Posts filed under ‘talent’

Houston Classic Rock nominees for Texas Radio Hall of Fame

dchat Classic rock and the DJ’s who brought that music to local radio audiences long before the rock was considered "classic" are fading fast. But Texas Radio Hall of Fame has found one right here in Houston. A former disc jockey at several radio stations in Tampa, Ft Lauderdale, and Chicago, Dwight “Shotgun” Cook finally ended up in Houston, where he reigned as the No. 1 rock jock at 104.1 KRBE for 3 years running.
Being No. 1 came with perks. Not only did he get to hang out backstage with iconic artists like Elvis, Stevie Wonder, Jimi Hendrix, Jethro Tull, Led Zepplin and Janis Joplin, and, he was a celebrity in his own right. It was the golden era of the great DJ. Back then, the music was as important as they guy who played it for you.
 
Today, Dwight uses his radio experience and sometimes his distinctive, ex-disc jockey voice at SoundWorks (www.soundworks.com), the award-winning media production house in Houston. Dwight also serves as Chairman of Only in Houston and serves on the Board of Directors of AAFH – American Advertising FederationHouston.
 
If you join Texas Radio Hall Of Fame for $15 (Http://www.TRHOF.org) you, too, can place your vote for great Houston talent like Dayna Steele, Crash Collins, Dan Patrick, Bill Moffett, Dave Ward, and Hal McClain, as well as Houston’s Only In Houston Chairman, Dwight “Shotgun” Cook. For your vote to count, it must be mailed in and postmarked by July 17th.
 
DaynaSteele Support the Houston creative community and the mission of Only In Houston and place your vote for Dwight "Shotgun" Cook to hold a place in Texas radio history. Voting members of the Texas Radio Hall of Fame can find the 2010 ballot here. (http://www.texasradiohalloffame.com/2010-trhof-voting-ballot.pdf) Then join all the fans at the big, always sold out, awards event held in the city with the most voters. Let’s make it happen in Houston!

###

Advertisements

June 18, 2010 at 6:12 pm Leave a comment

SoundWorks adds a new DO

SoundWorks is beginning the year with new audio talent.  We are committed to continually building our team with fresh ideas and great skills. 

SoundWorks welcomes Dee Oberle to our staff. Dee brings her expertise in audio engineering–specifically post-production, video game development, live production, and video editing —in addition to knowledge in a variety of software applications to our vivid mix.

View Dee Oberle
View Full Album

Like many people in the industry, Dee was inspired to pursue a career in audio after working with the sound team in her junior high youth group. She jumpstarted her career by receiving training from veteran engineers at Madison Media Institute.

On staff at Post Effects/Answers Media, Dee worked alongside Halo Composer, Mike Salvatori, on a series of projects including podcasts for Accenture and redesigning the audio on the Wide Load logo.

Dee’s audio portfolio with Dallas Audio Post Group includes Foley for Catacombs: Directors Cut, editing for educational company Voyager Learning, and third party post-production support on Brothers in Arms: Earned in Blood.

As a sound designer, Dee worked with Gearbox Software under the direction of internationally acclaimed composer for Doom III and the Brothers in Arms Series, Ed Lima.  She earned a credit on the AAA title Brothers in Arms: Hell’s Highway. Other products developed at Gearbox include:  Borderlands and several yet to be released projects.

Additional work as freelancer includes the Lil’ Flip- Kim Kardasian video shoot, worship services at Willow Creek Community Church, TV Man, Inc. and several short films.

Software expertise:

  • · Pro Tools
  • · Sound Forge
  • · Logic
  • · Final Cut Pro
  • · Soundminer
  • · Vegas
  • · Reason
  • · Radar system
  • · XACT
  • · Nitro-SoundMaker/Composer
  • · UnReal Editor
  • · Photoshop
  • · DreamWeaver

Please leave Dee a welcome comment below or welcome her in person at the next Sound Works mixer coming soon.

###

January 20, 2010 at 11:35 pm Leave a comment

How to save BIG in your next production

Wanna save a little coin on your next broadcast production? Try using donut-style or open-tag copy, you can save nearly 70% in music licensing fees! Music is licensed per spot and if you create one spot with a blank area for voice over copy or tags – you are creating “one” commercial.

audio mixingWhy would you want to create several versions?  You may want to localize the message with different addresses, prices and promotions. When the music license is filed you only need to pay for one license fee for that one commercial. This can be a big savings because music license fees add up quickly.  If your commercial is to be completed at a radio station or broadcaster you will save even more on voice talent fees.  Many of our clients don’t trust the broadcaster to complete the commercial properly and we create all of the alternate versions. Once all of the versions are created we deliver them via dataSlap.

