This will be a multi-part blog series dedicated to guiding individuals who are faced with the task of managing a large number of field recordings all labeled with the generic name 'TAKE 0000001' ad infinitum!!!. Over the course of the next few days, I will delve into various strategies, tips, and tools that can streamline the organisation, editing, and overall handling of such files.
Throughout this blog mini series, I aim to provide practical solutions that can simplify your workflow and enhance your efficiency when dealing with these files. From batch renaming techniques to utilizing specialised software, we will explore a range of methods to help you navigate through this audio file management dilemma.
By the end of this series, you will not only have a clearer understanding of how to effectively manage your audio files but also gain valuable insights that can optimise your entire audio production process.
Stay tuned for the upcoming posts where we will dive deeper into the intricacies of handling 'TAKE 0000001' and beyond.
Hey, feel free to share your thoughts and comments as we go. Don't worry about it - no one's here to judge.
Todays post acts as an introduction to what I'll talk about and covers some of the recording hints before editing...
Managing a large number of audio files can indeed pose a significant challenge, especially if they are all named in a similar fashion, as is often the case with my files. I find it quite impossible to deal with the intricacies of navigating through these files in the filed. especially when faced with small buttons and tiny keyboards that require precise handling. (and, in my last Greece shoot, temperatures of 40 degrees plus with no shade I just wanted to get back to the hotel and take a shower!!) This all makes naming files in the field impractical.
It is crucial to remember that in certain scenarios, such as recording dialog on set with a director, naming takes and adding metadata in real-time is paramount. This practice ensures that the files are properly labeled and ready for immediate use or sharing. However, in more discreet environments or public settings, attempting to manage file names can be inconvenient and draw unwanted attention.
My preferred workflow involves recording the audio takes first and then assigning names and metadata later during the editing process. When working on location, I make it a point to whisper the location into the microphone at the start of each take, creating an audio reference that proves invaluable during post-production. Additionally, I take photos to complement the audio recordings, providing a visual reference paired with the time of day for added context. Maintaining a strict and organised process is key to avoiding confusion during the editing phase. Deviating from established procedures, such as taking multiple photos or inconsistent naming conventions, can lead to unnecessary complications and hinder the overall efficiency of the workflow.(i.e taking two photos can lead to some confusion weeks later when you're editing - I should know!!)
So - you've recorded your files, you're back home in front of your DAW and you're ready to get them ready for use. What now?
PART 2 of "handling 'TAKE 0000001' and beyond." soon...
Do you think you'll read part 2 when it's released?
0%Write an answer
PART 2
DISCLAIMER. I USE PROTOOLS SO THESE NEXT STEPS MAY NOT WORK WITH OTHER DAWS
So, ProTools is booted up, RX is ready. What's next? Here's my workflow.
Firstly, I'll import all the files into a 32-bit Float ProTools session (the sample rate will match the files. i.e., I usually work at 48K but some are 192K!!) Now they inhabit the region list. Time to transfer them to 1 track per 'width' of the recorded sound (mono, Stereo, 5.0, or Ambisonic). I then space them all equally 10 seconds apart to give myself some working room.
This next step is basically the same for all files, so I'll just describe it once.
Listen to the clip. (let's call it REC00001 for argument's sake) marking any and all points that you're not happy with (wind or bumps or clicks - your voice ident!!) and also bits you can't use (Music and intelligible dialog).
Adjust the gain to hit a level you're happy with (remember, we are in 32-bit mode here so I can increase basically as much as I want, and make no sonic quality degradation to the sound). When I was originally recording I'd already added my spoken description into the file, and this comes in useful in step 3.
Place a marker at the head of the clip using the spoken description you said into the mic in the field. Because we are now in the process of editing, we will have to chop this out of the file, so we have to be able to retrieve this info later. It's at this point that the markers will become your best friend. You will eventually expand upon the naming when finalising your library. i.e., the final clip may end up called something like "AMBRoom_Quiet hotel room with the window open to hear distant cicadas and movement, some voices occasionally. 7PM_LAFX_Greece Crete Panormos," but in the timeline could be named simply "Room cicadas voices 7PM." The reason I don't use a fuller name is that because as I was the one who recorded it I can remember what the short name actually refers to so I don't need the full naming detail.
Edit out the sections you marked and have a second listen all the way through to double-check you haven't missed anything. Now listen again (yes, again) but this time with headphones. It's at this point that you will be tempted to just trust your initial listens (because you're so bored of hearing it - especially lengthier clips). Therefore, there is usually a strong temptation to ignore this vital step.
DO NOT SKIP IT - Anytime I've done this I've always end up regretting it, finalising the file only to hear something when the library is complete is NOT FUN.
