2. Propagation
• Sound travels at different speeds through
different mediums
We can detect miniscule differences in our ears
• Propagation=Delay
Speed of Sound is 340 m/s
3. Amplitude
• Extent of the wave/compression
Sound in air; wave is in the same direction of propagation
Longitudinal Wave
• The higher the amplitude, the louder the sound
Measured in decibels (Relative measurement)
DBSPL; Decibels in air (Standard is softest thing we can hear)
DBFS; Decibels in computer (Loudest thing we can hear is standard)
• Dynamic Plug-Ins
Control amplitude over time
Expanders
Compressors
Limiters
Gates
4. Frequency
• Frequency is the computer measurement of pitch
How fast it is vibrating
• Frequency effects are related to timbre
Different frequencies with energies
Every instrument has a unique one
• EQ-Collection of filters to modify frequency
• Range of human hearing is 20hz-20,000hz
Hertz is 1 vibration/second
5. Visualizing Sound
• Oscilloscope
(Time, Amplitude)
Hard to tell frequency
• Sonogram Analyzer
(Frequency, Amplitude, Time)
Momentary picture, hard to tell change
• Spectrum Analyzer
9. Dynamic Range
• Range between the largest and smallest
possible values of an observable quantity
• In music, refers to the range of an instrument
• Can be manipulated through compression
• Pop music typically varies between 6-10db
10. Psychoacoustics
• The study of sound perception
• Sound doesn’t just involve the ear, but the brain
as well
• The semitone scale is logarithmic, not linear
• Phantom Fundamental
A correct sense of pitch may be obtained even if
sound reproduction filters out the lower harmonics
• Masking
Certain frequencies can drown each other out
11. Microphones
• Condenser (Stage mic) and Dynamic (Recording)
Condenser
Picks up a small area; less sensitive
Mainly for vocals
Peaks around 5khz
Dynamic
Makes everything as accurate as possible
Mainly for recording
Flatline from 2-20khz
12. Microphones
• Cardioid Pattern
Area in front is sensitive area
• Figure 8 Pattern
Area in front and back is sensitive area
• Omni…..
Circular sensitive area
• Placement of Mics
Place where it sounds the best
13. Line Level
• Raise or lower signal to line level so it can be used
all across studio
+4 (Studio Standard) and -10 (Consumer Level)
• Gain Stage
Either amplifies or attenuates signal
Bring sounds up and leave it there for the
entire time
When at Unity, gain stage does nothing
• Microphone Preamp
Brings up to line level
14. Cables
• Always get high quality cables and connectors
• Single Conductor/Instrument Cable
Like guitar cable that goes in amp
Unbalanced
Use shorter ones ideally
Susceptible to noise
• TRS/Stereo Cable
Similar to instrument cable
Used to connect headphones in balanced configuration
Sends two signals that mask each other
• XLR Cable
Microphone Cable
• Direct Box
Goes from unbalanced to balanced cable
• RCA Cable
Plug into audio input; like TV Cable (Yellow, White, Red)
15. Connecting A Microphone
• Avoid sound of actually making the
connection
Set input gain to zero, set phantom power off
Err on lower side of volume
Trim/Input Gain manipulates preamp
• When disconnecting, turn everything
off, phantom power off, turn down input gain
16. Analog to Digital Converter
• Process of going from analog-digital energy is
called sampling
• Fletcher-Munson Curve
We perceive higher frequencies as louder than
lower frequencies
17. Pickup Connections
• Use TS/instrument cable
Use Direct/Instrument input
Some audio inputs have already
• Don’t need to use phantom power
• Electric Instruments have latency
Lag between playing time and time until the speakers
• Always playback
• Ways to record
Plug into amp, put microphone in front of amp
Plug into amp, then plug amp into audio input
Use line output
18. Production
• Can refer to the entire process, or the phrases
Pre-Production
Composing song, generating ideas
Production
Recording
Post-Production
Everything done in computer
19. Analog to Digital Conversion
• CPU can only understand computer notation
Conversion is called sampling
• Computers based on bits
A 1 or 0
Single bit represents on and off
Collection of bits is called a word
16 bits=typical audio
2^bitword=Number of total bits
1 bit=2 individual bits, 4 bits=16
individual bits
Higher bits=Higher dynamic range
• Best to use at least 24 bits in DAW
20. Sampling Rate
• How often we do measurements
Higher sampling rate is a higher frequency
44,100 sampling rate represents 22,050 hz
Plays sounds 1/44,100 times a
second
44,100 is CD standard
Must playback at the same sampling
