DOCSLIB.ORG

DIGITAL AUDIO WORKSTATIONS (D.A.W.S)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

DIGITAL AUDIO WORKSTATIONS (D.A.W.s) Avid Pro Tools is one of many digital audio workstations available today and will be the D.A.W. that we focus on during the course of this class. Though we will be focusing on Pro Tools, many of the concepts learned in this class will apply to other D.A.W.s as well. There are two types of recording mediums: ! Linear recording mediums generally make use of analog or digital tape. You must use transport functions (play, stop, rewind, fast forward) to navigate around the audio. Edits are performed by cutting/splicing or overdubbing. Linear systems are destructive in nature, meaning that alterations to the signal on tape cannot be undone once performed. ! Nonlinear recording mediums generally make use of disk storage mediums. Nonlinear recordings allow immediate navigation and altering of any point in the audio without the need to make use of transport functions. Nonlinear systems are non- destructive in nature. Pro Tools and other D.A.W.s are nonlinear systems. DIGITAL AUDIO BASICS All captured sound is initially analog, meaning that a transducer has converted physical sound waves into a continuous electrical signal. Converting analog signals to binary code – the computer language of 0s and 1s - creates digital audio files. The resulting digital file can then be played back and manipulated in the D.A.W.. Analog signals are converted to digital information using a device known as an analog to digital converter (A.D.C.). An analog to digital converter repeatedly samples the incoming audio at a set sample rate and bit resolution (think of a camera taking thousands of still pictures per second to create the illusion of movement) and stores the resulting information as a digital audio file. An Apogee AD16x analog to digital converter and a DA16x digital to analog converter SAMPLE RATE Sample Rate in digital audio refers to the number of samples of audio taken during a unit of time, expressed in Hz (hertz). The standard sample rate for an audio CD is 44.1kHz (44.1 kilohertz, or 44,100 hertz). Sample rate is instrumental in determining the frequency content of an audio signal. The Nyquist sampling theorem states that the sample rate must be twice as high as the highest frequency to be reproduced. For example, to reproduce frequencies up to 22,500 Hz, the sample rate must be at least 44,100 Hz. As the ideal human range of hearing is (on average) approximately 20Hz - 20,000 Hz, sample rates of 40Hz or above are required to accurately reproduce sounds as we hear them. Higher sample rates more closely approximate the original signal and retain more frequency information, but also require more processing power and disk space to work with and store. For example, recording audio at a sample rate of 88.2 kHz will use twice as much processing power and disk space as a recording made with a sample rate of 44.1 kHz. BIT DEPTH Bit Depth refers to the number of bits (binary digits) of information stored in each audio sample. Bit depth is instrumental in determining the signal’s dynamic range and signal-to-noise ratio. Higher bit depths retain more digital information about the sampled audio. For each 1-bit increase in bit depth, the signals dynamic range will increase by 6dB – so a 16-bit recording has 96dB of dynamic range, and a 24-bit recording has 144dB of dynamic range. The range of human hearing is roughly 140dB. This extra dynamic range allows the user to record at lower levels without audible noise, leaving more headroom and less change of digital clipping. You can see here that a higher bit depth more accurately reproduces the original signal. Once the analog audio has passed through the A.D.C. and has been converted to digital files, these files are stored on a hard disk and can be played, manipulated, etc. in a nonlinear fashion. 32-BIT FLOATING POINT FILES Pro Tools (and other DAWS) now allow the use of 32 bit floating-point files. It’s worth pointing out that these files are sonically identical to their 24-bit counterparts, but the additional encoded data gives them a much higher theoretical dynamic range and lower noise floor. The advantage is that using the 32-bit floating-point format will allow improved signal processing of the audio in question with less chance for clipping, noise, and other digital artifacts. SO NOW WHAT? In order to be able to hear the resulting digital audio, the information must be converted back to analog in order to be reproduced by the speaker. A digital-to-analog converter (D.A.C.) is used to convert digital information to electric voltage so that it can be reproduced on real world playback systems. TO SUMMARIZE: Analog signal input (Microphone, Instrument, etc.) ⇓ Converted to digital information using analog to digital converter ⇓ Digital information is played back / recorded / manipulated / mixed in D.A.W. Digital information output from D.A.W. ⇓ Digital information converted back to analog signal via digital to analog converter ⇓ Analog signal is reproduced by speakers / headphones / etc. INTERFACES The generic term “interface” refers to a device used to connect audio devices (microphones, preamps, speakers, mixing consoles, etc.) to a computer, tablet, or other digital recording device. Interfaces are available in a huge variety of configurations. Most offer a combination of analog-to- digital and digital to analog converters, and many offer additional features such as mic preamps, headphone connections, on-board DSP processing, and monitor management. Interfaces are generally connected to the host computer via USB, Firewire, Thunderbolt, or PCI connections. Since interfaces scale from very simple to very extensive, the user has the freedom to choose an interface that offers the features that suit his or her needs. The Universal Audio Apollo interface COMMON PRO TOOLS DIGITAL AUDIO FILE TYPES (FROM THE PRO TOOLS REFERENCE GUIDE) .WAV (Broadcast wave format) This was the native format for older Windows- based Pro Tools systems, but is now supported on Windows and Mac. To use a BWF (.WAV) file in Pro Tools, you can drag and drop from the DigiBase browser, Windows Explorer or Mac Finder, or a folder, or you can use the Import Audio command. Files in this format do not have to be converted to be used in Pro Tools. .AIFF (Audio Interchange File Format) Similar to .WAV - To use an AIFF file in Pro Tools, you can drag and drop from the DigiBase browser, Windows Explorer or Mac Finder, or you can use the Import Audio command. Files in this format do not have to be converted to be used in Pro Tools. 16-bit, 44.1 kHz .WAV is the standard CD audio file format. It is recommended to use at least 24- bit, 44.1 kHz .WAV or. AIFF for audio recording and mixing. MP3 and other compressed formats are not recommended. DSP-BASED AVID PRO TOOLS SYSTEMS Pro Tools HD and HD-X systems are DSP-based systems, meaning they use dedicated DSP chips for processing power, which frees up the host computer for other tasks and provides improved stability and low latency, especially when working with large sessions. Pro Tools HD systems consist of Pro Tools HD software, at least one PCI/PCI Express DSP card and at least one compatible interface. The cards provide DSP power for plug-ins and mixing/routing, and connections for I/O. Pro Tools HD systems can also utilize native processing power from the host computer for certain tasks. Modern DSP-based systems run AAX (v.10 and up) as well as RTAS and Audiosuite (v.10 and earlier) plug-ins. NATIVE AVID PRO TOOLS SYSTEMS Avid also offers several native Pro Tools systems. The term “native” means that the host computer provides processing power for the system. As computers become more and more powerful, native systems have become increasingly viable for use in professional audio. Pro Tools HD|Native systems consist of Pro Tools HD software, a Pro Tools HD|Native card or hardware device, and at least one compatible interface. These systems provide similar functionality to DSP-based systems except there is no onboard DSP processing – all processing is done natively (using the host computer’s processing power). They run AAX (v.10 and up) as well as RTAS and Audiosuite (v.10 and earlier) plug-ins. Pro Tools (V.9 and up) – Starting in software version 9, many of PRO TOOLS HD’s features have been integrated into PRO TOOLS LE, and the software is now simply called Pro Tools. Modern Pro Tools systems are compatible with almost any modern audio interface, including those by third-party companies, and they can also be run without an interface attached. NATIVE AVID PRO TOOLS SYSTEMS (continued) Pro Tools systems run AAX plug-ins (v.10 and up), as well as RTAS, and Audiosuite plug-ins (v. 10 and earlier). Pro Tools Express – A feature-limited version of Pro Tools that is bundled with some Avid interfaces. Pro Tools | First – A free, feature-limited version of Pro Tools that will be available for download online in early 2015. An Avid Pro Tools HDX system – from top to bottom – Pro Tools HD software, HD I/O interface, and HDX PCIE card. SETTING UP AND TROUBLESHOOTING YOUR MAC FOR PRO TOOLS Since multiple classes and students use the computers in the D.A.W. lab, and the computers are “wiped” after every semester, some settings commonly get changed in the Mac operating system that cause complications with the functionality in Pro Tools.
Recommended publications
  • How to Tape-Record Primate Vocalisations Version June 2001

