Audio Technology


‘Why am I carrying around terabytes of stuff I’ve done nothing with?’ Was the question buzzing around my head last September as I panned across the hard drives in my backpack. There were umpteen sound recordings, videos and pics from dozens of forays through Asia and the Himalaya, all just a head crash from oblivion. It was time to do something with them. It was also time to change my approach, from ‘post-production when I get home’ — which had clearly failed — to ‘post-production on location’. I needed to break the stockpiling habit.

I pictured myself trekking into a remote area with a lightweight high-quality rig, recording and filming an elderly villager playing endangered music, and leaving behind a finished copy. That wasn’t going to happen with my Macbook Pro. It’s an early 2013 model with 15-inch Retina display; a wonderfully reliable machine that never cost a cent in repairs, but its trekking days are over. Apart from being too heavy for what I had in mind, its battery life had faded to a measly four hours and I hated working with iMovie. I wanted a lightweight DAW with a day’s worth of battery, and a video editing app I could relate to as an audio guy.

A week later Apple released iOS 11, and reviewers asked “is it time to replace your laptop with an iPad?” Most concluded “Not

You're reading a preview, sign up to read more.

More from Audio Technology

Audio Technology7 min read
Treat My Room THE RESULT
Last year AudioTechnology ran an Instagram competition with SoundAcoustics called Treat My Room. We asked you to submit your studio in need of a little acoustic love. It didn’t matter whether it was a bedroom, garage, broom closet; we wanted to help.
Audio Technology4 min readTech
Last Word
In Issue 17 of AudioTechnology I wrote an article called ‘Engineer, Promote Thyself!’, discussing strategies for promoting your audio skills and services. For perspective, Issue 17 hit the streets in late 2000; that’s about two years after Google was
Audio Technology12 min read
Inside Spectra 1964
Many times when mastering I’ve needed sporadic limiting to protect against the ‘overs’ caused by intersample peaking, as shown when using a true peak meter. These overs can cause distortion when codecs are applied for streaming or MP3s, but many of t