Time Based Effects
•Download as PPTX, PDF•
6 likes•1,987 views
This document provides an overview of time-based audio effects. It defines effects as ambient fields that dimension tracks. Common effects like reverb, delay, chorus, flanging and phasing are explained. Reverb is broken down into direct signal, early reflections and reverberation. Delay times are discussed in musical note values relative to tempo. Examples are given of classic songs that feature effects along with the specific effects used. The document also discusses how effects are applied using auxiliary sends and returns on mixing consoles and hardware effects units.
More Related Content
What's hot
What's hot (20)
Viewers also liked
Viewers also liked (19)
Similar to Time Based Effects
Similar to Time Based Effects (20)
More from Magic Finger Lounge
Recently uploaded
Recently uploaded (20)
Time Based Effects
- 2. Agenda What are Effects? Reverb RT60 Spring and Plate Reverb Delay Chorus, Phasing and Flanging Examples of Effects How do we apply effects? Hardware Units
- 3. Time Based Effects What are Effects?
- 4. Time Based Effects In his book, ‘The Mixing Engineer’s Handbook’, Bobby Owsinki describes effects as, “the ambient field in which the track or tracks sit”. “Dimension can be captured while recording but usually has to be created or enhanced when mixing by adding effects such as reverb or delay or any of the modulated delays such as chorusing or flanging”. What are Effects?
- 5. Time Based Effects To create an aural space (depth) To add interest and excitement To make a track sound bigger, wider and/or deeper To move a track back in the mix (positioning) Why do we use effects ?
- 6. Reverb
- 7. The reverb signal itself can be broken down into three components: What is Reverb? •The direct signal •Early reflections •Reverberation
- 9. What is Reverb? • Direct sound arrival is followed by reflections from room surfaces. • Overlapping reflections are heard as reverberation. • Direct-to-Reverberant ratio gives cues to size of room, type of room surfaces, and distance from source.
- 10. RT60
- 11. Another important measurement of reverberation is reverb time or RT60. The term RT60 refers to the time it takes the reverb to decay by 60dB. RT is measured at the point at which the reverb decays to -60dB of its peak level. RT60
- 12. Spring and Plate Reverb
- 13. Time Based Effects Spring and Plate Reverb Lynda Tutorials: Reverb tutorial: Mechanical Reverb, Spring and Plate. http://www.youtube.com/watch?v=DraJZCQcJfw
- 14. Delay
- 15. Delay Basis Guitar Delay Circuit Electric Guitar ‘Bypass’ Circuit Output Delay Line Feedback Line
- 16. Delay • Delays are measured tempo-wise using musical notes in relation to the tempo of the track. • For example, if a song has a tempo of 120 beats per minute (bpm), then the length of time it takes a quarter note to play would be one-half second (60 seconds/120bpm =.5 seconds)
- 17. Delay Quarter note delay = .5 seconds or 500ms.
- 18. Delay 500ms/2 = 250ms (eight note delay)
- 19. Delay 250ms/2 = 125ms (sixteenth note delay) You can continually divide the about values until you get the desired denomination
- 20. Delay Dotted Value Delay Time x 1.5 = Dotted Value Example: 500ms (quarter note 120 bpm) x 1.5 =750ms (Dotted Quarter Note)
- 21. Delay Triplet Value Delay Time x .667 = Triplet Value Example: 500ms (quarter note 120 bpm) x .667 = 333.5ms (Quarter Note Triplet)
- 22. Chorus, Phasing and Flanging
- 23. Chorus A chorus effect occurs when individual sounds with roughly the same timbre and nearly (but never exactly) the same pitch converge and are perceived as one. While similar sounds coming from multiple sources can occur naturally (as in the case of a choir or string orchestra), it can also be simulated using an electronic effects unit or signal processing device.
- 24. Flanging The Flanger effect works in much the same way as the Chorus effect, but it uses a significantly shorter delay time (usually sm
- 25. Phasing Original Tape Phasing Method Multitrack Recorder 1 Multitrack Recorder 2 Multitrack Recorder 3 Same recording played on both machines Mixed output Pressure applied to the supply reel in order to slow down playback slightly
- 26. Phasing A phaser is used to filter a signal by creating a series of peaks and troughs in the frequency spectrum. The position of the pea
- 27. Time Based Effects Examples of Effects
- 28. Time Based Effects Artist: Roxy Music Song: More Than This Album: Avalon Label: Warner Brothers Records Year: 1982 Producer: Rhett Davies Engineer: Bob Clearmountain (mix) Studios: Compass Point (Bahamas), Power Station (now Avatar, New York) This mix makes major use of Avatar Recording Studios’ Chamber One in New York City (then known as The Power Station). It’s a multistory stairwell, all steel and concrete and brick. Note the vocals in particular, made lush entirely by the chamber. Examples of Effects Reverb
- 29. Time Based Effects Artist: Small Faces Song: Itchycoo Park Label: Immediate Year: 1967 Engineer: George Chkiantz/Glyn Johns Studios: Olympic Studios, London This song features one of the first uses of phase-shifting production, which you can hear when the vocals and drums become distorted in the song. The technique was called comb filtering, which could later be created using a processor, but at the time required three tape machines - two of them playing the same thing at different frequencies and the third one recording it. According to Glyn Johns, who engineered the sessions, it was a staff producer at Olympic Studios named George Chkiantz who came up with the effect, and Johns was looking for a place to use it. The Faces were always looking for new sounds and encouraged Johns to use the technique on this song. Examples of Effects Phasing
- 30. Time Based Effects Artist: Nirvana Song: Come As You Are Album: Nevermind Label: DGC Year: 1991 Producer: Butch Vig Studios: Sound City Studios, Van Nuys, California The song begins with Cobain playing an unaccompanied guitar riff for eight seconds. Cobain used an Electro-Harmonix Small Clone guitar chorus pedal to give his instrument a "watery" tone during the verses and pre-choruses. Examples of Effects Chorus
- 31. Time Based Effects Examples of Effects Delay (Slap Back Delay) Artist: The Beatles Song: A Day In The Life Album: Sgt. Pepper's Lonely Hearts Club Band Label: Parlophone, Capitol Year: 1967 Producer: George Martin Studios: EMI Studios, London This track features a slapback delay on Lennon’s vocal. Typically the delay time is between 75 to 250 milliseconds, with little or no feedback. The effect is characteristic of vocals on 1950s rock-n-roll records, particularly those issued by Sun records.
