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AUTOMATION

having a DAW automatically perform tasks over time, particularly moving knobs, faders, and switches for you.

allows you to have parameters and settings change over time without needing to manually adjust them

allows you to bring an instrument to the forefront for a moment and fade it back out when the lead vocal comes back in

TIPS

1. Start with a swell 3. Accentuate vocals with throws.

2. Automate pans for sound design. 4. Bring forward or hide elements with EQ

5. Loosen programmed sections with variation

6. Automate the master bus for better dynamics

BOUNCING

takes your project, which is full of tracks, and "bounces" it down to just two tracks - a Left channel and a Right channel. (stereo audio file)

Common bounce formats are:

WAV

AIFF

(uncompressed audio formats) There are two aspects to this: Sample Rate and Bit Depth. Common settings are:

16-bit/44.1kHz (CD standard)

24-bit/48kHz (DVD standard)

(compressed audio formats) 1/10th the size of a full quality audio file, but still have enough quality to sound good to the average listener. Common formats are:

MP3

M4A

Real time VS. Offline Bounce

Real-time means the bounce happens on real-time and will take as long as the file is in length.

Offline bouncing happens as fast as the computer can handle.

Normalizing

(feature) audio volume level is set to its maximum level without clipping

Loudness Penalty

check that the loudness is appropriate

website Loudness Penalty allows you to drag and drop your file into the free browser service to get an analysis of the output levels.

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VIRTUAL INSTRUMENTS AND MIDI

MIDI (Musical Instrument Digital Interface) can represent musical notes and rhythm as well as numerous other data that helps recreate performances. Virtual instruments

piano/midi roll - virtual grid representing time on the horizontal axis and MIDI notes on the vertical axis

Most virtual instruments fall between categories of synthesis and sample playback

Most virtual instruments use a bit of both sampling and synthesis

What to look for in VI

Focus or Flexibility?

How does it Sound?

Can Your System Handle it

How is the User Interface?

How is the User Interface?

MUSIC THEORY

Standard music notation uses the first 7 notes of the alphabet:

A B C D E F G

additional symbols to indicate whether a note is lower or higher. Here are the two most common symbols to encounter:

# = Sharp (makes a note higher in pitch)

♭ = Flat (makes a note lower in pitch)

SCALES

combine notes together into meaningful collections

Major, Minor, Pentatonic, Whole Tone, Lydian Dominant

Here's a C Major scale: C D E F G A B C

Here's an E Major scale: E F# G# A B C# D# E

Here's an A minor scale: A B C D E F G A

Here's a D minor scale: D E F G A B♭ C D

CHORDS

combine 3 or more notes together based on notes from a scale, we create chords

Major, minor, diminished, suspended, Major 7th, Dominant 7th, 9th, etc.

C Major = notes C, E, & G = labeled as "C"

A minor = notes A, C, & E = labeled as "Am"

D minor 7th = notes D, F, A, & C = labeled as "Dm7"

G Dominant 7th = notes G, B, D, & F = labeled as "G7"

CHORD PROGRESSIONS

combine chords into sequences to form chord progressions.

use Roman numerals to identify

I = C ii = Dm iii = Em IV = F V = G vi = Am vii° = B° ("B diminished")

Free Virtual Instruments

Spitfire LABSLinks (Orchestral and experimental acoustic/synthesized instruments. Excellent sample library company.)

Orchestral Tools SINEfactoryOrchestral instruments. Another excellent company)

Native Instrument Komplete Start. (balanced variety of instruments from famous brand)

Ample Sound Ample Bass P Lite II and Ample Sound Ample Guitar M Lite II (Rhythm generating guitar and bass. Good quality considering it's free)

VCV Rack (Modular rack synthesis)

List of Free Instruments on Plugin Boutique

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MASTERING

- polishing final result; i.e. after creating, editing, and mixing

(achieving the "professional" sound)

The biggest elements are: EQ, Compression, and Limiting.

