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Terms And Conditions

I. Episode Premium Edit

 

A. Episode Premium Edit (Included in Premium and Intermediate packages only)

 

1.   Editing of up to 70-minutes of raw recorded audio

1.   Raw” describes un-edited audio. After editing, 60-minutes of raw recorded audio may result in only 50-minutes of “finished” audio. The runtime limitation is on the runtime of the un-edited (raw) audio, and not on the runtime of the resulting finished product.

2.   Recorded audio may contain up to _2__ individual “sources” if more than 2 “sources” are present you will must upgrade your package by selecting the amount of “sources” while ordering the service.This can be done on the product page.

1.   A “source” can be thought of as an input. One person speaking into one microphone is one (1) input, and so one (1) source. Two (2) people speaking into the same microphone is still one (1) source. If each host has a microphone, that’s two (2) inputs, therefore (2) sources. If two (2) guests call-in and share a microphone (or are captured in a single mono/stereo audio file) that counts as one (1) source. Please note: individual equalization (see A.2.b Equalization of each voice) will not be performed on audio files where more than one speaker appears on the same source and are not isolated to their own Left or Right channel. If such isolation exists, each channel will count as one (1) source.

3.   Editing covers the removal of mistakes, long pauses, and other things that should not make it into the finished product. Other examples include: coughs, sneezes, loud sniffs, and things specifically earmarked for removal by The CLIENT

2.   Engineering of audio. This includes:

1.   Best effort audio repair. 

1.   If The CLIENT’s audio has artifacts like crackle, buzz, hum, popping, or clicking, Saw And Sine will reduce the presence of these artifacts as much as possible, but will very rarely be able to remove them completely. If The CLIENT, for example, provides us with audio recorded outside during a rainstorm, Saw And Sine cannot “edit out the rain” however it can minimize the noise as much as possible. Likewise, and as another example, if The CLIENT’s recording cables are located next to power cables during a recording session in their own home, and there is electromagnetic interference present in the recording due to this, Saw And Sine cannot remove this from the audio - The Company can only do its best to reduce it and make it less perceptible.

2.   Equalization (EQ) of each voice

1.   Excludes voices recorded via communication mediums utilizing high compression. Ex. Zoom, Call In Studio, or Google Voice. This audio is highly compressed in order to reduce file size for over-the-internet communication and does not benefit from equalization.

3.   Breath reduction

1.   Removing breaths is time-consuming and creates an unnatural-sounding end result. Breaths will be reduced by a measure of dB (relative to the loudness of the surrounding audio) but they will not be removed.

4.   Spectral and Voice De-Noising

1.   Spectral De-noising identifies the sound of the environment surrounding the speaker (Host, Co-host, etc), then isolates it from speech so that it can be reduced and made less perceivable to the human ear.

2.   Voice De-Noising is the same as Spectral De-Noising but is more aggressive. Sometimes both forms of De-Noising are used, sometimes only one, and sometimes neither is necessary.

5.   Mouth De-Clicking

1.   The reduction of “mouth noise” in a recording. Mouth noise happens when a speaker is not properly hydrated and their mouth has become dry. Mouth De-Clicking is the process by which Saw And Sine reduces and/or removes these noises.

6.   De-Essing

1.   To reduce the intensity of sibilants in a speaker’s voice. Sibilants are created when pronouncing S’s and certain other consonants. De-essing (De-S-ing) is the process of making these sibilants less intense (quieter).

7.   Gating

1.   Gating refers to the muting, or reduction, of an audio signal when a speaker is not speaking. This is done only when needed and only when possible. For example: when speakers are in the same room, and in close proximity to one another, gating is not used because of microphone bleed (the capture of a speaker’s voice on a different speaker’s microphone)

8.   Compression and Loudness normalization

1.   Ensuring that the perceived loudness of a recording is consistent throughout. Loudness is normalized to between -15LUFS to -17LUFS (where the -15 is “louder”) with the ideal level of -16LUFS (the industry quasi-standard). If audio is recorded at Saw And Sine's recording facilities, the audio will always be within this range. Audio not recorded at Saw And Sine’s recording facilities will be normalized to a loudness deemed best by the Saw And Sine’s Audio Engineers. Compression is not normalization, but it is a process by and through which normalization is achieved.

9.   Completed files

1.   Edited podcast recordings will be provided to The CLIENT in .mp3 format at 128kbps

1.   We can provide between other kbps options: 64, 96, 128, 192, 256, or 320. (Most podcast hosting providers will limit either bitrate or file size for .mp3 uploads, making 128kbps the highest bitrate usually allowed and 100MB the common limit of file size. At 128kbps a minute of audio is ~1MB. Most 45-minute podcast recordings - depending on the number of speakers - range between 55MB and 65MB when encoded at 128kbps). More information on bitrates can be found by clicking here.

