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PRO (Performance Rights Organization) collects royalties from streaming

Distribution service required to put songs on streaming services

BandCamp lets artists post for free

3D audio, VR, AR, 360 video

Blockchain technology can be used to verify ownership in a decentralized manner

NFTs are implemented in virtual worlds/economies (Metaverse, etc.)

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Drum trigger can activate sample pad when drum is hit, velocity-based

Mastering changes tonal balance, levels for distribution and album cohesion

MIDI: Musical Instrument Digital Interface

AES connection is digital, ethernet within XLR housing

Effects automation can create swells, movement in mix

WAV/AIFF are uncompressed

MP3/M4A are compressed

Normalizing raises peak to 0dB

Real-time vs offline bounce (not much difference except speed)

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amp box emulates amplifier

send and return: processes sound in parallel, goes to separate channel

digital processing, A/D and D/A conversion, can lead to latency

reverb is CPU-intensive

use green knobs on mixer to send to outboard effects units, goes back to channels 17-24

use 24 bit 48 khz for media

Bandlab free online mastering tool

Loudness penalty website for distribution

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above in patch bay is input, below is output

Apollo X-16 audio interface is end of signal path, only accepts line signal (must be preamplified)

Tie line, Grace preamp, Apollo interface

mic/inst, line, line

mult splits signal

monitor path does not include preamp

use line level signals for effects processing

active ribbon mics also need phantom power

Modulation effects: LFO changes parameter at specified rate in Hz

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trim, cut/splice, copy/paste, move, fade to edit audio in a DAW

Gain-based signal processing operates according to levels

Time-based signal processing: reverb, delay

Physical signal processors can sound warmer than virtual

EQ used to cut or boost levels of particular frequency ranges

Q Factor controls width of effected frequency range

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Blumlein Pair/Array: 2 bidirectional microphones placed vertically end-to-end at a 90º angle outwards

roomy stereo sound from Blumlein Pair

record string ensemble from center, somewhat back

small diaphragm condenser used for classical recording, natural sound

most sound from string instruments comes from edge of sound hole (eg. F-hole in violin)

trumpet is loud, don't mic too directly or closely

place mic off-axis for warmer, darker, less harsh sound

mic French Horn indirectly, use sound bounced off wall for softer sound

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overdubbing: doubling or correction of part

recording parts separately helps with isolation

submix is routing tracks to group

change entire part preserving internal balance

LR switch routes to master fader output

1-2, 3-4, 5-6, 7-8 go to performance room

performers can create separate individual submixes for themselves

ethernet cable routing, submix to headphones

mute button mutes performers’ submix

use LR button to mute only in studio

route all tracks through master fader

prevents distortion/clipping

film composers offload samples/instruments to server rooms for instant loading

I/O turns orange in pro tools when routed

condensers require phantom power: 48V

front address vs side address mics

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5-piece drum kit: kick, snare, 3 toms

kick in center, snare and hi-hats left, toms right

drum overhead mics must be equidistant from the snare to prevent phase issues, get fuller sound

use single mic placement as EQ, higher means more cymbals and hats, lower means more kick and snare

invert phase in DAW using plugins to check phase

modern rock uses many spot/close mics, high level of control over resulting sound during production

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use pop filter for vocal recording

don't put headphones on mic, feedback can result

Stereo recording:

X/Y: two mics facing inwards end-to-end, 90-120º

Spaced Pair: 3:1 rule, pan mics hard left and right, phase issues possible with mono

ORTF: criss-crossed mics, mic ends 17 cm apart with 110º angle, positioned like human ears

NOS: capsules 30 cm away, facing outwards with 90º angle

Use matched pair of mics for stereo recording

Gain staging: avoid clipping, record with -10dB headroom

Mic requires audio interface (with analog/digital conversion) to record with computer

USB mics like Blue Yeti have built in interface

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Signal flow:

mic, audio interface, DAW, headphones/monitors

audio interface contains preamp and analog/digital converter

Types of mics: dynamic, condenser, ribbon

condensers can be large or small diaphragm

large diaphragm has more low frequencies, small diaphragm is more realistic

polar patterns: omnidirectional, bidirectional, cardioid, supercardioid, hypercardioid

proximity effect: directional mics capture more low frequencies of near sound sources

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Dynamic signal processing:

compression, expansion, gates, etc.

Spatial signal processing:

Reverb, delay, panning

EQ filter on mic

Use first before post processing

-3 to -6 dB of compression

2:1 to 4:1 for vocals, more sounds unnatural

for drums, more compression is fine for smashed sound

compression ratio is input/output

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XLR cable cancels noise using two signals + ground

reamp: route signal out to amp and back into DAW

Dante system: ethernet audio network

invert phase using o with |

potential phase issues w DI + amp mic

Cymbals don’t need to be directly miked, use overheads

learningmusic.ableton.com

Signal levels: mic, instrument, line, speaker

preamps boost signal level

most audio interfaces have preamps

DI: direct injection

DI box used for routing clean bass sound directly to interface