PRO NOTEZ

Spectral Processing (Equalizers & Filters)

• What is an equalizer? boosts or attenuates frequencies, adjusts spectral content
• different shapes
What aspect of sound are we changing when we use equalizers and filters?
! spectral
• What are the different EQ/Filter types?
• low pass, high pass, shelf, peaks+dips, notch
• Be able to give practical examples of when each type would be used.
• Be able to identify bandwidth, slope, Q, centre frequency and cutoff frequency.
• Q, bandwidth, centre frequency ALL only applicable to peaks and dips
• bandwidth: difference between lower and upper cut off frequency
• centre frequency - middle of peak / dip
• slope - applies to low and high pass
• db/octave
• cut off frequency - applies to high and low pass filters only
• 3db down from flat rate
• Define “Q” and be able to provide the equation and definition
• Q: centre frequency divided by bandwith ???????
• Solve for “Q” given centre frequency and bandwidth
• centre frequency = 12, bandwidth = 6
• Q = 12 / 6 = 2
• Why do we use Q and not simply bandwidth?
• more in line with how we hear - Q of 2 same over all frequencies
• bandwidth is not
• What is dynamic range?
• range of musical high and low
• What are the four main types of dynamic range processors?
• compression, limiter, gate, expander
• what way is each one different?
In
• compression - dynamic range reducer
• expander - dynamic range EXPANDER
• limiter - compressor with really high ratio
• gate - opposite of expander
• if sound does not reach threshold, it does not go through gate
• Be able to give examples of when/for what purpose each is used in practice.
• compression: to even out dynamic performance
• bring up environmental characteristics
• increases sustain (for bass and piano)
• expander - increases dynamic range, brings down noise on a recording
• almost never used
• limiter - mastering
• to catch brief peaks and raise average level of mix
• gated reverb
• negate bleed
• What does ‘unity gain’ refer to?
• input = output
• Be able to identify and describe each of the following parameters in a dynamic
range processor
• ratio portion of change between input and output
• ex. 2:1 is compressed, 3:1 is MORE COMPRESSED!!!!!
• threshold the level at which compression begins
• attack how long it takes for compression to start
• fast gets transients
• slow - risks losing transients
• release how long it takes to getback to 0 once below the threshold
• make up gain turns whole song up
• to make up for quiet after compression
• What is the function of compression in mixing?
• evens out dynamic range
• How is compression used in mastering?
• loudness war
• normalizes for playback
• What is the difference between a compressor and and limiter?
• ratio - limiter has much higher ratio
• What is the difference between an expander and a gate?
• gate has much higher ratio - ratio is infinite
• gate more intense version of expander

Time Processing

• What are the two main categories of time processor?

• reverb and delay
• What is the basic building block of all time processing?
• delay
• With regards to Delay what do the terms ‘delay time’, ‘feedback’ and ‘mix’ refer
to? • be able to explain what each one does
• delay time time between repeats of delay
• feedback how much signal is returned
• how many repeats there are
• mix ratio between dry and wet sound / how loud the delay is
• Be able to identify the approximate timings and implementation of various delay
effects including flanging, chorusing, slap, echo etc.
• phasing, flanging when delay is under 20 milliseconds
• chorusing
• 10-35ms + doubling
• slap 50-150ms
• discrete 150+ ms
• bounce echo 35-200ms
• ping pong 200-400ms
• back and forth over lateral image
• What is comb filtering and how is it caused?
• constructive and deconstructive interference caused when two similar signals are
combined after brief interval of delay
• dumb speak - when u have a doubling of a track u get weird phase issues
• What are the basic parameters of acoustics to consider when creating an
ambience?
• direct sound
• early reflections
• late reflections / reverberation
• Be able to describe the fundamental types of reverberation used historically in
sound recording.
• chamber - record the sound of a room with a mic
• plate - send the signal into sheet of metal
• spring - send the signal into a spring
• digital algorithmic - generated using algorithms, digital
• recreating chamber, plate, spring
• convolution - go into a room, set up 600000 mics, set a frequency sweep through
• fancy fancy science math, clones the room
• Be able to distinguish algorithmic reverb from convolution reverb.
• convolution - based on real life sounds, algorithmic - based on math
• Understand the reverb parameters: choice of algorithm, pre-delay and reverb
time.
• choice of algorithm
• spring, plate, church, hall, small room, large room
• pre-delay - reverb engages after initial sound
• not found in real life
• reverb time
• how long the reverb lasts

Mixing

• What is mixing?
• combining and processing recorded signals to create musical presentation that
enhances artistic / aesthetic vision
• both artistic (analytical) and technical (critical)
• What are the fundamental skills a good mix engineer possess?
• clear vision of desired product
• clear critical and analytical perspective
• What must we consider when starting a mix?
• understand aesthetic / artistic goals
• listen to rough mix
• identify essential elements
• What are the 3 basic elements of a mix?
• spectral balance / sound quality
• spatial attributes
• dynamics
• What does it mean to mix “tall, deep and wide”?
• wide lateral imaging
• large spectral range
• varying distance to listener
• What is a sound stage?
• depth/ width of recording
• What musical attributes are essential in order to achieve a great mix?
• same as next question....?????
• What are the common features of great mixes?
• groove/energy
• focus/direction
• dynamic contour
• contrast
• enhanced reality
• intimacy, spaciousness
• How does loudness impact our perception when mixing?
• loud perceived as better
• What is mixing ITB?
• In The Box - using a digital interface
• What are the advantages and disadvantages of mixing ITB?
• more cost efficient
• unlimited amount of tracks
• easier to re-open sessions at later dates (no manual recall)
• potentially forever long-term storage
• What impacts the cost of the mixing process?
• digital / analog gear
• how in depth the mix is
• whether artist is in the room

Mastering

• What is mastering?
• process of turning collection of songs into album
• What are the technical and artistic goals of mastering?
• artistic: establish artistic goals
• technical:
• prepare for specific release medium
• track IDs
• UPC, ISRC codes
• What is metadata?
• information embedded into file
• What skills and perspective does a mastering engineer bring to the production
process?
•
• How does a mastering studio differ from a regular recording studio?
• critical monitoring environment
 • flat frequency response
• specialized environment
• A/D, D/A, converters, EQ, compressors, limiters
• What tools does a mastering engineer use?
• EQ
• compression
• limiter
• How are these tools implemented?
• EQ corrects spectral/tonal issues
• matches tonal quality
• Compression
• glue that holds everything together
• limiting
• raise loudness
• last step in chain
• What needs to be addressed when preparing files for mastering?
• highest resolution
• leave headroom - don’t hyper-compress
• attend session if possible, bring references
• How long does the mastering process take?
• 2-3 hr/song
• 5-6 hrs for full-length album
• What impacts the cost of the mastering process?
• EQ time
• production time
• cost of the master