rate, otherwise it will speed up
Can be utilized creatively
21. Buffer Size
• Queue of Buffers
Larger size=more plug-ins/synchronizers, but more
of a delay when recording
Lower size=less plug-ins, less latency
• Use low buffer size when recording
• Use high buffer size when editing
• Freezing a Track
Record tracks as audio, then play back audio to
bring down buffer size
22. File Types
• Zip.File
Compresses file without losing data
• When recording, use .wav or .aiff format
Use broadcast.wav (BWF.wav) when possible
• Interleaved/Noninterleaved
Interleaved saves one file for left speaker and right
speaker
• When Recording use 48khz sampling size
.wav, .aiff, BWF.wav file
128 buffer size when recording, 1024 when editing
24bit depth
23. Project Folder
• Create folders, not single files in DAWs
Do not save project folders in project folders
• Project Sharing
Create new folder, create .zip file, then send
• Always know where things are being saved
If you want to save a version, created a new
file, not a folder
24. Types of Tracks
• Audio Track
Holds digital audio
• MIDI Track
Holds MIDI info
No sound
• Auxiliary Tracks
For setting up effects
• Instrument Tracks
Inputs MIDI data, outputs digital audio
• Global Tracks
Tempo/Meter changes, markers, key changes
25. Recording Audio
• When recording with one pickup/mic, record as
mono track
Name tracks
• Audio feedback
Take off headphones, keep speakers down when
record-enabling a track
• Create another track, mute first track if you don’t
like the first one
Can compare later and edit between them
27. Tools
• Trimming
Changing bounds of region
• Separating and Cutting (Scissor Tool)
Cut and Paste
• The Grid
Move left and right, and up in down
Put things in perfect location
• Fades
Can get rid of a click
Crossfades
Two separate samples blend seamlessly into each other
• Zooming
Select before zooming
28. Tools
• Cycling
Cycle repeat a small part of music to fine tune a section
• Naming and Coloring
Can be used to organize
• Merging
Also called consolidating/gluing
Type of destructive edit
• Markers
Used to locate specific place in a song
Found in Global Tracks
• Comping
Compilation Tracks*
Best pieces of a bunch of different recordings
29. MIDI
• 16 MIDI Channels
Allows to choose between synths
• MIDI messages
Note on/off
Control Change
Pitch Bend
30. MIDI
• Note On/Off
Sounds note on specified channel
What note and how hard to hit (Velocity)
7-bit number (0-127) for velocity and note
• Sustain is control channel 64
• Channel Pressure
How hard to push on keyboard
• Sampler and Synthesizers
Synths use a formula
Samplers play back prerecorded sounds
31. MIDI Controllers
• Drum pads, keyboards, etc..
Need drivers to be plugged in
• Pitch and Modulation Wheels usually standard
• 8 Knobs
Send control change (CC) messages
On most MIDI controllers
• Make MIDI controller send on channel 1
32. MIDI
• In MIDI, every note is a single event
• Editing Velocities
Adjust performance
Adjust relative volume on each note
• Quantization
Pulls notes to nearest value
Set grid (1/4, 1/8, 1/16, etc…)
Makes it less sloppy
Adjust bad notes by hand first, then quantize
Strength of Quantization
At 100% sounds robotic, use lower amounts and keep
quantizing until it sounds good
34. Mixing
• Focus
Have an idea of what you want
Have listener focus to bass here, melody
here, etccc
Done through manipulating loudness
35. Mixing
• The Channel Strip
Modular
Top (Input) to Bottom (Output) with exceptions
Very top are inputs
Under that is trim
How loud something must be to get into mixer
• Insert table
First side is TRS cable
Can insert compressors, etc…
• Stereo
Two tracks for left and right
• Mono
One track for left and right
• Knobs
Aux. Send
Separate output for the track
EQ inserts
Pan
36. Mixing
• Solo
Mutes other tracks
• Main volume faders
Manipulates amplitude
• Channel Strip in DAW
Aux. send will be either pre-send or post-send
Play with in DAW
37. The Bus
• Place to edit multiple things at once
Send all drummer tracks to a single track, etc…
Sub-mix (Mix in a mix)
Send-and-return signal flow can
apply same effect to different tracks in different
amounts
Organize buses
39. Mixing
• Inserts
Can put external effects directly onto the mixing board
Easy to do in DAW
Processes one by one, from top to bottom (Order does
matter)
• Sub-mixes are called buses
Can be used to add a certain effect to multiple tracks
simultaneously
• Bypass Effect
Shuts off effect to compare
Use modifier key
• MIDI data doesn’t process in the same way as digital audio
