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.
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Do curso por Berklee College of Music
A tecnologia da produção musical
14 classificações
Na lição
EFEITOS DE FILTRO E RETARDO
O som pode ser modificado de seu estado gravado usando ferramentas que impactam a qualidade real do som. Nessa semana, vamos analisar equalização e retardo e examinar os diversos efeitos de áudio que são extensões desses dispositivos.
Conheça os instrutores
Loudon StearnsAssistant Professor
Contemporary Writing & Production
The final delay plug-in that we really want to examine is the reverb, and this
is a really important thing. it's a component of most modern mixes
because it give us, it gives us the sense of a space.
As we saw earlier when we were recording we very often try to isolate an
instrument. We create an environment where we've
removed all the noise, we've reduced the reflections in the room, and we've
recorded instrument clean and without noise.
The problem with that is it becomes sterile.
And it sounds like it wasn't recorded in a space because we've removed all that
sense of space. But, when you go to the final mix, that
can sound unnatural, and now we have to add back in the space.
It's kind of funny isn't it? We remove the space and then we bring it
back in. But, the benefit of this is we can add
that same sense of space to all the instruments, and we can really create two
different types of mixes if you want to think in broad terms.
We can create this sense that all the instruments that you're hearing we'll
record together in a similar space, in a single location.
And in that case I would try to use one re-verb on my entire mix using that
parallel effects signal flow that we discussed earlier in the course.
Or we can create a more exotic type of mix.
A type of mix that's kind of more like an audio collage, where we're not trying to
create a real space that everyone's in, but instead we're just creating a
beautiful sonic environment. And in that case, we can use reverb in
really creative ways and kind of put things in their own individual locations,
just to isolate them in the mix. And that's another really good use of
reverb. It's another way to guide the listener's
focus. It's common to have a, a reverb that
unique to the vocal, one that's only on that.
So that way it is isolated and pulled out, and pulled from, everything else in
the mix. Now if we are creating a realistic mix,
one of the most important parameters we're going to come up with is this dry
wet control. Now if we put a reverb in a return track
and that parallel effect signal flow, we're going to have that reverb be 100%
wet, meaning only the reverb signal is coming out of that and coming in through
that aux track. And the dry signal is controlled by the
individual channel strips, but if you're putting a reaver directly on a track, you
want to make careful control of that dry/wet because that dry/wet ends up
being kind of a front-to-back control. The wetter a signal is, the further away
it seems in the mix, and the dryer, the closer to the listener.
So, like, volume. Like, the high end.
It becomes an important element to guide the listener to that one thing you want
them to focus on. Now, we're going to look at two separate
kind of categories of reverb plug ins. The first one is an algorithmic reverb,
and that creates a reverb, from a, from some kind of formula.
Kind of like a synthesizer creates sound with a formula, and a convolution reverb
which is actually a recording of a real space applied to the sound that you're
currently using in the DAW. Kind of like the sampled instrument.
So that idea of synth verse sampler is kind of like algorithmic verse
convolution reverb. Let's look at some examples of how reverb
plugins function. The final delay plugin we're going to
look at is going to be a reverb, and a reverb is a complex plug in built form
many, many, many of these delay blocks. Instead of adjusting individual delay
blocks like we did in the previous delay plugins we are going to be adjusting
parameters designed to represent how delays function in a real space.
We have two main kinds of reverb plug in. They'll be an algorithm reverb which I
have on the left here, or a convolution reverb which I have on the right.
Algorithm reverbs are kind of like synthesizers in that we're creating the
impression of a space with an algorithm of some sort, a mathematical
representation. A convolution reverb is like a sampler,
in that we've recorded the sound of a real space and we're applying that in the
DAW. Both are really powerful for different
reasons. The convolution re-verb is going to sound
more like a real space, cause it actually is a recording of a space, but like a
sampler you're limited in the type of manipulations you can do it.
The algorithmic reverb offers many more opportunities to manipulate the sound of
the space, but it also won't sound quite as real because it's not a recording of a
real space. We'll start by looking at an algorithmic
reverb, and when creating an algorithmic reverb usually they divide the room up
into two separate components, the early reflections and the diffuse reverb.
The early reflections are a set of short delays, and if we set this so that we're
only hearing the early reverb, it almost sounds like a bunch of those slapback
modules that we had set up earlier all working at once.