2.   The CLIENT may request a lossless WAV or FLAC version of the final product; as well as stems. These items will not be provided unless requested by The CLIENT

3.   The CLIENT may request a copy of the DAW session files (usually between 1GB and 2GB in size). These will not be provided unless requested by The CLIENT. Cubase 10 is the DAW/software Saw And Sine uses to record and edit audio. If The CLIENT does not have this software at its disposal, these session files would be of little use and are very usually unnecessary.

B. Not Included in Premium Edit

1.   Video editing services

2.   File storage services

1.   After a podcast episode is completed and handed off to The Client, Saw And Sine does not store the associated project files for longer than 30-days. All project files are purged every 30-days. The Company does not absorb the cost of increasing data storage. Saw And Sine does not keep backups

 

II. Episode Basic Processing

 

A. Episode Basic Processing (Included in all packages)

 

1.   Overall Processing of up to 70-minutes of raw recorded audio

1.   Raw” describes un-edited audio. After processing 60-minutes of raw recorded audio and stitching in the intro and the outro, the finished product may result in a longer file since we DO NOT cut/remove any section of the audio. The runtime limitation is on the runtime of the un-edited (raw) audio, and not on the runtime of the resulting finished product.

2.   Recorded audio may contain up to _2__ individual “sources” if more than 2 “sources” are present you must upgrade your package by selecting the amount of “sources” while ordering the service. This can be done on the product page.

1.   A “source” can be thought of as an input. One person speaking into one microphone is one (1) input, and so one (1) source. Two (2) people speaking into the same microphone is still one (1) source. If each host has a microphone, that’s two (2) inputs, therefore (2) sources. If two (2) guests call-in and share a microphone (or are captured in a single mono/stereo audio file) that counts as one (1) source. Please note: individual equalization (see A.2.b Equalization of each voice) will not be performed on audio files where more than one speaker appears on the same source and are not isolated to their own Left or Right channel. If such isolation exists, each channel will count as one (1) source.

3.   The basic processing does not include minute-by-minute listening or editing, therefore we will not remove mistakes, stutters, uhhms, pauses, random noises or any other artifacts that are not distributed uniformly throughout the audio. 

  1. Editing refers to a process by which the audio engineer listens to the audio from the beginning to the end. During this process, the audio engineer will perform precise edits to attempt to correct certain problems within the audio file which can not be removed through processing. 

  2. Processing refers to a process by which the audio engineer listens to the audio in an intermittent manner and is usually focussing on the overall sound of the file. During this process, the audio engineer will run a series of processes that will correct issues that are present uniformly throughout the audio.

  3. Artifacts that are usually spread uniformly throughout the audio include: room tone, continued electromagnetic interference, reverberation, computer or air-conditioner fan noise. These types of issues are corrected through what we call processing and not through editing when possible, therefore listening to the entire file is not necessary

  4. EQ-ing, Gate-ing, De-ssing, Spectral De-nosing, Voice De-noising, De-Reverberation, Compression, Saturation are considered processes, and they are included in the Basic Processing.

  5. By applying processing on the file, we do not guarantee complete removal of the artifacts, we can just ensure an overall improvement of the audio. 

2.   Engineering of audio. This includes:

1.   Best effort audio repair. 

1.   If The CLIENT’s audio has artifacts like crackle, buzz, hum, popping, or clicking, Saw And Sine will reduce the presence of these artifacts as much as possible through processing and not editing, but will very rarely be able to remove them completely. If The CLIENT, for example, provides us with audio recorded outside during a rainstorm, Saw And Sine cannot “edit out the rain” however it can minimize the noise as much as possible. Likewise, and as another example, if The CLIENT’s recording cables are located next to power cables during a recording session in their own home, and there is electromagnetic interference present in the recording due to this, Saw And Sine cannot remove this from the audio - The Company can only do its best to reduce it and make it less perceptible.

2.   Equalization (EQ) of each voice

1.   Excludes voices recorded via communication mediums utilizing high compression. Ex. Zoom, Call In Studio, or Google Voice. This audio is highly compressed in order to reduce file size for over-the-internet communication and does not benefit from equalization.

3.   Spectral and Voice De-Noising

1.   Spectral De-noising identifies the sound of the environment surrounding the speaker (Host, Co-host, etc), then isolates it from speech so that it can be reduced and made less perceivable to the human ear.

