Introduction 3/5/13 2
|
|
- Tobias Banks
- 6 years ago
- Views:
Transcription
1 Mixing 3/5/13 1
2 Introduction Audio mixing is used for sound recording, audio editing and sound systems to balance the relative volume, frequency and dynamical content of a number of sound sources. Typically, these sound sources are the different musical instruments in a band, the sections of an orchestra, announcers and journalists, crowd noises etc. Sometimes audio mixing is done live by a sound engineer or recording engineer, for example at rock concerts and other musical performances where a public address system (PA) is used. A typical concert has two mixers, one located in the audience to mix the front of house speakers heard by the audience and the other located at the side of the stage, mixing for the monitor speakers positioned directly in front of the performers so that they can hear one another. 3/5/13 2
3 Introduction Another example of live audio mixing is a DJ mixing two records together. Break beats are created by mixing between identical breaks. Often the end of one pre-recorded song is mixed into another so that the transition is seamless, which is done through beat-matching or beat-mixing and possibly pitch control. At other times, audio mixing is done in studios as part of a multitrack recording in order to produce digital or analog audio recordings, or as part of an album, film, or television program. 3/5/13 3
4 Introduction In film/video projects, the Mixers must balance the various elements: Dialogue (and ADR), Music, Sound Effects and Foley Effects The Dialogue Mixer/Lead Mixer or Gaffing Mixer commands the mixing stage; There are also Effects Mixer, Music Mixer and Foley Mixer. On huge pictures with tight deadlines, it is possible that several teams of mixers are working simultaneously on numerous stages in order to complete the mix by the release date. 3/5/13 4
5 A Good Mix A good mix often goes unnoticed. When all tracks are balanced correctly, nothing sticks out and nothing is hidden. Some engineers have a clear idea of what they want the mix to sound like, while others may not. By knowing what to listen for, you can improve your artistic judgments during recording and mixdown. To train your hearing, analyze recorded sound into its components and concentrate on each one in turn. It is easier to hear sonic flaws if you focus on a single aspect of sound reproduction at a time. 3/5/13 5
6 Tonal Balance The overall tonal balance of a soundtrack should not be too bassy or trebly. This means should not have an imbalanced emphasis on low or high frequencies. Emphasis of any one frequency band over the other would eventually cause listening fatigue. 3/5/13 6
7 Spatial Positioning A good stereo mix would recognize that there is more to positioning than just left and right. Tracks should be panned to many points across the stereo field. Try to achieve a stereo stage that is well balanced between left and right. If you want the spatial positioning to be realistic, the reproduced sound should simulate the spatial layout of the actual recorded elements. For example, if your video shows a car on the far right of the frame, you might want to pan the car s sound effects to the right. 3/5/13 7
8 Sense of Depth To achieve a sense of depth in a soundtrack, there should be a blend of presence and spaciousness. Presence is the apparent sense of closeness to the sound source. It is achieved by close miking, overdubbing and using microphones with a presence peak or emphasis around 5kHz. Using less reverb and effects can also help. To mimic the closeness of a cat shown visually, the mewing sounds should be captured with a close mic and no reverb added. Spaciousness is a sense of air around the reproduced sounds. Without air or ambience, the sound elements may seem isolated or too close to the listener. To achieve spaciousness, try recording in stereo, miking farther away or adding reverb in post-production. 3/5/13 8
9 Realism A good soundtrack mix would be one that is an accurate reproduction of the actual sound elements. To achieve a realistic tonal balance in your mix, it is important for you to critically listen to the natural balance of the sounds in real life. Observe the tonal balance in professional films and notice how natural all these sounds blend. Realism in spatial positioning is to place your sounds in the stereo field according to where they occur in the visual field. If a scene is set in a cathedral, expect to apply a cathedral reverb on your close-miked sounds so that they reproduce the expected reverberant sound of a cathedral. 3/5/13 9
10 Mixing in Different Contexts 1 Music Good Mix - Instruments are evenly or naturally spaced in the stereo image - Lead elements like a lead singer should be clear enough though still well-blended in the mix - Good tonal balance of frequency bands - Adequate use of dynamic range to enhance musical expression e.g. contrast of soft and loud sections. Bad Mix Too narrow or wide spatial positioning with audible holes in the stereo image - Lead elements are not able to be heard above other instruments - Over-emphasis of any frequency band e.g. too bassy - Causes ear fatigue due to unchanging dynamics. 3/5/13 10