LIMITING

- LIMITERS listen to the incoming signal and applies volume adjustments when the threshold is exceeded; completely limits any signal passing threshold

- often used as safeguard along with compressor

MASTERING

- balance the sonic elements of a stereo mix and optimize playback across all systems and media formats.

- Mixing deals with multi-tracked audio from the recording sessions, while mastering is concerned with the stereo mixdown after mixing is completed.

Stereo enhancement - Stereo enhancement helps develop the sense of space in your master

Audio restoration - last pass of quality control for your audio. If needed, hiccups in the original mix like clicks, pops and hisses can be addressed here.

EQ - EQ balances the spectrum of frequencies in your track. An ideal master is well-balanced and proportional.

Compression - Mastering compression manages the dynamics of the entire stereo track.

Loudness - raise the level of the mix to the appropriate loudness for consumer listening.

Bit depth reduction & sample rate conversion - audio file type used during the production phase isn’t always the same as the final output medium. If the sample rate and bit depth need to be converted, it will be done at the end of the mastering process

Sequencing & spacing - process of arranging the tracks in the order they will appear on the release and adding periods of silence in between to craft the album’s flow.

PROCESS

1. Understand the song’s genre and style

2. Develop a cohesive sound for the release

3. Prepare the material for release

Loudness penalty

Can use algorithms to master - Bandlab

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SIGNAL PROCESSING CONT. - MODULATION

- group of effects that having modulating parameter

types - Chorus, Flanger, Phaser, Vibrato, and Tremolo.

CHORUS: duplicates signal delayed by 5-10mms, played over original signal; signal modulated by LFO - creates Doppler effect

FLANGER: duplicates incoming signal, distinct tone, affects higher frequencies more

PHASER: duplicates signal, adds filters to audio, affects phase not volume,

TREMOLO: alters volume

VIBRATO: alters pitch

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DYNAMIC PROCESSING cont.

LIMITER

blocks signal above set threshold

compressor compresses signal above threshold by percentage, limiters limit all signal above threshold

GATE

cuts off unwanted signal under set threshold

only allows sound above threshold

EXPANDER

compresses signal below threshold

DeEsser

compresses sibilant sounds - s, z, and sh consonants

TIME BASED PROCESSING

Reverb

echo effect created from sound reflected off surfaces

can create big room and small room effect in a track

how sound reflects and reacts in room; adding ambience, out of focus

CONTROLS

- dry/wet control: controls how much signal is processed

- pre-delay time: adjust time-lapse between di rect sound and reflections- emulates size of room i.e. shorter delay time=shorter room

- reverb time/decay: how long reverb lasts - emulates sound treatment of room

(types of reverb - chamber, plate, spring, algorithmic, convolution)

Delay

timed specific echo effect, multiple

ping pong effect- echos on both sides of stereo

in focus and crisp repeats

CONTROLS

- dry/wet

- feedback control: how many repeats are made; progressively quieter

- tap tempo: sets tempo of delay

- BPM

- delay time

On vocals

short delays can make a vocal sound thicker or provide an interesting stereo effect when panned.

long delays can add depth and atmosphere.

On guitar

short delays can create a vintage slap-back effect.

longer delays can sound dreamy.

delays synchronized with the tempo of the music can create rhythmic patterns and harmony that make the instrument sound bigger.

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DYNAMIC PROCESSING

process of altering the dynamic range (difference between softest and loudest signal) of an audio source to make it easier to place in the overall mix

Types

Compressor - type of amplifier in which gain is dependent on the signal level passing through it; "threshold" - signal level chosen as cutoff before gain reduction

Limiters - amplifier that limits the upper dynamic range of a signal to a specific threshold; prevents virtually any increase in gain at the upper end of the dynamic range

Expanders - increase the dynamic range of a signal after the signal crosses a threshold; 2 types - dynamic and downward

Noise gate - only allows certain signals to be heard once it has exceeded a certain volume

COMPRESSOR

Compression

dynamic process: effect can vary depending on the audio signal being processed

compresses signal above threshold

need to add makeup gain after compressing because compression affects entire track

