AP+Unit+5

Mixing on headphones (notes):

important to make sure that your mixes sound as good on 'cans' and 'earbuds' as they do on speakers, but most headphones aren't produced with this being checked

on headphones: left channel in your left ear, and right channel in your right ear

one ear-mono sound is the biggest barrier to successful headphone mixes

bass levels provide the main obstacle for mixing on headphones (having resolved spatial issues)

you can use crossfeed plug-ins to try stimulating the loudspeaker experience on headphones

the fact that listening on headphones makes it possible to hear all the tiny details that you often don't notice through speakers has many positive aspects, too

to get the best from your 'phones you need to consider amplification

Understanding audio chapter 1:

Through console or desk, all signals pass to e properly balenced, procesed, and routed o the appropriate destination

Instruments can be acoustically isolated from one another using movable barriers called baffles and gobos

Mics positioned on individual instruments in the studio are patched into the mic input patch panel, which is connected by cables running throught the wall, to the mic imputs on the console

The destination for signals can be either individual tracks of the multitrack machine or the 2-track stero mixdown machine (or more recently, multiple channels of the multirack surround mixdown machine for 5.1 surround mixes)

a bus is a signal path where audio signals can be combined and are jointly routed to a particular destination

a normal is a connection that has been set up between an audio source and destination and does not require repeated patching

sessions breakdown into four general categories:basics, overdubs, mixdown, and live-to-2 (excluding preproduction, postproduction, or mastering)

most straightfoward is the live-to-2

live-to-2: all musicians are in the studio at the same time, microphones are routed directly to the main stereo mix bus, and the music is recorded to the 2-track stereo master recorder live, as it happens

advantage of live-to-2 is that it tends to be very time effcient, has a definite immediacy, and captures the actual and spontaneous interaction between the musicians that is sometimes lost in the course of lengthy isolated over-dubs

the basics session is the initial recording session in a multitrack production project where the basic rythym section ia often recorded, source is still mic, but destination is now multitrack

the overdubs session occus once the basics session is completed. tracks are added one by one, in isolation to fill out and complete the production. two different sources: live mic for signal being currently recorded and previsously recorded tracks which must be monitered and performed to. two different destinations: mic to mulitrack, previously recorded tracks to control room monitors

mixdown session occurs once all material has been recorded (hopefully). source is the multitrack the final destination is the 2-track machine. at this point final effects are added and will be recorded as part of the final mic to the stereo master. mastering session is usually done in a studio specializing in this type of work. it consists of taking all of the final 2-track sterep mixes for the entire project (or multichannel mixes, in the case of surround-sound mixers) and making global sonic refinements

a common format for multi-channel surround masters is the digital tape recording system (DTRS)

more commen professional 2-track stereo master format is still 1/2- inch 2-track analog tape

Understanding audio chapter 10:

lowest sound we can hear (.00002 Pa) is called threshold of hearing, loudest sound we can hear (between 20Pa and 200Pa) is called threshold of pain

only hear frequencies about 20hz to 20khz (audio frequency)

intensity vs frequency is represented in what are called equal loudness contours

JND=just noticeable difference (1 dB in a controlled environment)

duration of a sound can have an impact on our perception of its loudness (in addition to level and frequency, but less important then the two)...this is mostly true for sounds of short duration

frequency is the objective description of sound wave's cycles per second, where pitch is our subjective perception of a signal's quality of being high or low

we depend on subtle differences in the sound that arrives at each ear, differences that the brain has learned over time to interpret and translate into the localization of the sound source

our ears respond to intensity and time (phase) cues for localazation

Coincident pair miking (also known as intensity stereo): use the intensity differences of sound arriving at two mics to recreate the stereo field

Near-coincident pair miking: introduce timing cues by spacing mics slightly apart, typically about the width of a human head, with each mic essentially taking the place of one ear

spaced pair- two identical mics of any kind, usually omni-directional, placed generally between 3 to 10 feet apart, aimed directly towards the source

binaural- uses a dummy head complete with outer ears (pinna) and an omnidirectional mic placed inside each ear canal