11 Mixing in Different Contexts 2 Radio Good Mix - Announcer or narrator must clearly be the in the foreground. - Dynamic range should be relatively small - Voice and music blend seamlessly without periods of silence Bad Mix - Vocal elements are hidden behind other sound elements - Dynamic range is too wide; listeners either strain to hear soft sounds or are shocked with sudden increases in volume. - Unnecessary periods of silence 3/5/13 11
12 Mixing in Different Contexts 3 Film Good Mix - Useful manipulation of spatial positioning - Vocal elements are clearly heard above other sounds. - May utilize a wide dynamic range to enhance dramatic aspect of the visuals Bad Mix - A mix that does not adequately utilize stereo imaging. - Dialogue or speech is muffled behind other audio. - Narrow dynamic range that causes ear fatigue. 3/5/13 12
13 Mixing in Different Contexts 4 Video and Television Good Mix - Dynamic range should be relatively small - Mix must be monocompatible i.e. must be acceptable when heard through mono speakers - Vocal elements should stand out from backing material. Bad Mix - A mix that includes extreme volume levels; soft sounds are too soft while loud sounds are too loud. - The mix sounds imbalanced in mono; due to exceptionally-wide stereo image or phase cancellation - Vocal elements are overpowered by other sounds. 3/5/13 13
14 Exceptions in Mixing As in any creative domain, there are exceptions to the standard rules of what makes a good mix. However, these exceptions are well-thought and used with the intention of creating heightened attention. For example, when the main character on screen is being overwhelmed with emotion, you might choose to create a muffled mix where other voices or sounds are unclearly layered on top of each other. Also, you might prefer to bring the volume of your soundtrack above all these voices and sounds. Although this defies the mixing rule that requires dialogue to be clearly audible, this is a calculated move to put the audience in the shoes of the main character by highlighting the sense of overcoming emotions and the natural tendency to lose focus on one s surroundings. An important note is that to defy conventions, you must first be wellinformed of these rules and be able to justify the need to oppose them. 3/5/13 14
15 Mix Automation In Pro Tools, you can use dynamic automation of mixing controls on each of the track types. You can write automation moves and view them in real time during playback of your session. As you mix a soundtrack, you might adjust the mixer controls several times. An automated mixing system can remember your mix moves and later recall and reset them accordingly each time you play back the mix. Automated mixing has many benefits. You can: Perform complex mixes without errors. Fine-tune the mix moves. Recall mixes weeks or months after storing them, without having to reset the mixer manually each time. Listen to the mix without the distraction of having to adjust faders. 3/5/13 15
REQUIRED MATERIALS Text: Alten, S. (2014). Audio in Media (10 th Ed.). Belmont:Wadsworth.
Communication Arts CMAT 354 Advanced Audio Production Fall 2018 TH 12:30PM - 3:15PM CH 335 prerequisite: cmat 234 Dr. Andrew Sharma CH 306 410-677-5037 http://faculty.salisbury.edu/~axsharma email: axsharma@salisbury.edu
More informationA few white papers on various. Digital Signal Processing algorithms. used in the DAC501 / DAC502 units
A few white papers on various Digital Signal Processing algorithms used in the DAC501 / DAC502 units Contents: 1) Parametric Equalizer, page 2 2) Room Equalizer, page 5 3) Crosstalk Cancellation (XTC),
More informationSOUND REINFORCEMENT APPLICATIONS
CHAPTER 6: SOUND REINFORCEMENT APPLICATIONS Though the Studio 32 has been designed as a recording console, it makes an excellent console for live PA applications. It has just as much (if not more) headroom
More informationFAQ. Mixing Features Phoenixville Pike, Suite 201 West Chester, PA Voice: Fax:
Mixing Features How many channels is the A320? The A320 can mix up to 16 mono or stereo sources, and each channel button can host either a mono or stereo source. On the A-16II, a stereo source uses up
More informationVCE VET MUSIC INDUSTRY: SOUND PRODUCTION
Victorian Certificate of Education 2017 SUPERVISOR TO ATTACH PROCESSING LABEL HERE Letter STUDENT NUMBER VCE VET MUSIC INDUSTRY: SOUND PRODUCTION Aural and written examination Friday 17 November 2017 Reading
More informationThe 5 Key Objectives of Mixing
The 5 Key Objectives of Mixing The 5 Outcomes We MUST Achieve to Ensure a WorldClass Mix Summary. Checklist P R O S O U N D. C O M The 5 Key Objectives of Mixing Before we do ANYTHING we MUST first understand
More informationCUE A (activate Clar. mic): m. 395 (beginning of Mvt. IV, just a fraction of a second before the solo Clar. begins to play) - press "a"
ECSTATIC WATERS (version 2.0.1) TECHNICAL INSTRUCTIONS AND TIPS February 2017 QUESTIONS: info@stevenbryant.com REHEARSAL AND PERFORMANCE Triggering the Cues: In Ableton Live, you can (and should) simply
More informationSREV1 Sampling Guide. An Introduction to Impulse-response Sampling with the SREV1 Sampling Reverberator
An Introduction to Impulse-response Sampling with the SREV Sampling Reverberator Contents Introduction.............................. 2 What is Sound Field Sampling?.....................................
