connor evans, spencer dellhime, arlene martinezbulldog2.redlands.edu/fac/eric_hill/phys107... ·...
TRANSCRIPT
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Connor Evans, Spencer Dellhime, Arlene Martinez
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Overview
Intro
Studio Acoustics
Microphone Placement/ Recording Vocals
External environments and sound perception
Masking
Watermarking
Mixing
Mastering
Conclusion
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Studio Acoustics Theory:
Sound travels through solids better than through air
Sound intensity is reduced in the transition from one material to another, as from the air to a wall and back
Any motion caused by sound striking one side of the wall will result in sound radiating by the other side, an effect called coupling
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What is the ideal construction for
a studio? Materials:
2 x 4 wood studs covered with 5/8” thick drywall, this will provide about 35 dB of isolation
Double up when possible!
Window between control room and studio is necessary
Replace hollow doors with solid ones
Carpeting is ideal for flooring
Soft, absorption materials help reduce reverb time
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Sound Levels
Good Restaurant 35-45 dB
Quiet Office 30-40 dB
Hospital Room 25-35 dB
Church 20-30 dB
Concert Hall 15-25dB
Recording Studio 10-20 dB
A decent studio should
measure in the 20s.
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Recording Vocals
Microphone Placement
Experimentation is key, start with your head.
Angles and height
Pick the most suitable mic style for the voice:
Dynamic, condenser, ribbon, electret, large diaphragm, small diaphragm
Correct polar pattern
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External Environments and
Sound Perception
Reflections/Environmental Factors
Think of a car
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Frequency Masking
Frequency, Sound Pressure and tone-
like or noise-like sounds
Broadband noise > tonal noise
400 Hz vs. 450 Hz
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Temporal Masking
Three Stages of Temporal Masking
1. Pre-Masking
2. Simultaneous
3. Post Masking
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Pre Masking vs. Post Masking
Pre masking
1. occurs 5-20ms before
2. Inaudible before masker is turned on
Post Masking
1. 50-200ms after
2. Inaudible after masker is turned off
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Watermarking
What is
Watermarking?
Watermarking
and temporal/
frequency
masking
Ability to remove
a watermark
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Mixing
Before and After
Example
Equalization
Know the frequencies that
correspond to the
fundamentals of each
musical pitch.
Know the frequencies that
correspond to natural
“hum”.
Cut before boosting.
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Mixing (continued)
Reverb Used (primarily) to create
a more realistic sound.
Avoid excessive reverb.
Compression Vocals
Additional Effects Dessers, tuners, filters,
echo.
General Rules of Mixing
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Mastering
Correction of mistakes and enhancement of mix Frequency Content
Width
Dynamics
Loudness
Methods Equalization
Compression
Multiband Processing
Stereo Imaging
Before and After Example
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Conclusion
A mix of the right materials and right
sound levels, with equalizing, helps limit
or increase the possibility of masking of
a song or beat to occur. If any mistakes
are made during this time or you just
don’t like how the certain beats or
frequencies mix, mastering the
recording can correct these changes to
produce what you wanted to record.