With a little pre-planning it’s possible to save money with music licensing, voice talent fees and studio time.  Plan a little before starting production and save some money.  Feel free to ask me any questions you have about sound and video production – the best way to reach me is @dwightcook on twitter.

###

April 29, 2009 at 8:42 pm Leave a comment

What a wicked soundtrack!

In the same sense of not needing to know the chemical makeup of the ink to use a fountain pen, this article offers some important considerations in audio post production that can make the difference in your product sounding The directorprofessional or amateur. One of the most common requests made of sound editors is to “clean up” the dialogue. The process used to accomplish this depends on what issues the soundtrack has to overcome. While the removal of clicks and pops may be relatively easy, the more complex removal of background hum, noise and ambience may be required.

Location Sound


sennheiser-mkh-416On location, TV and film projects utilize a shotgun microphone on a boom for long shots, while many close up shots use a microphone hidden on the subject. Both recording methods bring challenges to audio post production. The difference in sound quality between the close up shots and long shots must be matched as well as the varying backgrounds, unless the sound is recorded in a “controlled environment” like a sound stage. But even if the dialogue to be matched is from two different close up angles (like over the shoulder shots for a conversation), the general ambience differences may still be extreme. Hum, mouth noises and background noise should be removed or reduced.

ADR & Dialogue Replacement

ADR process described by Director Peter Masterson and Actor Gene Hackman during dialogue replacement for “Full Moon Over Blue Water” ~ 1988.  Although the process has not changed the technology is now all digital. Sound Works has been doing ADR since the mid 80’s.

 

Sometimes the location sound is distorted so badly that the director may be tempted to start over and re-shoot the entire scene from scratch. Given the cost of a production crew, location costs and rentals, this may not be the most cost-effective solution. ADR can be an effective solution for replacing individual lines. It requires the skill of the actors and ADR engineer to match the performance and sync. The engineer has a number of tools to assist with ADR. For example, Sound Works has software that will lock-step the sync of the new performance to the original recording allowing the actor to concentrate on expressing the line properly. In post production, the qualities of the performances can be matched in tonal quality and proximity to the camera. The voice “tone” is adjusted to make the voice more “up-front” for the close up reads.

Background Sounds

Location sound engineers should always record background ambience to allow the audio post people more options when matching dialogue. For example, if ADR is to istock_000001786036mediumbe used, the re-recorded line will have little or no ambience compared to the replaced location line. But the previously-recorded location ambience can be added to the ADR sections resulting in a seamless-sounding dialogue track.

But let’s say the shot is at sundown and the volume level of crickets in the background is changing every 30 seconds. It is possible to sample the undesired crickets and peel them out of the sound track leaving the desired dialogue unaffected. At Sound Works, we have several processes to remove or reduce background noise. This is the same process used in our forensic audio service. Removing undesired background noise could eliminate the need for ADR or reshooting the entire scene. And THAT makes the sound editor’s job one less headache!

February 24, 2009 at 12:08 am Leave a comment

What’s “Talent” got to do with it?

While watching the premiere of American Idol last night, I began to wonder…  What DOES talent have to do with it?  Believe it or not, almost all the Idol contestants sent to Hollywood HAD talent.  As usual, a few got through that shouldn’t have, but most that should, did – and I was pleasantly surprised.  But what is “talent”?  And can it stand on its own? – Not only in the music biz, but in the “voice-over” business as well?
istock_000005431002xsmall
Dictionary.com has two great definitions for “talent”:

1.     A special natural ability or aptitude
2.     A capacity for achievement or success; ability

Today’s commercial truth lies somewhere between the two – Would not “a natural ability or aptitude with a capacity for achievement or success” be the more contemporary definition? Most of the people I work with have ability combined with equally (or more) important attributes.

So here’s my take on it – The voice-over actor gets “in the room” based on their “ability” but STAYS “in the room” because of their professionalism, work ethic and personality. When asked to suggest someone for a project, “ability” is the de facto part of my recommendation. What makes the difference IS can this person be easy to work with, fun to be around and a hard worker?

Ability can only get you so far – Hard work and professionalism define the truly “talented”.

So I ask you… What’s talent got to do with it? EVERYTHING!

Danny Reeves
Engineer/Producer
Sound Works, Inc.

January 15, 2009 at 7:44 pm Leave a comment


Calendar

October 2017
M T W T F S S
« Dec    
 1
2345678
9101112131415
16171819202122
23242526272829
3031  

Posts by Month

Posts by Category