More informationÉlan. Consoles for multitrack recording and mixing in modern, multipurpose studios. Introduction: why we did it. How we did it.
Élan Neotek s Élan console series brings exceptional power and productivity to artist-oriented and project studios. The Élan combines outstanding sonic performance, high technical standards, and solid
More informationWAYNESBORO AREA SCHOOL DISTRICT CURRICULUM Music Technology
WAYNESBORO AREA SCHOOL DISTRICT CURRICULUM Music Technology COURSE NAME: Music Technology UNIT: Music Theory for Computer Musicians NO. OF DAYS: 10 KEY LEARNING(S): 1. Understanding musical sound. 2. Explain
More informationPROFESSIONAL AUDIO WORKSTATION. Tutorial
PROFESSIONAL AUDIO WORKSTATION E Introduction Welcome to the world of the AW2816! If you have an interest in music production, you probably know that the songs of the artists you see on television and
More informationM-16DX 16-Channel Digital Mixer
M-6DX 6-Channel Digital Mixer Workshop Getting Started with the M-6DX 007 Roland Corporation U.S. All rights reserved. No part of this publication may be reproduced in any form without the written permission
More informationPSYCHOACOUSTICS & THE GRAMMAR OF AUDIO (By Steve Donofrio NATF)
PSYCHOACOUSTICS & THE GRAMMAR OF AUDIO (By Steve Donofrio NATF) "The reason I got into playing and producing music was its power to travel great distances and have an emotional impact on people" Quincey
More informationAdvance Certificate Course In Audio Mixing & Mastering.
Advance Certificate Course In Audio Mixing & Mastering. CODE: SIA-ACMM16 For Whom: Budding Composers/ Music Producers. Assistant Engineers / Producers Working Engineers. Anyone, who has done the basic
More informationFPFV-285/585 PRODUCTION SOUND Fall 2018 CRITICAL LISTENING Assignment
FPFV-285/585 PRODUCTION SOUND Fall 2018 CRITICAL LISTENING Assignment PREPARATION Track 1) Headphone check -- Left, Right, Left, Right. Track 2) A music excerpt for setting comfortable listening level.
More informationFOR IMMEDIATE RELEASE
Dan Dean Productions, Inc., PO Box 1486, Mercer Island, WA 98040 Numerical Sound, PO Box 1275 Station K, Toronto, Ontario Canada M4P 3E5 Media Contacts: Dan P. Dean 206-232-6191 dandean@dandeanpro.com
More informationCHAPTER 10 SOUND DESIGN
CHAPTER 10 SOUND DESIGN Digital Audio Production [IT3038PA] NITEC Digital Audio & Video Production Institute of Technical Education College West Introduction List down what you hear J Lesson Objectives
More informationMixers. The functions of a mixer are simple: 1) Process input signals with amplification and EQ, and 2) Combine those signals in a variety of ways.
Mixers The mixer is the central device in any sound studio. Although you can do a lot without it, sooner or later you are going to want to bring all of your materials together to make a piece of music,
More informationVCE VET MUSIC INDUSTRY: SOUND PRODUCTION
Victorian Certificate of Education 2018 SUPERVISOR TO ATTACH PROCESSING LABEL HERE Letter STUDENT NUMBER VCE VET MUSIC INDUSTRY: SOUND PRODUCTION Aural and written examination Friday 16 November 2018 Reading
More information001 Overview 3. Introduction 3 The Kit 3 The Recording Chain Technical Details 6
Table of Contents 001 Overview 3 Introduction 3 The Kit 3 The Recording Chain 4 002 Technical Details 6 The Samples 6 The MPC Kits 7 Velocity Switching Kit 8 Round Robin Kit 10 The Full Monty JJOSXL Kit
More informationZero Latency Monitoring Handbook
Zero Latency Monitoring Handbook Z Monitoring or Zero Latency is supported as of Studio One 2.6 on the following interfaces: 1 P a g e Z Signal Paths Z On 1) Make sure the input track(s) are set to monitor.
