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The AudioBus Horrowshow: Final Submission Details

edited August 4 in Creations

Hi folks,

This info is all in the main thread, just pulling it out here for ease of reference.

Note: We are intending to put up a shared Assets folder shortly, comprising a brief piano ‘motif’ provided by @LinearLineman , available for the time being from here:

https://www.dropbox.com/s/2srlu2jboi1m3cw/VAMPYR final.wav?dl=0

and some vocal atmospherics from @iOSTRAKON, and possibly one or two other things. The idea is that anyone can OPTIONALLY download and use these however they like (feel free to bend fold spindle or mutilate) as elements in their own pieces, to organically provide some coherence across the disparate pieces. There is no requirement to use these, but you can if you find them helpful.

1: You must base all timings in your work off the time coded ‘Krupa’ cut of the movie, available here: https://www.dropbox.com/s/sw2jbsijvzi1meq/VampyrSIlentTimecoded.mp4?dl=0

2: Negotiate with your ‘neighbours’ either side of your time slot the precise moment the baton gets handed over, on the first available sensible shot change. Screen shotting your preferred in and out points from the time coded copy makes it easy to show what you are suggesting.

3: If you ‘colour outside the lines’, I.e. your piece starts earlier than your allotted time and/or finishes later, fade in and out in the excess.

4: The prefered submission format will be .wav,.aiff or .flac, 24 bits and 48Khz. esentially a non compressed format. BUT, we will convert other formats/samplerate and bitrates so its OK if you can’t or don´t know how to do that.


5: Try to record directly to final format (48Khz/24bit) instead of convert later.

6: levels should peak at -12dB MAX. So just imagine your "new" 0dB red mark is now at -12dB. That way we will have some headroom for playing with dynamics later when mixing the entire film.


7: For that same reason, don`t put a compressor or limiter in the master bus; Its ok for individual tracks but again we need the most dynamic range in your files. If the master is peaking red or past -12dB just lower each individual track when mixing or even better adjust volume at the source for each sound. 


8: bear in mind that in order to make things fit, tracks may be squeezed or stretched after submission by the production team. For this reason tight linkages between foley effects and on screen events should be approached with caution. Frame perfect sync cannot be guaranteed!

9: When your track is ready, DM @Krupa and he will arrange for your files to be collected into a Dropbox we will all have listening rights to.

10: Your submission ‘package’ should include the following:

a main track (duh!) with:

Your title for it

Precise frame start & end times for it taken from the Krupa cut

Optionally:

‘B’ roll, to any length, comprising foley fx, ‘mood’ atmospherics, soundscaping, midi files… anything you fancy

A text file setting out exactly what has been provided (timings, key, midi files, whatever)

We would suggest that everyone keeps their project stems available for production on request of the ‘producer’, in case as the ‘Production’ phase proceeds it is decided that a particular strand or element of someone’s submission might be redeployed elsewhere.

Finally: a suggestion. If you have one of those ‘wall of text’ on screen intertitles at the beginning or end of your alloted time, consider finishing or starting your piece either side of it.

These screen interludes might then be a perfect place to allow @iOSTRAKON’s forthcoming environmental atmospherics to come to the fore, as one of the ways of bringing some thematic coherence across the piece.

Good luck everyone!

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Comments

  • Thx for all your efforts, @Svetlovska. Much appreciated. I'm looking forward to SciFi next!

  • Did we set a deadline? Or just defined the release with all parts, edited, etc. for Halloween? :wink:
    Just to be sure I didn't miss any info :lol:

    @LinearLineman said:
    Thx for all your efforts, @Svetlovska. Much appreciated. I'm looking forward to SciFi next!

    oooh interesting

  • @LinearLineman said:
    Thx for all your efforts, @Svetlovska. Much appreciated. I'm looking forward to SciFi next!

    Is there much sci-fi public domain stuff available?

  • edited August 4

    @Gavinski, old stuff, I’m guessing…. Flash Gordon era?

  • Here, I done this, feel free to add to it, finetune it, ignore it etc

    I needed to go through the movie before starting anything, here’s my drunk scrappy notes

  • @LinearLineman said:
    Thx for all your efforts, @Svetlovska. Much appreciated. I'm looking forward to SciFi next!

