Robs Final Exam Fall term

Summing, Processing, Routing

Combining signals is the heart of the mixing proces, Various channels are summed in stereo via the “Mix” Buss

Most consoles have on-board EQs, while large format consoles might also offer dynamic processors.

To offer routing functionality throughout the console., To enable the use of external processors, effects,etc, Through the use of insert points / Sends & Returns

Is a common signal path to which many signals can be mixed., Like a highway into which many roads flow.

is an electronic device used to combine multiple sources into one signal, which then becomes the bus signal.

is a device, electronic circuit or software code, used to alter the input signal and replace it with the processed output signal. Can be used more aggressively (as an effect) and then blended into the original signal via a parallel bus., Equalizers, Dynamic Processors, Harmonic Distortions, Pitch-correctors, Faders Pan pots

Add something to the original sound. They're traditionally connected in parallel with the signal path., Take an input signal and generate a new signal based on the original input., Reverb, Delay, Chorus, Flanger, Pitch Shifter, Harmonizer

Time based

Buffer Amp

Pro Tools

Mic Processing

Channel Output

There is a recorder connected to a mixer, connected to a patchbay, connected to an effects rack.

Space, cost and physical limitations., The biggest physical limitation is that a console has a finite (limited) number of channels.

An input is an input, An effects return is technically the same as a channel input, The console doesn’t know what kind of audio is thrown at it.

An ‘Audio Track” is a playlist of audio that is physically tied to a console track. No connections needed., Unless you’re using external outboard effects, all of the routing from the audio track happens “virtually” and internally (never leaves the computer).

Shift + Command + N

Command - Right or Left Arrow

Command + UP or Down Arrow

Command + Plus (+)

Assigning Outputs and Sends

Up to 20hz, Huge pipe organs found in a few churches across the world., This range is not heard but felt. Although used in motion picture cinemas for explosions and thunder, it is absent in music masters.

Sub Sonic

Low Bass

This range is felt more than heard and is associated with power rather than pitch., The Kick and Bass usually have their fundamentals in this range, which is also used to add sub-bass to a kick., A Piano would also produce some frequencies in this range., 20hz - 60hz

Mid Bass

Upper Bass

Lower Mids

Higher Mids

Highs

Within this range we start to perceive tonality., 60hz - 120hz, Associated with power, mostly that of bass and kick.

Most instrumentals have their fundamentals within this range., 120hz - 250hz, This is where we can alter the natural tone of the instruments.

Mostly contain the low order harmonics of various instruments, thus their meat, colour, and big part of their timbre., 250hz - 2Khz

Our ears are very sensitive to this ranges (as per the equal loudness curves)., Linked to loudness, definition, presence and speech intelligibility., Contains complex harmonics, 2Khz - 6Khz

Contains little energy for most instruments, but an important range., Associated with brilliance, sparkle, and air., 6khz - 20khz

Rarely do frequencies of various mix elements not overlap., Many instruments will end up in a masking war that can in some mixes get nasty., When 2 or more instruments are fighting for the same frequency range, we can find it hard to discern one instrument from another within the particular masking range

Cutting from instruments any dispensable frequencies and sometimes the less essential frequencies.

Is a subset of separation. No separation, no definition., We associate with how recognizable instruments are (provided we want them recognizable) or how natural they sound (provided we want them natural)

Defined

Definition

Low frequencies (1), Higher Frequencies (2)

Our ears decodes dull sounds as if coming from further away., We can use darker-equals farther phenomenon to enhance the front/ back impression of various instruments.

Equalizing each differently would widen the perceived image, often creating an impression of a fuller and bigger sound., Frequency differences between sound arriving to our left and right ears are used by our brain for imaging and localization.

Boost or attenuate the full frequency spectrum of the signals

Let us boost only parts of the spectrum., can easily downgrade the quality of the signal, so using to adjust levels should be reserved for fine adjustments only., Only boosting or attenuating a specific range can be far less explicit, yet effective.

This is so other parts of the spectrum remain intact, thus the parts masking interaction with other instruments is not affected.

Allows frequencies on one side of the cut off frequency to pass, while continuously attenuating frequencies to the other side.

High Pass Filter. (Low Cut)

Low Pass Filter (High Cut)

Provides a boost around the cut-off frequency, and gives some added edge to the transition range

Resonance

These are the bass and table controls found in most domestic hifi systems, also known as "tone controls"., Frequencies are either attenuated or boosted by a constant amount, The gain control determines that amount. Can also boost

Can boost and reduce. Only Cut frequencies

Like shelving filters, parametric filers can also boost and cut., Their frequency curves are reminiscent of a bell., The reference frequency is called the centre frequency and we can sweep it higher or lower., The gain determines the amount of boost or cut reached at the center frequency., The bandwidth is measured between these two cut-off points and express it in octaves.

