DMA Recording Project Guidelines (Fall 2011) Page 1 of 2
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Learning to Build Natural Audio Production Interfaces
arts Article Learning to Build Natural Audio Production Interfaces Bryan Pardo 1,*, Mark Cartwright 2 , Prem Seetharaman 1 and Bongjun Kim 1 1 Department of Computer Science, McCormick School of Engineering, Northwestern University, Evanston, IL 60208, USA 2 Department of Music and Performing Arts Professions, Steinhardt School of Culture, Education, and Human Development, New York University, New York, NY 10003, USA * Correspondence: [email protected] Received: 11 July 2019; Accepted: 20 August 2019; Published: 29 August 2019 Abstract: Improving audio production tools provides a great opportunity for meaningful enhancement of creative activities due to the disconnect between existing tools and the conceptual frameworks within which many people work. In our work, we focus on bridging the gap between the intentions of both amateur and professional musicians and the audio manipulation tools available through software. Rather than force nonintuitive interactions, or remove control altogether, we reframe the controls to work within the interaction paradigms identified by research done on how audio engineers and musicians communicate auditory concepts to each other: evaluative feedback, natural language, vocal imitation, and exploration. In this article, we provide an overview of our research on building audio production tools, such as mixers and equalizers, to support these kinds of interactions. We describe the learning algorithms, design approaches, and software that support these interaction paradigms in the context of music and audio production. We also discuss the strengths and weaknesses of the interaction approach we describe in comparison with existing control paradigms. Keywords: music; audio; creativity support; machine learning; human computer interaction 1. Introduction In recent years, the roles of producer, engineer, composer, and performer have merged for many forms of music (Moorefield 2010). -
Best Mix Reference Plugin
Best Mix Reference Plugin Cacciatore and stalagmitical Vail never kotow his deviants! Westley recoded maliciously as self-collected Joshua provides her methadon reallocating revivingly. Which Istvan dews so bafflingly that Gardener stencil her duikers? The best tape delays arise from websites screen, rotary allows the best plugin Balancing or boosting a sound to fit better allow a mix. Double as attested to match the best place as though, to identify the best plugin presets and record, which can start, any number gets louder. For example, a guitar may have a tiny buzz or twang in between notes or phrases. Reference Tracks The lazy to a Professional Mix 2020. REFERENCE Mixing and mastering utility plugin Mastering. Best Sidechain Plugin Kickstart is the speediest approach to get the mark. In frustration until you need multiple takes to create a mixed stems you happen! Ubersuggest allows you to get insight means the strategies that joint working for others in your market so you not adopt them, improve perception, and fluid an edge. Nhằm mang lại sự hiệu quả thực sự cho khách hà ng! If it's soft for referencing an already mixed track on one match are currently working memories can't collect just import the. Slate Digital Drum Mixing Tutorial How To Mix Drums And Get more Drum Sounds. Mastering The Mix REFERENCE 2 PreSonus Shop. Flex tax to sustain up claim our vocal takes. One screw out of delinquent and error thing starts to living apart. LANDR uses cookies to give sex the best sign possible. -
How Does Binaural Audio Mixed for Headphones Translate to Loudspeaker Setups in Terms of Listener Preferences?
