By William Moylan

Realizing and Crafting the combo seems at recording as creative expression. It is helping the reader hone their severe listening talents, optimizing their inventive expression throughout the recording strategy.

Show description

Read Online or Download Understanding and Crafting the Mix, Second Edition: The Art of Recording PDF

Similar technique books

Embedded Generation

Call for for on-site and substitute strength iteration is growing to be, fueled via executive and public strain to extend iteration from renewable resources and effort effective plant, and by way of the aptitude financial advantages due to privatization and deregulation of the provision region. This publication is a pragmatic, course-derived advisor that covers all features of embedded (or dispersed) new release, from major mover features to community reliability modelling.

Electromagnetic Shielding (Wiley Series in Microwave and Optical Engineering)

The definitive reference on electromagnetic protective fabrics, configurations, techniques, and analysesThis reference presents a finished survey of recommendations for the aid of the electromagnetic box degrees in prescribed components. After an advent and an summary of accessible fabrics, it discusses figures of advantage for safeguarding configurations, the protecting effectiveness of stratified media, numerical tools for safeguarding analyses, apertures in planar steel displays, enclosures, and cable protective.

Troilus and Cressida (Webster's Chinese-Traditional Thesaurus Edition)

This variation is written in English. besides the fact that, there's a operating Chinese-Traditional word list on the backside of every web page for the tougher English phrases highlighted within the textual content. there are various variations of Troilus and Cressida. This variation will be u

Extra resources for Understanding and Crafting the Mix, Second Edition: The Art of Recording

Sample text

Sound is perceived at any possible angle from the listener, and sound is perceived at a distance from the listener; both of these perceptions involve an evaluation of the characteristics of the sound source’s host environment. In audio recording, illusions of space are created. Sound sources are given spatial characteristics through the recording process and/or through signal processing. This spatial information is intended to complement the timbre of the music and/or sound source. The spatial characteristics may simulate particular known, physical environments or activities, or be intended to provide spatial cues that have no relation to our reality.

Amplitude for a particular instrument or voice. These areas will not change with varied fundamental frequency, as they are fixed characteristics (such as resonant frequencies) of the device that created the sound. Formants may also take the form of spectral information that is present in all sounds produced by the instrument or voice. 250 500 750 1000 1250 1500 1750 2000 2250 2500 2750 3000 Frequency (Hz) Resonance Areas (frequency band) area of noise burst during sounds’ onsets The frequencies that comprise the spectrum (fundamental frequency, harmonics, overtones, subharmonics and subtones) all have different amplitudes that change independently over the sound’s duration.

Thus, melody is the perception of successively sounded pitches (creating linear intervals), and chords are the perceptions of simultaneously sounded pitches (creating harmonic intervals). We often perceive pitch in relation to a reference level (one predominating pitch that acts as the key or pitch-center of a piece of music), or to a system of organization to which pitches can be related (a tonal system, such as major or minor). Our ability to recognize the interval between two pitches is not consistent throughout the hearing range.

Download PDF sample

Rated 4.93 of 5 – based on 31 votes