Haas (Precedence) Effect: the idea that we localize sound sources based on their first arrival time (this is a closely related principle in the theory of sound localization)

Phantom image: whereby the listener actually perceives the sound as originating from directly in from, as opposed to from the speakers located on either side (when there are two speakers located on either side)

Masking: a psycho-acoustic effect that is of great importance in the process of recording and mixing

Masking is measured in terms of a masking level, a level defined by the intensity level necessary for a masked tone to be head when in the presence of a masking tone of a certain intensity level

Maskig: can't perceive something because it is too far in the background

Babylon Sisters “timeline”

o seconds: drums (snare, tom, kick, rimshot, highat) 100-400 hz 1 second: guitar 1, bass, 100-200 hz 4 seconds: electric keyboard 300 hz 17 seconds: symbol (crash), triangle 80 hz 31 seconds: saxaphones (2, alto and tenner) 50-500 hz 39 seconds: guitar 2 41 seconds: guitar 3 100z 45 seconds: lead vocals 50-200 hz 1 min 23 seconds: 6 back up vocals 40 hz 1 min 25 seconds: bass clarinet 140-160 hz 1 min 59 seconds: wind chimes 150 hz 2 min 19 seconds: trumpet 30-50 hz 2 min 42 seconds: flugel horn 200-250 hz 2 min 56: clavanet 20-50 hz 3 min 53 seconds: ride symbol 200-250 hz

Overall, when I compared my chart to Mr. Freeberns, I was too specific on my range of frequencies. I also had unaccurate specific frequencies.

EQ: Shelving--boost or cut a whole series from a point

Bell: Boost or cut,

Distance or span of frequencies is called the Q (large span, low Q....little span, high Q)

Boosting--increasing gain

maybe EXAM question?: When would you use shelving?

16 kilahertz (16,000 hertz)--has a very high sizzel....symbols.....AIR ON PLANE 8k still hot, not as hissy....symbols....AIR COMPRESOR 4k....hard consonants, most voices......SAY SHHHHHHH 2k upper mid range, harmonic content of most instruments 1k right around high C on a piano, usually centeral "meaty" zone for most instruments.....STATIC ON TV 500hz body, richness of sounds, primary treble ocatve, starts to get into the dark zone 250hz begging of mud, middle C on piano.....WATER IN CAR WASH 125hz most speakers......toms, u pper sounds of a bass....PLANE 62.5hz bottom sound of most instruments.....WATERFALL

Song Structure:

Introduction--a small melodic idea that sets up a tune derived from material that is usually heard later on in the tune Hook--the most recognizable part of a song, makes tune identifiable Verse--usually is something that "tells the story", the music is the same but the lyrics change, if u have a short melodic part that is the same as the end of the verse, it is a refrain Transition periods examples=Pre chorus, transitional bridge Interlude: transitional passive that is not as long as a verse or chorus, but longer than a refrain Chorus: repeats over again, most "epic" part Modulation: process of change in key Outro: like an intro but going out, fancy word for outro is coda

Analzye: count bars, helps to listen to the snare, or basic pulse, hi-hat fastest rythemic element.....

Babylon Sisters:

Introduction: 24 bars

Verse: 9 bars Drive west on Sunset To the sea Turn that jungle music down Just until we're out of town

Pre-chorus: 10 bars This is no one night stand It's a real occasion Close your eyes and you'll be there It's everything they say The end of a perfect day Distant lights from across the bay

Chorus: 8 bars Babylon sisters shake it Babylon sisters shake it

Interlude: 19 bars So fine so young Tell me I'm the only one Here come those Santa Ana winds again

Verse: 9 bars We'll jog with show folk on the sand Drink kirschwasser from a shell San Francisco show and tell

Pre-chorus: 10 bars Well I should know by now That it's just a spasm Like a Sunday in T.J. That it's cheap but it's not free That I'm not what I used to be And that love's not a game for three

