Month: July 2018

Summary

I recorded my voice in front of a few different microphones to see how they impacted the sound and tone of my voice.

Microphone Audition Podcast

My Favorite Microphone Specifications (PLACE MIC. NAME LATER)

My favorite microphone with my voice was the SM58. it is a cardiod dynamic microphone and it is the most widely known vocal mic  in the world.

Terms and Concepts

Microphones

• Dynamic- The sound waves from a sound source move a diaphragm that transmits signals. Can’t pick up high frequencies very well. Very durable. Less feedback.
• Condenser- Called so because collecting electricity was though as “condensing” it. Has a electric current (amplifier) ready to receive any sounds that hit the diaphragm right away, which makes it able to pick up higher frequencies. Lighter Diaphragm.
• Think of  spastic person that is always ready for something to happen (C) vs a half asleep person that you need to yell at to wake up (D)

Polar patterns

• Omni- Sounds are picked up equally from all directions. Used mostly when sound is being recorded, and not for live situations. You don’t want a lot of background noise because the mic will pick up everything.
  
• Cardioid- Unidirectional. Sound is only picked up from one direction. More sensitive to sound coming from the front, less from the sides, and none from the rear. Hyper cardioid is even less sensitive to the sides and a little sensitive to the rear. Loud stages or weak singers. For cardioid, place monitor(s) behind the mic. For hyper, place slightly to the side.
• Bi-directional- Most sensitive to sounds coming front the front and the rear. Less sensitive to sounds at the sides. 
  
• Transduction- Converting sound energy into an electrical signal or an electrical signal into sound energy.
  
• Voltage- The sensitivity
  
• Phantom power- The power from the mixer or recorder for a condenser microphone. Between 12 and 48 volts DC.
• Sensitivity- Output level. Voltage of output signal when exposed to a certain sound level. Can be expressed as decibels below one volt. Most microphone signals are less than one volt so a negative number is used (-50dBV). Higher number means microphone is more sensitive (-30dBV) and a lower number means a less sensitive microphone (-70dBV). This number is meaningless unless you know what sound pressure level (SPL) it was tested with. Most are tested at 94dB/1 Pa.
  
• Frequency Response- The range of sound a microphone can reproduce and how sensitive the mic is at certain distance. Flat response, equally sensitive to all frequencies. Shaped response, more sensitive to some frequency ranges, adds clarity to vocals. When made less sensitive to low frequencies, picks up less background noise. Some microphones let you adjust frequency response.
• Transient- An abrupt change in level. Like a cymbal’s crash or a singer’s T’s or CH’s.
  
• Placement- If the sound source (mainly vocals) is farther away (3-4 ft), the voice is still clear but you get more room noise, which may be good if you want reverberation. Move the sound source even further to get more reverberation. About half a foot away from the mic, is the normal place for a vocalist. You get less room noise and the voice sounds even clearer. Picks up subtle changes in the voice. Moving the sound source to right in front of the microphone will increase the bass (proximity effect), as well as giving the voice a more intimate feel. A pop filter will be needed to prevent some words from “popping”. Like the singer’s P’s.
  
• Proximity effect- The increase in bass when a sound source is moved closer to the microphone.
• Output- More sensitive mics have higher voltage than less sensitive mics. 
  
• Characteristics- Sensitivity, Frequency Response, Output, Maximum sound pressure level.
  
• Noise rating- The signal (sound source) to noise ratio measured in decibels (dB). Noise is any sound in the background you don’t want. Electricity vibrates at 60dB so you want the ratio of the signal and noise to be higher than that. Preferably 90dB or higher.

Hardware

• Clips- Holds the microphone to the stand
• Stands- Holds up the microphone so the speaker doesn’t have to hold it. Height can be adjusted.
• Windscreen- Reduces breathing and wind noises
  
• Direct Box- Connected to the mixer. Balances various outputs an inputs from the microphone and the mixer.

What I Learned

I learned that different types of microphones and how they process sound waves does effect how it sounds to the ear. it was pretty hard to get all the tracks to line up and I am not excited to try and do that with my song.