(pros) - evens levels, brings out tone, cuts through mix better

Controls

Input gain - adjust level of signal that is compressed

Output gain - makes up for lost amplitude from compression

Threshold - DB level that is set to start compressing

Knee - fine tunes the gradual transition of signal compressed ex) soft knee=softer transition

Compression ratio - affects how much signal is compressed ex) 2:1 ratio - reduce signal over threshold by half

Attack time - controls how long signal takes to become compressed after passing threshold

Release time - controls how long signal takes to decompress after dropping below threshold

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MIXING

Basic Mixing Theory

Mixing mono signals into stereo mix down

Fader-riding

increasing/decreasing volume of certain track

Panning

panoramic position of a sound

pans between sound left and right channels (stereo)

panning sounds in middle increases/decreases sound in both channels simultaneously

panning sound into center i.e. the "phantom image"

(pros) - distinguishes each instrument, balanced combination of sound, more spaced out

Setting Levels

process of setting volume levels so that each track or instrument can be heard evenly

(bass frequencies should always come out in the center or the "phantom image")

Steps to Mixing

1. Differentiate all tracks, panning and changing volume of each track/instrument

2. Define frequencies/tracks by filtering off frequencies not needed and highlighting important frequencies with EQ

3. Use compressor to tame high peaks in tracks that are fluctuating too much

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EDITING WITH DAW/SIGNAL PROCESSING

Gain-based processing - levels/gain, used to balance levels

Time-based processing - effects like reverb and delay, used to add depth to mix

GAIN BASED PROCESSING

EQ

- allows you to adjust levels of specific frequencies rather than the entire volume level.

- can help boost/reduce frequencies

Parametric EQ

find specific frequency to manipulate

gain= boost/cut selected frequency

Q (bandwidth) - adjust how wide/narrow frequency range is; ex) wide Q (slow upward hill), narrow Q (steep mountain); frequency selection=top of hill

(All 3 elements= EQ Band/Filter)

4 different EQ bands - low, low-mid, high-mid, high frequencies

Shelf filter - selects specific frequency and cut/boost above or below selected frequency cutoff

High pass filter- used to block all frequencies below set frequency

Low pass filter - used to block all frequencies above set frequency

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RECORDING WOODWINDS

Basic Recording Techniques
Flute

AT40501b Small Diaphragm Condenser, 14 in above left hand (natural ambient sound)

aim mic down towards center of flute and mouth, high up above player

Clarinet

AT4040 Cardioid Condenser, angled at bottom of right hand, 10 in. away, (positioned parallel to middle of clarinet)

Oboe

AT40501b Large Diaphragm Cardioid Condenser, 43 in. away

roomy and classic sound

Saxophones

mic above bell, aim at body of sax (balance bite and warmth)

Soprano Sax

AT4060 Tube Condenser, angled up, aimed halfway up the body

Tenor Sax

AT4047/SV Cardioid Condenser, positioned 10 in. off bell

developed sound and greater depth with less proximity to mic

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RECORDING STRINGS

Basic Recording Techniques

Violin

AE5100 Cardioid Condensor, 3 feet away (defined and full warm sound)

go closer for grittier sound

layer in mixing

Viola

AT4051b Cardioid Condensor, 3 feet away (upfront and articulate sound)

isolation of sound with increased proximity of mic

Cello

AT4050 Large Diaphragm Cardioid Condenser (placed between bridge and F hole, 18 inches away)

(rich low end)

Contra Bass

AT4050 Large Diaphragm Cardioid Condenser

angled slightly towards bridge, placed 17 in from middle of f hole

captures detail from bow and low end from f hole

Upright Bass

AT4080 Active Ribbon Mic

positioned on level with bottom of f hole, angled slightly towards bridge (captures detail of fingers and full low end of f hole without boominess)

isolation achieved with clip on mic at top of f hole

The Small Ensemble Miking Techniques

1. AT4050ST Stereo Condenser

center of ensemble, 45 inches up

2. XY pair

2 Cardioids, 45 degrees off axis, elements as close as possible

45 inches up, 6 ft back from center of ensemble

3. Blumline array (mics pointed at each other, one above other)

2 mics placed close as possible, 90 dg off axis from each other

42 inches up, 7 ft back from center of ensemble

RECORDING BRASS

Basic Recording Techniques

Trumpet

AT4050 Large Multi-Pattern Condenser, mic pointing straight up right in-front of trumpet

