learning music abelton

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

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

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

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

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)

1 Mic

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

• 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

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

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

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

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

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

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

• 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

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.

- 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

- 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

• 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")

• 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

• 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.