2.   Voice De-Noising is the same as Spectral De-Noising but is more aggressive. Sometimes both forms of De-Noising are used, sometimes only one, and sometimes neither is necessary.

4.   De-Essing

1.   To reduce the intensity of sibilants in a speaker’s voice. Sibilants are created when pronouncing S’s and certain other consonants. De-essing (De-S-ing) is the process of making these sibilants less intense (quieter). Most of the time sibilant problems can be corrected through processing, however occasionally certain sibilants might come through even after the de-ssing processing has been applied. If this happens we will not edit the “s” sound manually. This problem can be corrected only as part of the Premium Edit which includes a quality control procedure.  

7.   Gating

1.   Gating refers to the muting, or reduction, of an audio signal when a speaker is not speaking. This is done only when needed and only when possible. For example: when speakers are in the same room, and in close proximity to one another, gating is not used because of microphone bleed (the capture of a speaker’s voice on a different speaker’s microphone)

8.   Compression and Loudness normalization

1.   Ensuring that the perceived loudness of a recording is consistent throughout. Loudness is normalized to between -15LUFS to -17LUFS (where the -15 is “louder”) with the ideal level of -16LUFS (the industry quasi-standard). If audio is recorded at Saw And Sine's recording facilities, the audio will always be within this range. Audio not recorded at Saw And Sine’s recording facilities will be normalized to a loudness deemed best by the Saw And Sine’s Audio Engineers. Compression is not normalization, but it is a process by and through which normalization is achieved.

9.   Completed files

1.   Edited podcast recordings will be provided to The CLIENT in .mp3 format at 128kbps

1.   We can provide between other kbps options: 64, 96, 128, 192, 256, or 320. (Most podcast hosting providers will limit either bitrate or file size for .mp3 uploads, making 128kbps the highest bitrate usually allowed and 100mb the common limit of file size. At 128kbps a minute of audio is ~1MB. Most 45-minute podcast recordings - depending on the number of speakers - range between 55MB and 65MB when encoded at 128kbps). More information on bitrates can be found by clicking here.

B. Not Included in Basic Processing

1.   Video editing services

2.  Audio editing

3.  Minute by minute listening

4.  Quality Control

5.  Mouth De-licking

6.  Breath Reduction

7.  Additional audio formats

2.   File storage services

1.   After a podcast episode is completed and handed off to The Client, Saw And Sine does not store the associated project files for longer than 30-days. All project files are purged every 30-days. The Company does not absorb the cost of increasing data storage. Saw And Sine does not keep backups

 

 

III. Other Services

1.   Publishing And Episode Scheduling via Buzzsprout or Libsyn

 

1.   The process of publishing/releasing mastered episodes on hosting platforms such as Buzzsprout or Libsyn. For this service, we will use the CLIENT's hosting account so we will need full credentials to it. We are not responsible for the subscription plan for the CLIENT's hosting account. Any downtime caused by a late payment is the CLIENT's responsibility. Buzzsprout or Libsyn are third-party companies and we are not responsible for any inconvenience/disturbance caused on their end.

 

2.   Show Notes Writing

 

1.   In the Premium Podcast Monthly Packages, Saw And Sine offers Show Notes Writing. Saw And Sine will write a show note for each episode for up to 150 words. Any specific information mentioned by any participant of the podcast/recording to be included in the show notes (website links, phone numbers, sponsors, etc...) must be provided by the CLIENT in writing prior to the order. 

 

3.   SEO Search Engine Optimisation

 

1.   As part of the Premium Podcast Monthly Packages, Saw And Sine will provide basic SEO services. The SEO services are for the podcast episodes only, meaning that Saw And Sine will not provide full SEO services for the CLIENT's business. Saw And Sine will ensure that the show notes are written conform to the best SEO practices in the current time, we will not keep the SEO for finished episodes up to date or guarantee its performance in the long-term future this is the CLIENT's responsibility. 

 

4.   1 hour / 2 hours Zoom Consultations

 

1.   On request we will provide face-to-face technical and marketing support for 1 hour respective 2 hours a month depending on the type of service the client opted for. It is possible for the client to choose 2 meetings of 30 mins respectively 4 meetings of 30 mins. 

 

5.   E-mail Support

 

1.  We provide essential e-mail support as part of all our packages. We provide quick answers to specific simple technical or marketing questions. We don’t solve complex problems in writing. If we believe the problem you are facing requires a consultation we will notify you. 

 

6. SAS Server Access

 

1.   The SAS server access must be used for project related files only and not for personal storage. 

2.  We occasionally purge the files from the server without warning that’s why we advise you to keep a backup of your raw recordings and the mastered files in your computer or in your personal archive. The SAS Server must not be used for archival purposes.

