Mercurial > hg > sound_recording_production
changeset 4:5a9b7fc25eec
General resources, e.g. assigments and reference added. Lecture 1 finalised. A number of Logic Projects have not been added due to the space required. They are on iMac if needed.
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--- a/Lectures/Lec1 - Physics of Sound/Lec1 - Physics of Sound.log Fri Sep 13 15:33:57 2013 +0100 +++ b/Lectures/Lec1 - Physics of Sound/Lec1 - Physics of Sound.log Thu Sep 19 10:44:17 2013 +0100 @@ -1,4 +1,4 @@ -This is pdfTeX, Version 3.1415926-1.40.11 (TeX Live 2010) (format=pdflatex 2011.2.1) 11 SEP 2013 14:11 +This is pdfTeX, Version 3.1415926-1.40.11 (TeX Live 2010) (format=pdflatex 2011.2.1) 19 SEP 2013 09:42 entering extended mode \write18 enabled. file:line:error style messages enabled. @@ -1595,7 +1595,7 @@ texmf-dist/fonts/type1/urw/helvetic/uhvb8a.pfb></usr/local/texlive/2010/texmf-d ist/fonts/type1/urw/helvetic/uhvr8a.pfb></usr/local/texlive/2010/texmf-dist/fon ts/type1/urw/helvetic/uhvro8a.pfb> -Output written on "Lec1 - Physics of Sound.pdf" (60 pages, 2595487 bytes). +Output written on "Lec1 - Physics of Sound.pdf" (60 pages, 2595489 bytes). PDF statistics: 1120 PDF objects out of 1200 (max. 8388607) 889 compressed objects within 9 object streams
--- a/Lectures/Lec1 - Physics of Sound/Lec1 - Physics of Sound.tex Fri Sep 13 15:33:57 2013 +0100 +++ b/Lectures/Lec1 - Physics of Sound/Lec1 - Physics of Sound.tex Thu Sep 19 10:44:17 2013 +0100 @@ -76,7 +76,7 @@ \frametitle{Coursework} \begin{enumerate}\itemsep12pt \item Microphone project: {\bf 5\%} (11/10/2013). - \item Apple loops project: {\bf 10\%} (25/10/2013). + \item Apple loops project: {\bf 10\%} (1/11/2013). \item Soundscape concept document: {\bf 30\%} (22/11/2013). \item Soundscape audio and technical document: {\bf 55\%} (13/12/2013). \end{enumerate}
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--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Lectures/Lec11 - Mastering/Worksheet 10.out Thu Sep 19 10:44:17 2013 +0100 @@ -0,0 +1,3 @@ +\BOOKMARK [1][-]{section.1}{Setting up your project}{}% 1 +\BOOKMARK [1][-]{section.2}{Mixing your song}{}% 2 +\BOOKMARK [1][-]{section.3}{Mastering}{}% 3
--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Lectures/Lec11 - Mastering/Worksheet 10.tex Thu Sep 19 10:44:17 2013 +0100 @@ -0,0 +1,104 @@ +\documentclass[11pt]{article} +\usepackage{geometry} % See geometry.pdf to learn the layout options. There are lots. +\geometry{a4paper} % ... or a4paper or a5paper or ... +%\geometry{landscape} % Activate for for rotated page geometry +\usepackage[parfill]{parskip} % Activate to begin paragraphs with an empty line rather than an indent +\usepackage{graphicx} +\usepackage{amssymb} +\usepackage{epstopdf} +\usepackage{graphicx} +\usepackage{amsmath} +\usepackage{hyperref} + +\topmargin 0truept +\headheight 2truept +\footskip 30truept +\textheight 220truemm +\textwidth 150truemm +\headsep 0truept + +\linespread{1} + +\DeclareGraphicsRule{.tif}{png}{.png}{`convert #1 `dirname #1`/`basename #1 .tif`.png} + +\begin{document} + +\begin{center} +\Large\textbf{ECS614U/ECS749P: Setting up a Project} +\end{center} + +\vspace{0.5cm} + +In this worksheet we will be covering the mixing and mastering stages of the music production process. Audio can be download from the Cambridge Music Technology website: \href{www.cambridge-mt.com}{\it www.cambridge-mt.com}. You should aim to complete both stages by the end of the session. Alternatively, you can go straight to Section 3 and practice mastering on your apple loops project. + +\section{Setting up your project} + +The first stage is to set up your Logic project. + +\begin{itemize} +\item Open the Cambridge-MT website. +\item Click on `Free On-Line Mixing Resources'. +\item Select a song (you can audition the mix), and download the audio files. Note that some of the songs contain a {\bf lot} of tracks, so if you are relatively new to music production it's advisable to pick one with fewer tracks. +\item Open a new project and drag the audio files in, selecting `Create New Tracks'. +\item Save the project. +\end{itemize} + +\section{Mixing your song} + +The second stage is mixing. Using the techniques we have covered produce a mix of your chosen song. + +\begin{itemize} +\item Balance the levels of the individual tracks. +\item Apply equalisation to change the sound of the tracks and to control masking interactions. +\item Use reverberation to add a sense of space to the mix. If you are using a single