A resonant shelf in the low end

Shell Diameter, Shell Depth, Shell Thickness, Shell material - common materials are Maple, Birch, Mahogany, Poplar

Ambassador/ vintage A/ Ambassador X - A single-ply drumhead made from 10 mil of Mylar film., Vintage A Heads consists of two piles (7.5 and 3 mil) of polyester film

Vintage A’s and Ambassador X

A single-ply drumhead made from 7.5 mil of Mylar, Commonly used as resonant heads for toms.

Made with 10 mil mylar film with 5 mil center dot add durability and focus., Often used as a snare batter head.

Snare sizes only

Coated Heads

Black drum heads that provide a darker sound, making them a popular choice for resonant heads., Available in Ambassador Pinstripe, Powerstroke 3, and Suede Weights

Made with two piles (10 and 5 mils piles) Mylar film with a measured layer of a ring-reducing agent applied between them at the outer edge that gives a “fat” low pitch and short sustain,, Making them popular among rock and R&B drummers.

Ambassador-weight drum heads with a thin underlay at the edge of the head to dampen overtones, Making these a popular choice for bass and snare drums.

Drum Heads made with a single ply (14 mil) of Mylar with 2 mil inlay ring and optional reverse dot. Snare sizes only.

Tune bothe heads (batter and resonant) as low as they will go before wrinkling., The Response is better for the drummer, the snap of the beater is better and the bottom end is better.

Result in the beater slapping back and a weak bass response.

The feel of the song can drastically change with different tuning or a different snare drum., The snare drum sound and tuning has the most impact on the overall effect of the kit.

Kick, Snare, Hat, Toms, Overheads, Room

ACOUSTIC PHASE ISSUES

It is common for the overheads, as a pair, to be out of phase with the snare drum depending on overhead height., The result is a thin snare when overheads are combined with the snare top mic.

Phase Flip

1. Place Mics, try to balance the overheads around the snare drum and capture a good cymbal balance by eye at this point., 2. Pads on ALL inputs. They can be removed if you need level, 3. 48V on all phantom powered mics. Easier to do it now before checking mics., 4. Bring up Overheads Mics. Check L-R balance (snare), 5. Bring up your snare top mic. On the console. Check PHASE NOW. Flip the Phase button on the console on Both L and R of the overheads and check for bottom end content., 6. If there is a snare bottom mic, flip the phase on the console, 7. Bring up the tom and kick mics and check for phase as well. Flip if needed. Not usually a problem but you should check., 8. If using two kick mics, check for phase, 9. Bring in any other mics ie: hat and spot cymbal mics, 10. Have the drummer hit the drums individually to check for tuning and problems. (Squeaks, unwanted rings etc)

Bottom end content., The one with the Larger Bottom End or Note/Tone of the drums is right. This may take a minute to determine which is correct.

Larger Bottom End or Note/Tone

Defined as the difference between the softest and loudest sounds a system can accommodate., Like any difference between 2 level measurements, is expressed in dB

Various dB notations -dBSPL, dBu, dBFS etc.

The musics rhythmic Expression, Integrity, Envelope.

The loudness difference between sections of the song

Make a big difference; it’s amazing what a single dB can accomplish

A long, gradual lowering of the gain, which might occur at the end of the intro, or slowly during the first verse of the body., A series of ¼ or ½ dB edit, taking sound down step by step at critical moments.

This is useful when we don’t want the listener to notice that we’re cheating the gain back down and we may be forced to work against the natural dynamics., A quick edit and level change at the transition between the raised- level intro and the normal-level body. This can have a nice effect and be less intrusive.

Ruin the effect.

know how far to raise it without losing the feeling of being soft, and the ideal speed to move the fader without being noticed.

if the sound is being audibly manipulated, the job has not been done properly., In conclusion, Macrodynamic manipulation is a sometimes overlooked but powerful tool in the mixing/ mastering engineer’s arsenal.

Attack, Decay, Sustain, Release

Modify mid-high frequencies, The period of time when the compressor is increasing gain reduction to the level determined by the ratio., The time taken for a compressor to reduce the gain of the signal once the signal has exceeded the threshold. Slows down the rate of Gain Reduction

A - Attack B - Decay - C - Resonance D - Onset of Decay of Resonance

Onset of resonance

The period of time when the compressor is decreasing gain reduction., Slows or speeds the rate of recovery

To compensate for gain reduction, simply boosts the level of the output signal by a set amount of dB., The boost is applied uniformly to the signal, independently of any other control setting- both signals below and above the threshold are affected, Some compressors (like the duality channel compressors) have an automatic make-up gain.

Enables smoother transition between no treatment. (ALSO termed over-easy or soft ratio)

Compressor the ratio gradually grows from 1:1 to 4:1 in a transition region that spreads to both sides of the threshold., This second exception for signals below the threshold being reduced in level.

Toggles between 1:1 and 4:1 as the signal overshoots,

Pumping and Breathing.

Caused by quick noticeable variations of level., We usually associate with loud level variations, such as those that can be the outcome of heavy compression or limiting.

The audible effect caused by varying noise (or hiss) levels., Often it is the quiet level variations that produce such artifacts