    How to Tape-Record Primate Vocalisations Version June 2001

    How To Tape-Record Primate Vocalisations Version June 2001 Thomas Geissmann Institute of Zoology, Tierärztliche Hochschule Hannover, D-30559 Hannover, Germany E-mail: [email protected] Key Words: Sound, vocalisation, song, call, tape-recorder, microphone Clarence R. Carpenter at Doi Dao (north of Chiengmai, Thailand) in 1937, with the parabolic reflector which was used for making the first sound- recordings of wild gibbons (from Carpenter, 1940, p. 26). Introduction Ornithologists have been exploring the possibilities and the methodology of tape- recording and archiving animal sounds for many decades. Primatologists, however, have only recently become aware that tape-recordings of primate sound may be just as valuable as traditional scientific specimens such as skins or skeletons, and should be preserved for posterity. Audio recordings should be fully documented, archived and curated to ensure proper care and accessibility. As natural populations disappear, sound archives will become increasingly important. This is an introductory text on how to tape-record primate vocalisations. It provides some information on the advantages and disadvantages of various types of equipment, and gives some tips for better recordings of primate vocalizations, both in the field and in the zoo. Ornithologists studying bird sound have to deal with very similar problems, and their introductory texts are recommended for further study (e.g. Budney & Grotke 1997; © Thomas Geissmann Geissmann: How to Tape-Record Primate Vocalisations 2 Kroodsman et al. 1996). For further information see also the websites listed at the end of this article. As a rule, prices for sound equipment go up over the years. Prices for equipment discussed below are in US$ and should only be used as very rough estimates.
  • Metaflanger Table of Contents

    Metaflanger Table of Contents

    MetaFlanger Table of Contents Chapter 1 Introduction 2 Chapter 2 Quick Start 3 Flanger effects 5 Chorus effects 5 Producing a phaser effect 5 Chapter 3 More About Flanging 7 Chapter 4 Controls & Displa ys 11 Section 1: Mix, Feedback and Filter controls 11 Section 2: Delay, Rate and Depth controls 14 Section 3: Waveform, Modulation Display and Stereo controls 16 Section 4: Output level 18 Chapter 5 Frequently Asked Questions 19 Chapter 6 Block Diagram 20 Chapter 7.........................................................Tempo Sync in V5.0.............22 MetaFlanger Manual 1 Chapter 1 - Introduction Thanks for buying Waves processors. MetaFlanger is an audio plug-in that can be used to produce a variety of classic tape flanging, vintage phas- er emulation, chorusing, and some unexpected effects. It can emulate traditional analog flangers,fill out a simple sound, create intricate harmonic textures and even generate small rough reverbs and effects. The following pages explain how to use MetaFlanger. MetaFlanger’s Graphic Interface 2 MetaFlanger Manual Chapter 2 - Quick Start For mixing, you can use MetaFlanger as a direct insert and control the amount of flanging with the Mix control. Some applications also offer sends and returns; either way works quite well. 1 When you insert MetaFlanger, it will open with the default settings (click on the Reset button to reload these!). These settings produce a basic classic flanging effect that’s easily tweaked. 2 Preview your audio signal by clicking the Preview button. If you are using a real-time system (such as TDM, VST, or MAS), press ‘play’. You’ll hear the flanged signal.
  • 21065L Audio Tutorial