40. Mixing
• Sub-mix
Mixing groups that belong together all at once (I.e. mixing all drums, mixing all
vocals, etc…)
Submixes tend to use a single bus
Use I/O or bus window to create
Create aux input to play (Set bus to input)
• Always remember, that mixing is not as important as the quality of the
recording
The mix should correct minor defects only
• Aux Sends
Pre-fader vs Post-fader sends
Independent-Dependent on a track folder (Generally stick with postfader when mixing, pre-fader when recording)
Post-fader will reduce effects along with volume, pre-fader will not
41. Mixing
• Setting parallel effects
Same effect at different levels
Create bus and aux track for effects
Modify sends to change how much it is effected (Wet/dry
level)
• Reverb
Dry=less effect, wet=more effect
Less reverb gives closer feel, more makes it seem further
• Automation (Moving Effects)
Changing volume, effect, etc… over the duration of a song
Any knob can be automated in a DAW
Some tracks have a record for automation, others use global tracks
42. Mixing
• Types of Automation
Latch, touch, overwrite, play
Latch vs Touch
Touch overwrites small part of the
fader, then returns back to original level when released
Latch will stay at level
• Tracks Window/Sequence Coordinator (Overwrite)
Shows it as a line
Can use pencil tool to draw lines
Can be used to ride the fader (I.e. always keep
vocals slightly above everything else)
43. Dynamic Effects
• What are Dynamics
Many different meanings
To performer, it is the volume of the sound, as well as the intensity
• Dynamic range of an Effect
Range where effect will reproduce properly
Bottom end is noise floor (Just get noise below)
Top end is distortion
The middle end is linear, while the top and bottom are nonlinear
• Decibel Scale is logarithmic
Ratio:Setpoint
Two types are DBFS and DBSPL
• EQ changes with amplitude
Quieter is a midrange focus, whereas louder focuses on upper/lower ends
44. Dynamic Effects
• Noise
Acoustic Noise is noise of space
In order to identify, listen to environment with all noise
off
Electric Noise is noise picked up from space/equipment
In order to reduce, limit amount of gear
• Distortion
Distortion turns volume variation into timbre variation
Drive is forced distortion
Clipping is digital distortion
This kind of distortion is too aggressive
During signal flow, stay in green while recording
45. Dynamic Effects
• Dynamic Range Manipulation
Macro-scale
Looking at whole song and increasing/decreasing
on large scales
Micro-scale
Single performer/track manipulation
Microscale
Transient
When amplitude changes drastically in short
time (Think when drumstick hits drum)
Algorithmic Control
46. Dynamic Effects
• Decreasing dynamic range (Compression)
Increase lows, decrease highs
• Increasing Dynamic Range (Expansion)
Increase highs, decrease lows
• Riding the Fader
When it gets too loud bring it down, when it gets too low bring it up
Moving fader up and down on bottom of wave form of performance
Makes it hard to mix because it’s on the main fader
Put on a new gain/trim for best effects
• Dynamic effects (Compressors, expanders, limiters, gates) are
nonlinear
47. Dynamic Effects
• Dynamic Processor Parameters
Analyze signal, calculate envelope
Envelope is the average signal at a given time
R.M.S. = Root mean squared
Square everything, take average, square the root , you get
envelope
Envelope controls volume fader
• Threshold
When dynamic processor starts functioning
Does nothing before threshold
• Ratio
Input:Output above threshold
1:1 is no effect, 2:1 (output is half input), 10:1 is heavy
48. Dynamic Effects
• Speed of volume fader
Controlled by Attack/Release
Lower they are, faster the dynamic effect takes place
• Knee
Effects curve of threshold
Makes effect less sharp
• Look-ahead
Delay on signal, but not on envelope
Reduce level before transient occurs
• Compressor
Reduce level of input signal when envelope goes above threshold
• Expander
Reduce level of input signal when envelope goes below threshold
49. Dynamic Effects
• Noise Gate
Removes hiss and noise from music
Sets threshold above noise level and below music
Keep ratio high to eliminate noise, acts like an expander at a
lower ratio (Is basically a high-ratio expander)
• Downward Compression
Controls transient
Reduces dynamic range and amplitude
• Limiter
Makes things as loud as possible without increasing amplitude
Functions as a compressor with a high ratio and low attack
Prevents noise from reaching a certain amplitude
