Sound FX Unlocking the Creative Potential of Recording Studio Effects

Alexander U. Case

AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an Imprint of Elsevier

FFM-K52032.inddM-K52032.indd iiiiii 55/30/2007/30/2007 10:25:1010:25:10 AMAM FFM-K52032.inddM-K52032.indd iivv 55/30/2007/30/2007 10:25:1010:25:10 AMAM For Dolores and Joe who taught me how to learn and showed me I could teach.

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Acknowledgements xv Introduction xix

Section 1: Sound — Signals, Systems, and Sensation 1

Chapter 1: Audio Waveform 3 1.1 Medium 3 1.2 Amplitude versus Time 4 1.2.1 Amplitude Confusions 6 1.2.2 Time Implications 8 1.3 Amplitude versus Distance 9 1.4 Amplitude versus Frequency 10 1.5 Complex Waves 12 1.5.1 Square Waves 15 1.5.2 Sawtooth Waves 16 1.5.3 Triangle Waves 19 1.6 Decibel 19 1.6.1 Logarithm 21 1.6.2 Ratios 24 1.6.3 References 29 1.6.4 Zero Decibels 31 1.6.5 Negative Decibels 32 1.7 Dynamic Range 32 1.8 Sound Misconceptions 35 1.8.1 Mistaking the Message for the Medium 35 1.8.2 Don’t Picture These Sketches 35

Chapter 2: Signal Flow 39 2.1 Types of Sessions 39 2.1.1 Basics 40 2.1.2 Overdubs 42 2.1.3 Mixdown 45 2.1.4 Live to Two 46 2.2 Console Signal Flow 47 2.2.1 Channel Path 48

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2.2.2 Monitor Path 48 2.2.3 Split Console 49 2.2.4 In-Line Console 51 2.3 Outboard Signal Flow 55 2.3.1 Parallel and Serial Processing 55 2.3.2 Effects Send 57 2.3.3 Insert 62 2.4 FX Decision Making 63 2.4.1 FX Procrastination 64 2.4.2 FX Assertion 64 2.4.3 FX Undo 66 2.4.4 FX Innovation 67

Chapter 3: Perception 71 3.1 Preconscious Listening 71 3.2 Audible Sound 72 3.2.1 Masking 78 3.2.2 Masking Reduction 81 3.3 Wishful Listening 85

Section 2: Amplitude Effects 87

Chapter 4: Distortion 89 4.1 Distortion of Amplitude 89 4.1.1 Harmonic Distortion 91 4.1.2 Intermodulation Distortion 95 4.2 Sources of Distortion 96 4.3 Motivations for Distortion 97 4.4 Distortion Dos and Don’ts 98 4.5 Selected Discography 101

Chapter 5: Equalization 103 5.1 Spectral Modifi cation 104 5.2 Parameters for Spectral Modifi cation 106 5.2.1 Frequency Select 106 5.2.2 Cut/Boost 106 5.2.3 Q 107 5.2.4 Multiband EQ 109 5.2.5 Take Away the Q 109 5.2.6 Take Away the Frequency 111 5.2.7 Take Away the Knobs 111 5.2.8 Some Knobs Are Switches 112 5.2.9 Shelving EQ 113 5.2.10 Filters 114

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5.3 Applications 116 5.3.1 Technique 116 5.3.2 Fix 118 5.3.3 Feature 123 5.3.4 Fit 125 5.3.5 Special Effects 127 5.3.6 Audio Ear Training 129

Chapter 6: Compression and Limiting 131 6.1 Parameters 132 6.1.1 Threshold 132 6.1.2 Ratio 132 6.1.3 Attack 133 6.1.4 Release 134 6.1.5 Make-Up Gain 135 6.1.6 User Interface 135 6.2 Technologies 136 6.2.1 Tube Compressors 137 6.2.2 Optical Compressors 137 6.2.3 VCA Compressors 138 6.2.4 Digital Compressors 138 6.3 Nominal Application: Dynamic Range Reduction 139 6.3.1 Prevent Overload 139 6.3.2 Overcome Noise 140 6.3.3 Increase Perceived Loudness 141 6.3.4 Improve Intelligibility and Articulation 142 6.3.5 Smooth Performance 143 6.4 Advanced Applications 144 6.4.1 Altering Amplitude Envelope 145 6.4.2 Ambience and Artifacts 147 6.4.3 De-Essing 147 6.4.4 Distortion 149 6.5 Advanced Studies — Attack and Release 151 6.5.1 Defi nitions 151 6.5.2 Visualizing Attack and Release 153 6.5.3 Parameter Interdependence 157 6.5.4 Program Dependence 159 6.5.5 Pumping and Breathing 160 6.6 Learning Compression — Some Personal Advice 161 6.6.1 Unnaturally Diffi cult to Hear 161 6.6.2 Hype and Hyperbole 162 6.6.3 Imitation 163 6.6.4 Multiple Personalities 164 6.7 Achieving Compression Success 164 6.8 Selected Discography 165