reverb effect add this to a bus and send each track to this bus. +\item Use dynamic effects where necessary. +\end{itemize} + +It is important that you get to the mastering stage during this session, so you should impose a time limit on the mixing stage of approximately 1 hour. Once the mix is `finished', bounce it down, ensuring there is sufficient time at the start and end of the song. This is your pre-master mix. The quality of the pre-master should be at least as good as the final mastered version, e.g. CD quality: 16 bit, 44.1 kHz. For the final soundscape assignment you must submit both pre-master, and mastered versions. + +\section{Mastering} + +Open a new project. In {\it Collection} select {\it Produce}, and in {\it Template} select {\it Stereo Mastering}. Drag in your pre-master mix and save the project. Each track in this project template contains the most commonly used mastering processing devices: gain, EQ, multi-band compression, and limiting. + +\begin{itemize} +\item {\bf Gain:} control the level of the mix. +\item {\bf EQ:} adjust the spectral content of the mix. +\item {\bf Multi-band compressor:} control the dynamic characteristics of individual frequency bands within the mix. +\item {\bf Limiter:} final compressive stage that is used to prevent clipping, and if driven hard (by increasing input gain) will make your mix louder. +\end{itemize} + +You are free to add any other effects into the chain if so you wish. + +When you are producing your final soundscape mix you should go through the mastering process, but if you are not comfortable using some of these tools (esp. the multi-band compressor) it is ok the leave them out. The most important reason for you to master is to draw a line under the mix, take a break, and come back with a fresh perspective. + +Once processing has been applied you must prepare to bounce the mix: + +\begin{itemize} +\item Set suitable start and end points for the mix. +\item Ensure that the fade ins and fade outs are set to prevent clicks or abrupt changes. +\item Ensure that the dynamic range is used appropriately. +\end{itemize} + +Once these are set do a final sanity check on the mix, then press bounce. Set the bounce parameters to CD quality, and also select one of the dithering options (which relate to different dithering algorithms, details of which are in the Logic manual). For the final soundscape submission you must use dithering, but marks will not depend on the choice of algorithm. + +The final stage is to listen to your mastered version in iTunes (or equivalent) to make sure everything has worked as intended. If there are errors in the audio files that you submit for your final assignment you will be penalised heavily. You absolutely must do a final sanity check before signing off any audio production work! + +Here are a few useful resources if you want to take your mastering further: + +\begin{itemize} + \item \href{http://masteringinlogic.com/}{\it http://masteringinlogic.com/}. + \item \href{http://audio.tutsplus.com/tutorials/mixing-mastering/how-to-master-a-track-in-15-minutes-or-less/}{\it http://audio.tutsplus.com/tutorials/mixing-mastering/how-to-master-a-track-in-15-minutes-or-less/}. +\end{itemize} + + + + + + + + + + + + +\end{document} \ No newline at end of file
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--- a/Lectures/Lec2 - Microphones/Lec2 - Microphones.nav Fri Sep 13 15:33:57 2013 +0100 +++ b/Lectures/Lec2 - Microphones/Lec2 - Microphones.nav Thu Sep 19 10:44:17 2013 +0100 @@ -129,8 +129,10 @@ \headcommand {\beamer@framepages {62}{62}} \headcommand {\slideentry {1}{1}{63}{63/63}{ Microphones}{0}} \headcommand {\beamer@framepages {63}{63}} -\headcommand {\beamer@partpages {1}{63}} -\headcommand {\beamer@subsectionpages {1}{63}} -\headcommand {\beamer@sectionpages {1}{63}} -\headcommand {\beamer@documentpages {63}} -\headcommand {\def \inserttotalframenumber {63}} +\headcommand {\slideentry {1}{1}{64}{64/64}{ Microphones}{0}} +\headcommand {\beamer@framepages {64}{64}} +\headcommand {\beamer@partpages {1}{64}} +\headcommand {\beamer@subsectionpages {1}{64}} +\headcommand {\beamer@sectionpages {1}{64}} +\headcommand {\beamer@documentpages {64}} +\headcommand {\def \inserttotalframenumber {64}}