Tools for Mixing

• Adobe Premiere Pro
• Adobe Audition
• Avid ProTools
• Apple GarageBand
• Audacity

NLE – Non-linear editor like Audacity, GarageBand, Adobe Audition, Avid Pro Tools, etc.

Equalizer – An equalizer boosts or cuts the amplitude of certain frequencies which alters the harmonics or overtones resulting in the change of the character of the sound.

First Order Filters

High Shelf – This type of equalization, called a first order filter, is the simplest kind of equalization to perform using electronic components. This is found on your basic consumer hi fi systems.

Low Shelf – Cut the sound of the low frequencies in our recording below 100Hz, for example.

High-pass Filter – Lets all the high frequencies pass, eliminating all the low range.

Low-pass Filter – Lets all the low range pass and killing off the high frequencies.

Second Order Filters

Peaking Filter or Parametric Equalizer – Target a more specific range of frequencies. This is often called the and it has three settings:

1. The frequency, which is what frequency you wish to target,
2. The gain: how much you want to boost or cut that frequency
3. The Q, or quality factor, which is how wide the parabola of the adjustment will be.
   • High Q values will have a steeper slope.
   • Sometimes Q is expressed in octaves – the more octaves a Q has the more wider and gentler the effect.

Notch Cut or a Band-stop Filter – Really high Q filter used to completely eliminate a particular frequencies. Used to eliminate constant frequency based noise like a electronic hum or to prevent feedback in a live audio setting.

Graphic Equalizers – Commonly found on mix boards, they behave the same way as parametric equalizers except instead of selecting specific frequencies and changing the q value, all the frequencies are presented as sliders with a predetermined interval and q value.

Why do we use equalizers? – Essentially three main uses:

First: Fix inadequacies in the recording: Microphones aren’t perfect and some have a specific frequency response and you may want to use the equalizer to compensate and create a flatter response.

• You can also target specific hums with a notch filter and eliminate them or use a high pass filter to cut low range rumble caused by wind noise.

Second: Use EQ when you’re mixing audio sources that are competing in a similar frequency space .

• A common occurrence when mixing voice over with a background music track, if you cut the background music in the 1200 HZ range, the sweet spot of human voice, you can make some more room for dialogue or voice over tracks:

Third: Making the track sound better – or just different.

• For instance boosting the bass frequencies on a dialogue track, say around 160 hz will add power to human voices, but too much can make the track muddy and unintelligible.
• You can add a bit of presence by boosting the 5kHz range but again too much will cause ear fatigue.
• Sibilance or ess sounds can be found between 4 and 10 kHz, you can boost this for more of a clear sound or cut it to get rid of harsh ess sounds.

Instrument Frequencies – Refer to a mixing instruments chart available online that give you a general guideline for which frequencies to target depending on the instrument.

Dynamics

Dynamics – General loudness of a passage of music from piano which is soft to fortissimo which is loud and forceful.

• Dynamics in sound engineering is same concept – the dynamic range is the difference from the very soft to the very loud. Sometimes we need to compress that range – to make the difference between soft and loud passages smaller.

Compressor – Makes the difference between soft and loud passages smaller.

• Compressors help smooth out sudden increases in volume caused by momentary changes of distance from the mic or just natural changes in volume.
• Compression makes the audio sound more powerful and louder than it really is.
• A compressor works by essentially squashing down sound that goes above a certain threshold, based on a pre-set ratio of 2:1, 3:1, 4:1, or higher.
• 2:1 compression means for ever 2 dB increase in volume above a threshold like -12dB from the input, there will only be a 1 dB increase in output volume. 2db goes into the microphone and 1db comes out the speaker.
• A more drastic compression would be 4:1, for each 4dB increase of input there would only be 1 dB increase in the output.

Compressor Attack and Release – determine how quickly or slowly they kick in.

• Too fast and you can get a pumping sound, too slow and spikes in the audio can slip through.
• Once we have compressed the dynamic range, we can safely boost the entire track to make everything generally louder if desired.

Limiter – A limiter essentially prevents peaks from going over a specific target generally used for broadcast and they have very short attack and release times.

• A limiter has a high compression ratio of 10:1, 20:1, or even 100:1.

Expander – The opposite of a compressor.

• Expanders are generally only used for the quieter parts of the dynamic range.