More informationS0 Radio Broadcasting Mixer. June catalogue. Manufacturers of audio & video products for radio & TV broadcasters
S0 Radio Broadcasting Mixer June 2012 catalogue Manufacturers of audio & video products for radio & TV broadcasters S0 Radio Broadcasting Mixer A simple radio mixer for novice and professional users The
More informationKINTEK SCORES WITH MONO ENHANCEMENT
KINTEK SCORES WITH MONO ENHANCEMENT by JOHN F. ALLEN There can be more to a state of the art theatre sound system than stereo. Kintek s mono enhancement system produces five channel sound from Academy
More informationSPL Analog Code Plug-ins Manual Classic & Dual-Band De-Essers
SPL Analog Code Plug-ins Manual Classic & Dual-Band De-Essers Sibilance Removal Manual Classic &Dual-Band De-Essers, Analog Code Plug-ins Model # 1230 Manual version 1.0 3/2012 This user s guide contains
More informationSound Design, Music, and Recording
CS 5964 Sound Design, Music, and Recording No one will listen to a bad recording, no matter how pretty the pictures. A bad soundtrack is #1 reason most student films fail in festivals. Sound Philosophy
More informationA Must-Have for the Studio
Dramatically improves your sound by adding clarity, dimension and depth Produces natural brightness through harmonic enhancement and tighter bass with increased punch through phase compensation Professional
More informationy AW4416 Audio Workstation Signal Flow Tutorial
y AW44 Audio Workstation Signal Flow Tutorial This tutorial will help you learn the various parts of a CHANNEL by following the signal through #1. Use the Signal Flow Diagram included with this document.
More informationProducing Commercials, Promos and News
Producing Commercials, Promos and News Talent ( Commercials refers to commercials, promos and PSAs) Talent is a generic term that refers to announcers. Production people should resist the tendency to produce
More informationCM4-BT. Compact Mixer with Bluetooth UK User Manual
CM4-BT Compact Mixer with Bluetooth 170.804UK User Manual Caution: Please read this manual carefully before operating Damage caused by misuse is not covered by the warranty Introduction: Thank you for
More informationDTS Neural Mono2Stereo
WAVES DTS Neural Mono2Stereo USER GUIDE Table of Contents Chapter 1 Introduction... 3 1.1 Welcome... 3 1.2 Product Overview... 3 1.3 Sample Rate Support... 4 Chapter 2 Interface and Controls... 5 2.1 Interface...
More informationMaster Section
Master Section -18 9 9 18 VU VU The Master section of the Custom Series 75 is host to two linkable (and externally patchable) mono 2254 compressors, the 281 Channel Module routing options, eight Groups,
More informationPOWER USER. AW16G Music Production Studio. INPUT Channel/TRACK Channel Signal Routing: the Basic Concept
POWER USER AW16G Music Production Studio INPUT Channel/TRACK Channel Signal Routing: the Basic Concept Phil Clendeninn Product Support Group Yamaha Corporation of America AW16G Sorting out Digital Recording
More informationCLA MixHub. User Guide
CLA MixHub User Guide Contents Introduction... 3 Components... 4 Views... 4 Channel View... 5 Bucket View... 6 Quick Start... 7 Interface... 9 Channel View Layout..... 9 Bucket View Layout... 10 Using
More informationMAutoPitch. Presets button. Left arrow button. Right arrow button. Randomize button. Save button. Panic button. Settings button
MAutoPitch Presets button Presets button shows a window with all available presets. A preset can be loaded from the preset window by double-clicking on it, using the arrow buttons or by using a combination
More informationCMX-DSP Compact Mixers
CMX-DSP Compact Mixers CMX4-DSP, CMX8-DSP, CMX12-DSP Introduction Thank you for choosing a Pulse CMX-DSP series mixer. This product has been designed to offer reliable, high quality mixing for stage and/or
More informationRecording to Tape (Analogue or Digital)...10
c o n t e n t s DUAL MIC-PRE Green Dual Mic Pre (introduction).............................4 Section (i): Setting Up Power Connections...........................................4 Power Supply................................................5
More informationM-16DX 16-Channel Digital Mixer
M-16DX 16-Channel Digital Mixer Workshop The M-16DX Effects 008 Roland Corporation U.S. All rights reserved. No part of this publication may be reproduced in any form without the written permission of
More informationTASCAM DM-24. The DM-24 Basics. TEAC Professional Division. Digital Mixing console
TASCAM TEAC Professional Division DM-24 Digital Mixing console The DM-24 Basics DM-24 SIGNAL FLOW... 3 INPUTS... 3 RETURNS... 3 OPTIONS... 4 OUTPUTS... 5 AUX SENDS... 5 TRACKING OPTIONS... 5 Using AUX
More informationPowered Mixers Watt 10-Channel Powered Mixer with Dual Multi-FX Processor and FBQ Feedback Detection System
Ultra-compact rack-mountable 2 x 800-Watt stereo powered mixer (1600-Watt bridged mode) Revolutionary Class-D amplifier technology: enormous power, incredible sonic performance and super-light weight Ultra-compact
More informationSoftware Audio Console. Scene Tutorial. Introduction:
Software Audio Console Scene Tutorial Introduction: I am writing this tutorial because the creation and use of scenes in SAC can sometimes be a daunting subject matter to much of the user base of SAC.
