Aprenda sobre o processo de produção musical (inclusive sobre gravação, edição e mixagem) e conheça as ferramentas disponíveis para criação de música contemporânea no computador. Devido à recente disponibilidade de softwares e hardwares de alta qualidade e baixo custo, agora as ferramentas de produção musical estão ao alcance de todos. Os álbuns deixaram de ser criados apenas em estúdios, agora também são criados em quartos. À primeira vista, isso é libertador. Qualquer pessoa pode criar um álbum por um custo bem baixo, basta comprar alguns equipamentos e um pacote de software. Mas, se você for mais a fundo, verá que não é tão fácil assim. É preciso conhecimento, dedicação e criatividade para produzir música. Fornecer conhecimento é o propósito deste curso. Não importa o tipo de música que você está produzindo, há um grande conjunto de ferramentas que você precisará usar. Cada lição deste curso demonstrará um conjunto diferente de ferramentas de produção musical, seguindo vagamente o processo da produção musical de gravar, editar e mixar. Vamos começar com algumas noções sobre a natureza do som e como o percebemos. Em seguida, vamos analisar os componentes necessários para gravar áudio em um computador, para que você compreenda os dispositivos pelos quais o som precisa se deslocar em um processo de produção musical. Depois de gravado, o som precisa ser organizado em uma linha de tempo, um processo conhecido como edição. A edição nos permite dar a impressão de execuções perfeitas e criar muitos dos sons que ouvimos na música contemporânea. A ferramenta de edição contemporânea é a estação de trabalho de áudio digital (DAW, Digital Audio Workstation), um software que armazena e organiza todos os recursos de um projeto musical. Vamos focar as ferramentas de edição que são essenciais na produção de música contemporânea e que são fornecidas por todas as DAWs. Após a edição, os sons devem ser combinados ou mixados, por isso vamos analisar a mesa de mixagem, que pode ser um local muito criativo se você souber usá-la. Vamos explorar as funcionalidades básicas das mesas de mixagem em hardware e software, inclusive volume, panning, mudo, solo, barramentos, inserções, envios e submixagens. O processo de mixagem, no entanto, engloba mais ferramentas do que a mesa de mixagem fornece. O som também deve ser processado, ou seja, modificado de modo a fazer com que seu estado gravado se enquadre no contexto da música. Vamos analisar a compressão, a equalização e o retardo, além de examinar os muitos efeitos de áudio que são extensões desses dispositivos e como eles são usados em um contexto musical. No fim das contas, o processo de produção musical depende da sua criatividade. A criatividade é um produto da mente, e ela permanece armazenada ali, sem ser expressada, até que as ferramentas certas são usadas da maneira certa para compartilhá-la com o mundo. Se você tem uma ideia em mente, precisará passar por inúmeras etapas, cada uma com uma ferramenta importante, para chegar ao seu público. Traga a dedicação e criatividade para este curso, que ele fornecerá o conhecimento para fazer acontecer.
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Из курса от партнера Berklee College of Music
A tecnologia da produção musical
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EFEITOS DE FILTRO E RETARDO
O som pode ser modificado de seu estado gravado usando ferramentas que impactam a qualidade real do som. Nessa semana, vamos analisar equalização e retardo e examinar os diversos efeitos de áudio que são extensões desses dispositivos.
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Loudon StearnsAssistant Professor
Contemporary Writing & Production
It's important to know the impact of even a single sample delay.
It's surprising how much a delay of a 44,000 100th of a second can make on your
signal, and it turns out that around us all over the place we're dealing with
these short delays. And we're dealing with the phase
cancellation that is imposed with those delays.
So in this next video we're going to look at the impact of taking a very short
delay, and then what happens when we get longer and longer delays.
We'll start with just simple white noise. We'll just equal the noise, we'll just
equal amplitude across the frequency spectrum.
And we'll add slight delays mixed back with itself and we'll see how spectrum
changes based on that. At first it'll look like just a deep
notch in the frequency spectrum and eventually we'll get a series of related
notches that are harmonically related, which we know is comb filtering and then
eventually we get to the point where we hear a delay.
We get to that point, we'll switch to using more percussive sounds and just
explore as we increase that delay, kind of what it sounds like.
And I just want you, as we're doing this, to kind of relate it back to what you
hear in nature because delays are around us all over the place.
And just like the dynamic effects, you have to kind of learn to hear them and
learn to recognize them. You want to start to learn and recognize
the sound of delay effect. And this idea of comb filtering is a
really important one because it's always giving us trouble when we are recording.
Remember a delay is a reflection off a surface and every time you put a
microphone in front of an object, you have to be careful of other surfaces
around you because the sound from that object or the sound from that source will
bounce off all these other objects and hit that microphone as well.
So when you look at delay effect, it's also related to what happens when we
record. And these kind of deep notches, play less
in recording, we call it faze g/ cancellation, and cone filtering.
