task 1 feb to march work

8/19/2019 Task 1 Feb to March Work

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T4.5 'Fix Mix'Task 1

Melodyne

I used Melodyne on all vocals except for 'group vocals' as using Melodyneon them made no dierence at all, as the group vocals sung an occasional'pump it up', although adding to the texture, the group vocals were notstrong enough to stick out of the mix therefore I left them alone.

To use Melodyne, I selected the audio track, went to the audio F plug inMelodyne and once the window opened I soloed the track and selected'transfer' within melodyne's window and played in the audio.

!nce the audio had 'transferred' into the Melodyne window, and in thecorrect key, I selected the pitch corrector and moved the notes so that

they were as close to the center of the note as they could "e withouto"taining a ro"otic, auto#tuned sound.

$hen adding Melodyne to the guitar and "ass I made sure that I selectedthe correct algorithm. For a guitar I needed to select a polyphonicalgorithm due to the multiple notes played and for the "ass, a melodicalgorithm, which I also selected for the vocals, I Melodyned the guitar and"ass as although care had "een taken to make sure the instrument was intune, sometimes whilst playing, lower down the neck of the instrument, itcan sound in tune "ut the higher up the neck, it can sound out of tune andtherefore need %xing.

!nce I was happy with how the instruments sounded, I "ounced the trackin place onto a new track so that if I wanted to work on the rest of my mixin a room without Melodyne, I could.

Compression

&ompression can make sounds appearsofter and it can shrink an audio %lesdynamic range.'"THRESHOLD – also known as the'ceiling' as when the signal hits it, allabove the ceiling becomes quiete! #$ islowe an% will not have as much o& aneect as –($! )elow theshol%,com*esso has no eect! Thecom*esso e%uces the volume to sto*the in*ut signal &om getting lou%e an%

*otentiall+ avoi%ing %igital %istotion!OT-T . /01E- 2034 0 com*esso will onl+ a%5ust the volume when the signal becomes too lou% o gets toohigh! The 6/akeu* gain7 comes into eect an% this lets +ou bing thesignal back u* to a health+ level an% gives back the %) that was lost &omcom*ession!

R0T3O The atio in%icates how much the au%io is com*esse% o 6tune%%own b+7! 8o e9am*le i& the atio is :;#, an+thing above the theshol% is

aisy (race $ake%eld T).* + -T& Music Technology

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6tune% %own7! This means that i& thee is :%) above the theshol%, thenonl+ #%) is allowe% though! 0n altenative wa+ o& looking at it is that ithas been tune% %own m+ #%), o #%) gain e%uction! (%) abovetheshol% then : %) ae allowe% though, <%) above, onl+ (%) allowe%an% i& #$%) the =%) ae allowe% though!Essentiall+ :;# atio means hal&!

0TT0>1 The 0ttack time is about how quickl+ the volume is e%uce% o lowee% when thein*ut o signal e9cee%s, o goes ove thetheshol%! 3& the attack time is too slow, then&o a shot time a&te this, +ou coul% hea busts o& lou%, uncom*esse%, music comingthough which woul% not be goo% &o +ou mi9! RELE0SE The Release time on com*ession isabout how quickl+ the volume can etun tonomal when the in*ut o au%io is no longe

above the theshol%! 3& +ou allow the volumeto come back too &ast, then it will be obvious that the signal level is goingu* an% %own 5ust as i& +ou wee tuning the volume u* an% %own on a >D

*la+e when listening to music o on a emote when watching television!" 0Taken from my '1nit 2 $rite up'3

444444444444444444444444444444444444444444 !n the vocals, I used a "us 05ux 23 and Idecided to use a pre#set, '"right vocal',and slightly change some of the settingsas well as ad6usting how much of eachinstrument I wanted to sent to thecompressor.I used the 7intage !pto compressor onthe kick drum and top snare to create amore punchy sound. For the "ottom snareand rack tom I used the 7intage 7&5compressor to make it sound louder and"righter and on the 8oor tom, "ass andguitar I used the studio FT compressor and changes the threshold and

knee to give more power to the lowerfre9uencies.I used the classic 7&5 compression onthe hats and the platinum digital

compressor on the overheads where Ichanged the threshold slightly on eachone.

Drums into a software instrument

I recorded individual drum hits that Icould sample and use in case, when itcomes to the genres recordings, amicrophone wasn:t clipped in correctly or

we did not arm a channel, we had "ack up drum sounds.

The drums recorded in I decided to change into a software instrument. Iselected a new software instrument, highlighted the new track and clicked


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on the recorded audio %le. I clicked on 'factory', 'audio#to#score', ;velocitythreshold'. I processed this and selected the new 0green3 %le andhighlighted all notes within the piano roll and went to 'functions','transform', selected '%x' and depending on what instrument I was turninginto a sample I. kick drum or 8oor Tom, changed the note as on a

sampler, each part of the drum kit has its own note. I the opened up the<2) sampler, went to 'factor', 'drums and percussion', 'acoustic drumkit' then selected the setting I wanted. +astly I went to 'functions','transform' and '%xed velocity' to make sure that all the drum hits were thesame velocity.

=ou could have a mixture of recorded in drums and a sampled version ofthe drums to give the drums more power in the mix, which is what somepeople do to their mixes.

SN ! "# I started "y cutting away unwantedfre9uencies not associated with the

instruments active fre9uency range.&utting away these fre9uencies alsohelps to get rid of any unwanted"ackground noise 0<>?3. !nce I hadcut fre9uencies away, I started to lookat

fre9uencies I could "oost. The only tracksI "oosted "elonged to "oth the overheadsand the hats and I felt that the hats andcym"als were "uried under the mix andneeded their own space.

e$er% I used a "us 0aux /3 on vocalswith Melodyne on@ 7/, 7/./, 72,72./, 7 and 7./. I selected thespace designer rever", ad6ustingsome of the pre#set settings thensending the amount of rever" I

wanted to the vocals. It took me severalattempts "efore I was happy as I did notwant too much rever" on the vocals as thevocals were already dou"led and did notwant the vocals to sound as if they hadsuch an o"vious echo on them as in someparts, the vocals are not in time with eachother.

D&FS (eadroom Throughout the mix, I was conscious a"out

how much headroom I had to play with sothat I could avoid distortion. The highest




value in the digital world we could have without distortion occurring isAd-F<. I kept checking once any changes were made to the mix that therecording levels did not exceed the 'yellow Bone', "etween CD and C/2

d-F<. The lowest value the output went down to was #)./d-F<. I alsomade sure that each track did not clip and so the overall mix.

I had enough headroom in the end to avoid distortion "ut if I were to dothis again I would have tried to stay in#"etween #/2d-F< and #Dd-F< sothat I have more headroom to mix with.

Dynami) ran*e This refers to the dierence "etween the 9uietest and loudest part of thewaveform 0in d-3. From the waveform you can see if there is any digitaldistortion. From my mix, it is clear from the sine wave that there isn't any

distortion.


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task 1 feb to march work

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