Tsukuba, Ibaraki, Japan
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  • Studio J Recordings on BBC Radio 4

    2015年04月28日 Studio J No comments
    Aibo Operating Room

    Aibo Operating Room

    BBC Radio hired us to find and interview Aibo owners and “doctors” as well as the Buddhist priest who holds funeral ceremonies for them. Sony discontinued support for them last year so there is a company made up of retired engineers who “treat” them and perform organ transplants.

    Recorded the Aibo owner’s interview with a Tascam iXZ iPhone Interface into the studio system. The Aibo sounds were recorded with a Sanken CS-3e.

    Just Broadcast on BBC Radio 4 today. The part we worked on starts at 17:30. They used our photos too! Good fun.
    http://www.bbc.co.uk/programmes/b05rnyz2#auto

  • ドキュメンタリー映画21:21完成!

    2011年01月06日 Studio J No comments

    21世紀の教育についてのドキュメンタリー映画21:21が完成しました! 21:21 のプロデューサはPatrick Newellとディレクターは Gisli Snaerです。Studio Jはステレオとサラウンドサウンドのサウンドデザインを担当していました。 21:21は10ヶ国で撮影した一時間映画です。Studio Jは21:21の為に日本とアメリカの各地で20ギガバイト以上の効果音と環境音のオリジナルレコーディングとナーレーション、音楽、フォーリーのレコーディングとジェフリーの心臓の音を含め特別効果音も作成しました。 今後は効果音の取り方と制作方法とサラウンドの空間の作り方についてのポストを書きますのでまた見に来てください。
    21 Foundationと映画についての詳細はこちらでhttp://21foundation.com/

  • ドキュメンタリー映画21:21のサラウンドシステムの設定

    2010年10月16日 Studio J No comments

    [翻訳中]

    On June 8th, Kyoda san (who I like to call Mister Surround) from TC Group Japan, visited Studio J to tune the surround system that they graciously provided for the audio production of 21:21, a documentary film about 21st century education. Produced by Patrick Newell and Directed by Gisli Snaer. TC Group supplied a Dynaudio BM15A for the center speaker, 2 Dynaudio BM6As for the surrounds and a BM14S sub-woofer. WOW! Studio J already had a pair of Dynaudio BM15As that I chose in an A-B comparison with some of the current Genelecs the 8020B, 8030A and 8040A. I had been a long time user of older Genelecs. The 1030s, 1031s and still have a pair of 1028s which I still use today as , but the new Genelecs sounded lifeless and almost hard to listen to during our comparisons. I will say that the smallest of the Genelecs I tested, the 8020Bs, were superb and if I needed some small and powerful monitors, they would be at the top of the list. Thanks to the amazing tweeters, the Dynaudio BM15As are super high definition and give you incredibly accurate reproduction of the original sound while also sounding warm and full of life. It’s hard to tell if the sound is coming from speakers or the instrument itself. The Dynaudios, seem to make your ears better and more sensitive. Changes of half a db in volume or EQ are noticeable, which makes for some well balanced mixes. Mixes translate very well to other systems though it is often a let down when playing back on lesser speakers because of the loss of definition.

    Our first job was to set the speaker location. Based on the ITU 5.1 surround sound standard, all speakers need to be equidistant from the listening position and positioned at 0 degrees for center, 30 degrees left and right and 110 +/- 10 degrees for the surrounds.  See a diagram here.

    “Hey Jeff, bring me a mic stand”. Kyoda san pulls out this cool plexiglass plate with the speaker angles printed on it, that mounts on a mic stand and a piece of rope attached to the center point to make it easy to fix the speaker positions. “Place the mic stand at your listening position”. We then went around the circle and moved the speakers into place.

    Kyoda san has a theory about surround speaker placement. Japanese people’s ears tend to pop out and face forward, which he thinks is because they worked in the fields and it was important to hear people in front of you across the rice fields. While Europeans ears are generally flat, this is because, as Kyoda san hypothesizes, Europeans had to be able to hear animals sneaking up from behind to eat them. Thus Japanese placement of surround speakers is generally 110 and European is generally 120. (Note from Kyoda san: “please add that this hypothesis is not based on any official statistics or anthropological studies. I hope, somebody reads your blog who has an interest in this hypothesis and starts a study. :-)DSC_0029

    Now I thought having 2 Dynaudios, one for each ear, was a pretty cool thing, actually “sublime” and “transcendent” is more accurate. Imagine being surrounded by 5 of them and a sub woofer on the floor?! Things can only get better. The BM6As  are smaller than the BM15As but sound quality was perfectly matched and the BM6As held their own while not taking up too much space in the control room.