So we have to be very careful with that. So in this next video we're going to look
at spectrum of delay. What happens as we increase delay time,
and I'd like you, just to, remember, to relate that back to what you hear in the
real world all around you. We'll start our examination of the delay
spectrum with the shortest possible delay, a single sample.
I'm going to demonstrate this by taking two audio files, which are the exact same
audio file and both white noise. White noise is equal energy across the
frequency range. So these two audio files which are
exactly the same are being placed on two separate tracks and are being added
together here before they're sent to the displays you see in front of you.
I am then going to delay one of those two copies by a single sample and we're
going to see how big an impact that has on the overall spectrum.
And then we'll try to use longer and longer delays from there.
So, here is white noise. Again, this is two of the same exact
white noise audio files played together. And then I'll be delaying one of the
copies by a tiny increment. So there is white noise.
You see equal energy across the frequency range.
Now, I'm going to delay one of the copies.
So that was a single sample of delay. And you can see right here in the
sonogram how we have a major cut in the high end with a single-sample delay.
Let me try two samples. Two samples of delay gives us a serious
notch, right around 12 K. That's two samples, that two 48
thousandths of a second. It's amazing how a small delay can have
such an impact. Let's try more.
That's three samples, four, five, six, seven [SOUND] That's 48 samples of delay
and we start really seeing the idea of a comb filter.
And a calm filter's called that because it does the series of notches.
Now it's very important that you start being able to hear the sound of calm
filtering because it's all around you. Let me go a little further [SOUND] .
This demonstration shows us clearly the impact of combining a sound with a
delayed copy of itself. And this happens when you're recording.
Imagine I'm recording an instrument. And I have a microphone in front of that
instrument. The sound goes from the instrument,
arrives at the microphone. But the sound also bounces off a nearby
flat surface and arrives at the microphone a little bit later.
That is combining a sound with a delayed copy of itself, just like we've done
here. And, there is definite possibility you'll
get comb filtering in your recordings, if you have this situation.
So this is why we need to be so careful about any nearby flat surfaces when
recording, because we will get comb filtering, and it's probably going to
have a negative impact on our sound. Now that we want to move to longer and
longer delay times it's going to be useful to switch to a percussive sound so
we can hear that transient and we can note when that transient becomes doubled
and when it sounds like two separate hits.
Again, we're taking the same exact sound and just delaying one of them.
Here we go. Here's a snare sound with no delay.
[NOISE] I'm going to slowly bring up the delay time.
Now we're at a one millisecond delay. Two milliseconds.
Three milliseconds. Four milliseconds.
[SOUND] Five milliseconds. [SOUND] So over that entire range up to
five milliseconds we've been hearing that shifting comb filtering sound.
I'm now continue to raise the delay time up even further.
[SOUND] Six milliseconds, seven milliseconds, nine.
Ten miliseconds. It's starting to sound buzzy and I'm
almost noticing a pitch in there somehow. Let's continue on.
[SOUND] [MUSIC] Eighteen milliseconds and it feels a flan/g.
[NOISE] And by the time I'm at 36 milliseconds here, it really feels like I
have two different hits. I notice the delay as two separate
events. In this final exploration of the delay
spectrum, we're going to take a different approach.
This time, I'll start with a very simple clicky sound.
Let's hear it. [SOUND].
I'm going to run that sound through a simple delay.
And I'm going to have the feedback all the way up.
And we're going to see that very short delay times actually create a pitch.
And in fact, throughout this entire week, we're going to going to be exploring the
curious relationship between delay and frequency.
So, let's try this out and see what happens.
We'll start with our sound, it's kind of clicky and it's repeating.
[NOISE] Now I'm going to engage the delay, it's 100% wet, the feedback is all
the way down and my delay time is one millisecond.
I'm now going to increase the feedback. [SOUND] As we increase the feedback a
pitch will emerge. [SOUND] because our sense of frequency is
our perception of things repeating very fast [SOUND] And what we've done with
this delay is create very quick repetitions.
So fast that we perceive it as a pitch. I'm now going to increase the delay time.
Right now it's on 1.0 millisecond and I'll increase it.
[SOUND] 1.1 milliseconds.
[SOUND]
[MUSIC]
[SOUND] Eventually we get to the point where we start hearing it as separate
Attacks as we hear as a rhythm. This kind of a exploration it probes the
edges of our perception, at what point does the delay become pitch.
How is the delay and frequency intertwined.
What are the edges of human perception and how can that be explored musically.
This kind of Interactions between delay in frequency and delay in filtering, are
explored heavily throughout audio effects.
We're going to find these characteristics show up in our chorus phasers, falangers
short delays, long delays, and reverbs And our filters.
It's an incredibly important spectrum, this delayed spectrum.
And honestly its kind of difficult to kind of wrap the brain around.
How are all these interactions really working,, and how can we use them
musically?
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