Noise Gate– A noise gate is one kind of expander. Essentially like a high pass filter except for amplitude.

• Anything louder than the threshold will get through, anything lower than the threshold will be expanded down into nothing.

Multi-band Compressor – Combines the best of EQ – the control of harmonics and overtones with the control over dynamic range that a compressor has.

• A multi-band compressor breaks the track into different bands of frequencies which you can independently apply compression.

Fast Fourier Transform or FFT – A noise reduction tool that works by first taking a snapshot of your audio waveform – creating a profile of the unwanted sound. Then using various settings you can subtract the offending noise from the entire track.

• Chirping – Too much FFT processing can result in something called chirping which is squirrely weird digital bird sounds. You can avoid chirping but not completely removing background noise.

Delay

Delay – Repeating of an original audio signal numerous times.

Combing – By repeating the audio with a delay of 15 milliseconds or less, we get an effect called combing where interference patterns created resemble that of a comb.

Chorusing – With a delay of 15-35 milliseconds we start getting chorusing effects where the brain is starting to perceive more than one voice or instrument is being sounded.

• Chorusing filters can also vary the pitch and timing of the delays for more effects. This may be useful for creating bizarre and other worldly characters for your audio.

Echo – Beyond a delay of 35 milliseconds and we will begin to perceive an echo effect.

Reverb – The mixture of a large number of random and decaying echoes.

• Advanced digital reverb generators can even simulate the time and frequency response of a specific rooms like concert halls. Echo and reverb can give your audio track a sense of space – whether that’s a large cavern or even a small hard room.

Pitch Shifting – Take a wave and squeeze the time, this is adjusting the frequency. Make the time shorter and the frequency will go up. Stretch it out longer and the frequency will go down.

Phase Vocoders / Sinusoidal Spectral Modeling – Stretch and squish waveforms making things like auto tune possible.

Sound Wave – A vibrational disturbance that involves mechanical motion of molecules transmitting energy from one place to another.

Compression – Push of air molecules creating a peak of high pressure.

• Reducing a signal’s output level in relation to its input level to reduce dynamic range.

Rarefaction – A trough of low pressure.

Longitudinal Wave – The repetition of compression and rarefaction creates a longitudinal wave or sound wave.

Wave Form – Changes in air pressure created by the sound wave against time.

Wavelength – Distance between two peaks of a wave.

Velocity – Speed in a given direction.

Amplitude – The magnitude of a sound wave or an electric signal, measured in decibel’s.

Frequency – The # of times per second that a sound source vibrates, expressed in hertz (Hz).

Hertz – Unit of measurement of frequency; numerically equal to cycles per second (cps).

440 Hertz – The standard musicians use to tune instruments, which corresponds to the A note on second space treble clef.

Phase – Factor in the interaction of one wave with another, either acoustically or electronically.

• It also references, in a multiple microphone recording, the place a microphone samples the sound wave in relation to another microphone sampling the same sound wave.

Fundamental  Frequency – The lowest frequency a sound source can produce.

• In other words, it is also called the first harmonic or primary frequency which is the lowest, or basic, pitch of a musical instrument. an example is 440 Hertz.

Harmonic – Is a multiple of the fundamental frequency,  For example, 880 Hertz is the first  harmonic of 440 Hertz.

Octave – The interval between two frequencies that have a tonal ratio of 2:1. For example, 880 Hertz is one octave above 440 Hertz.

Envelope – Describes the shape of a sound over time.

Attack – The time it takes for a sound to build up to full volume.

Decay – How quickly a sound levels off to a sustain.

Sustain – The ongoing sound.

Release – How quickly the sound decays or dissipates after the note is released.

Infrasonic – The range below the frequencies audible to human hearing.

Ultrasonic – The range above the frequencies of human hearing.

Pitch – The subjective perception of frequency – the highness or lowness of a sound.

Sound Frequency Spectrum – The range of frequencies audible to human hearing: about 20 to 20,000 Hz.

Bass – The low range of the audible frequency spectrum; usually from 20 to 320 Hz.

Midrange – The part of the frequency spectrum to which humans are most sensitive; the frequencies between roughly 320 Hz and 2,560 Hz.