More informationAMEK SYSTEM 9098 DUAL MIC AMPLIFIER (DMA) by RUPERT NEVE the Designer
AMEK SYSTEM 9098 DUAL MIC AMPLIFIER (DMA) by RUPERT NEVE the Designer If you are thinking about buying a high-quality two-channel microphone amplifier, the Amek System 9098 Dual Mic Amplifier (based on
More informationThe simplest way to stop a mic from ringing feedback. Not real practical if the intent is to hear more of the choir in our PA.
Lose the Feeback Improving Gain-Before-Feedback in Worship Sennheiser HOW Applications Tip #9 Kent Margraves, June 2008 *This discussion focuses on the processing and optimization of miked sources on the
More informationTL AUDIO M4 TUBE CONSOLE
TL AUDIO M4 TUBE CONSOLE USER MANUAL TL AUDIO M4 TUBE CONSOLE M4 INTRODUCTION... 3 M4 MIXER TECHNICAL SPECIFICATION... 4 Mic Input:... 4 Line Input:... 4 Phase Rev:... 4 High Pass Filter:... 4 Frequency
More informationFoundations and Theory
Section I Foundations and Theory Sound is fifty percent of the motion picture experience. George Lucas Every artist must strive to understand the nature of the raw materials he or she uses to express creative
More informationMixing and Mastering Audio Recordings for Beginners
Mixing and Mastering Audio Recordings for Beginners Tom Rudolph, Presenter tom@tomrudolph.com; www.tomrudolph.com This handout is available from www.tomrudolph.com/handouts.htm Reference sources: o Jack
More informationMusic Technology I. Course Overview
Music Technology I This class is open to all students in grades 9-12. This course is designed for students seeking knowledge and experience in music technology. Topics covered include: live sound recording
More informationCHAPTER 3 AUDIO MIXER DIGITAL AUDIO PRODUCTION [IP3038PA]
CHAPTER 3 AUDIO MIXER DIGITAL AUDIO PRODUCTION [IP3038PA] Learning Objectives By the end of this chapter, students should be able to: 1 State the function of the audio mixer in the sound studio. 2 Explain
More informationG-Stomper Mixer & Master V Mixer & Master... 2
G-Stomper Studio G-Stomper Rhythm G-Stomper VA-Beast User Manual App Version: 5.7.2 Date: 04/06/2018 Author: planet-h.com Official Website: https://www.planet-h.com/ Contents 11 Mixer & Master... 2 11.1
More informationAcoustics H-HLT. The study programme. Upon completion of the study! The arrangement of the study programme. Admission requirements
Acoustics H-HLT The study programme Admission requirements Students must have completed a minimum of 100 credits (ECTS) from an upper secondary school and at least 6 credits in mathematics, English and
More informationActivity 1A: The Power of Sound
Activity 1A: The Power of Sound Students listen to recorded sounds and discuss how sounds can evoke particular images and feelings and how they can help tell a story. Students complete a Sound Scavenger
More informationA Straightforward One-Seat Stereo Tuning Process and Some Notes About Why it Works
A Straightforward One-Seat Stereo Tuning Process and Some Notes About Why it Works The Process Note 1: This process assumes the input to your DSP is confirmed as a flat, two-channel and in phase signal,
More informationInstallation and Users Guide Addendum. Software Mixer Reference and Application. Macintosh OSX Version
Installation and Users Guide Addendum Software Mixer eference and Application Macintosh OSX Version ynx Studio Technology Inc. www.lynxstudio.com support@lynxstudio.com Copyright 2004, All ights eserved,
More informationIntroducing the New Daking Console
Introducing the New Daking Console Daking The Console that can change from a Legacy Bussing scheme to DAW Direct Routing with the touch of a button. Features: Class A Circuitry Transformer Coupled Pre-Amps
More informationAxumVideo 0 intro. Now that you have connected the different AXUM system parts, you are ready to configure the system according to your own needs.
