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Introducción a la producción de música

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Berklee College of Music

Introducción a la producción de música

176 classificações

Curso 2 de 4 em Specialization El Músico Moderno

Aprende sobre el proceso de producción de música -incluyendo la grabación, la edición y la mezcla- y sobre las herramientas disponibles para crear música contemporánea en tu computadora. Esta obra fue financiada con una donación del Banco Inter-Americano de Desarrollo con recursos del Fondo Coreano para la Reducción de la Pobreza. Las opiniones expresadas en esta obra son exclusivamente de los autores y no necesariamente reflejan el punto de vista del Banco Interamericano de Desarrollo, de su Directorio Ejecutivo ni de los países que representa. El Banco Interamericano de Desarrollo no garantiza la veracidad de la data incorporada en esta obra. Puedes cambiar el idioma en Coursera de inglés al español utilizando la página de ajustes de tu cuenta. Para cambiar los ajustes en tu cuenta de Coursera sigue los siguientes pasos: 1. Ve a coursera.org 2. En la esquina derecha superior haz click en el pequeño triángulo invertido que está a lado de tu nombre y foto. 3. Haz click en ‘Settings’. 4. Selecciona el recuadro debajo de ‘Language’ (idioma), selecciona español y salva los cambios realizados. Coursera ofrece ayuda financiera a los estudiantes que no pueden pagar los cursos y necesiten de una beca. Los estudiantes con ayuda financiera podrán tener acceso a todo el contenido del curso y completar todo el trabajo requerido para adquirir el Certificado de Coursera. La ayuda financiera solo aplica al curso en el que se aprobó la solicitud de ayuda financiera. Para aplicar haz click en la opción “Learn More and Apply” (aprende mas y aplica) debajo del menú a la izquierda.

Na lição

LA EAD

La herramienta de edición contemporánea es la estación de trabajo de audio digital (EAD), un software que almacena y organiza todos los componentes de un proyecto musical. Nos centraremos en las herramientas de edición, esenciales para la producción de música contemporánea, que todas las EAD proveen.

Grabando audio9:03

Separación y corte0:54

La cuadrícula2:00

Nombrar y colorear0:54

Composición7:36

Conheça os instrutores

Loudon Stearns
Assistant Professor
Contemporary Writing & Production

As you can imagine, all these editing features give us amazing control over the

final product. And that the fact that we have these

features has actually changed the way in which rec, we record.

In that we often will record many takes, or many versions of a single performance,

and then choose the best pieces from all of them.

And create a compiled version around comtrack that includes the best pieces

from all those different takes. Now many DAWs have a take feature built

right into them so that if I record over and over on a single track.

It remembers all those different recordings and saves them as different

takes of that same performance. In addition many DAWS have added com

features to make it easy to kind of quickly choose the best features from all

of them and apply cross fades and make it sound seamless.

Even if your DAW doesn't include those though you could always just create many

tracks, name them similarly but maybe put the take name after them.

And record multiple versions of the performance and edit in between.

It's a great process to get used to because you really can get a high quality

performance if you can get all those best pieces.

I'd like you to take a moment to go to your DAW and see what the best way would

be to create a comp track or a compile track within your DAW.

I'd like to take some time to show you how all these editing techniques can be

used together to create a perfect comp track, or compiled track, from a series

of imperfect performances. I had played bass to a drum groove

earlier in the course, in this lesson, and I did two takes at it.

They're both good, but imperfect in different ways, and I'm going to take

pieces of both to create a perfect performance.

The first thing I'll need is a new track to build the compile onto.

And we'll create a new mono track because the previous ones aren't mono and I'll

set the input to none. It a great idea to get in the habit of

setting the input to none on tracks that you're not actively recording into.

This will save CP resources and also avoid the chance of accidental feedback

later. In reviewing the material, I found that I

like the first measure for my first performance, and the second measure for

my second performance. I have my grid set to bar.

So that way as I cut, I know it'll be right on bar length, and will make

editing much easier. I'll switch over to a scissor tool and

I'll divide the region or separate the region right at the downbeat of measure

two and I'm going to copy this to the new track.

Now you'll notice I held a modifier key while dragging, which copy and pasted.

Now I like the second measure for my second paste track and I'll use a

different method this time. There are actually many ways you can

select in a DAW. Sometimes you're selecting regions with

that Arrow tool, other times you're selecting a range of time like I've done

here. You notice I haven't selected the entire

region. I've selected just measure two in the

second track. And by using a selection tool that's

designed just for selecting a range of time.

You can find that you can select just a portion inside of a region.

So, many DAWs really differentiate between selecting tracks, between

selecting regions, and selecting ranges of time.

It's good to know the different selection tools in your DAW and how they function.

Let's see how this comp track is turning out.

[MUSIC]. So I like both performances but there's a

click, a slight click at the transition between the two clips.

We can solve that in a variety of ways but no matter how we're going to solve it

we want to zoom way in and see what's going on.

So I'll switch to a zoom tool. I'm going to zoom in on a very small

portion of time, and see what's going on. So right here is my transition.

And it looks like it's pretty close. There must just be a little bit of

information kind of away from zero right at the transition, which is giving us

that click. I think the solution for this is a cross

fade. And I'll switch to my cross fade tool

here. And it'll just make a very, very small

fade. With fades, the shorter is almost always

better. You just want a quick, kind of

imperceptible, fade. Let's hear how it sounds.

[MUSIC] That little fade got rid of the click entirely, I can zoom back out now,

and continue on with my comp. Now I actually liked bars 3, 4, 5, 6, and

7 from the first take. So I'll grab those now.

Again, option drag. And I like the last bit from There you

go. So you see having my grid set to bar,

really handy, because that way I know all those edits are happening right on a down

beat. And I can move through this process quite

quickly. Let's listen.

[MUSIC]. That edit sounds good.

[MUSIC] There was a click at the beginning of that one.

[MUSIC] And there was a click at this one also.

So we have two small clicks to deal with. There's also one note I don't love in

there lets hear it. That right there.

[MUSIC] There's a really big click in my performance.

I might want to grab this measure from this over here.

Let's try that out. Try measure four here.

Let's try the whole thing now. [MUSIC] I like the performance now.

I'm happy with it. I just need those cross-fades.

Let's hear it. [MUSIC].

And I have a perfect performance built from two previous performances, a really

nice comp. The one last thing I might want to do

here, is merge these so I can use them easily later.

And that's a simple procedure that we looked at earlier.

Now this is going to create a new audio file on my hard drive.

the other audio file still exists there, but this is going to be a new one, and

it's going to kind of write those cross fades right into the audio.

And there we have a new merged comped performance.

So as you can see editing is a powerful procedure and DAW's have an incredible

compliment of tools to allow you to craft a perfect performance from a variety of

imperfect takes. I've only scratched the surface of what

contemporary DAW's really are capable of. You'll always find yourself relying on

cutting, moving, copying, cross fading, zooming.

They are essential tools you have to be good at them if you want to have some

kind of fluency at this. For me, the trick to editing is being

efficient, you have to know what you want to do and you have to be able to do it

quickly. Now we've looked at a very simple, kind

of isolated, usage right here. There's kind of comping a take, which is

two different bass performances and it was pretty understandable.

But what happens when you have ten takes, and you have an entire tune?

Well in that case you're going to have to be much more organized and careful.

And in the next segment we'll look at some of the important tools that are

available in all DAWs to organize and to make this process even more efficient.

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