Treble – Frequency range between roughly 5,120 Hz and 20,000 Hz, the highest two octaves audible to human hearing in the sound frequency spectrum.

Equalization – A signal-processing device that can boost, attenuate, or shelve frequencies in a sound source or sound system.

Decibel (dB) – A relative and dimensionless unit to measure the ratio of two quantities.

• Decibels are not a static unit measurement, it’s a comparison measurement and you always need a reference.
• Soft whisper around 30 dB SPL to freight train at 100 ft from 70dB SPL up to a jet takeoff from 200 feet registering at 120 dB SPL.
• Safety regulations – 85 dB and below you will be fine for 8 hours.
  • Cut that time in half each 3 dB you go up.
• Every 3 dB higher doubles the signal strength.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Terms

• Rough Mix
• Panning Tracks
• EQ Effect Presets
• Graphic EQ
• Master Output Level
• Volume and Pan Automation
• Compression

Summary

I wrote a song type thing to demonstrate that I learned and can apply the different requirements to projects and that I understand how they work and what they mean.

21st Century Skills Demonstrated

I had to problem solve a lot during this project. I didn’t work with anybody so it was easier to work. I’m not very good at working with other people I think. I liked all of the informational videos! They were really interesting. In the future I really hope I can figure out how to manage my perfectionism and ideas so that I can actually get songs or projects in general done.

Timeline

Monday- Brainstorm + vague melody/tempo etc decisions

Tuesday-

Wednesday-

Thursday-

Friday-

The Composition

 

Reactions to the Final Version

Some of my peers said that I needed better transition from the first part to the second part, and that the vocals in the first part need to be louder.

Evaluation of the Final Version

For the foundation of my song I used a beat made from Soundtrap. I had guitar to provide rhythm. I think that I do need to equalize all the different sounds and remove background noise, as well as make some of my transitions better.

What I Learned and Problems I Solved

I learned that its hard for me to get anything artistic done because I’m scared that it’s going to be horrible. The main problem I had was with looping the second guitar part. I eventually figured it out though!

Summary

For this lesson I made to bass lines for the purpose of understand ing the importance of them in making a good song.

My First Bass Line

https://onlinesequencer.net/878255

There wasn’t much that was particularly challenging about making this other than trying to make it sound good. I think that the repetition in a bass line makes it easier to compose than melody or harmony.

One of My Favorite Bass Lines

https://www.hooktheory.com/theorytab/view/bill-withers/aint-no-sunshine

I like this bass line because despite the fact that it’s very simple it adds so much to the song. It is a walking bass line. The line is played after each phrase that he sings. Each phrase ends on A minor, and I believe that the bass line starts with A minor and ascends in a couple notes after that.

Second Bass Line

https://onlinesequencer.net/878386

I centered this bass line around A (my root note). I only use three notes. I use a structure that ascends in the first four measures and then descends at the end.

Bass Terms

Tonality – describes what makes western music sound different from other types of music

Root – the lowest note in the chord, usually the tonic

Walking Bass – a bass line consisting of usually scales or moving parts that doesn’t line up with the melody. The melody may be going up as the bass goes down or vice versa

Chromatic Scale – A scale that uses every note in the octave. It sounds darker.

Inversion – using a different note from the chord (normally the 3rd or 5th) other than the root note as the bass note

Bass Riffs – A motif that you play on bass that adds to the song

What I Learned and Problems I Solved

I  learned that what makes a good bass line (in my opinion) is simplicity.

Summary

I made two different beats to better understand the components of making them.

My First Rhythm

https://onlinesequencer.net/875821

I first figured out what noises I liked from the drum kit and then I added and mixed them until I liked how it sounded.

One of My Favorite Rhythms

https://www.hooktheory.com/theorytab/view/phil-collins/in-the-air-tonight

I like this beat because its very light under the melody until around the middle of the song where it gets really intense.

My Second Rhythm

https://onlinesequencer.net/875951

There are two types of drum kits on online sequencer- the original drum kit, and the electric drum kit. I used the normal drum kit for most of my beats in the rhythm, but for my accent beats I used the electric drum kit as it was louder. I also used cross rhythm by having the main beat, and then adding stuff over the top of it.

