Sound FX unlocking the creative potential of recording studio effects
FX introduces today's up and coming musician to the fantastic creative potential of the most popular instrument today- the home studio. Explaining the basic and advanced signal processing techniques used in professional music production (EQ, compression, delay, reverb etc), using real world pop...
| Autor principal: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Amsterdam ; Boston :
Focal Press
c2007.
|
| Edición: | 1st edition |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627072106719 |
Tabla de Contenidos:
- Sound FX Unlocking the Creative Potential of Recording Studio Effects; Copyright; Contents; Acknowledgements; Introduction; Section 1:Sound - Signals, Systems, and Sensation; Chapter 1:Audio Waveform; 1.1 Medium; 1.2 Amplitude versus Time; 1.2.1 Amplitude Confusions; 1.2.2 Time Implications; 1.3 Amplitude versus Distance; 1.4 Amplitude versus Frequency; 1.5 Complex Waves; 1.5.1 Square Waves; 1.5.2 Sawtooth Waves; 1.5.3 Triangle Waves; 1.6 Decibel; 1.6.1 Logarithm; 1.6.2 Ratios; 1.6.3 References; 1.6.4 Zero Decibels; 1.6.5 Negative Decibels; 1.7 Dynamic Range; 1.8 Sound Misconceptions
- 1.8.1 Mistaking the Message for the Medium1.8.2 Don't Picture These Sketches; Chapter 2:Signal Flow; 2.1 Types of Sessions; 2.1.1 Basics; 2.1.2 Overdubs; 2.1.3 Mixdown; 2.1.4 Live to Two; 2.2 Console Signal Flow; 2.2.1 Channel Path; 2.2.2 Monitor Path; 2.2.3 Split Console; 2.2.4 In-Line Console; 2.3 Outboard Signal Flow; 2.3.1 Parallel and Serial Processing; 2.3.2 Effects Send; 2.3.3 Insert; 2.4 FX Decision Making; 2.4.1 FX Procrastination; 2.4.2 FX Assertion; 2.4.3 FX Undo; 2.4.4 FX Innovation; Chapter 3:Perception; 3.1 Preconscious Listening; 3.2 Audible Sound; 3.2.1 Masking
- 3.2.2 Masking Reduction3.3 Wishful Listening; Section 2:Amplitude Effects; Chapter 4:Distortion; 4.1 Distortion of Amplitude; 4.1.1 Harmonic Distortion; 4.1.2 Intermodulation Distortion; 4.2 Sources of Distortion; 4.3 Motivations for Distortion; 4.4 Distortion Dos and Don'ts; 4.5 Selected Discography; Chapter 5:Equalization; 5.1 Spectral Modifi cation; 5.2 Parameters for Spectral Modification; 5.2.1 Frequency Select; 5.2.2 Cut/Boost; 5.2.3 Q; 5.2.4 Multiband EQ; 5.2.5 Take Away the Q; 5.2.6 Take Away the Frequency; 5.2.7 Take Away the Knobs; 5.2.8 Some Knobs Are Switches; 5.2.9 Shelving EQ
- 5.2.10 Filters5.3 Applications; 5.3.1 Technique; 5.3.2 Fix; 5.3.3 Feature; 5.3.4 Fit; 5.3.5 Special Effects; 5.3.6 Audio Ear Training; Chapter 6:Compression and Limiting; 6.1 Parameters; 6.1.1 Threshold; 6.1.2 Ratio; 6.1.3 Attack; 6.1.4 Release; 6.1.5 Make-Up Gain; 6.1.6 User Interface; 6.2 Technologies; 6.2.1 Tube Compressors; 6.2.2 Optical Compressors; 6.2.3 VCA Compressors; 6.2.4 Digital Compressors; 6.3 Nominal Application: Dynamic Range Reduction; 6.3.1 Prevent Overload; 6.3.2 Overcome Noise; 6.3.3 Increase Perceived Loudness; 6.3.4 Improve Intelligibility and Articulation
- 6.3.5 Smooth Performance6.4 Advanced Applications; 6.4.1 Altering Amplitude Envelope; 6.4.2 Ambience and Artifacts; 6.4.3 De-Essing; 6.4.4 Distortion; 6.5 Advanced Studies - Attack and Release; 6.5.1 Definitions; 6.5.2 Visualizing Attack and Release; 6.5.3 Parameter Interdependence; 6.5.4 Program Dependence; 6.5.5 Pumping and Breathing; 6.6 Learning Compression - Some Personal Advice; 6.6.1 Unnaturally Difficult to Hear; 6.6.2 Hype and Hyperbole; 6.6.3 Imitation; 6.6.4 Multiple Personalities; 6.7 Achieving Compression Success; 6.8 Selected Discography; Chapter 7:Expansion and Gating
- 7.1 Increasing Dynamic Range