    Erghmergherd

  • edited August 4

    Surprisingly, there’s a lot of allegedly PD stuff until quite recently, due to legal loophole issues in the States, (Night Of The Living Dead being an example, obvs) but there are a couple of problems with that.

    One is that UK copyright law extends until 75 years after the death of the writer, director and composer.

    Another is that once you have talkies (1927 on) you have soundtracks, dialogue, foley , and the films start making less sense without audible dialogue. This means dropping out existing soundtrack from a fully sound mixed film and substituting our own is going to be a lot trickier.

    Tldr: there’s less readily available sci Fi stuff than you think, unless you want to go full pirate on it.

  • edited August 4

    @Svetlovska this could be cool… the dialog has no music under it. 1938… many episodes…is that pd?

  • Dunno. Might be worth a look. Kind of think we need to make a success of Vampyr first, but don’t let me hold you back. At least we now have a theoretical way to proceed if it is a goer…

  • At 0.19.48.00… anyone know what is the object in the background?

  • What object? I only see trees?

  • Lol go to 0.19.50.00

    I abandoned the subsecond markers, due to scrubbing on iphone with finger

    My bad :neutral:

  • I think it is supposed to be the document the on screen text is coming from

  • Yeah, that’s my suspicion, very indistinct image tho…

    So we get spiderweb, timer, cross, book… that’s it? I didn’t see any other background images, maybe I missed some?

  • I think the image of the film is itself haunted, and every viewer of it sees something - premonitory- of their own fate in its’ indistinct pages…

    Mwa, and if I may be so bold, Ha. And even…

    Mwahahahah!

  • Indeed, indeed… And everything comes to a slow, mechanical stop at the end, despite the livid mythologies hinted at therein… tick… tock… stop

  • edited August 5

    Well, reverting to more or less serious for a moment, I think you can read the whole film as a dream of death. Remember, WW1 only ended a little over half a decade before. We see shadows of veterans, the police officer has a peg leg, our hero emerges from nowhere into an initially empty town. People often act as if he is not there at all, or are themselves possibly spectres. He has a literal out of body experience, and is seen in a coffin. There is a ferryman, tolling a bell. Scythes. Pictures of skeletons. Is he a soul in limbo?

  • What is that on his shoulder at 0.01.21, a butterfly net?

  • There’s so much detail and so much flow and movement… yes, there is absolutely a dream like sense to it, and much death symbolism.

    Btw what was that guy doing with the scythe at the river around 0.2.20? Scythe to cut wheat, wheat to make flour, the dr drowned in flour, in the mechanical mill, wtf going on there…

    Why the lights go out when Allen taps on the window at 0.02.51?

  • What on earth was the point of locking the room at 0.6.00 if it can be unlocked from outside with key still in lock? Evidence of the dream? Dream of..?

  • edited August 4

    A fishing net. He has a rod too. The whole entry into his room, the message left, the warning: ‘she must not die!” The man above with the disfigured face…

  • @Svetlovska said:
    A fishing net. He has a rod too.

    Gotcha

  • I think the way I'll probably go about it is I'll make the piece slightly longer than 5 minutes (closer to 6 minutes perhaps) so that you can fade in/out how you feel it fits best. :) Getting the piece to peak at -12dB is a no-brainer with TwistedWave as I can just normalise the final results to -12dB. 🤷 Easy. (I usually record my live Ambient at a low volume anyways, so there should be plenty of headroom and dynamics. :mrgreen: )

    Getting the stems to you via Dropbox should also be easy as I can just simply record-enable everything before recording in AUM.

    And I'll leave the rest (such as foley effects, etc) up to you. :) If this is okay by you that is.

    P.S. I use Lumafusion as my video editor in case you're wondering. Cheers.

  • @Kewe_Esse said:
    Here, I done this, feel free to add to it, finetune it, ignore it etc

    I needed to go through the movie before starting anything, here’s my drunk scrappy notes

    That's an insane amount of work put there.... :tongue:
    Loved your notes, mate

  • edited August 5

    Messing with YouTube thumbnail

    Edit:

  • Hahah thanks
    That notification came through loud + clear

    @LinearLineman said:

    @iOSTRAKON said:

    Perfect!

  • @iOSTRAKON : oh, I like that- we have to use that! :)

  • Totally up to the crew. I’m sure someone else here could make something better

    @Svetlovska said:
    @iOSTRAKON : oh, I like that- we have to use that! :)

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