AP2 Feb 13

Introduction to Sound Creation and Mixing

The discussion opens with thoughts on creativity and the various ways people approach sound recording and mixing. Some find joy in pairing sounds together effortlessly, using tools like blank channels in a Digital Audio Workstation (DAW) to keep their minds engaged. This serves as a personal reflection on how certain behaviors can enhance or inhibit one’s creative process.

Understanding Patch Bays

The focus shifts to the practical use of equipment, specifically patch bays. The speaker emphasizes the importance of familiarizing oneself with the physical components of a patch bay rather than relying solely on theoretical knowledge. Hand-drawn diagrams can be confusing, thus engaging with the actual equipment allows for a more comprehensive learning experience.

Inserts and Aux Sends

The conversation transitions into discussing ‘inserts’ in mixing. An insert allows for effects to be added directly into the signal chain. For example, individual vocals can have compressors added directly, or alternatively, multiple vocals can be sent to an auxiliary track to share a common effect. The speaker makes the point that there is no absolute right or wrong when deciding between using inserts and aux sends; it’s about efficiency and preference.

Concept of Signal Blending

The speaker explains how blending signals works particularly with reverb and compression. For reverb, an operator might want to blend in a portion of the signal returned from the reverb unit, rather than using a full wet signal to maintain control over the sound's spatial characteristics. In terms of compression, it’s important to manage levels carefully; sending signals that then process through compressors can lead to a louder signal, so careful adjustments are necessary to maintain desired volume levels.

Gain Setting Practices

Further discussion revolves around gain staging, with an emphasis on establishing consistent levels across tracks throughout a session. Setting gain per tune is discouraged because different levels can complicate mixing in subsequent sessions. Instead, maintaining a steady level establishes a base reference for adjustments across several songs.

Understanding Metering

Metering is also revisited, focusing on analog versus digital meters, the importance of understanding peak versus average levels, and how to gauge overall loudness. The speaker describes various types of meters like VU (Volume Units) meters and peak meters that serve different functions in visualizing audio levels, crucial for both tracking and mixing.

LUFS and K Metering

LUFS (Loudness Units Full Scale) meters are introduced as modern standards for measuring loudness, especially in music production for streaming services. K meters (K-12, K-14, K-20) indicate different headroom levels and ranges of dynamic range for various uses like broadcast versus music production. The differences in how these meters work and the contexts in which they are used are crucial for audio engineers.

Outboard Effects in Recording

The conversation transitions back to more technical aspects, like the use of outboard effects during tracking. The benefits of committing to a sound rather than relying on plugins allow a recording engineer to capture a desired tone by actively using sound-shaping tools during the session. This discussion includes parallel processing where multiple signals of both clean and affected sounds are recorded simultaneously to preserve the original audio while also capturing creativity.

Discussion on Committing Sounds

The idea of committing sounds during recording is emphasized, stressing that while some effects can be added after the fact in the mix, certain parameters may need to be decided upfront. The professionals in the room are encouraged to communicate effectively about what effects will be used to avoid unexpected results in mixing sessions.

Exploring EQ, Compression, and Reverb

After covering inserts and effects, focus returns to essential audio processing tools like EQ (Equalization), compression, and reverb.

• EQ: The use of EQ to cut or boost frequencies is highlighted, with instructions to primarily cut during live sessions for best audio clarity.

• Compression: Compression is discussed thoroughly, explaining concepts such as threshold, ratio, attack, and release in managing dynamics effectively. Care with gain staging is advised to avoid distortion in the mix.

• Reverb: Finally, reverb is addressed as a key tool for adding space to recordings. Distinctions are made between convolution reverb and algorithmic reverb, explaining how each can alter the acoustic qualities of a recorded sound.

Conclusion and Future Assignments

The lesson concludes with a recap of essential topics discussed, such as gain staging, metering kinds, and audio effects. The instructor assigns an exercise for students to explore different pieces of outboard gear, assessing their applications and historical significance in music production. This hands-on exploration solidifies the theoretical knowledge shared throughout the session.