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An Introduction to Compression: Basic Compression - A free download from Audio Masterclass

Equipping Your Home Recording Studio - A free download from Audio Masterclass

An Introduction to Equalization - A free download from Audio Masterclass

Three types of musician you'll prefer to work with in the studio, and one type that you won't

What should you fix before you mix?

Make an attention-getting lo-fi introduction for a track

What exactly does the phrase 'leave headroom for mastering' mean?

2 settings every preamp owner should know and use

Can an electric guitar virtual instrument ever sound like a real electric guitar?

Setting the gain control on your audio interface for recording

How not to run a recording session!

"There is background noise in my studio. Should I use a noise-reduction plug-in?"

Buy an SSL mixing console for a quarter of its price when new!

Pro Tools at the Battle of Trafalgar (part 1)

How far would you trust your computer, or your hard disk recording system? Most of us trust them well enough in the controlled conditions of the studio, where barring accidents the system will be pretty much the same as it was the day before, it will crash or do unusual things with accustomed regularity...

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How far would you trust your computer, or your hard disk recording system? Most of us trust them well enough in the controlled conditions of the studio, where barring accidents the system will be pretty much the same as it was the day before, it will crash or do unusual things with accustomed regularity (every few days or every few minutes according to how new the software is), and by and large it will do its job reasonably effectively and earn its keep. But as you know, the occasional crash will occur just when you have completed a particularly difficult edit and before you have saved the change, or just when you are demonstrating the merits of your studio to a potential customer. But in the studio, at least you always have the option of doing it again. In live work, there is no second chance. Would you be as happy to use a computer in front of a paying audience for something as demanding as hard disk audio? Despite the risks, someone has to be bold enough to do these things or we will never make progress. Computers are already used regularly in the theatre, albeit for much less demanding tasks as channel muting, but someone had to be first to take the risk of not doing it in the old manual way.

Sound designer Peter Key recently took the bold step of using Pro Tools live at a re-enactment of the Battle of Trafalgar. Not on board ship fortunately, but at one of the National Trust’s Fêtes Champêtres at West Wycombe park in Buckinghamshire. If you don’t know what a Fête Champêtre is, and neither did I before I went, it is a whole evening of entertainment where the visiting public dress up in period costume and consume picnics from wicker hampers under the light of candle lanterns. The climax of this particular Fête was to be the restaging of the battle on the park’s modestly sized lake. A tall order I thought, but the visual spectacle turned out to be very satisfactory.

One of the requirements of the sound was that the area should maintain a period look as much as possible, which rather ruled out loudspeaker towers. Sometimes limitations can be turned to advantage and eight sets of speakers were hung in conveniently located trees around the spectators’ area, and there was even a cluster in a tree on the island in the lake. Another requirement was that the production should be historically reasonably accurate, although since the real battle took place during the day, the late evening re-enactment was slightly lacking on that point. The desire for accuracy however led to Peter Key booking a trip on the oldest sailing ship still afloat, the Maria Asumpta, for a three day passage from Gloucester to Devon. As well as recording the sounds of the ship Peter was going to have to earn his keep by acting as a crew member too. Fortunately for Peter, his booking was cancelled since it was judged that a more experienced crew member would be necessary and, as you may have heard, the ship went aground during the voyage and was destroyed with the loss of three lives. The sounds had to be collected from other sources. The same was true of the cannon fire effects. The Trafalgar Gun Company were booked to provide real cannon fire for the event, so Peter went and recorded some of their cannon in advance to use on the recorded sound track. As often happens in theatre, the real sound didn’t match up to expectations since the recordings couldn’t capture the thump of the cannon, nor the sound of the cannonball flying through the air, which apparently is audible. The cannon effects were made from the creative use of sound effects libraries and the results were judged to be excellent by the cannon experts, so if they were satisfied the general public ought to be. Another historical question was whether orders on board ship were given by drums or trumpets (What no radio or PA in 1805?). One so-called expert said, yes a trumpet was used. On being quizzed further on the source of this knowledge it turned out that he had remembered it from David Collison’s 1975 sound design of an exhibition at Madame Tussaud’s! Peter went to the extraordinary lengths of checking through old naval records where he managed to find that there was indeed a trumpeter on the payroll.

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By David Mellor Thursday January 1, 2004
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