- 32. Time Based Effects How do we apply effects?
- 33. Time Based Effects Auxiliary Sends Effect Unit Aux Send Desk Channels Aux Master Example showing auxes feeding an effect unit input Input dry signal
- 34. Time Based Effects Auxiliary Sends Auxiliaries on Audient ASP8024 Aux Sends for Effects
- 35. Time Based Effects Auxiliary Returns Desk Channels Aux Return dry signal effected signal Aux Sends Effect Unit Aux Master InputOutput
- 36. Time Based Effects The outputs of an effect unit needs to be brought back into the desk at some point… Effects Returns Stereo Inputs (Master Section) You can then blend your effected signal (wet) with your unaffected signal (dry).
- 37. Time Based Effects Mix - Sends input signal to the mix bus Master Level Stereo Inputs Effects Returns
- 38. Time Based Effects Auxiliary Returns Auxiliary Returns on Audient ASP8024 Auxiliary Masters on Audient ASP8024
- 39. Time Based Effects Application of Effects in Software
- 40. Time Based Effects Hardware Units
- 41. Time Based Effects Hardware Units Alesis Midiverb 4
- 42. Time Based Effects Hardware Units Alesis Midiverb 4 Scroll to load preset. Preset loads automatically
- 43. Time Based Effects Hardware Units Alesis Midiverb 4 Edit Parameters A,B,C,D. Use jog wheel to adjust.
- 44. Time Based Effects Hardware Units TC Electronic M350 Input Gain Used to control input signal. Look out for clipping.
- 45. Time Based Effects Hardware Units TC Electronic M350 Mix Ratio Dry/Wet ratio. Usually set to 100% wet.
- 46. Time Based Effects Hardware Units TC Electronic M350 Effect Balance i.e All the way to the right gives reverb only. All the way to the left gives delay/effects only. reverbdelay/effects
- 47. Time Based Effects Hardware Units TC Electronic M350 ReverbsDelays/Effects Input fed by one aux Input fed by another aux
- 48. Time Based Effects Hardware Units TC Electronic M350 Delay/Effects Parameter Control
- 49. Time Based Effects Hardware Units TC Electronic M350 Reverb Parameters Control
- 50. Time Based Effects Hardware Units Alesis Midiverb 2 Input/Output Section Used to control input signal. Look out for clipping.
- 51. Time Based Effects Hardware Units Alesis Midiverb 2 Reverb Selection i.e. 0-29 = Reverb, 30-39= Gated Reverb
- 52. Time Based Effects You Tube videos on how to use these units can be found on my You Tube Channel. Manuals can be located on Blackboard (and on line from the manufacturer). Hardware Units Supporting Documents
- 53. Time Based Effects References Books Owsinski, Bobby (1999), The Mixing Engineer’s Handbook, USA: Mix Books. Web Lynda Tutorials: Reverb tutorial: Mechanical Reverb, Spring and Plate. Available at: http://www.youtube.com/watch?v=DraJZCQcJfw Itchycoo Park by Small Faces. Available at: http://www.songfacts.com/detail.php?id=1650 Automatic Double Tracking. Available at: http://en.wikipedia.org/wiki/Automatic_double_tracking
Editor's Notes
- Another important measurement of reverberation is reverb time or RT60. The term RT60 refers to the time it takes the reverb to decay by 60dB. RT is measured at the point at which the reverb decays to -60dB of its peak level. We need some kind of standard here otherwise a reverb time of 2 seconds could mean something else on another unit.
- There are 14 auxes in total - 2 for foldback and 12 for effects
- Blend wet signal with dry.
- Most desks will have an auxiliary return section. This section of the desk is another set of balanced inputs which allow you to return the effected signal into the desk and route to the mix bus.
- Most desks will have an auxiliary return section. This section of the desk is another set of line inputs which allow you to return the effected signal into the desk and route to the mix bus. Foldback A/B to send effects to headphones - example, vocalists like reverb in their headphones as it helps them to pitch and gets them in the mood. TRIM control to compensate for different input levels. This has a range of ±20dB.
- Aux returns which have been labelled with the corresponding effect. So, in order to hear the effect the return needs to be turned up and placed in the mix buss.
- On the master section, the AUX output, ("AUX SEND") solo button can be used to hear the "dry" sound. The AUX input, ("AUX RETURN") solo button can be used to hear the treated sound.