    21065L Audio Tutorial

    a Using The Low-Cost, High Performance ADSP-21065L Digital Signal Processor For Digital Audio Applications Revision 1.0 - 12/4/98 dB +12 0 -12 Left Right Left EQ Right EQ Pan L R L R L R L R L R L R L R L R 1 2 3 4 5 6 7 8 Mic High Line L R Mid Play Back Bass CNTR 0 0 3 4 Input Gain P F R Master Vol. 1 2 3 4 5 6 7 8 Authors: John Tomarakos Dan Ledger Analog Devices DSP Applications 1 Using The Low Cost, High Performance ADSP-21065L Digital Signal Processor For Digital Audio Applications Dan Ledger and John Tomarakos DSP Applications Group, Analog Devices, Norwood, MA 02062, USA This document examines desirable DSP features to consider for implementation of real time audio applications, and also offers programming techniques to create DSP algorithms found in today's professional and consumer audio equipment. Part One will begin with a discussion of important audio processor-specific characteristics such as speed, cost, data word length, floating-point vs. fixed-point arithmetic, double-precision vs. single-precision data, I/O capabilities, and dynamic range/SNR capabilities. Comparisions between DSP's and audio decoders that are targeted for consumer/professional audio applications will be shown. Part Two will cover example algorithmic building blocks that can be used to implement many DSP audio algorithms using the ADSP-21065L including: Basic audio signal manipulation, filtering/digital parametric equalization, digital audio effects and sound synthesis techniques. TABLE OF CONTENTS 0. INTRODUCTION ................................................................................................................................................................4 1.
  • Common Tape Manipulation Techniques and How They Relate to Modern Electronic Music

    Common Tape Manipulation Techniques and How They Relate to Modern Electronic Music

    Common Tape Manipulation Techniques and How They Relate to Modern Electronic Music Matthew A. Bardin Experimental Music & Digital Media Center for Computation & Technology Louisiana State University Baton Rouge, Louisiana 70803 [email protected] ABSTRACT the 'play head' was utilized to reverse the process and gen- The purpose of this paper is to provide a historical context erate the output's audio signal [8]. Looking at figure 1, from to some of the common schools of thought in regards to museumofmagneticsoundrecording.org (Accessed: 03/20/2020), tape composition present in the later half of the 20th cen- the locations of the heads can be noticed beneath the rect- tury. Following this, the author then discusses a variety of angular protective cover showing the machine's model in the more common techniques utilized to create these and the middle of the hardware. Previous to the development other styles of music in detail as well as provides examples of the reel-to-reel machine, electronic music was only achiev- of various tracks in order to show each technique in process. able through live performances on instruments such as the In the following sections, the author then discusses some of Theremin and other early predecessors to the modern syn- the limitations of tape composition technologies and prac- thesizer. [11, p. 173] tices. Finally, the author puts the concepts discussed into a modern historical context by comparing the aspects of tape composition of the 20th century discussed previous to the composition done in Digital Audio recording and manipu- lation practices of the 21st century. Author Keywords tape, manipulation, history, hardware, software, music, ex- amples, analog, digital 1.
  • Direct-To-Master Recording

    Direct-To-Master Recording

    Direct-To-Master Recording J. I. Agnew S. Steldinger Magnetic Fidelity http://www.magneticfidelity.com info@magneticfidelity.com July 31, 2016 Abstract Direct-to-Master Recording is a method of recording sound, where the music is performed entirely live and captured directly onto the master medium. This is usually done entirely in the analog domain using either magnetic tape or a phonograph disk as the recording medium. The result is an intense and realistic sonic image of the performance with an outstandig dynamic range. 1 The evolution of sound tracks can now also be edited note by note to recording technology compile a solid performance that can be altered or \improved" at will. Sound recording technology has greatly evolved This technological progress has made it pos- since the 1940's, when Direct-To-Master record- sible for far less competent musicians to make ing was not actually something special, but more a more or less competent sounding album and like one of the few options for recording music. for washed out rock stars who, if all put in the This evolution has enabled us to do things that same room at the same time, would probably would be unthinkable in those early days, such as murder each other, to make an album together. multitrack recording, which allows different in- Or, at least almost together. This ability, how- struments to be recorded at different times, and ever, comes at a certain cost. The recording pro- mixed later to create what sounds like a perfor- cess has been broken up into several stages, per- mance by many instruments at the same time.
  • Recording and Amplifying of the Accordion in Practice of Other Accordion Players, and Two Recordings: D

    Recording and Amplifying of the Accordion in Practice of Other Accordion Players, and Two Recordings: D

