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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SÍNTESE
Vamos analisar o sintetizador, uma ferramenta importante na produção de música contemporânea. Ao prender como funciona um sintetizador, você terá o conhecimento necessário para descrever os sons. A música é uma forma de arte colaborativa, por isso não há nada mais poderoso do que a comunicação efetiva.
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Loudon StearnsAssistant Professor
Contemporary Writing & Production
The first module in our synthesizer is our oscillator, and this is the sound
creator. It generates sound based on a geometric
wave form. And we have wave forms like sawtooth,
square wave, triangle wave, sine, and noise.
And most of them get their name just by their shape.
If you look at a square wave it is very squarish.
If you look at a sawtooth wave form it does look kind of like a saw blade.
The oscillator is always just putting out sound.
Later in the signal flow, that sound will be turned on and off, and we tend to use
very, very bright sounds in the very beginning.
The sawtooth and square waveforms are really brilliant, harsh, kind of
obnoxious, truthfully; which is why we use the filter after the fact.
But another name for this oscillator is a VCO, a voltage control oscillator, and
that's the important thing about synthesis.
because we do have just general oscillators, like built into mixing
boards, for test tones. But they don't change over time and
that's the key to the synthesizer oscillator is that it can be modulated.
It can change over time, and all these modules have one specific thing that
changes over time. And in the oscillator, it's the pitch or
frequency, which makes sense, because if you think about a synthesizer, one of the
most important things is that you play up and down the keyboard.
And it changes to be the correct note. Well that instance, that idea, the
playing of it on the keyboard is changing the note.
That's an example of modulation. That's key position modulating the pitch
of the oscillator. So we can see that this, this idea of
modulation is that time dimension. How is the oscillator going to change
over time, and there are many things that can modulate the oscillator.
I modulate the pitch of the oscillator and the key position is one of the most
important ones. Now I think it's important that when you
start getting into synthesis, to appreciate the sound of the different
wave forms, and we tend to associate the square wave with kind of a hollow sound,
and the sawtooth waveform with kind of a bright brilliant sound, and there's a
good reason for that. If we look at the harmonic structure of a
square wave, it's missing the even partials.
Kind of jump we have, one, three and five.
But if we look at a sawtooth waveform, it has them all, and it starts to sound more
full. Now this is interesting because when you
start listening to real instruments, you can start to picture, is that more saw
wavish or square wavish. And actually the shape of the wave form
is related to how the sound is actually initially created.
So, if we think of a clarinet, we usually associate a clarinet sound with more of a
square wave shape. And a clarinet does have like a hollow
kind of sound to it. And if you think of how a clarinet makes
its sound, it kind of makes sense that it would be square waveish.
You'll over reed right, the players mouth, and that reed goes up, let's the
air through, closes down, opens up, closes down, opens up, closes down, very
fast right vibrating on and off. But it's like a switch, turning on,
turning off, turning on, turning off, and that creates a square wave-ish shape, and
if we're trying to emulate a clarinet we actually start with a square-wave
waveform. If we're trying to emulate say, a string
sound, like a violin, a bow on a violin, we have a horsehair bow with sticky rosin
on the bow, and it's pulling against that string.
And as it does so, that string goes to the right, right?
It pulls away from it, and then eventually the tension on the string is
so strong it snaps back. We call this motion a slip and stick kind
of motion. And it's related to the wave shape, cause
you can see as it pulls along that string, the string moves up in one
direction, eventually just snaps back to zero and starts over again.
So we get this saw wave-ish kind of shape.
So for emulating a string instrument, we usually start with a saw wave type shape.
So you see, we start getting a language and a way to think about these timbres
and these sounds in a really nice way. So let's look at the oscillator section
of my simple synthesizer, and then we'll move onto the filter next.
In this video we're going to move into studying synthesis.
And I'd like you to have a synthesizer of your own open so you can work along with
this tutorial. Now the challenge for you, is going to be
taking the knowledge we gain here, and applying it in your synthesizer.
It'll take some exploration and some figuring out, but you will find these
sections in your synth. To have the most success, I'd like you to
choose a subtractive synthesizer, avoid synths that are based on frequency
modulation, so if you see FM in the title, probably not what you want to use
here. So this is built on a basic subtractive
synthesis model, and I think you can find a subtractive sin in your DAW or in your
collection of plug-ins. The main five sections we have here again
are oscillator, filter, amplifier, envelope and LFO.
I'd like you now to find the oscillator section of your synthesizer.
It might be labled OSC or oscillator, and it will most likely have options to
change the wave shape between a variety of common wave shapes like sine, saw,
triangle, square and noise. Now, I'd like to look at the different
wave shapes that are really common in the traditional subtractive synthesizer.
The first one is sine wave, and a sine wave is a, what we would consider a pure
tone. It's energy at a single frequency.
Let's hear it. [NOISE] So we have energy at a single
frequency. And a sine wave is the purest, simplest
of tones. We also have options if we want to get a
brighter timbre to switch to saw wave. And we are going to see that that's going
to bring in a series of upper partials or upper harmonics.
If I choose square we're going to see a different arrangement of the upper
partials. Its a more hollow sound like we described
earlier. Saw too.
[SOUND] Is going to include all partials. And a square wave will include only the
odd. With a square wave, you see it's an open
sound, because it's missing every other harmonic.
So a square wave is only the odd harmonics, and the saw wave is all
harmonics. If you have the option for a triangle
wave, you'll find that it sounds like a filtered square wave.
And that only includes the odd harmonics, but they fall off faster as you go up the
frequency spectrum. You might also find a Noise section in
your oscillator, or a specific noise oscillator that will give you general
broadband noise. White noise is energy across the
frequency spectrum, and it's even across the frequency spectrum.
So that's what we can expect to find in the oscillator section.
Synth designers want you to understand their software.
So they usually make it very clear where the different sections of the synth are.
It will be obvious where the oscillator section is, where the filter section is,
where the LFO is and where the envelope is.
Id like you to go to your synth and try some of these things out now.
Can you find the oscillator? Can you change the wave shape?
Can you find the filter section? Can you find the envelopes?
Just get a feel for the overall layout of one or two synthesizers, and then we'll
move on to filters.
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