50. Filter and Delay Effects
• Delay Concept
Filters are single sample delays
• Parameters
Delay time
Time from input to output
Dry/Wet
Undelayed/Delayed
Feedback
How much of the wet signal is sent back to itself
• Delay Spectrum
Comb Filtering
Delays to create sense of harmonics (Can be used to thin a sound and let
others through)
White Noise
Equal energy across the frequency range
Short delay times create a pitch because sense of pitch is perceiving something fast
51. Filter and Delay Effects
• Modulated Short Delays
Short delay to create comb filter, but change delay time to make it
dynamic
Psychedelic at one end, smooth at other
Unnatural but useful
• Flangers
Comb filters set in motion by LFO (Low frequency oscillator)
Usually done differently in each speaker to make it sound swirly
• Phasers
Deep Notches in motion
Doesn’t have a comb filter i.e. no pattern and isn’t even across spectrum
Each DAW has a different sounding one
Good for things that are overwhelming in the mix
52. Filter and Delay Effects
• Chorus
Multiple detuned copies
Emulates doppler effect
Simulates being played by multiple people
• Lissajous
Measures the width of a sound
Good to make room for new thing
• Filters
Low-Pass/High-Pass/Band-Pass Filters
What it lets through
Low pass lets lows through, etc…
Establish cutoff frequency, then change things away from cutoff frequency
Very Drastic
Good for synths, not necessarily for mixing
53. Filter and Delay Effects
• Shelf Filters
Reduction filter
Reduces high/low end, doesn’t remove
frequencies
Consistent across frequencies
• Parametric Filter
Bell shaped bump in middle of frequency range
For midrange sounds
54. Filter and Delay Effects
• EQ
We are naturally attracted to the brightest thing
High shelf filters are important to guiding
listener
Play everything to its strengths
So important in mixing
Context is more important than sound in
isolation
55. Filter and Delay Effects
• Medium Delays
Sound like real-world sounds
Slap-back Delay (Stereo Delay)
Natural delay (Like talking in a room)
• Long Delays
Can be tempo set to make it in tune with music
Can help make music wider
Many have built in filters
Get in the way of harmony
56. Filter and Delay Effects
• Reverb
Good way to guide listeners focus
Dryer sounds sound closer to listener
Algorithmic vs. Convolution Reverb
Synth vs. Sampler reverb
• Algorithmic Reverb
Early Reflections
A set of short delays
Predelay
Delays start of reverb
Room size/slope/stereo controls
Diffuse Reverb
Longer delays
Reverb time
Below 2 seconds is ideal (More than 2 seconds is unnatural)
57. Filter and Delay Effects
• Convolution Reverb
Use impulse response (Prerecorded) to set what you like
Usually different recordings
Small room, cathedral, jazz hall, etc…
• Width in Mixing
Most important stuff goes in the middle
Focuses (Usually)
High Hats
Vocals
Snare Drums
Bass
Kick Drums
Beware of masking
58. Filter and Delay Effects
• Make secondary elements wide
Can be done with panning
Can use stereo width plug-ins
Chorus/Flanger/etc…
• Low end frequencies fill the room
• Upper frequencies, width matters
• Space in Mixing
Give impressions of space with reverbs and longer delays
Haas Effect
Musicians control relatives, not absolutes
Closer things appear brighter
Stereo Width
Volume can make something sound brighter
Reverb makes things appear further
59. Synthesis
• Oscillator Filter Amplifier
• Oscillators
First module in synthesis
Generates sound form
Sine wave, square wave, triangle
wave, sawtooth, etc…
Really bright, high frequency, obnoxious
Synthesizer oscillator can change over time
60. Synthesis
• Filters
Low-pass filter is most prominent in synthesis
Analogy to voice
Vocal chords are our oscillators, our mouth is
the filter (What passes through)
Boosts are fine for synthesizers, where in mixing
they are counterproductive
Resonance is feedback
More resonance=more emphasis on high-cut
61. Synthesis
• Amplifiers
Voltage Control Amplifier (VCA)
Envelope attached to amp
Amplifier is in motion
ADSR control
Attack, Decay, Sustain, Release
Higher attack in synth dulls sound, doesn’t
make it sharper like with a compressor
62. Synthesis
• LFO
Can create vibrato
Cyclical (Up and down)
Happens below hearing threshold (0-20 hz)
Can be used to modulate almost anything
Source, destination, and amount
Parameters of every LFO
• Bottom Line; synthesis is very complicated, especially
on more powerful synths, but almost any sound
imaginable can be created from it. Synthesis requires
experimentation and further study. Happy Producing!