AxumVideo 0 intro Now that you have connected the different AXUM system parts, you are ready to configure the system according to your own needs. On the left we see the RACK unit and on the right we see
More informationCFX 12 (12X4X1) 8 mic/line channels, 2 stereo line channels. CFX 16 (16X4X1) 12 mic/line channels, 2 stereo line channels
COMPACT CFX MIXERS COMPACT SOUND REINFORCEMENT MIXERS WITH EFX FOR THE GIGGING MUSICIAN THREE MODELS CFX 12 (12X4X1) 8 mic/line channels, 2 stereo line channels CFX 16 (16X4X1) 12 mic/line channels, 2
More informationARIA STUDIOTRACK IIII R504
Front Panel Rear Panel The ARIA STUDIOTRACK IIII 504 is a high-quality multi-track cassette recorder capable of producing professional musical recordings and demo tapes. It is recommended for rack-mounting
More informationS MiX 2M2S UF. S MiX 2M2S F
USER guide MULTI-CHANNEL STEREO MIXER S MiX 2M2S UF S MiX 2M2S F FEATURES 2 stereo input channels and 2 mono input channels. 2-band frequency EQ for each input channel. Low-noise mic pre-amp on microphone
More informationVocal Processor. Operating instructions. English
Vocal Processor Operating instructions English Contents VOCAL PROCESSOR About the Vocal Processor 1 The new features offered by the Vocal Processor 1 Loading the Operating System 2 Connections 3 Activate
More informationSOUND ESSENTIAL CONCEPTS
SOUND ESSENTIAL CONCEPTS What is sound in cinema? Flexible & wide ranging technique It shapes our understanding of a film It directs our attention Consider that sound Is not simply an accompaniment to
More informationFaithful Sound Uniform Loudness Distribution Reproduction. Source. System
Faithful Sound Uniform Loudness Distribution Reproduction Lucid ULD III Loudspeakers Althar Audio strives to protect the integrity of sounds. We recognise the delicacy of sound, beginning with its creation
More informationLinear Time Invariant (LTI) Systems
Linear Time Invariant (LTI) Systems Superposition Sound waves add in the air without interacting. Multiple paths in a room from source sum at your ear, only changing change phase and magnitude of particular
More informationHUB MIXER SYSTEM HIGHLIGHTS. Hear Back PRO ios App. Ray Parker, Jr. Recording Session in Personal Studio
PERSONAL MIXING & PRO AUDIO GEAR 2018 Ray Parker, Jr. Recording Session in Personal Studio HUB MIXER SYSTEM HIGHLIGHTS The personal monitor system artists and studios choose for its simplicity and high-quality
More informationAudio Source Separation: "De-mixing" for Production
Audio Source Separation: "De-mixing" for Production De-mixing The Beatles at the Hollywood Bowl using Sound Source Separation James Clarke Abbey Road Studios Overview Historical Background Sound Source
More informationI. LISTENING. For most people, sound is background only. To the sound designer/producer, sound is everything.!tc 243 2
To use sound properly, and fully realize its power, we need to do the following: (1) listen (2) understand basics of sound and hearing (3) understand sound's fundamental effects on human communication
More information456 SOLID STATE ANALOGUE TAPE + A80 RECORDER MODELS
456 SOLID STATE ANALOGUE TAPE + A80 RECORDER MODELS 456 STEREO HALF RACK 456 MONO The 456 range in essence is an All Analogue Solid State Tape Recorder the Output of which can be recorded by conventional
More informationsoothe audio processor Manual and FAQ
soothe audio processor Manual and FAQ Thank you for using soothe! soothe is a spectral processor for suppressing resonances in the mid and high frequencies. It works by automatically detecting the resonances
More informationMixing in the Box A detailed look at some of the myths and legends surrounding Pro Tools' mix bus.
From the DigiZine online magazine at www.digidesign.com Tech Talk 4.1.2003 Mixing in the Box A detailed look at some of the myths and legends surrounding Pro Tools' mix bus. By Stan Cotey Introduction
More informationBroadcast Sound Mixing System
Studer Professional Audio GmbH, Riedthofstrasse 214, CH-8105 Regensdorf, Switzerland. Phone: +41 44 870 75 11 Fax: +41 44 870 71 34 Studer reserves the right to improve or otherwise alter any information
More informationQuick Start for TrueRTA (v3.5) on Windows XP (and earlier)
Skip directly to the section that covers your version of Windows (XP and earlier, Vista or Windows 7) Quick Start for TrueRTA (v3.5) on Windows XP (and earlier) Here are step-by-step instructions to get
More informationCharacter Users Guide
Cha r a c t e r Us e r sgui de Character Users Guide Metric Halo $Revision: 1619 $ Publication date $Date: 2012-02-10 20:41:00-0400 (Friday, 10 Feb 2012) $ Copyright 2011 Metric Halo Table of Contents
More informationCDM10: Channel USB Mixer. Item ref: UK User Manual
CDM10:4 19 4 Channel USB Mixer Item ref: 171.135UK User Manual Caution: Please read this manual carefully before operating Damage caused by misuse is not covered by the warranty Introduction Thank you
More informationStudio Notes. SQN-3 Mono Microphone Mixer
Studio Notes SQN-3 Mono Microphone Mixer The SQN-3 Mixer The SQN-3 audio mixer is a 4 into 1 monophonic mixer. It is powered from 6 AA size alkaline batteries and these are located at the rear right of
More informationPowered Mixers. Ultra-Compact 300-Watt 5-Channel Powered Mixer with Multi-FX Processor and FBQ Feedback Detection System
Compact and rack-mountable 300-Watt powered mixer with Multi-FX processor Revolutionary Class-D amplifier technology: enormous power, incredible sonic performance and super-light weight Ultra-compact design
More informationOverview. A 16 channel frame is shown.