    CA1004 Degree Project, Master, Classical Music, 30 credits 2019 Degree of Master in Music Department of Classical music Supervisor: Erik Lanninger Examiner: Jan-Olof Gullö Milan Řehák Recording and amplifying of the accordion What is the best way to capture the sound of the acoustic accordion? SOUNDING PART.zip - Sounding part of the thesis: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collapsed Cathedral SOUND SAMPLES.zip – Sound samples Declaration I declare that this thesis has been solely the result of my own work. Milan Řehák 2 Abstract In this thesis I discuss, analyse and intend to answer the question: What is the best way to capture the sound of the acoustic accordion? It was my desire to explore this theme that led me to this research, and I believe that this question is important to many other accordionists as well. From the very beginning, I wanted the thesis to be not only an academic material but also that it can be used as an instruction manual, which could serve accordionists and others who are interested in this subject, to delve deeper into it, understand it and hopefully get answers to their questions about this subject. The thesis contains five main chapters: Amplifying of the accordion at live events, Processing of the accordion sound, Recording of the accordion in a studio - the specifics of recording of the accordion, Specific recording solutions and Examples of recording and amplifying of the accordion in practice of other accordion players, and two recordings: D. Scarlatti - Sonata D minor K 141, V. Trojan - The Collasped Cathedral.
  • User's Manual

    User's Manual

    USER’S MANUAL G-Force GUITAR EFFECTS PROCESSOR IMPORTANT SAFETY INSTRUCTIONS The lightning flash with an arrowhead symbol The exclamation point within an equilateral triangle within an equilateral triangle, is intended to alert is intended to alert the user to the presence of the user to the presence of uninsulated "dan- important operating and maintenance (servicing) gerous voltage" within the product's enclosure that may instructions in the literature accompanying the product. be of sufficient magnitude to constitute a risk of electric shock to persons. 1 Read these instructions. Warning! 2 Keep these instructions. • To reduce the risk of fire or electrical shock, do not 3 Heed all warnings. expose this equipment to dripping or splashing and 4 Follow all instructions. ensure that no objects filled with liquids, such as vases, 5 Do not use this apparatus near water. are placed on the equipment. 6 Clean only with dry cloth. • This apparatus must be earthed. 7 Do not block any ventilation openings. Install in • Use a three wire grounding type line cord like the one accordance with the manufacturer's instructions. supplied with the product. 8 Do not install near any heat sources such • Be advised that different operating voltages require the as radiators, heat registers, stoves, or other use of different types of line cord and attachment plugs. apparatus (including amplifiers) that produce heat. • Check the voltage in your area and use the 9 Do not defeat the safety purpose of the polarized correct type. See table below: or grounding-type plug. A polarized plug has two blades with one wider than the other.
  • In the Studio: the Role of Recording Techniques in Rock Music (2006)

    In the Studio: the Role of Recording Techniques in Rock Music (2006)

    21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con­ sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio.
  • Automation: from Consoles to Daws

    Automation: from Consoles to Daws

    California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2016 Automation: From Consoles to DAWs Christian Ekeke California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Music Education Commons Recommended Citation Ekeke, Christian, "Automation: From Consoles to DAWs" (2016). Capstone Projects and Master's Theses. 41. https://digitalcommons.csumb.edu/caps_thes_all/41 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Christian Ekeke 12/19/16 Capstone 2 Dr. Lanier Sammons Automation: From Consoles to DAWs Since the beginning of modern music there has always been a need to implement movement into a mix. Whether it is bringing down dynamics for a classic fade out or a filter sweep slowly building into a chorus, dynamic activity in a song has always been pleasing to the average music listeners. The process that makes these mixing techniques possible is automation. Before I get into details about automation in regards to mixing I will explain common ways automation is used. Automation in a nutshell is the use of various techniques, method, and system of operating or controlling a process by highly automatic means generally through electronic devices. In music however, automation is simply the use of a combination of multiple control devices to alter parameters in real time while a mix is being played.
  • Home Audio Taping of Copyrighted Works and the Audio Home Recording Act of 1992: a Critical Analysis Joel L

    Home Audio Taping of Copyrighted Works and the Audio Home Recording Act of 1992: a Critical Analysis Joel L

