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Let the computer record and playback all of
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your mixing moves.
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NEVE Flying Faders
Solid State Logic (SSL)
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Auto Write
Auto Latch
Auto Read
Auto Touch
Auto Off
Auto Trim |
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Writes continuous information for all of your changes. (While recording)
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Only writes automation when the user changes a parameter.
Leaves value at the level where you last touched it.
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Like Latch, but leaves the value at the level of the previous setting.
Good for minor corrections.
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Will read automation but ignore any changes.
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Will ignore all automation changes.
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These modes work well with physical controllers.
They all create a bunch of extra information that affects performance.
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draw in the exact automation you want on a graph
more efficient because only the point you add affects performance
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Useful for moving all the automation up or down
Allows you to change automation values yet maintain its relative values
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the more bits used during recording the better the sound of the recorded piece
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audio data
metadata
how many channels?
how many bits per channels?
what is the sample rate?
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Determines the rate that the
sound goes from the effected portion to
the non-effected portion.
Expressed in dB/Octave
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changes amplitude of certain frequencies
shapes the harmonics of sound
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Parametric
Shelving
Band Pass
Low-Cut (High-pass)
Low-Pass (High-cut)
Graphic
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Gain
Frequency
Bandwidth/Q
Slope
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Amount of
boost or cut in amplitude
applied to the original
sound.
Expressed in dB
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Point of maximum amplitude change (parametric)
Point where EQ curve is down -3dB from the maximum (Shelving, Bandpass, Low-cut/Low-pass, High-cut/High-pass)
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The range of frequencies effected by the
EQ, Expressed in Octaves
Q is the inverse of bandwidth. (If the bandwidth is 2 octaves then the Q
is 1/2) Applies mostly to Parametric EQ.
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This setting determines the rate that the
sound goes from the effected portion to
the non-effected portion.
Expressed in dB/Octave
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has gain, frequency, and bandwidth/q
15 or 31
parametric EQ’s chained together and
each handling a small part of the total
sound frequency range
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Affects a broad range of frequencies
evenly.
Only controls are Gain & Frequency
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Gets rid of all frequencies except those
within a certain range.
Used frequently to obtain the
‘telephone’ sound
Useful for giving a track its own
“frequency space”
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Gets rid of all frequencies below a
certain point.
That point is the frequency setting
The reduction increases as frequency
decreases.
Useful for compensating for the
Proximity effect.
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Gets rid of all frequencies above a
certain point.
That point is the frequency setting
The reduction increases as frequency
increases.
Useful for eliminating excessive
sibilance.
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carpet – absorbs high frequencies
glass – reflects high frequencies
concrete, wood, plaster
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small number of repetitions of a
sound. Typically 1-3
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repetitions of a sound becoming
more closely space and diminishing in
amplitude over time
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time interval between a sound and it’s first echoes
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;
;
How long it takes for a sound and it’s reverberations to die away
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1. Direct sound
2. Echoes (early reflection)
3. Reverberation (diffuse echo)
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time it takes the original SPL to drop to 60 dB
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natural sounding and limited reconfiguration possibilities
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Electro-mechanical
Systems
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worked great for echoes
not good for reverb
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Plate Reverb
(Vibrating Mediums)
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Smaller than echo chamber
but still limited in sound possibilities. Has a
‘plate’ sound characteristic.
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Spring Reverb
(Vibrating Mediums)
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Very compact. Found in most
cheap guitar amps. Has an annoying ‘spring’
characteristic to the sound. Used a lot in
surf rock.
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DSP
(Digital Signal Processing)
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Use (semi) complex math to create the reverb.
Convolution Reverb
Impulse response used to measure room characteristics
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uses measurements from real space to make reverb profile
impulse response file created from measurements determines the algorithm that controls the reverb sound
can completely mimic real spaces thus eliminating the need for echo chambers
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Doubling
Chorus
Phasing/Flanging
Harmonizing
Sampling
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changes only the amplitude of audio
can change the dynamic range and envelope of a sound
4 types: Limiting, Compression, Expansion, Gating
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difference in decibels between the softest and loudest sound there is
Human Hearing – 130dB (based on environment)
CD 90dB
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Amplitude of the sound is not allowed to be any
louder than a Threshold you specify.
Usually results in clipping.
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Gain is reduced if the Amplitude of the sound
becomes any louder then a Threshold you specify.
Reduction only takes place during the period while
the sound is above the threshold.
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Gain is increased if the Amplitude
of the sound becomes any louder
than a Threshold you specify.
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Sound is only allowed to pass through if
it is louder then a Threshold you specify.
Can cause clicking if not used correctly
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Once sound surpasses the threshold, the ratio is the
amount of change that happens relative to the
amplitude above the threshold.
1:1 to 10:1 – compression
10:1 to Infinity – Limiting
1:1 to 1:10 – Expansion
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How quickly the device reacts to the sound
surpassing (or not) the threshold.
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How long it takes for the device to stop
affecting the sound.
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allows you to create a variable ratio.
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compression/expansion starts
immediately and fully once sound surpasses the
Threshold.
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allows you to gently bring in compression
before the actual threshold is reached.
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