Chorus: 8 bars Babylon sisters shake it Babylon sisters shake it

Interlude: 23 bars So fine so young Tell me I'm the only one

Pre-chorus: 10 bars My friends say no don't go For that cotton candy Son you're playing with fire The kid will live and learn As he watches his bridges burn From the point of no return

Chorus: 8 bars Babylon sisters shake it Babylon sisters shake it

Outro: 42 bars So fine so young Tell me I'm the only one You got to shake it baby you got to shake it You got to shake it baby you got to shake it You got to shake it baby you got to shake it

1. There are four sessions withing a typical recording of a CD. What are the sessions called and what happens during each of these sessions? //Chapter one//

live-to-2: all musicians are in the studio at the same time, microphones are routed directly to the main stereo mix bus, and the music is recorded to the 2-track stereo master recorder live, as it happens

advantage of live-to-2 is that it tends to be very time effcient, has a definite immediacy, and captures the actual and spontaneous interaction between the musicians that is sometimes lost in the course of lengthy isolated over-dubs

the basics session is the initial recording session in a multitrack production project where the basic rythym section ia often recorded, source is still mic, but destination is now multitrack

the overdubs session occus once the basics session is completed. tracks are added one by one, in isolation to fill out and complete the production. two different sources: live mic for signal being currently recorded and previsously recorded tracks which must be monitered and performed to. two different destinations: mic to mulitrack, previously recorded tracks to control room monitors

mixdown session occurs once all material has been recorded (hopefully). source is the multitrack the final destination is the 2-track machine. at this point final effects are added and will be recorded as part of the final mic to the stereo master. mastering session is usually done in a studio specializing in this type of work. it consists of taking all of the final 2-track sterep mixes for the entire project (or multichannel mixes, in the case of surround-sound mixers) and making global sonic refinements 2. EQ is shorthand for what process or device? Equilization 3. What is the difference between boosting and cutting frequencies with an EQ?

Boosting EQ makes the frequency louder, cutting EQ makes the frequency softer, cutting is better used.

4. What is a shelving EQ? Boosting or cutting a whole series from a point 5. What is a Bell EQ? Boosts or attenuates a range of frequencies centred around a certain point 6. What is a parametric EQ? Parametric equalizers allow [|audio engineers] to control the three primary parameters of an internal [|band-pass filter] which are [|amplitude], [|center frequency]and [|bandwidth] 7. What is the difference between a high "Q" and a low "Q"? A low Q coveres a large span of frequencies and a high Q covers a little span of frequencies 8. What is a two track? A method of [|sound recording] that allows for the separate recording of multiple sound sources to create a cohesive whole 9. Name the frequencies used on a 10 band EQ. //Name each frequency band.//

10. Define the following sections of a typical song:


 * Intro
 * Verse
 * Chorus
 * Bridge
 * Modulation
 * Outro
 * Hook

Introduction--a small melodic idea that sets up a tune derived from material that is usually heard later on in the tune Hook--the most recognizable part of a song, makes tune identifiable Verse--usually is something that "tells the story", the music is the same but the lyrics change, if u have a short melodic part that is the same as the end of the verse, it is a refrain Bridge: transitional passage that is not as long as a verse or chorus, but longer than a refrain Chorus: repeats over again, most "epic" part Modulation: process of change in key Outro: like an intro but going out, fancy word for outro is coda

11. What is a flat frequency response? Every frequency would come in equally if they were all at the same amplitude. 12. What is Pink Noise? A noise that contains every frequency but tapers out the highs. 13. What is the wavelength of the note A 440? 2.6 lambda 14. What is the wavelength of a 20 Hz sound? 56.5 lambda 15. What is the wavelength of the 20 KHz sound? .6 lambda 16. Why would it be important to know the wavelength of a sound? So you can EQ your speakers or use sound absorbtion to get rid of reflected waves based on their wavelength and distance 17. Describe the difference between a low pass filter and a high shelf filter. High shelf filter drops down and cuts, low pass filter is on an even slope, they both cut out high frequencies