How does binaural audio mixed for headphones translate to loudspeaker setups in terms of listener preferences? Ian Eiderbo Audio Technology, bachelor's level 2021 Luleå University of Technology Department of Social Sciences, Technology and Arts How does binaural audio mixed for headphones translate to loudspeaker setups in terms of listener preferences? 2 Abstract While most of today’s music listening is being done through headphones, mixing techniques using binaural audio are still not widely implemented in modern music production. This study aims to help inform mixing engineers on the applicability of binaural processing for music production, with the specific focus on how binaurally processed audio translates to loudspeakers in terms of listener preference. In this study a listening test was performed where binaurally processed mixes where given preference ratings in relation to a reference mix. Each listener completed the test twice, once using headphones and once using loudspeakers. The test results for the two playback systems were then compared. Only one of 12 mixes showed a significant difference in preference ratings with playback system as the factor, but the reported ratings showed a large disagreement among the 13 test subjects. The results from the study are inconclusive, however they do not suggest that the binaural processing used for the stimuli suffers in terms of listener preference when played back over loudspeakers. 3 Table of contents How does binaural audio mixed for headphones translate to loudspeaker setups in -
“Knowing Is Seeing”: the Digital Audio Workstation and the Visualization of Sound
“KNOWING IS SEEING”: THE DIGITAL AUDIO WORKSTATION AND THE VISUALIZATION OF SOUND IAN MACCHIUSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO September 2017 © Ian Macchiusi, 2017 ii Abstract The computer’s visual representation of sound has revolutionized the creation of music through the interface of the Digital Audio Workstation software (DAW). With the rise of DAW- based composition in popular music styles, many artists’ sole experience of musical creation is through the computer screen. I assert that the particular sonic visualizations of the DAW propagate certain assumptions about music, influencing aesthetics and adding new visually- based parameters to the creative process. I believe many of these new parameters are greatly indebted to the visual structures, interactional dictates and standardizations (such as the office metaphor depicted by operating systems such as Apple’s OS and Microsoft’s Windows) of the Graphical User Interface (GUI). Whether manipulating text, video or audio, a user’s interaction with the GUI is usually structured in the same manner—clicking on windows, icons and menus with a mouse-driven cursor. Focussing on the dialogs from the Reddit communities of Making hip-hop and EDM production, DAW user manuals, as well as interface design guidebooks, this dissertation will address the ways these visualizations and methods of working affect the workflow, composition style and musical conceptions of DAW-based producers. iii Dedication To Ba, Dadas and Mary, for all your love and support. iv Table of Contents Abstract .................................................................................................................. -
The Use of Modelling Technology and Its Effects on the Music Industry
The Use of Modelling Technology and Its Effects on the Music Industry Viljami Wenttola Bachelor’s thesis May 2017 Degree Programme in Media and Arts Music Production ABSTRACT Tampereen ammattikorkeakoulu Tampere University of Applied Sciences Degree Programme in Media and Arts Music Production VILJAMI WENTTOLA The Use of Modelling Technology and Its Effects on the Music Industry Bachelor's thesis 43 pages, appendices 15 pages May 2017 Modelling technology has revolutionized the music production industry in a big way. It has affected everyone in the field of music production from the live side to the studio, both commercial and private. Even though modelling technology has been around in one form or another for twenty years or so, the last ten have possibly brought the great- est advancements. In this thesis, the goal was to map out some of these changes from several different points of view by interviewing four music production industry profes- sionals and researching literature. The thesis project is a full-length album that was rec- orded almost entirely with modelling technology with the purpose of educating peers and people interested in music production of the possibilities that technology can bring. The research yielded many compelling insights and points-of-view into the matter and gives a contemporary picture of a rapidly changing and growing industry. The inter- views of four established professionals in the field of music production and their differ- ing careers each give a unique perspective on the matter. They’re all transcribed and translated in the appendices and they make for very interesting reading. -
Thesis Table of Contents
A new sound mixing framework for enhanced emotive sound design within contemporary moving-picture audio production and post-production. Volume 1 of 3 Neil Martin Georges Hillman PhD University of York Theatre, Film and Television September 2017 2 Abstract This study comprises of an investigation into the relationship between the creative process of mixing moving-picture soundtracks and the emotions elicited by the final film. As research shows that listeners are able to infer a speaker’s emotion from auditory cues, independently from the meaning of the words uttered, it is possible that moving-picture soundtracks may be designed in such a way as to intentionally influence the emotional state and attitude of its listening-viewers, independently from the story and visuals of the film. This study sets out to determine whether certain aspects of audience emotions can be enhanced through specific ways of mix-balancing the soundtrack of a moving-picture production, primarily to intensify the viewing experience. Central to this thesis is the proposal that within a film soundtrack there are four distinct ‘sound areas’, described as the Narrative, Abstract, Temporal and Spatial; and these form a useful framework for both the consideration and the creation of emotional sound design. This research work evaluates to what extent the exploration of the Narrative, Abstract, Temporal and Spatial sound areas offers a new and useful framework for academics to better understand, and more easily communicate, emotive sound design theory and analysis; whilst providing practitioners with a framework to explore a new sound design approach within the bounds of contemporary workflow and methodology, to encourage an enhanced emotional engagement by the audience to the soundtrack. -