--- a/Lectures/Lec2 - Microphones/Lec2 - Microphones.tex Fri Sep 13 15:33:57 2013 +0100 +++ b/Lectures/Lec2 - Microphones/Lec2 - Microphones.tex Thu Sep 19 10:44:17 2013 +0100 @@ -393,14 +393,22 @@ \begin{frame} \frametitle{Spatial microphone techniques} \begin{itemize}\itemsep12pt - \item When we listen to live music a sense of the space in which we are listening is encoded into what we hear. + \item When we listen to live music a sense of the space and source position in which we are listening is encoded into what we hear. \item A range of microphone techniques are used to capture a sense of this spaciousness. - \item You are attempting to trick the brain into thinking you are in a certain space. - \item The simplest encodings are stereo. + \item The simplest encodings are stereo, i.e. left and right. \end{itemize} \end{frame} \begin{frame} + \frametitle{Stereo Mic Techniques} + \begin{itemize}\itemsep12pt + \item We are able to sense the direction of a sound because we have two ears. + \item Stereo mic techniques use two (or more) microphones to pick up sound from different directions or locations. + \item The signals are then sent to different loudspeakers to produce a stereo effect. + \end{itemize} +\end{frame} + +\begin{frame} \frametitle{Blumlein Coincident Figure-of-Eights at 90$^{\circ}$} \begin{center} \includegraphics[width=3in]{Figures/Blumlein.eps}
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--- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/Lectures/Lec6 - Mixing Gain/Assignment 3/Assignments 3 and 4.tex Thu Sep 19 10:44:17 2013 +0100 @@ -0,0 +1,76 @@ +\documentclass[11pt]{article} +\usepackage{geometry} % See geometry.pdf to learn the layout options. There are lots. +\geometry{a4paper} % ... or a4paper or a5paper or ... +%\geometry{landscape} % Activate for for rotated page geometry +\usepackage[parfill]{parskip} % Activate to begin paragraphs with an empty line rather than an indent +\usepackage{graphicx} +\usepackage{amssymb} +\usepackage{epstopdf} +\usepackage{graphicx} +\usepackage{amsmath} + +\topmargin 0truept +\headheight 2truept +\footskip 30truept +\textheight 220truemm +\textwidth 150truemm +\headsep 0truept + +\linespread{1} + +\DeclareGraphicsRule{.tif}{png}{.png}{`convert #1 `dirname #1`/`basename #1 .tif`.png} + +\begin{document} + +\begin{center} +\Large\textbf{ECS614U/ECS749P: Assignments 3/4 - Soundscape} +\end{center} + +The main piece of coursework for this module is the soundscape assignment. As well as producing a soundscape, you must provide an accompanying document, which outlines your concept and the practical decisions made along the way. The overall layout of the document should be as follows: + +\begin{enumerate} +\item Abstract. +\item Introduction, literature review and discussion of concept. +\item Planned application of literature to achieve concept. +\item Production decisions: +\begin{itemize} +\item Composition. +\item Recording (including microphone choices!). +\item Mixing. +\item Mastering. +\end{itemize} +\item Discussion of difficulties/successes. +\item Conclusion, i.e. did you realise your concept? +\end{enumerate} + +Submission of this assignment is divided into two parts. The concept, which includes parts 2 and 3 of the list above, form Assignment 3. The rest of the document and the soundscape audio form Assignment 4. + +\vspace{0.5cm} +\large\textbf{Assignment 3 - Soundscape Concept Document: 30\%} + +\large\textbf{DUE: Friday 22nd November 2013} + + +The first part of the soundscape assignment is a document outlining your concept. You must describe how you are going to achieve your chosen concept in relation to current academic research and/or industry best practice. This takes the form of a literature review and you should reference anything you use properly. Websites are not good references. It's fine to have a few of them but you should be aiming to reference conference or journal papers, or textbooks where possible. + +\newpage +\large\textbf{Assignment 4 - Soundscape Audio and Technical Document: 55\%} + +\large\textbf{DUE: Friday 13th December 2013} + +The second part of the document includes the practical decisions as well as the abstract and conclusions for the whole assignment. When you submit the final document please include the concept sections for completeness (although you will have already been marked on the early submission). + +Submission of the soundscape must follow the following criteria. + +\begin{itemize} +\item 2 to 5 minutes in length. +\item Must contain some audio that you have recorded yourself. +\item Post-master wave file at CD quality (16 bit, 44.1 kHz). +\item Pre-master wave file of quality at least as good as the CD. +\end{itemize} + +\vspace{0.5cm} + + + +\end{document} \ No newline at end of file