 

3.  The upload of suspicious content such as, viruses, pornographic content, pirated content or executable files is strictly forbidden. This type of act is immediately followed by the suspension of the user’s account, deletion of all related files of that account and ultimately in some cases immediate reporting of the infringer to the legal authorities.

IV. Turnaround and Delivery

1.Turnaround time refers to how long The Client can expect to wait: After a recording session is completed, to receive the raw recording files and/or... after audio is submitted for post-production, to receive the finished edited product

3.The Client can expect that audio recorded at Saw And Sine’s recording facilities, and which is not then submitted for post-production (editing), to be “turned around” within 24-hours of the completion of a recording session.

4.The Client can expect that audio submitted to Saw And Sine for post-production (editing), and regardless of where it was recorded, to be “turned around” within seven (7) calendar days from the day of submission.

 

A. Explanation of 7-day editing turnaround time

  1. Generally speaking, podcasts release on a static schedule. Example: Weekly, bi-weekly, monthly, or quarterly. The most common frequency being weekly. Since Saw And Sine is a full service brick-and-mortar recording studio, it requires flexibility in its responsibilities so that it might be in a position to extend flexibility to its clients. 

 

  1. Some editing services offer 24-hour turnaround times and, frequently, Saw And Sine does turn projects around this quickly. However, where most other editing services strictly edit, Saw And Sine also functions as a hub for various sorts of live recording and post-production work (ex. music, voiceover, ADR, and audio books) and must therefore balance its post-production services with its production services in such a way that the two do not interfere with one another. Podcasts cannot cause audiobooks to go over their deadlines, and ADR sessions cannot take priority over podcast recording sessions. Everyone has to get along. 

 

4. In addition to the reasons given above, it is a bad production habit to record, edit, and release a podcast episode (or any weekly recurring audio product) on a “same week” schedule. Saw And Sine believes in creating space for “life to happen.” Kids get sick, inclement weather changes plans, production delays are unpredictable, et cetera. When a production has a “same week” production schedule (ex. record Monday, release Friday), there is very little room to accommodate these sorts of things. Saw And Sine will never prioritize The Client over the health and safety of Saw And Sine’s employees or employee’s families. Saw And Sine expects that The Client would never prioritize a project over the same. So, Saw And Sine builds flexibility into the Client/Company relationship from the outset. 

 

B. 30-Day Launch, “One month in the can”

  1. If This Agreement is not a “refresh” or “extension” of a previous agreement, and regardless of whether The Client is approaching Saw And Sine with a new or pre-existing and live podcast, the “on-boarding” process takes thirty (30) calendar days. During this time Saw And Sine and The Client will work together to:

 

1.   Record, edit, and make “complete”, one (1) month’s worth of episodes

1.   This could be four if The Client plans to release weekly, or two if bi-weekly. Regardless of the number, The Client and Saw And Sine will work together to record one (1) month’s worth of podcast episodes. 

2.   Work out a production, post-production, and publication schedule. No podcast episodes will be released during the on-boarding process. The first of the podcast episodes completed during the on-boarding process will be released on the first release date of the second month of the services outlined in This Agreement. 

 

3.  Importantly: from a production standpoint, during the on-boarding process, Saw And Sine is still providing The Client with all the services outlined in This Agreement, but Saw And Sine is intentionally building a 30-day buffer between the production and release of a podcast episode. This buffer provides flexibility for The Client and Saw And Sine and avoids “life getting in the way” of a consistently delivered podcast.

 

4. This is a non-negotiable practice of Saw And Sine. Unless otherwise stated in This Agreement (see V. Special Considerations), if The Client finds this on-boarding process untenable, The Client cannot produce podcasts at the facilities of, or have their audio edited by, Saw And Sine

 

C. Ongoing recording and editing after launch

 

1.Once episodes begin releasing, The Client will be expected to record and/or submit one (1) raw podcast audio recording every:

 

___ Week

___ Two (2) Weeks

___ Month

___ Quarter

 

 

  1. This allows The Company to maintain the 30-day buffer between production and release, and thereby maintain flexibility for both itself and all its clients. When and if The Client or Saw And Sine finds reason to “skip an episode” (eg. vacation, unforeseen production complications, sick family members, etc.) The Client and Saw And Sine will work together to restore that missed week when and if Saw And Sine’s production calendar allows (see VII. Missed Episodes and Agreement Cancellation). Should The Client require a one-month hiatus from creating recordings, and the 30-day buffer is exhausted, The Client will be required to pause publication upon their return from hiatus in order that Saw And Sine and The Client might rebuild that buffer.

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