Towards a Better Understanding of Mix Engineering
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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). -
Course Syllabus Live-Performance Disc Jockey Techniques 3 Credits
Course Syllabus Live-Performance Disc Jockey Techniques 3 Credits MUC135, Section 33575 Scottsdale Community College, Department of Music Fall 2015 (September 1 to December 18, 2015) Tuesday Evenings 6:30 PM - 9:10 PM (Room MB-136) Instructor: Rob Wegner, B.S., M.A. ([email protected] or [email protected]); Cell: 480-695-6270 Office Hours: Monday’s 6:00 - 7:30PM (Room MB-139) Recommended Text: How to DJ Right: The Art and Science of Playing Records by Bill Brewster and Frank Broughton (Grove Press, 2003). ISBN: 0-8021- 3995-7 Groove Music: The Art and Culture of the Hip-Hop DJ by Mark Katz (Oxford University Press, 2012). ISBN-10: 0195331125 Recommended DVD: Scratch: A Film by Doug Prey by Doug Prey (Palm Pictures, 2001). Required Gear: Headphones (for labs) Additional Suggested Reading: Off the Record by Doug Shannon (1982), Pacesetter Publishing House. Last Night A DJ Saved My Life, The History of the Disc Jockey by Bill Brewster & Frank Broughton (2000), Grove Press. On The Record: The Scratch DJ Academy Guide by Phil White & Luke Crisell (2009), St. Martin’s Griffin. Looking for the Perfect Beat by Kurt B. Reighley (2000), Pocket Books. How to Be a DJ by Chuck Fresh (2001), Brevard Marketing. DJ Culture by Ulf Poschardt (1995), Quartet Books Limited. The Mobile DJ Handbook, 2nd Edition by Stacy Zemon (2003), Focal Press. Turntable Basics by Stephen Webber (2000), Berklee Press. Course Objectives Upon successful completion of this course, you should be able to: explain the historical innovations that led to the evolution of -
Turntablism and Audio Art Study 2009
TURNTABLISM AND AUDIO ART STUDY 2009 May 2009 Radio Policy Broadcasting Directorate CRTC Catalogue No. BC92-71/2009E-PDF ISBN # 978-1-100-13186-3 Contents SUMMARY 1 HISTORY 1.1-Defintion: Turntablism 1.2-A Brief History of DJ Mixing 1.3-Evolution to Turntablism 1.4-Definition: Audio Art 1.5-Continuum: Overlapping definitions for DJs, Turntablists, and Audio Artists 1.6-Popularity of Turntablism and Audio Art 2 BACKGROUND: Campus Radio Policy Reviews, 1999-2000 3 SURVEY 2008 3.1-Method 3.2-Results: Patterns/Trends 3.3-Examples: Pre-recorded music 3.4-Examples: Live performance 4 SCOPE OF THE PROBLEM 4.1-Difficulty with using MAPL System to determine Canadian status 4.2- Canadian Content Regulations and turntablism/audio art CONCLUSION SUMMARY Turntablism and audio art are becoming more common forms of expression on community and campus stations. Turntablism refers to the use of turntables as musical instruments, essentially to alter and manipulate the sound of recorded music. Audio art refers to the arrangement of excerpts of musical selections, fragments of recorded speech, and ‘found sounds’ in unusual and original ways. The following paper outlines past and current difficulties in regulating these newer genres of music. It reports on an examination of programs from 22 community and campus stations across Canada. Given the abstract, experimental, and diverse nature of these programs, it may be difficult to incorporate them into the CRTC’s current music categories and the current MAPL system for Canadian Content. Nonetheless, turntablism and audio art reflect the diversity of Canada’s artistic community. -
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. -
ARTIFICIAL REVERBERATION Ainnol
ARTIFICIAL REVERBERATION Ainnol Lilisuliani Ahmad Rasidi (SID : 430566949) Digital Audio Systems, DESC9115, Semester 1 2014 Graduate Program in Audio and Acoustics Faculty of Architecture, Design and Planning, The University of Sydney -------------------------------------------------------------------------------------------------------------------------------------- 1.0 Abstract Digital reverberation is an audio effect that is very common in musical production. It can be used to enhance recorded sounds that often sounds “dry” and “flat”. The principal idea of artificial reverberation was initiated by Manfred Schroeder in the 1960’s. Since then, many artificial reverb algorithms have been created. This review will look into two types of reverberation, convolution and algorithm based reverberation, focusing on Schroeder’s delay network algorithm and the applications of artificial reverberation in many areas. 2.0 Introduction Sound is a mechanical energy that travels through air at the speed of about 344 m/s. The speed varies upon the properties of air it travels, mostly due to the change of temperature and sometimes due to the humidity. In an enclosed space, this longitudinal waves of sound would reduce its amplitude the further it travels from the source until it reaches a surface. Depending upon the characteristic of the surface, some of the energy of the sound will be absorbed while some shall be reflected back into space. The reflected sound will bounce again as it meets other surface or obstacles, hence creating a complex pattern of reflection. Reverberation is the term we use for the collection of reflected sounds from the surfaces in an enclosed space. It is measured by reverberation time, which is perceived as the time for the sound to die away 60 decibels after the sound sources ceases (Sabine, 1972) . -
1 "Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music S
