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I dug a up thesis on the topic, On the contribution of temporal and spatial cues to the perceptual organization of concurrent sounds (link). From scanning section 1.2 Temporal cues, there are at least three factors involved, namely attack shape, volume, and onset time. There's probably a frequency content dependency as well (i.e subbass/kick combos can ...

I have had pretty good luck with Reaper on my old single processor PC (Reaper also works on the Mac). I haven't done anything with sampling, but even with my slow computer I have been able to play back several tracks with EQ and lots of effects on each channel without taxing the system much. Reaper also has a way to link to other computers running reaper ...

In my experience the bass will not seem very prominent only if the mix isn't doing it justice. Bass can get very muddled so a lot of the time a Low-cut filter at around 40Hz can help clean out some mud. Compression is almost always used on bass because it is one of those things that's so very omnidirectional. Sits in the middle of the mix and does ...

A huge part of this is around the power given to each frequency range, and the compression used to make the audio fit within the headroom provided. My band had to find ways round this as we are very much classic rock, but with more modern club beats (which involve an incredible amount of bass, subsonics etc) and this still causes us problems in venues where ...

To address the question as to why the bass instruments tend to play a less prominent part in many styles: this has to do with the fact that bass frequencies carry far less information than the higher ones. To say it very roughly, the range from 30-150 Hz (typical range of the fundamentals for the bass instruments) can carry at most 120 "units of information" ...

Disclaimer: I am not a lawyer, this is not legal advice, just my understanding of common application of copyright law. Copyright law varies between countries and even within countries, so you should consult a lawyer who is familiar with the copyright law in any relevant jurisdictions before proceeding. You would need permission from the performers and may ...

This question is the same, even with Kinect removed from the equation. The easiest way to work with a Kinect for custom work is to use it with a PC, so choose the appropriate projector for the room and lighting and then get the hardware to hook the PC up to it. Specific projector recommendations is likely too specific to the current time and is going to ...

I misunderstood your question so this is the edited version: This is a big challenge specially in big monsters shows with only one sound source. They use a special hardware to split correctly the sounds with the correctly delay to make sounds "in sync" everywhere. With more than one source you will need some net connection between the machines. In my ...

If he/she is a professional actor you don't have to try and make him cry. It's part the actor's job. And again professional or not you cannot fake a cry without making the actor sad ( meaning just tears or fake ones ) . Otherwise the overall scene will seem fake. What you should do is make the actor understand why he/she has to cry in that scene and most ...

A 'menthol blower' is what I've seen recently used on set. The makeup artist will blow through it into the actor's eye to irritate it. A search on Google might give you some leads.

Create the emotion and use eye drops only as a final touch, if needed. If you try, you will find you can pretty much create any emotion at will. The actors should be sad when playing these parts, only difference is that when you are purposefully causing yourself to be sad, it's actually pretty fun.