Audiobus: Use your music apps together.
What is Audiobus? — Audiobus is an award-winning music app for iPhone and iPad which lets you use your other music apps together. Chain effects on your favourite synth, run the output of apps or Audio Units into an app like GarageBand or Loopy, or select a different audio interface output for each app. Route MIDI between apps — drive a synth from a MIDI sequencer, or add an arpeggiator to your MIDI keyboard — or sync with your external MIDI gear. And control your entire setup from a MIDI controller.Download on the App Store
Audiobus is the app that makes the rest of your setup better.
The AudioBus Horrowshow: Final Submission Details
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:
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.
- if anyone needs one, CapCut is a free and easy to use IOS video editor with tonnes more flexibility than iMovie: https://apps.apple.com/gb/app/capcut-video-editor/id1500855883
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
‘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!