"Disco Madness: Walter Gibbons and the Legacy of Turntablism and Remixology" Tim Lawrence Journal of Popular Music Studies, 20, 3, 2008, 276-329 This story begins with a skinny white DJ mixing between the breaks of obscure Motown records with the ambidextrous intensity of an octopus on speed. It closes with the same man, debilitated and virtually blind, fumbling for gospel records as he spins up eternal hope in a fading dusk. In between Walter Gibbons worked as a cutting-edge discotheque DJ and remixer who, thanks to his pioneering reel-to-reel edits and contribution to the development of the twelve-inch single, revealed the immanent synergy that ran between the dance floor, the DJ booth and the recording studio. Gibbons started to mix between the breaks of disco and funk records around the same time DJ Kool Herc began to test the technique in the Bronx, and the disco spinner was as technically precise as Grandmaster Flash, even if the spinners directed their deft handiwork to differing ends. It would make sense, then, for Gibbons to be considered alongside these and other towering figures in the pantheon of turntablism, but he died in virtual anonymity in 1994, and his groundbreaking contribution to the intersecting arts of DJing and remixology has yet to register beyond disco aficionados.1 There is nothing mysterious about Gibbons's low profile. First, he operated in a culture that has been ridiculed and reviled since the "disco sucks" backlash peaked with the symbolic detonation of 40,000 disco records in the summer of 1979. -
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. -
DLM8 and DLM12 2000W Powered Loudspeakers with DL2 Digital Mixer
DLM8 and DLM12 2000W Powered Loudspeakers with DL2 Digital Mixer OWNER’S MANUAL Important Safety Instructions 1. Read these instructions. 20. NOTE: This equipment has been tested and found to comply with 2. Keep these instructions. the limits for a Class B digital device, pursuant to part 15 of the FCC 3. Heed all warnings. Rules. These limits are designed to provide reasonable protection 4. Follow all instructions. against harmful interference in a residential installation. This equipment 5. Do not use this apparatus near water. generates, uses, and can radiate radio frequency energy and, if not 6. Clean only with a dry cloth. installed and used in accordance with the instructions, may cause 7. Do not block any ventilation openings. Install in accordance with the manu- harmful interference to radio communications. However, there is no facturer’s instructions. guarantee that interference will not occur in a particular installation. 8. Do not install near any heat sources such as radiators, heat registers, stoves, If this equipment does cause harmful interference to radio or television or other apparatus (including amplifiers) that produce heat. reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or 9. Do not defeat the safety purpose of the polarized or grounding-type plug. more of the following measures: A polarized plug has two blades with one wider than the other. A grounding- type plug has two blades and a third grounding prong. The wide blade or • Reorient or relocate the receiving antenna. the third prong are provided for your safety. -
A Rch Ivin G
ARRAY2020 – Archiving array2020 archiving The International Computer Music Association President:Tae Hong Park Vice President for Membership: Michael Gurevitch Vice President for Conferences: Rob Hamilton Vice President for Asia/Oceania: -- Vice President for the Americas: Eric Honor Vice President for Europe: Stefania Serafin Vice President for Preservation: Tae Hong Park Music Coordinator: PerMagnus Lindborg Research Coordinator: Christopher Haworth Publications Coordinator: Tom Erbe Treasurer/Secretary: Chryssie Nanou BoardofDirectors 2018/2019 At-Large Directors Miriam Akkermann MarkBallora (+) Lauren Hayes John Thompson Americas Regional Directors Rodrigo Cadiz Charles Nichols Asia/Oceania Regional Directors PerMagnus Lindborg Takeyoshi Mori Europe Regional Directors Kerry Hagan Stefania Serafin Non-Elected Positions: ICMA Administrative Assistant: Sandra Neal array2020 archiving Index.......................................................................................................................................... p. 3 Editorial ...................................................................................................................................p. 4 Introduction Miriam Akkermann............................................................................................................... p. 6 The electroacoustic repertoire: Is there a librarian? Serge Lemouton.................................................................................................................... p. 7 Preserving Hardware History: Archiving -
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. -
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. -
DMA Recording Project Guidelines (Fall 2011) Page 1 of 2
DMA – TMUS 8329 Major Project (4–6 cr.)* Guidelines for Recording Project In addition to the normal requirements of a recital, it is expected that the student will become involved in all aspects of the recording, in effect acting as producer from start to finish. Before undertaking the Recording Project: the student must submit a prospectus that is reviewed and approved by the faculty advisory committee and the Associate Dean of Graduate Studies. A copy of the prospectus must be kept in the student’s file. For a recording to fulfill the requirement, it must adhere to the following criteria. 1. Be comparable in length to a recital. 2. The student is responsible for coordinating all matters pertaining to the recording including: contracting of musicians, studio manager and recording engineer; CD printing or duplication, graphic art design layout, and recording label (optional). 3. The recording must be unique in some way that sets it apart from other recordings. Examples can include but are not limited to recordings that feature: original compositions and/or arrangements, collections of works that are less known and/or have not been readily available in recordings, and so on. This aspect of the project should reflect the student’s creativity and research skills. 4. The submitted recording must be of professional quality. 5. Post-recording work is an essential aspect of the project. The student must oversee the editing, mixing, and (optionally) the mastering of the recording. Refer to the definitions of these processes at the bottom of this document. a. Editing (if necessary) b. Mixing c.