processes, which has a lot of technical and sonic drawbacks. i.e.: ear fatigues, blurred stereo image and
squashed highs, muddy smashed smeared pumping distorted edgy sound, u named it!
Stage Three: Output medium assembly (the Logistic part)
In this last stage all the tracks are put together and exported as one complete project/file on a specific
medium (ex: CD) and format. The following tasks are done with a specialized high resolution DAW (Digital
Audio Workstation): Tracks sequencing with the appropriate gap in between to create a smooth music flow
throughout the whole album, editing fades/crossfades with minimal calculation errors, choosing the right
dither shape, inserting PQ codes (for track start/end and program length timing), emphasis condition,
UPC/EAN and ISRC codes, CD text, EDL list, copy prohibit/permit. With a final quality check, a DDP file
(recommended) or a Red Book master disc is supplied to the replication/duplication plant.
What shall i send to the Mastering Engineer?
Mastering should be taken into consideration while mixing for better results and time saving. Here is a list of
recommendations worth looking at.
Let your Stereo Bus peak at a maximum of-6dBFS (preferably at-10)
Don’t insert any processing or equalizing on the stereo mix bus. NO LIMITERS, No Compressors.
Do not normalize
Any Lossless file is accepted with a Sample Rate of 44.1 KHz (or above), 16 bit (preferably 24 bit)
burned as a wave file or a music CD. (We do accept mp3 if other format is not available).
Make sure the format type is the same used in the recording/mixing session.
If your delivery is a physical disc, please burn the tracks as data and Not audio.
Leave a gap of one second before the start of the first track (glitches error) even if it is a music file.
Leave some space before the start and end of the audio waveform while editing.
Name the tracks with their numeric order followed by their name (ex: Track_01_Me Amor)
Make sure that the total playing time does not exceed 74 minutes.
Label the disc using water-based markers and please do not use stickers.
Don’t hesitate to bring up or suggest any reference music that sounds appealing to you.
Provide us with appropriate ISRC codes. (Check "Notes" for more on ISRC codes)
Make sure that the bass drum and bass lines are well balanced.
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Why should I have my tracks Mastered?
Have you ever wondered why your music sounds different in other playback systems (nightclubs,
car, TV, Radio, home) than in your listening room?
Have you ever tried to reach the same sonic results of other commercial releases?
Are you looking for a punchy tight bass, a warm deep spacious sound, or a loud and dynamic
track?
Do you need an assurance that your audio is problem-free and working well on any extension
format (mp3)?
Do you want your album/EP to have a consistent and smooth music flow with unified tone and
level?
Whether you're a Musician, DJ, MC, Producer, Composer, or Artist: Mastering is the key to get a well
crafted, clear, and defined sound, that takes your song to accepted high standards.
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NOW WHO IS JOE NASR?
| Studies |Experiences | Hobbies | Positions
BA in Advertising | PDMA in Music | Ethnomusicology Studies | Advanced
Hypothesis in Musical Theories | Online SAE in Audio Engineering | Music Production around a decade |
Guitar Player for 17 years | Piano Player around 13 years | Publishing his first book "Musical Strategies" in
2013 | Movies and Music fanatic | Music styles he likes (well...."ALL"... even "Noises"! But Pink Floyd, Dream
Theater, Stratovarius, and Within Temptation are what he shuffles while driving...since 1996!!! | Deifies
Soundtracks (especially John Debney's, James Horner's, Howard Shore's....) | One of his visions was to have
this "Gathering of International Pioneer Artists" working in a "One-Click" harmony, in a "One-Trustworthy"
Online/Offline Post-Production | 'It was! ...and now 'It is!
....Oo!! and partly insane!
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CONTACT US
| Lebanon | Dubai | Egypt | Cote D’Ivoire | Toronto | Los Angeles
by emailing Joe Nasr .
or by calling us .
| Lebanon +961-76-30-11-90 | Dubai +971-50-1525-332
| Egypt +20-10-01280-766 | Cote D'Ivoire +22-50-7100-421
| Toronto +1-416-791-3763 | Los Angeles +1-619-454-2521
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HOPE WE WOULD HAVE THE HONOR WORKING TOGETHER IN THE NEAR FUTURE