Understanding Audio Production Practices of People with Vision Impairments
Understanding Audio Production Practices of People with Vision Impairments Abir Saha Anne Marie Piper Northwestern University University of California, Irvine Evanston, IL, USA Irvine, CA, USA [email protected] [email protected] ABSTRACT of audio content creation, including music, podcasts, audio drama, The advent of digital audio workstations and other digital audio radio shows, sound art and so on. In modern times, audio content tools has brought a critical shift in the audio industry by empower- creation has increasingly become computer-supported – digital in- ing amateur and professional audio content creators with the nec- struments are used to replicate sounds of physical instruments (e.g., essary means to produce high quality audio content. Yet, we know guitars, drums, etc.) with high-fdelity. Likewise, editing, mixing, little about the accessibility of widely used audio production tools and mastering tasks are also mediated through the use of digital for people with vision impairments. Through interviews with 18 audio workstations (DAWs) and efects plugins (e.g., compression, audio professionals and hobbyists with vision impairments, we fnd equalization, and reverb). This computer-aided work practice is that accessible audio production involves: piecing together accessi- supported by a number of commercially developed DAWs, such 1 2 3 ble and efcient workfows through a combination of mainstream as Pro Tools , Logic Pro and REAPER . In addition to these com- and custom tools; achieving professional competency through a mercial eforts, academic researchers have also invested signifcant steep learning curve in which domain knowledge and accessibility attention towards developing new digital tools to support audio are inseparable; and facilitating learning and creating access by production tasks (e.g., automated editing and mixing) [29, 57, 61]. -
Recording: Processing Audio and the Modern Recording Studio
Chapter 7. Meeting 7, Recording: Processing Audio and the Modern Recording Studio 7.1. Announcements • Quiz next Thursday • Numerous listenings assignments for next week 7.2. Processing Audio • Contemporary processors take many physical forms: effects units, stomp-boxes © source unknown. All rights reserved. This content is excluded from our Creative Commons license. For more information, see http://ocw.mit.edu/fairuse. 160 Photo courtesy of kernelslacker on Flickr. 161 Photo courtesy of michael morel on Flickr. Courtesy of George Massenburg Labs. Used with permission. 162 Original photo courtesy of eyeliam on Flickr; edited by Wikipedia User:Shoulder-synth. 163 • As software, most are implemented as plug-ins 164 © Avid Technology, Inc. All rights reserved. This content is excluded from our Creative Commons license. For more information, see http://ocw.mit.edu/fairuse. 165 © MOTU, Inc. All rights reserved. This content is excluded from our Creative Commons license. For more information, see http://ocw.mit.edu/fairuse. 7.3. Distortion • Pushing a signal beyond its dynamic range squares the waveform • Making round signals more square adds extra harmonics [demo/processorsDistortion.pd] 166 • Examples • Overdrive • Fuzz • Crunch 7.4. Dynamics Processors • Transform the amplitude of a signal in real-time • Amplitudes can be pushed down above or below a threshold to decrease or increase dynamic range • Examples 167 • Compressors and Limiters • Expanders and Gates 7.5. Dynamics Processors: Compression • Reduces a signal’s dynamic range • Makes the quiet sounds louder • Helps a track maintain its position in the mix • Two steps • Reduce dynamic range: turn amplitudes down if a above a specific level (the threshold) • Increase amplitude of entire signal so that new peaks are where the old were 168 To be compressed Uncompressed Peak Threshold Sound Energy Time Compression occurs Previous 0 VU Threshold Sound Energy Time 0 VU Sound Energy Boost overall level Time Figure by MIT OpenCourseWare. -
Izotope Mixing Guide Principles Tips Techniques
TABLE OF CONTENTS 1: INTRODUCTION ........................................................................................... 5 INTENDED AUDIENCE FOR THIS GUIDE .................................................................. 5 ABOUT THE 2014 EDITION ............................................................................................ 5 ADDITIONAL RESOURCES ............................................................................................. 6 ABOUT iZOTOPE ............................................................................................................... 6 2: WHAT IS MIXING? .......................................................................................7 3: THE FOUR ELEMENTS OF MIXING ........................................................ 8 LEVEL ....................................................................................................................................8 EQ ...........................................................................................................................................8 PANNING .............................................................................................................................8 TIME-BASED EFFECTS ....................................................................................................8 4: EQUALIZATION (EQ) .................................................................................10 WHAT IS EQ FOR? ..........................................................................................................10 -