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Chapter 7: Expansion and Gating 167 7.1 Increasing Dynamic Range 167 7.2 Parameters 169 7.2.1 Threshold 169 7.2.2 Slope 170 7.2.3 Attack 171 7.2.4 Release, Fade, or Decay 171 7.2.5 Hold 172 7.2.6 Range 173 7.3 Applications 173 7.3.1 Expansion 174 7.3.2 Noise Gating 175 7.3.3 Gating Through Waveform Editing 177 7.3.4 Gating 178 7.3.5 Keyed Gating 179 7.3.6 Ducking 183 7.3.7 Envelope Following 184 7.3.8 Tremolo 185 7.4 Selected Discography 187

Chapter 8: Volume 189 8.1 Volume Controls 189 8.1.1 Faders 189 8.1.2 Pan Pots 192 8.1.3 Mute Switches 193 8.2 Volume Applications 194 8.2.1 Balance 194 8.2.2 Ideal Level 197 8.2.3 Ideal Faders 200 8.2.4 Automation 200 8.2.5 Cross Fades 201 8.2.6 Fade Out 203 8.3 Selected Discography 203

Section 3: Time Effects 205

Chapter 9: Delay 207 9.1 Source of Delay 207 9.2 Signal Flow 208 9.2.1 Basic Features 210 9.2.2 Modulation 210 9.3 Long Delay 214 9.3.1 Calculated Delay 216 9.3.2 Echo 222 9.3.3 Support 223

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9.3.4 Slap 223 9.3.5 Emphasis 225 9.3.6 Groove 226 9.4 Short Delay 227 9.4.1 Constructive and Destructive Interference 227 9.4.2 Comb Filter 231 9.4.3 Early Refl ections 235 9.4.4 Inevitable Combinations 238 9.4.5 Flanger 239 9.5 Medium Delay 241 9.5.1 Double Tracking 241 9.5.2 Chorus 243 9.6 Experimental Sessions 244 9.6.1 Experimental #1 244 9.6.2 Experimental #2 245 9.7 Summary 245 9.8 Selected Discography 246

Chapter 10: Pitch Shift 249 10.1 Theory 249 10.1.1 Pitch Recalculation 249 10.1.2 Fixed Delay 250 10.1.3 Accelerating Delay 251 10.2 Applications 254 10.2.1 Side Effects 254 10.2.2 Special Effects 254 10.2.3 Surgical Effects 256 10.2.4 Obvious Effects 257 10.3 Selected Discography 260

Chapter 11: Reverb 263 11.1 Reverberation 264 11.1.1 Key Parameters 264 11.1.2 Reference Values 268 11.2 The Need for Reverb Devices 269 11.2.1 Multitrack Production 269 11.2.2 Isolation 270 11.2.3 Creative Microphone Technique 271 11.3 Sources of Reverb 271 11.3.1 Room Tracks 272 11.3.2 Acoustic Reverberation Chambers 272 11.3.3 Spring Reverb 276 11.3.4 Plate Reverb 280 11.3.5 Digital Reverb 284 11.4 Reverb Techniques 303

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11.4.1 Sound of a Space 303 11.4.2 Non-Spatial Applications 310 11.5 Selected Discography 324

Section 4: Applied Effects 327

Chapter 12: Basic Mix Approach 329 12.1 Mix Challenge 330 12.2 Global Effects 330 12.3 Special Effects 331 12.4 Kick Start 332 12.5 Back Beat 333 12.6 Get Down 334 12.7 Chug On 335 12.8 Key In 336 12.9 Speak Up 336 12.10 Go Solo 338 12.11 Do It All 339

Chapter 13: Snare Drum FX 341 13.1 Sound 342 13.1.1 Possibilities 342 13.1.2 Goals 343 13.2 Recording 344 13.2.1 Close Microphones 344 13.2.2 Overhead Microphones 346 13.2.3 Room Microphones 349 13.3 Signal Processing 349 13.3.1 Equalization 350 13.3.2 Envelope 350 13.3.3 Image 353 13.3.4 All of the Above 355 13.4 Summary 356 13.5 Selected Discography 356

Chapter 14: Piano 359 14.1 Mother Instrument 359 14.2 Defi ning the Piano 360 14.3 Effects 361 14.3.1 Spectrum 361 14.3.2 Image 363 14.3.3 Envelope 366 14.4 Outside the Box Behavior 368 14.4.1 “Acoustic” Piano 368 14.4.2 Digital Piano 369 14.5 Summary 371

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Chapter 15: Automated Mix 373 15.1 Unautomated Mixing 373 15.2 Automated Mixing 375 15.2.1 Faders and Cuts Automation 375 15.2.2 Everything Automation 379 15.2.3 Snapshot Automation 381 15.3 Mix Modes 381 15.3.1 Write or Read 381 15.3.2 Write: Absolute or Relative 382 15.4 Automation Strategies: Organizing the Infi nite Options 384 15.4.1 Phase I: Balance 384 15.4.2 Phase II: Signal Processing 384 15.4.3 Phase III: Cuts 385 15.4.4 Phase IV: Rides 386 15.4.5 Phase V: Tweaks and Special Effects 386 15.5 Playing the Instrument 386 15.5.1 Practice 387 15.5.2 User Interface 387 15.6 Caveats 391 15.6.1 Master the Gear Before It Masters You 391 15.6.2 Resist Temptation 392 15.6.3 Save Often 393 15.7 Summary 393

Bibliography 395 Index 397

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