placing mic off axis deemphasizes upper harmonics leading to warmer sound

Trombone

AT4080 Active Ribbon, mic pointing up, 14 in from bell

smooth top end and rich bottom

Tuba

AT4047/SV Cardioid Condenser, aimed straight down at top of tuba (warm and round sound)

moving mic higher opens up sound

French Horn

AT4050 Cardioid Condensor, 54 in off floor, 16 ft from wall, player midway between

indirect sound, place mic behind player

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RECORDING DRUMS

1-5 MIC SETUP

1 Mic

Put omnidirectional mic over bass drum, in between snare/rack tom/floor rom; capturing all elements

OR

Mic infront of kit (4 feet) - lower the mic, more low end captured; vice versa

2 Mics

Kick drum mic & Cardioid mic higher up then 1 mic set up, same position

3 Mics (Mono)

Distant mic for floor toms, Kick drum mic, & Cardioid Mic (Mics equidistant from center of snare drum)

3 Mics (Stereo)

2 Cardioid condenser mics over toms, equidistant to center of snare & Kick drum mic

4 Mics

2 Stereo mics, Kick drum mic, Snare drum mic

5 Mics

Stereo mics, Kick drum mic, Snare drum mic, & Room mic

Kick Drum

Interior mic-

Put mic off center to capture low end inside kick drum

Mid range punch and maximum attack

Outside mic

provides low end

GENRES
Classic Rock

Glyn Johns Technique

Kick drum mic, 1 overhead and side (ribbon mics)

Jazz

pair of small digraph condenser above kit in overhead XY pattern and ribbon mic on Kick

Indie Rock and Folk

Spaced pair equidistant to snare, kick drum mic, snare drum mic

Smooth 70's

Close Mic each drum (Rack, Kick, Snare, Floor Tom) and spaced pair of overheads (small diaphragm condenser)

Modern Rock

Kick drum, Snare, Close mics on Rack and Floor toms, pair of digraph condensers as overhead spaced pair, equidistant to snare, room mics

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RECORDING PIANO

Recording Grand Piano - Basic Techniques

Mics inside piano - bright pop sound and good isolation; 11 inches above strings point straight down

- Cardiod pickup pattern ideal for piano

3/1 rule (mics 3x farther from each other than sound source) reduces phase

1 mic at center of each string group

brightness increased closer to hammers; vice versa

XY (90 degree angle) Stereo pair outside of piano - natural solo sound

move around mics to find perfect position

Single mic

keep mic close to piano for less roominess

move mic around to find perfect position

Spaced pair

1 foot off strings; 1 mic covering low end register, 1 mic covering high end register

Blumlein mic setup

mics placed above each other facing each other

2 bidirectional mics

top mic focused on low end, bottom mic focused on high end; natural sound

PZM mics - clear and natural stereo sound

Mount 2 PZMS under lid of piano

eliminates sound bleed

Recording Upright Piano

Front of piano - bright and direct sound

use stereo pair

small diaphragm condensers

3/1 rule (ex- mics are 1 inch away from sound sources, mics are 3 inches away from each other)

(if sound is too noisy - raise stereo pair)

Early reflections - echoes of signal that reaches mic after direct signal (direct copies of direct sound source)

Can record in the back and under the front of piano (near strings)

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ELECTRIC INSTRUMENTS AND SIGNAL LEVEL

(Mic, instrumental, and line level signal)

Consumer vs audio gear
⁃ consumer gear ranging -10db
⁃ audio ranging to 4b
⁃ only can link gear with different ranges by adjusting outputs and inputs to avoid distortion
⁃ use equipment with ranges of 4b