    Hastings Communications and Entertainment Law Journal Volume 16 | Number 2 Article 4 1-1-1993 Home Audio Taping of Copyrighted Works and the Audio Home Recording Act of 1992: A Critical Analysis Joel L. McKuin Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Joel L. McKuin, Home Audio Taping of Copyrighted Works and the Audio Home Recording Act of 1992: A Critical Analysis, 16 Hastings Comm. & Ent. L.J. 311 (1993). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol16/iss2/4 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Home Audio Taping of Copyrighted Works and The Audio Home Recording Act of 1992: A Critical Analysis by JOEL L. McKuIN* Table of Contents I. Home Taping: The Problem and its Legal Status ....... 315 A. Constitutional and Statutory Background ........... 315 B. Home Taping or Home "Taking"?: The History of Home Taping's Legal Status ........................ 318 C. New Technologies Sharpen the Home Taping Problem ............................................ 321 1. The DAT Debacle .............................. 321 2. Other New Technologies ........................ 322 II. The Audio Home Recording Act of 1992 (AHRA) ..... 325 A. Serial Copy Management System (SCMS) .......... 325 B. Royalties on Digital Hardware and Media .......... 326 C. Prohibition of Copyright Infringement Actions ..... 328 III.
  • A History of Audio Effects

    A History of Audio Effects

    applied sciences Review A History of Audio Effects Thomas Wilmering 1,∗ , David Moffat 2 , Alessia Milo 1 and Mark B. Sandler 1 1 Centre for Digital Music, Queen Mary University of London, London E1 4NS, UK; [email protected] (A.M.); [email protected] (M.B.S.) 2 Interdisciplinary Centre for Computer Music Research, University of Plymouth, Plymouth PL4 8AA, UK; [email protected] * Correspondence: [email protected] Received: 16 December 2019; Accepted: 13 January 2020; Published: 22 January 2020 Abstract: Audio effects are an essential tool that the field of music production relies upon. The ability to intentionally manipulate and modify a piece of sound has opened up considerable opportunities for music making. The evolution of technology has often driven new audio tools and effects, from early architectural acoustics through electromechanical and electronic devices to the digitisation of music production studios. Throughout time, music has constantly borrowed ideas and technological advancements from all other fields and contributed back to the innovative technology. This is defined as transsectorial innovation and fundamentally underpins the technological developments of audio effects. The development and evolution of audio effect technology is discussed, highlighting major technical breakthroughs and the impact of available audio effects. Keywords: audio effects; history; transsectorial innovation; technology; audio processing; music production 1. Introduction In this article, we describe the history of audio effects with regards to musical composition (music performance and production). We define audio effects as the controlled transformation of a sound typically based on some control parameters. As such, the term sound transformation can be considered synonymous with audio effect.
  • Robfreeman Recordingramones

    Robfreeman Recordingramones

    Rob Freeman (center) recording Ramones at Plaza Sound Studios 1976 THIRTY YEARS AGO Ramones collided with a piece of 2” magnetic tape like a downhill semi with no brakes slamming into a brick wall. While many memories of recording the Ramones’ first album remain vivid, others, undoubtedly, have dulled or even faded away. This might be due in part to the passing of years, but, moreover, I attribute it to the fact that the entire experience flew through my life at the breakneck speed of one of the band’s rapid-fire songs following a heady “One, two, three, four!” Most album recording projects of the day averaged four to six weeks to complete; Ramones, with its purported budget of only $6000, zoomed by in just over a week— start to finish, mixed and remixed. Much has been documented about the Ramones since their first album rocked the New York punk scene. A Google search of the Internet yields untold numbers of web pages filled with a myriad of Ramones facts and an equal number of fictions. (No, Ramones was not recorded on the Radio City Music Hall stage as is so widely reported…read on.) But my perspective on recording Ramones is unique, and I hope to provide some insight of a different nature. I paint my recollections in broad strokes with the following… It was snowy and cold as usual in early February 1976. The trek up to Plaza Sound Studios followed its usual path: an escape into the warm refuge of Radio City Music Hall through the stage door entrance, a slow creep up the private elevator to the sixth floor, a trudge up another flight