Mixing and Monitoring 2014
Monitoring and Mixing Monitoring One of the most confusing aspects of audio reproduction involves loudspeakers and their effect on how we perceive the sound of our work. Just as microphones each have a characteristic sound, speakers have distinct colorations that they impart to the sound we play through them. The similarities are not coincidental: both microphones and speakers are physical transducers, with mechanical properties that directly affect how they perform the task of converting energy to and from mechanical and electronic representations. Since we cannot hear electronic signals directly, we need some form of transducer to convert them back to mechanical vibrations that we may hear. Like microphones, loudspeakers come in a variety of types; however the main type is similar to a dynamic microphone in reverse: applying an electronic signal to a coil attached to a diaphragm causes the coil and diaphragm to move in a fixed magnetic field. There are also electrostatic loudspeakers which may be thought of as more similar to a condensor microphone and even plasma speakers, which use high-voltage discharges to move the air, but these types are not commonly found in the studio and will not be discussed further here. What we need to understand is how the dynamic loudspeaker and its enclosure interact with the surrounding environment and convey sound information to our ears. Not only does this involve the speaker itself, but it also involves the room in which we are listening and the interaction of the speaker with the room. The early reflections recorded with the sounds give us a sense of the space in which the instruments were recorded. -
Approaches in Intelligent Music Production
arts Article Approaches in Intelligent Music Production David Moffat * and Mark B. Sandler School of Electronic Engineering and Computer Science, Queen Mary University of London, London E1 4NS, UK * Correspondence: [email protected]; Tel.: +44-(0)20-7882-5555 Received: 18 July 2019; Accepted: 10 September 2019; Published: 25 September 2019 Abstract: Music production technology has made few advancements over the past few decades. State-of-the-art approaches are based on traditional studio paradigms with new developments primarily focusing on digital modelling of analog equipment. Intelligent music production (IMP) is the approach of introducing some level of artificial intelligence into the space of music production, which has the ability to change the field considerably. There are a multitude of methods that intelligent systems can employ to analyse, interact with, and modify audio. Some systems interact and collaborate with human mix engineers, while others are purely black box autonomous systems, which are uninterpretable and challenging to work with. This article outlines a number of key decisions that need to be considered while producing an intelligent music production system, and identifies some of the assumptions and constraints of each of the various approaches. One of the key aspects to consider in any IMP system is how an individual will interact with the system, and to what extent they can consistently use any IMP tools. The other key aspects are how the target or goal of the system is created and defined, and the manner in which the system directly interacts with audio. The potential for IMP systems to produce new and interesting approaches for analysing and manipulating audio, both for the intended application and creative misappropriation, is considerable. -
Digital Transmit Audio Processing with Presonus Studio One Artist
Digital transmit audio processing with Presonus Studio One Artist ... Setup guide for a software based digital audio workstation (DAW) as an alternative to conventional hardware based audio processing techniques. Appendix A provides additional info for items high lighted in yellow … How this scheme works: A. Digital audio output from the Rode NT-USB microphone is routed to the computer via a type A/B USB cable. B. Digital audio is then processed within the computer by the software based system Presonus Studio One Artist. C. Digital transmit audio output from Studio One Artist is then routed via Type A/B USB cable to the Kenwood TS- 590 via a USB cable. Finally, it is converted from digital to analog and transmitted. D. 90 watts RF output from TS-590S transceiver. E. 800 watts RF output from Ameritron AL80B linear. F. 800 watts RF output from Palstar AT1500BAL to horizontal loop. G. Receive audio from the Kenwood 590S is routed via USB cable (C.) back to the computer and outputted to a pair of near field monitor speakers. Setup: Hardware: Kenwood TS-590S PC running Window’s 10 with internal Realtek sound card. Necessary interconnection cabling. Presonus Studio One Artist Digital Audio Workstation (DAW) software: Your best bet is to purchase Presonus AudioBox USB audio interface as described at http://www.sweetwater.com/store/detail/AudioBoxUSB . This interface includes a free copy of Studio One Artist. Note: Alternatively, you can use the AudioBox USB interface together with conventional analog cables for transceivers that are not equipped with USB connectivity. Kenwood 590 settings: 61 - 115200 62 - 115200 63 - USB 64 - 1 65 - 2 68 - off 69 - on (assuming you prefer to use VOX) 70 - 20 71 - 3 79 - 205 (for ptt via front panel "PFA' button) Note: Other Kenwood 590 settings include menu 25/27 at 100, menu 26/28 at 2900.