![]() There’s also a plugin available for Premiere Pro, so you can browse, download and try out audio tracks from Audio Network straight from within your edit.ĭislike: The pricing falls slightly on the expensive side.įilmstro ( Cost: $14.99 for 30 days or $99 for an annual license (both covering commercial use). The site also features a Top 40 playlist, with the most popular tracks for that month – something that can really help speed up your selection process. You’ll often find multiple mixes of a single audio track to choose from. ![]() Audio Network is a really flexible library to use as a filmmaker. Like: How many times have you found an audio track that you’d like to sync to your video, only to find that it distracts from your subjects’ speech when the vocals kick in? Or perhaps you love the track, but just want a one-minute version for social media and would rather not hack away at it in post. However, when the site is updated, it’s always decent stuff.Īudio Network ( Cost: £69 per track for professional use or subscription license (pricing on request). If you’re in constant need of music with a similar feel or within the same genre, you might find yourself coming across the same tracks. The user interface is nicely designed, which makes searching the library a breeze.ĭislike: Music doesn’t get updated as often as some of its competitors. ![]() Perfect for those who create and publish content regularly since, for less than $200 a year, you get unlimited access to the sites’ selection of tracks – and yes, that covers commercial use too. Like: Incredibly competitive pricing to the point where you’ll be hard-pressed to find anything that beats it. So, to help ease your background track blues, we’ve compiled a list of websites that are well worth a virtual visit, the next time you’re in need of the perfect score.Īrtlist ( Cost: $199 for an annual license. Sometimes, it can literally feel like you’ve spent more time searching for the right piece of music than you actually have editing and cutting your footage. If you see something different, you might not be doing something right.With what seems to be an ever-growing list of royalty free music websites, we’ve picked eight that are well worth checking outĪnyone who’s ever edited a video knows the pain of just how long it can take to find that perfect piece of backing music. After MS decoding, your left and right should be fairly balanced (assuming of course that the source was balanced, not right or left heavy). Usually if you watch your meters playing, before decoding you'll notice the mid signal meter will be much hotter (makes sense, it was directly facing the source) and side will be lower. If using a plugin, remember that it will assume the mid mic is on the track left, and side mic is on the right. ![]() No huge deal, you would then just swap phase on the original figure 8 track and not on the duplicated, and it should correct it. If somehow you had that backwards when recording, you might find your left and right signals reversed. Now the other thing is that on a figure 8, you want the zero degree 'lobe' pointing to the left, and 180 facing the right. Not sure what you'll find not having matched mics, it will still certainly work. Not a bad idea the first few times you experiment with MS to have a phase meter running (ProTools Surround Meter has one) and watch what happens.īut MS is a great tool. Also, the general rule for MS is never let your 'side' mic signals go hotter than your 'mid' mic signal, or you start introducing out of phase material.
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