For electric instrument- need high impedance equipment

Pre amp amplifies signal from mic to line

Line level signal is most accepted signal across equipment

Most DAWS have high impedance input

Instrument level signal (high impedance and unbalanced) needs to be put through DI box to make mic level signal (low impedance and balanced, then can be processed through balanced XLR cable
⁃ (If instrumental level signal gets put through low impedance input - loss of high frequencies)
⁃ (high impedance signal cannot go through more than 25 ft of cable without frequency loss)

Passive DI
- Isolate ground level voltages
- Good for instruments with strong output

Active DI

Can boost the gain of weak signals

Long cable runs

Pre amp

More headroom

Better for instruments with active pickups

Require power supply

can split signal - can record unaffected signal and affected signal through effects and amp

High impedance input

SPEAKER LEVEL SIGNAL
- signal that was amplified through amp
- Only use speaker level inputs/outputs and cables

Record electric guitar through DI or mic infront of amp

Pros of DI

Clean signal and isolation of sound

No amp required - can use amp software

Most interfaces have DI feature

Cons of DI

Can have “flat” quality to sound

No natural guitar sound (feedback)

Pros of Amp

Control of tone/sound and more realistic

Special effects (feedback)

Cons of Amp

Sound bleed

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ELECTRIC GUITAR MIC RECORDING

Mic pointed at center of speaker- bright tone

Mic pointed at edge of speaker - smooth and dark tone jazzy chords

Mic halfway between edge and center of speaker

Distance between mic and amp effects bass response

Less bass - move mic further away from speaker

more bass - move mic closer to speaker

More treble - move mic towards center of speaker

Less treble - move mic towards edge of speaker

Can use background noise of amp to find good position for mic

Put on headphones and compare amp noise in headphones to real life amp noise

Mic Phase

Phase = time of arrival

frequencies cancel out either

Off axis vs On axis mic placement to speaker

off axis produces more distant and roomy sound

on-axis - in line with speaker cone

Angled mic - sounds waves glance off side of mic

- ( CAN DO WITH 2 MICS)

Room mic

- captures ambience

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signal processing

equalizer - boosting frequency = additive EQ, reducing frequency = subtractive EQ

need to plug input and inputs on processor to equalize or compress signal

compression threshold turns sound that passes threshold by either half (2/1) or by a tenth (10/1)
⁃ fast attack (how fast sound is being)
⁃ Slow release
Best ratio for vocals 4/1 or 2/1

for drums (higher bass) - higher threshold/ratio

can run sound into compressed even after it is recorded

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What practice editing at MTC or on a DAW - raw drum tracks

where you put mic over snare drum - whether over to the side, in center of skin, or inside, will affect sound

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use masterfader when routing tracks from computer to mixer/headphones to prevent distortion - with pro tools

any other software this is automatic ^^

midi beats are bad for pro tools

Cubase software

can turn dials on mixer to affect how you hear it and people inside studio can turn their own dials to affect how they hear it

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ultimate guitar.com

learning music abelton

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piano-
higher keys on the left side
lower keys on the right side

12-10 decibels optimal range
(Be conservative with sound, leads room for growth)

Bloom line position (x-y) gets sound from front and back, rejects sound from the sides
⁃ subtle stereo effect
⁃ Used to record both vocals and guitar

Stereo- sound coming from left and right channel, larger field of sound

Put mics farther back for ambient sound

57 mic pretty good

mic feedback

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dynamic mics produce own electricity

condenser mics need phantom power through unit

mic may need cloudlifter to bring up decibels

dynamic- less output, condenser - better output (for vocals)

Noise floor in microphones

57 mic for drums
58 mic (has grill ball) for vocals

ribbon microphones - very sensitive, do not power with 48v

stereo means left and right channels/sounds
-similar to headphones

expensive grey mic is multi directional

condenser mic picks up from the side - for stereo style recordings- has pick up patterns

condensers can be small
⁃ needs phantom power

pad - brings sound down

roll off - filters sound, low frequency lowoff

shure dynamic mic has low output

multiple microphones can cause faze - positive wave and negative wave can cancel each other out
⁃ can cancel out mic faze by putting both mics on x - y set up