    The next step was to balance the speaker levels. We placed a DB meter above the “X” we taped on the floor to denote the listening position and then fed pink noise through the direct outs of the Digidesign Digi 003 and into each speaker to adjust the output level of each speaker at the listening position to 85 dBs. We used Logic’s Test Oscillator plug-in to generate the Pink Noise and the Multichannel Gain plug-in to adjust the output levels.

    DSC_0033

    Now it was time to check out the sound. We didn’t have a DVD player with discrete 5.1 outputs yet, (Kyoda san suggested the Pioneer DV-610AV which I picked up the next day) so we played around with setting up some stereo music files for 5.1 play back. Import a stereo file into Logic and send the sound out to LR, Center, surrounds and sub-woofer, each with different processing. LR and center, as is. Surrounds, delay both channels and adjust to change the perceived room size, inverse the phase on either channel to bring out the vocal. Sub-woofer, low-pass filter and some bass boost.

    Remember, we were just working with a stereo track but when played back through six speakers it is a completely different world. Music that sounds incredible in stereo opens up and completely engulfs you. That’s probably why they call it surround sound. It was a completely different effect than the pseudo-surround that AV amps apply. It sounded completely natural and present. Muting the surrounds, center speaker and sub-woofer was almost depressing. How can I ever listen in stereo again?! I got really excited at this point and started adding song after song to see how they would sound. Kyoda san was very patient with me but I think he was happy to see me so excited about the wonderful system that he had provided.

    Surround_wide

    Since set up day, I have been working hard on 21:21, adding original sound effects and environmental sounds, cleaning up and balancing the dialog, recording additional music and basically designing the aural landscape of the film. All in beautiful surround sound! Many thanks to Kyoda san and TC Group for your generosity and support.

  • Studio Jが世界ストリーミングエベントに参加!

    2009年12月09日 Studio J No comments

    all_you_need_is_love_1

    (12月7日)の夜10:30にhttp://starbucksloveproject.com/ でStarbucks & Project (RED)
    LOVE PROJECTの世界のすべての国からのライブ配信のイベントがありました。日本は
    Studio Jから配信しました。Studio JとVirgin Earth(http://www.virginearthinc.com/) 共同制作でした。とてもドキドキで楽しい時間でした。Watarase Beatlesの明るいメンバーのパワーはすごかったです。 ライブ配信したビデオはこちらで観れます。
    http://www.starbucksloveproject.com/#/map/country/547/

    + ADD YOUR VOICEをクリックすると自分のあわせて歌うところのビデオを撮影する事も出来ます。一人がアップするとStarbucksはエイズ基金に5セントを寄付しますので是非歌ってください。

    エベントの詳細な説明が下記にあります。

    イベント内容

    42年前に世界初の衛星生中継で放送されたライブイベントがありました。
    ビートルズがその時に演奏した「All you need is  love」は 世界26カ国で400万人以上によって
    視聴されたことをご存知の方もいらっしゃると思います。

    そして、42年後の今年 Starbucks & Project (RED) LOVE PROJECTは、世界中196カ国を
    インターネットで結び、さまざまなミュージシャンが「All you need is  love」を演奏する
    模様を世界中に配信します。このイベントに参加することで、これはエイズで苦しむ
    アフリカの人々を救済するために基金を募っている世界基金に協力することができます。

    このイベントの為に映画音楽で数々の賞を受賞したグレアム・レベル氏が
    「All you need is  love」を編曲し、またこの映像 は映画監督のクリス・パーマー氏に
    よってプロモーションビデオに編集され、ネット配信されます。

    イベント日時

    イベントは日本時間の12月8日午後10時30分に世界各国で一斉に行なわれます。
    (グリニッジ標準時間では12月7日午後1時30分)
    またこのイベントの模様はインターネットに配信され、2010年3月9日まで視聴可能です。
    また、このイベントに参加してくださったすべてのアーティストの演奏参加地を世界地図
    でご覧になれます。
    http://starbucksloveproject.com/

  • One Japan Project

    2009年04月02日 Jeffrey No comments

    エコで注目された洞爺湖サミットCMの編集及び音声マスタリングを手掛ける。こちらで視聴可能http://one.org/jp/様々な環境でとった有名人の短い言葉(数秒)、音質、ノイズ、音の反響など、バラバラの素材を一体化するプロジェクトでした。EQ、コンプ、ノイズリダクションと音量の微調整をし、まとまりました。