Chace Audio, a full service audio post production facility, has launched an innovative online audio post production glossary at www.TriggerTone.com.
The company has restored, re-mastered and/or up-mixed the soundtracks to thousands of iconic and award-winning films including Close Encounters of the Third Kind: 30th Anniversary Ultimate Edition, Gone With The Wind, and Bridge on the River Kwai for DVD and/or Blu-ray disc release.
TriggerTone is a searchable, interactive database of audio terminology offering concise, clear interpretations of a variety of common and uncommon terms as they relate to audio post production and restoration. The site is designed as a resource for those in the post production arena to gain a general understanding of the lexicon of sound terminology as it is used by
audio post production engineers. Nearly 300 definitions are currently featured on the site; this number will soon expand to more than 500. As the industry and technology continues to evolve, new terms will be added. Chace Audio invites visitors to suggest terms via a link provided on the website.
Chace Audio Scheduling Manager Michael Werckle explains, “Our industry has developed its own unique language. The words used in audio post production may resemble terms from other related audio fields or even from everyday vernacular, but many have taken on new meanings in the context of our particular environment. Instead of offering purely academic definitions, the focus of TriggerTone is to explain terms in an accurate but relatively easy to understand manner. This specific knowledge set has never before been made available in this way.”
While a majority of those working in various aspects of studio production and post production are familiar with the general history of film and video, many are not well-versed in audio post production terminology, especially in fields like restoration, preservation and soundtrack re-mastering. The advent of promising new audio formats like 7.1 for Blu-ray makes this knowledge critical as the transition presents a prime opportunity for studios to restore, preserve and up-mix soundtracks to take full advantage of a widened audio spectrum and better options for maximum fidelity. Chace Audio has been very active in the emerging 7.1 arena, having recently worked on films such as Be Kind, Rewind, Final Destination, Friday, Menace II Society, Rendition, and Set It Off.
James Young, who has worked at Chace for more than 17 years and penned many TriggerTone entries, notes, “Initially conceived of as a tool for our clients to help them decipher the jargon-filled reports they receive, it soon dawned on us that this glossary could be a helpful tool for all sorts of people who have to deal with the language of audio-post professionals.
The site is also augmented with audio, graphics, and video segments so visitors can actually see and hear what clash or inter-modulation distortion looks and sounds like or see the difference in a properly-synched sound-to-picture versus that which is out-of-sync.”
TriggerTone definitions are written, revised, and edited by the Chace Audio staff with the goal of making them as accurate, concise, and informative as possible. The team includes Chace Audio Mixer / Technical Supervisor James Young; Chace Audio Mixer / Technical Operations Manager Chris Reynolds; Audio Engineer / Technical Supervisor Carl Grana; Sr. Optical Transfer Engineer Mark Curry; Scheduling Manager Michael Werckle; Technical Coordinator Amy Nawrocki; Facility Manager April Connelly; Audio Engineers Karen Eckhoff and George Hart; Project Manager Doug Johnson; and Element Preparation Services / IT / Digital Asset Management Manager David Hunter.