I have a mix set up with all my tracks being routed to the reverb and I'm
soloing the reverb so all we're hearing is the reverb of the mix.
Let's hear this. [MUSIC] So this is just the early
reflections. If I bypass the plug-in, we hear a mix.
If I hear the reverb, we're hearing just the early reflections.
If I switch over to the diffuse portion of the reverb.
[MUSIC] So a typical algorithmic re-verb will consider those two portions of the
sound separate, and will give you different controls for the early
reflections, and the diffused portion of the re-verb.
Let's look at the parameters you'll see on the early reflections typically.
You'll often have a pre-delay, which delays the entire start of the reverb a
little bit. We'll leave that at 10 milliseconds for
now. Then, we often have some ways to
manipulate the algorithm of the space. So we're going to change the location of
all those early reflections. Now these parameters will often be called
room size or room shape, it will also have, it will often have stereo controls.
This will depend on how the developer wanted to make the piece of software.
But, you have a lot of these similar kind of controls in the Early Reflections
section. Let's try to manipulate some and hear the
sound change. [MUSIC] When I turn up the room size, it
does sound like a series of those slap back delays all at different levels maybe
and different delay times. Alright, let's move to the dfifuse reverb
portion of the algorithmic reverb. The most important thing you're going to
find here is going to be reverb time. This is going to be controlling kind.
Kind of the size of the space you're in. And usually, you want to keep it below
two seconds. A large, kind of, orchestral hall, might
have a two or three second reverb, but most of the music we're going to do is
going to be in smaller rooms than that if you're trying to create the sound of a
real space. Now, for a special effect, a much longer
reverb could work, but I think you'll find that a reverb time under two seconds
is going to be useful in most cases. [MUSIC] We can often control the high end
and the reverb which is like changing the materials in the space.
Do I have soft curtains in the room or are they hard walls which would tend to
reflect the high end? So again, all the different parameters in
a reverb are really related to this artificial space that we're trying to
manipulate. And honestly, using an algorithmic reverb
really relies on you knowing the sound of real spaces so that you can emulate them.
Usually, you'll get, kind of, a balance between the earlier reflections and the
diffuse reverb. Let's hear it now [MUSIC].
[MUSIC] It's not a bad sounding reverb. Let's hear it on the whole mix.
[MUSIC] I think it's a little too loud. I'll bring it down a bit.
[MUSIC] [MUSIC] So I think that algorithmic reverb worked pretty well for
this mix but I do want to try out a convolution reverb as well.
Let's see what we can do with that. With a covolution reverb, most of what
you do is choose an impulse response. Impuse response is the recording of a
real space that we are applying with this mathematical procedure called
convolution. And in most Convolution plugins, you'll
find a wide variety of audio files that are representing a large number of real
spaces. So, largely what you do is choose a space
and see if you like it, and then choose another and see if you like it.
I've chosen a space that represents a jazz club, and let's hear how it sounds
on the mix. Again, I'm going to just solo.
Just the reverb. [MUSIC] Let's try a different space.
How about a canyon. [MUSIC] See, this is the kind of thing
you'll find a lot in convolution reverbs. One of the benefits of it is they've
taken impulse responses in very exotic spaces.
So you can get very, really strange sound design in really crazy spaces.
I think convolution reverbs can be incredibly creative as well as incredibly
realistic. Let's try a large hall.
[MUSIC] Maybe in the context of the mix it'll sound good.
Let's hear. [MUSIC] Even though it's a big room it
does blend in there quite well. So, a huge part of using reverb is really
trying to imagine what kind of space would you like to hear this music played
in. And then, choosing a reverb that works
with that. I find a lot of trial and error is really
the way to go. Just try things out, see how it fits.
One piece of advice is that the reverb ends up being on many elements in your
mix. So, if you adjust the sound of the
reverb, it can adjust the sound of the entire mix.
And you may find that using a different reverb can make the mix sound bright or
dull or empty or full. It can be really powerful but whatever
you do, be subtle. It doesn't take a lot and very often what
you end up doing is bringing the reverb up til you barely hear it and then bring
it down again. Some of the best settings for reverb are
where you don't notice it's there but when you take it away it's obvious.
And that's a great way to set the level of your reverb.
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