Consolidate your newly edited file so there are no edits and now send it to RX. Here you can see instantly troublesome frequencies and hidden rumbles (especially important if you're editing on somewhat small speakers with limited bass response or cheaper headphones). Seek and destroy anything you now notice and don't want.
Only if necessary use your favourite EQ plug-in as an audiosuite to render further changes. I personally use Fab Filter EQ pro3, but whatever you have is good. By now your clip is called something like "audio1REC00001FFEQ.wav" or some other useless name, this is why we made the marker at the head of the clip.
By now you should have a timeline of multiple clips, all processed through Clip Gain, RX, and EQ (though not all of these - if any - are always needed!!!) The next step is to delete all the unused files (any that you've processed will leave behind the 'original'). We don't need these anymore. So, 'save session copy in' to a separate folder as here you can now choose the final Bit depth and sample rate. Why would we change it? Well I find that nobody (yet) wants a 32-bit float sample library!! So I'll always change this down to 24 bit (remember, we've now embedded the gain to how we liked it in step 1). When recording I like to think in advance for each specific sound, so I'll record 192 for FX I think might benefit from advanced manipulation, and 48K for everything else (I hardly ever bother with 96K because if I want that extra sonic quality I'll just jump to 192! Storage really isn't an issue these days). All this is to say that I rarely ever change the sample rate when 'saving session copy in' but always change the bit depth down to 24.
You can now safely archive your original folder you had and get ready to open your 'saved session copy in' folder for the final; stage. Embedding metadata and making all your files UCS compatible...
That's in PART 3 coming soon....
PART 3
DISCLAIMER I use Pro Tools and Soundminer V6 PRO so it's written with that in mind.
So, You've done everything in steps 1 ans 2! you've recorded lots of amazing sounds, edited them all and given them all 'rough' names that you'll now have to expand upon. If you're thinking that we'll have to boot Pro Tools back up you would be wrong. Our DAW has done it's part and isn't needed from this point onwards. It's Soundminer doing the heavy lifting now. Luckily for you (and me) there are many YouTube videos out there that explain this whole process way better than I could ever write down, so I've added their links for you in this final part.
Might seem like I'm wimping out writing this, but believe me it's far better to watch someone explain it to you than me to try to write it all out, but in a nutshell - you'll select, add some text - delete some text, embed, re-name (your files) and then export your final files with their UCS metadata intact. (you can even have Soundminer export the sounds into folders organised by various criteria. Soundminer makes all this super easy
(Reading this back it seems like Justin paid me for this.... I wish!!!)
There was a day when we all just had effect files helpfully named "sea" or "NFF.1.A1.Left.wav or some such other nonsense. (I'm willing to bet that we all still have a few of them even now.) Happily those days are finally coming to an end and most major sound effect suppliers (and us small guys as well) are naming all our sound effects based on a "Universal Category System" or 'UCS' This is down to the amazing work of Tim Neilson, Justin Drury and Kai Paquin.
On their website https://universalcategorysystem.com They write...
Our aim is to provide and encourage the use of a set category list for the classification of sound effects. We hope that in doing so, we can offer a framework for consistent categorization of sound effects, offer uniformity in a filename structure, and ease the pain of maintaining a sound effects library.
(Yeah, they designed, planned and created an amazing resource for us audio guys, but they couldn't spell 'categorisation' properly :-)
Before reading on take a quick look at these videos they prepared, They will be able to help you understand it better than I ever could in writing.
Justin Drury is the owner of https://store.soundminer.com/, an amazing sound effect searching programme (and so much more). This is from the Soundminer website.
It is an advanced search engine for both Macintosh and Windows users, a highly advanced batch conversion engine, an integrated metadata management tool, an advanced sound design tool, a DSP processing host, a scalable server for multiple users, a web publishing vehicle, and a tracking and metrics system, and it is a companion product designed to work directly with the most popular production tools in the industry.
The fantastic thing about Justin being heavily involved in UCS is that it's heavily integrated into Soundminer therefore making the organisation and embedding of UCS metadata into your files a cinch. Again, explaining this in writing is pointless when there's YouTube playlists like this
So, now you've watched all these videos you'll be now able to embed your very own UCS metadata and have you final, shiny audiofiles ready to use. I sincerely hope you've got something from this mini blog series, and if you have any questions at all then feel free to get in touch.
If you're interested in finding out more about Soundminer then visit https://store.soundminer.com/pages/product-tour
You can even request a demo here
Glad you're enjoying it.
This is a fascinating insight into your workflow. It’s so useful to read how other people do things, personally I almost always learn something new. Also, it’s very reassuring that I’m on the right track (excuse the pun). I’m really looking forward to the next blog post in this series. Thanks again for taking the time to write these. Best. David