Overview A 16 channel frame is shown. 22 Mono Input Channel 1 - MIC INPUT The mic input accepts XLR-type connectors and is designed to suit a wide range of BALANCED or UNBALANCED signals. Professional
More informationMark Scheme (Results) Summer Pearson Edexcel GCE In Music Technology (6MT04) Paper 04 Analysing and Producing
Scheme (Results) Summer 2017 Pearson Edexcel GCE In Music Technology (6MT04) Paper 04 Analysing and Producing Edexcel and BTEC Qualifications Edexcel and BTEC qualifications are awarded by Pearson, the
More informationTF5 / TF3 / TF1 DIGITAL MIXING CONSOLE. TF StageMix User's Guide
TF5 / TF3 / TF1 DIGITAL MIXING CONSOLE EN Note The software and this document are the exclusive copyrights of Yamaha Corporation. Copying or modifying the software or reproduction of this document, by
More informationMusic and Audio Technology Degree Program Application
The City College of New York Shepard Hall, Room 72 New York, NY 10031 Music and Audio Technology Degree Program Application This application must be emailed with SAC Application applicant s last name in
More informationKBR-M -WARNING- -SPECIFICATIONS-
1 KBR-M The KBR-M can produce high sound pressure levels. Hearing protection is advised. The KBR-M must be earthed and connected to a correct power source. -WARNING- -SPECIFICATIONS- Design Range: Rotary
More informationChapter 4 Signal Paths
Chapter 4 Signal Paths The OXF-R3 system can be used to build a wide variety of signal paths with maximum flexibility from a basic default configuration. Creating configurations is simple. Signal paths
More informationAmong Fields of Crystal Harold Bud & Brian Eno
Among Fields of Crystal Harold Bud & Brian Eno Critical Analysis by Mitchell Benham Introduction In 1980, 'Ambient 2: The Plateaux of Mirror' was released as the second instalment in what would grow to
More informationYOU ARE SURROUNDED. Surround Sound Explained - Part 2. Sound On Sound quick search. Technique : Recording/Mixing
YOU ARE SURROUNDED : September 2001 Sound On Sound quick search Surround Sound Explained Part: 1 2 3 4 5 6 7 8 9 Surround FAQs Current Print Issue Recent issues: August 2003 July 2003 June 2003 May 2003
More informationVROOM! POW! BANG! & 3 Futzes... The Art & Science of Custom- Made Cinema Sound Effects
2014 Hawaii University International Conferences Arts, Humanities & Social Sciences January 4, 5 & 6 2014 Ala Moana Hotel, Honolulu, Hawaii VROOM! POW! BANG! & 3 Futzes... The Art & Science of Custom-
More informationUSER GUIDE MULTI-CHANNEL STEREO MIXER S MIX 4M2S UD
USER GUIDE MULTI-CHANNEL STEREO MIXER S MIX 4M2S UD FEATURES 4 mono input channels and 2 stereo input channels. Frequency EQ on each input channel. Low-noise mic pre-amp on microphone inputs. Low cut filter
More informationVU Meter. User Guide
VU Meter User Guide Waves VU Meter User Guide Chapter 1 Introduction... 2 Chapter 2 Components... 4 Chapter 3 Controls and Displays... 5 Welcome Thank you for choosing Waves! In order to get the most out
More informationP121 SH SILENT PIANOS
Designed in Europe to European preferences, the P121 boasts exquisite cabinetry, European spruce soundboard and back posts and the rich, expressive voice of a full-sized upright. Silent functionality has
More informationREVERSE ENGINEERING EMOTIONS IN AN IMMERSIVE AUDIO MIX FORMAT
REVERSE ENGINEERING EMOTIONS IN AN IMMERSIVE AUDIO MIX FORMAT Sreejesh Nair Solutions Specialist, Audio, Avid Re-Recording Mixer ABSTRACT The idea of immersive mixing is not new. Yet, the concept of adapting
More informationMANUAL DE INICIO RÁPIDO ESPAÑOL ( 7 10 ) GUIDE D UTILISATION RAPIDE FRANÇAIS ( ) MANUALE RAPIDO DI UTILIZZAZIONE ITALIANO ( )
QUICKSTART GUIDE ENGLISH ( 6 ) MANUAL DE INICIO RÁPIDO ESPAÑOL ( ) GUIDE D UTILISATION RAPIDE FRANÇAIS ( 4 ) MANUALE RAPIDO DI UTILIZZAZIONE ITALIANO ( 5 ) KURZANLEITUNG DEUTSCH ( 22 ) INTRODUCTION Welcome
More informationM A S T E R S E C T I O N. User Manual
M A S T E R S E C T I O N User Manual Version 1.02: July 2007 Contents. Safety Information.... 3 Welcome.... 4 Connections.... 5 A Basic Set-up 5 Setting Up.... 7 Adjusting Input Levels 7 Taking Account
More informationP116 SH SILENT PIANOS
With magnificent cabinetry, spruce soundboard and back posts crafted to European preferences, the P116 delivers superb sound quality while remaining compact in appearance. Silent functionality has been
More information******************************************************************************** Optical disk-based digital recording/editing/playback system.
