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.
Gravação de áudio
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Do curso por Berklee College of Music
A tecnologia da produção musical
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Na lição
O DAW
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.
Conheça os instrutores
Loudon StearnsAssistant Professor
Contemporary Writing & Production
When you're about to record into your DAW, there's a number of things you want
to get in place before you start recording.
And I would like to give you a short checklist of things to remember before
you start recording onto an audio track. The first thing you'll do is create the
necessary track. And you want to be careful if you create
a mono or stereo track. And remember the mono or stereo
designation is really talking about the input of the track.
The output of the track is pretty much always going to be stereo.
In that you have a pen knob that can put it in the left or right channel.
But the input makes a really big difference.
If I'm recording with a single microphone or a single pick-up, we want to make sure
we create a mono track. If you were to record into a stereo
track, the signal would go into the left speaker.
And it's very hard. To get it centered again.
So, make a mono-track most of the time. If you're making a stereo track that
would be for maybe a synthesizer as a stereo out-put.
but most of the time when you're recording audio is going to be a
mono-track you make your track, and then name it.
Every time you record, the file that's created is named by the name of that
track. And if you don't name your tracks, you'll
end up with this huge folder full of names like audio one dash one, audio one
dash two, which really isn't that helpful.
If things are named properly, you'll much better be able to say, organize your
files, and possibly recover from a crash. So you want to name things very
carefully. The next thing you want to do is set your
levels. And we've talked about the level setting
procedure in a, in a previous week. Just review that and make sure you, you
do all that in the proper order. Remember turn down your gain, plug in the
instrument. Turn on phantom power, check your
settings. Those are the usual level setting
procedure. Then, you want to record enable the
track, but be careful. When you hit that record enable button,
it's going to turn on input monitoring. Which means the input of the track will
be set directly to the output, right when you hit that button.
And there's a chance that you really can get feedback if you have a microphone in
the room. And you have speakers active.
When you hit that record button, you may get feedback.
So be very careful. In fact, I would suggest for this whole
procedure, you know, if you're recording someone else, tell them to take off their
headphones. And for yourself, bring down the level of
your speakers. You really want to avoid those kind of
loud feedback moments. Your performer will never do a good
performance if they get that loud feedback once, because they'll always be
worried every time you reach for the mouse.
So, be very careful with their ears and your own.
And I would suggest, after you have everything set, that's when you bring up
the level of the speakers. After you've record enabled the track,
you're going to want to turn on the click and count off.
It's really important to have a click in the speaker so that the player can be in
time. And you want to have that count off ahead
of time. So something to figure out in your DAW.
just exactly how to turn those on. Once you have those configured, you have
the track record enabled, you've checked your levels, it's time to record.
In this example, I'll be recording an electric bass performance along with a
MIDI drum group. And I'll be using this as a way to
demonstrate all the things that must be configured before you record and how to
make the recording go smoothly. The first thing I want to do is set up
the project with the appropriate settings.
Now I'm plugging my bass directly into my interface, so I want to make sure my
buffer size is low so I can reduce latency and play it in time as best as
possible. Let's start with the audio preferences.
I've chosen my input and output device and I have a low enough buffer size for
kind of in time recording. I have my bit depth set to 24 bit
recording. And I'm also going to check and make sure
in the project settings, my sample write is 48k, or 48,000 hertz.
Everything looks set up properly there. I'll need a new track to record onto.
And I will be creating a mono audio track since this is a single channel device.
It's a single cable plugged in the bass into my interface.
I'm only recording one channel so I'll set the format to mono.
I've plugged this into the second input of my device.
So I'll choose input two and I'll create it right now.
Now before I hit record, I want to be very aware that as soon as I hit record
the audio from my bass will be going to my speakers.
Not a big deal now, but if it was a microphone something I really want to be
aware of. I'll record and enable this and earlier
when I plugged in my bass I turned the gain the input microphone pre-amp gain,
all the way down. I'll play a note on by bass and turn up
that microphone pre-amp gain. [NOISE] And we're starting to see some
good levels. There.
Oh, sounds like a little distortion. I'll back it off a bit.
Always trust your ears instead of the meters.
The meters inside of an, of a DAW can be a little off.
Sometimes you can hear distortion before you see it there.
I'm trusting the meters on the outside of my interface to set the appropriate
levels. I'm just going to play a little bit and
make sure the levels are where I want them to be.
[MUSIC] And I'm hitting about three quarter of the way up on my external
meters I'm kind of in the yellow which is perfect.
It seems like I'm ready to record, I'll make sure my click is on.
And my tracks record enabled, oh, remember we always have to name our track
first. Double click I'll call this E-bass and
I'm ready to go. That way the audio files that are created
when I record will be named well, let's try it out.
[MUSIC].
[SOUND]. Alright.
I'm happy with that performance. Let's hear it back.
I'll turn off the click, and try it from the top.
[MUSIC]. That's pretty good, but there are some
slight things in there I don't love. So, what I'll do is duplicate the track.
Let's create another copy of it. Call this E-bass2.
Turn record enable off on that one. On this one, I'll mute this track so we
don't hear it, and I'll make, I'll take another try at this.
[MUSIC]
. [MUSIC].
[SOUND]. This way, I can edit between them, and
choose the best one I want down the road. Now that I've done some recording, I'd
like you to see what was created in the hard drive.
This is the project folder. We have the Coursera recording example a
session file, that's the logic file, I have an undo folder that includes some
data from before the video, I had tried some things and undone that, so we have
some undo data there. And I have an audio files folder that
includes all the recordings as separate audio files.
You see I have E-bass track and I have an E-bass1 and 2 recording.
And I have an E-bass2 track, and I have E-bass2 recording number one.
If I was to record again, right now. Let's just try it, from this point on.
[SOUND] We get another E-bass2, number two, and we get a recording, called
E-bass2, number two wave file, in our hard drive.
No matter what you're recording, or which DAW you're using, the steps are going to
be the same. First you'll check your settings, then
you'll create a track, remembering to choose mono or stereo depending on your
input. You'll have to name the track, record
enable the track, set your levels using the microphone pre-amp, enable your click
and count off, and then hit record. If you don't know how to do those steps
in your DAW, I'd like you to take a moment to go to your program and figure
it out now. If you're having trouble figuring this
out on your own, please go to the forums and ask there.
I'm sure there's someone here that has experience enough to help you through
setting up recording in your DAW.
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