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Из курса от партнера Berklee College of Music
Introducción a la producción de música
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Filtro y efectos de delay
El sonido grabado puede modificarse usando herramientas que efectúan cambios en la calidad real del sonido. Esta semana veremos la ecualización y el delay, y estudiaremos los diversos efectos de sonido que se derivan de estos dispositivos.
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Loudon StearnsAssistant Professor
Contemporary Writing & Production
A mix is really an illusion. We have two speakers.
But we're trying to create a sense of a three-dimensional environment, it's like
painting in that you have this two-dimensional surface.
But you use perspective to give the impression of depth, to give the
impression of a three-dimensional space. With two speakers, we have a number of
things that we can use to give the impression of a realistic space.
We talked about reverb, which is very important.
Every time you're in a space, there is, the reflections off all the surfaces,
which gives us the sense of being in a room.
Beyond that, we need to have a kind of a mental image of what we're trying to
create, what environment we're trying to create.
When you go to sit down to a mix, really consider how are the musicians or
elements in your mix related to each other?
How are they related in space to each other?
And how is the listener related to all that information, to that space?
So you're thinking of the dimensions of all those different areas.
Now, left and right seems to be a pretty easy thing.
I turn a pan knob, but we need to be aware that a pan knob is actually kind of
an unnatural thing. If I pan all the way to the right, I'm
really just reducing the stuff completely in the left speaker.
And when do you really hear something only in one ear?
Can you think of a time? The only time I can really think I hear
something in one ear, is when someone is whispering in one of my ears, or a
mosquito is flying right next to one of my ear.
In fact a really quiet thing really close to one of your ears is the only time you
really hear it in a single side. Usually you hear a sound in one ear, and
you hear a delayed copy in the other ear. So in fact this idea of delay has a
really big influence on stereo location. And if you were to pan all the way to one
side, it is quite unnatural. So you want to be aware of that and it's
another way delay effects can really become useful in creating a wide stereo
mix. Now when you're playing from speakers
It's, it isn't that big of a deal, because when I hear something out of the
right speaker, I also hear it in my left ear.
But always consider your listener, and a very common listening environment is
wearing headphones. And if you're going to look at this idea
of how you stereo locate and you kind of locate things left and right based on
light delay, research the Haas Effect, it's a really interesting study and it's
another psycho-acoustic term that has an impact on our mixes.
So left and right, panning, and a bit of delay, but depth, that's the hard one.
How far away something is, that's pretty difficult.
That's that perspective idea when painted.
And I think there's, there's four really important ways we can give the impression
of something being far away or something being close.
Before I rattle off the list, I'd like to mention that everything in a mix is
relative. There are no absolutes.
You can't really say I'm making this this mix loud, because the user always has a
volume control. They an always turn that down.
All you really have control of, are the relative things.
How one element in your mix is related to another.
So if I want to make something seem quiet, I need something loud to compare
it to within the mix. If I want something to seem far away I
need something close to compare it to in my mix.
So this idea of depth now. If I want to make something far away or
close, we have basically four ways we could do that.
The first one is volume. When things are closer to you, they're
louder, and the further away, they're quiet.
And that's a really important one to remember.
And often, we jump to all these fancy effects, without really taking enough
consideration with volume. Pay attention to the faders.
That'll do most of your work. The next one is reverb.
Right? The further something away is, the more
reverb it's going to have. In fact, its kind of a dry/wet, and we
notice that all over the place. If I bring in the mic closer to my
instrument that I'm recording, there's less of the room and more of the dry
signal. As I move that mic further away, there's
more of the room and less of that dry signal.
So that dry/wet knob, or that send amount if you're setting up parallel signal
flows, that's going to be a really big impact for something far away or closer.
The thing that's far away is going to be wetter, and the thing that is closer is
going to be dryer. Another important aspect of this distance
is the high end. Things far away will be duller, and
things closer will be brighter. Surfaces around us and the air itself
actually absorbs the high end, so things farther away are naturally duller.
So that high shelving filter will be a really important distance cue for us.
It's closer, brighter, further away, a little duller.
And the final one that's interesting distance cue is actually stereo width,
and this is particularly important on stereo instruments, like let's say I have
a piano. I've, if I am the player of the piano,
playing piano, sitting right here, I'm going to hear the high end of the piano,
those high notes, all the way over on this side.
And the low notes will be way over on this side, on the other side of me,
right? It's a very wide thing.
I'm right there at the piano. And if I put that on my mix, with the
high end all the way on one side and the low notes all the way on the other,
you're giving the listener the impression they're sitting at that piano stool.
In fact, the only place they can be is right at that piano.
As you start getting further and further away from that piano, the stereo width
starts narrowing down. So that idea of stereo width is also
major in some instances can be a major distance cue.
So again, volume, high-end control Reverb amount and stereo width can all have a
major impact on distance and space in our mix, and the trick is to make them all
coordinate with each other. If you do things in a way that makes them
fight each other, like you have something that's really loud with lots of reverb,
it just doesn't make sense, and it doesn't fool the listener.
Right? That's like drawing improper perspective
in your painting. It's just not going to ring true, and the
only way that you're going to be able to do this accurately is to open your ears,
is to listen to the space around you. The only way to do this stuff is to know
what real rooms actually sound like, and we take it for granted.
We walk into a space. We don't even think about the space, but
every room we're in sounds different. What I'd like you to do, next time you're
bored at a show or next time you're just at a show, try to listen differently.
Try to focus on the sound of the space. How does that band sound in that room?
How does that person sound talking to you in yhe space they're in.
Try to notice the space. Try to notice what happens when you walk
close to a wall. Notice what happens when a news reporter
turns his head and you hear a little bit of comb filtering.
The key to mixing is observing, because the only you're going to be able to do
this accurately, the only way you're going to be able to fool the listener, to
create that illusion, is if you know what the real thing sounds like.
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