Terms and Concepts

Summary

In class today I made a tune for the purpose of better understanding harmony.

Lesson Harmony

https://onlinesequencer.net/293014

It was challenging to find notes that worked together right in a chord.

Lesson Harmony – C Major Chords

https://www.hooktheory.com/theorytab/view/alicia-keys/fallin

The chord progression of this song is 1, 5- or tonic to dominant.

The key of the song is in em, which makes the tonic chord em, and the dominant chord bm7.

I like the harmony of this song because it’s very layered and it’s powerful because of that.

My Harmony

https://onlinesequencer.net/875172

I started on C and ended up on C chord. I used many triads to make chords. I payed close attention to my chord progression.

On the first measure I start with only one note which is C. And then on the second measure I do G, E, and D notes. I use more triads and leaps as the progression progresses.

The tonic chord is C and the tension chords are some of the other ones in the C scale.

Harmony Composition Terms

Drone – A continuous note that you can play over

Harmonics – “hidden” notes that help to create higherarchy in chords

Triad – 3 notes that come together and create a chord

Polyphony – many “voices”

Progression – a certain series of chords or notes that “work together” and sound good

Tonic – the first note of a scale “home”

Dominant – the fifth note of a scale that raises tension

Passimezzo Antico – A chord progression that’s a variation of a double tonic. It was popular during the Italian Renaissance

Passimezzo Moderno – “Modern half step” A chord progression that’s a variation of Passimezzo Antico. It divides the section in two and often uses a contrasting progression or section known as ripresi

Dischord –  deliberate collision of notes that are meant not to sound “pretty”

Dissonance – lack of harmony between notes “a clash”

Passing Notes – notes that don’t sound “pretty” but they are used a small amount of times like they are just “passing through”

Suspended Notes – dissonant notes being held for as long as possible and then finally moving at the last second

7th Chords – A regular triad chord plus the note seven steps above the first note

Diminished Chords – A regular triad chord with the bottom note being moved up a step

Augmented Chords – A regular triad chord with the last note being moved up a step

What I Learned and Problems I Solved

During this project, I got to learn more about harmony, how harmonies work and more about chords. I mostly used random notes in triads that I thought sounded good but I went back and revised to make them sound better.

 

Posted on February 27, 2016 by sleduc

Summary

I wrote two melodies to show that I learned how to use the note scale degrees.

My First Melody

https://onlinesequencer.net/874335

I started at C and I went back to C as it was my tonic note. I used G2 as my bass note.

One of My Favorite Melodies

https://www.hooktheory.com/theorytab/view/minnie-riperton/lovin-you

Key- A Major

Tempo- 125 bpm

Tension notes- F#, C#

The theme is happy

My Second Melody

https://onlinesequencer.net/874342

There isn’t really a pattern but the tune ascends mostly.

I use an ascending pattern and many leaps. The tonic note in the C scale is C, the supertonic is D, the mediant is E, the subdominant is F, dominant is G, submediant is A, and the leading tone is B.

Melody Composition Terms

theme –  a longer, more flowing melodic idea.

motive – a short rhythmic idea

period –  eight measures, a musical sentence

phrase – four measures, a piece of a musical sentence 

antecedent (Question) Phrase –  The first phrase, like asking a question, sets up for the next phrase

consequent (Answer) Phrase – The second phrase, almost like answering the question phrase one said

scale degree –

• tonic – Begins and ends the scale, determines what key you’re in and what the other notes will be [Stop, “Home”]
  
• supertonic, mediant, submediant – Have a moderate level of tension, won’t get the same feeling of rest [Rest]
• dominant, subdominant, leading tone – Have the most “forward moving force”, most tension [Go]

steps – any movement using half or whole steps

leap – any movement using intervals bigger than a whole step

conjunct motion – Melody built primarily out of steps

disjunct motion – Melody built primarily out of leap

repetition – using repeated material that can create a link between two phrases

contrast -Writing two phrases that contain and create tension and are different from each other

variation – half way between repetition and contrast, with some repeated parts and some varied parts

What I Learned and Problems I Solved

I learned how to use tonic notes and how to go from the beginning to the end of a musical phrase.