Akai DD1000 User Report: ******************************************************************************** At a Glance: Optical disk-based digital recording/editing/playback system. Disks hold 25 minutes
More informationKS5 KS3. Loop pedals: singing, layering and creating INTRODUCTION WHAT IS A LOOP PEDAL? by James Manwaring
KS5 KS3 Loop pedals: singing, layering and creating James Manwaring is Director of Music for Windsor Learning Partnership, and has been teaching music for 13 years. He is a member of the MMA and ISM, and
More informationCVP-609 / CVP-605. Reference Manual
CVP-609 / CVP-605 Reference Manual This manual explains about the functions called up by touching each icon shown in the Menu display. Please read the Owner s Manual first for basic operations, before
More informationX D M PREAMP MIXER
User Instructions X D M - 3 5 2 PREAMP MIXER Thank you for purchasing this American DJ product. The XDM-352 is ready to be used, there is no assembly required. Please read the following instructions before
More informationHow to split audio tracks [Full Mix on Ch. 1 and Nat Sound/Soundbites on Ch. 2] in Final Cut Pro.
How to split audio tracks [Full Mix on Ch. 1 and Nat Sound/Soundbites on Ch. 2] in Final Cut Pro. 1-Confusing Audio Terminology. Channel 1 and Channel 2 refer to the distinct audio OUTPUTS that are recorded
More informationReference Guide 2015 ZOOM CORPORATION. Copying or reprinting this manual in part or in whole without permission is prohibited.
Reference Guide 2015 ZOOM CORPORATION Copying or reprinting this manual in part or in whole without permission is prohibited. Introduction is a mixer application designed specifically for the. Using a
More informationAUDIO POST-PRODUCTION
ON THE SUBJECT OF AUDIO POST-PRODUCTION www.joenasrapp.com 1 WHAT IS AUDIO POST-PRODUCTION? What is involved? The Steps The Mixing Realm! Audio Post-Production is the process of creating the soundtrack
More information"Vintage BBC Console" For NebulaPro. Library Creator: Michael Angel, Manual Index
"Vintage BBC Console" For NebulaPro Library Creator: Michael Angel, www.cdsoundmaster.com Manual Index Installation The Programs About The Vintage BBC Recording Console About The Hardware Program List
More informationWitold MICKIEWICZ, Jakub JELEŃ
ARCHIVES OF ACOUSTICS 33, 1, 11 17 (2008) SURROUND MIXING IN PRO TOOLS LE Witold MICKIEWICZ, Jakub JELEŃ Technical University of Szczecin Al. Piastów 17, 70-310 Szczecin, Poland e-mail: witold.mickiewicz@ps.pl
More informationSYSTEM HIGHLIGHTS HUB MIXER FOUR PACK. MISHA K ACHK ACHISHVILI Esplanade Studios
PRODUCT GUIDE MISHA K ACHK ACHISHVILI Esplanade Studios SYSTEM HIGHLIGHTS HUB MIXER The personal monitor system artists and studios choose for its simplicity and high-quality sound. Based in Gigabit Ethernet,
More informationRadio for Everyone...
Radio for Everyone... P R O D U C T I O N O N A I R C O N S O L E Eight dual inputs Built in auto Silence detector 4 USB in/out stereo channels Play out USB control section included AES 3 digital program
More information