Week 6. Usage of the 5 most important synthesis modules: Oscillator, Filter, Amplifier, Envelope, and LFO.

Hi, my name is Angel Ibis Ortiz, I’m from Querétaro, México.

Oscillator 

Generates a periodic wave.

-Sinusoidal. It's a fundamental tone without harmonics. 

-Saw. Contains odd and even harmonics. 

-Triangular. Contains only odd harmonics. 

-Square. Contains a range of odd harmonics.

Parameters: 

-Frequency 

-Amplitude 

-Waveform 

-Phase

Filtres 

Its aim is to remove a portion of the frequency spectrum of the signal output by the oscillator.

Parameters: 

-Cutoff frequency: By suppressing harmonics can make resembles a sinusoidal wave. 

-Resonance: Emphasizes or suppresses signals around the cutoff frequency.

Envelope 

Exists different kind of envelopes within the synthesizers, some of them apply to primary or secondary oscillators, and there's a general module called "amp envelope".

-Attack: Controls the time it takes the initial slope to go from zero to 100% amplitude .

-Decay: Determines the time it takes to fall from 100 to an amplitude level of sustain.

-Sustain: Sets the level of strong amplitude produced by holding down a key.

-Release: Adjusts the time it takes for sound to fall from the sustain level to zero amplitude when the key is released.





LFO (low frequency oscillator)

It's a low frequency oscillator. Although played frequencies that cannot be audible to the human ear, they aren't directly audibles. They work as modifiers (or automation) from other modules of the synthesizer.

Parameters: 

-Wave shape. Allows choose the time wave. Triangle waves are often used to filter sweeps. The square wave is useful for quick changes between different shades. 

-Frequency. Determines the speed of wave cycles produced by the LFO.

Amplifier

The amplifier is usually the last module whereby passes the sound, but it's not an amplifier to increase the volume. Its a module that modifies the amplitude over time, so is changing all the time. You could say that the amplifier is a final envelope.

Well, that's all for now. I know my English is not very good but hope I used the correct terms.  Thanks for your attention.

Week 5. EQ plugin as a large format mixing console EQ section

There are lots of EQ plugins that can be used within any DAW. For this example I'll use one of the most common in ProTools. And I will rely on the EQ section of an Allen & Heath ZED-428 mixer, containing:

· HPF (Hi-pass Filter) at 100Hz (12/dB per octave)
· LF EQ (Low Frequency) at 80Hz
· LMF EQ (Lower Mid Frequency) having two knobs

                   Amplitude and Frequency Selector, between 35Hz y 1kHz
· HMF EQ (High Mid Frequency) having two knobs

                   Amplitude and Frequency Selector, between 500Hz y 15kHz
· HF EQ (High Frequency) a 12kHz

First we set the HPF at 100 Hz and 12dB per octave. But we should think if we will use it. Some producers say that is very useful put this on every track, and we should decide if it's applied on bass and bass drum depending on the musical gender.
As the LPF isn't used on the mixer channel strip, we won't set it.

LF should be laid at 80 Hz.

In EQ the parameters of the MF should be turned off or not be used.

HF should be laid at 12 kHz.

Saving

To save your changes as a new preset, you must click the triangle to the right of the preset word. The following menu appears.

And when you click save, we see the following window. This allows us to save the new preset into a new or existing folder.

Well that's all for today. English is not my native language, so let me know any errors. Thank you very much for your attention.

Week 4. Introduction to Music Production. Dynamic Range.

Definition

The dynamic range refers to the variations in amplitude over a given time.

In a music piece, dynamic range describes the volume changes throughout the work, from the softest to the loudest.

In audio devices, dynamic range describes the distance between the noise floor and the maximum level before distortion.

Handling dynamic range.

1 -. Macro scale. In a musical work we can modify the levels between whole sections of the piece. For this we have to use automation faders.

2 -. Medium scale. Through the technique "riding the fader" We can change the dynamics of a performance to help keep it in focus.

3 -. Micro scale. We can also modify the dynamic range of a specific sound, controlling the envelope. (attack, sustain, decay, release).

Week 3, Introduction to Music Production. Audio Effects.

Hi, my name is Ángel Ibis Ortiz, I’m from Querétaro, México. Today I'll write about audio effects

We have three categories of effects:

Filters

These control the timbre of the sound. Are usually connected directly to the channel or on a sub-mix. 

High Pass Filters, Low Pass Filters and Band Pass Filters can cut frequencies.

Low Pass Filter

High Pass Filter

Band Pass Filter

Graphic EQ can increase and decrease the amplitudes of the frequencies. 

And Parametric EQ can do all of this.

Dynamic

Are related to the amplitude. Are used to control or manipulate the dynamic range of a signal. These usually connect directly on the channel or on a submix. 

The compressor is used to make loud sounds softer and soft sounds louder. 

A limiter is a compressor with a higher ratio, making the signals that exceed the threshold, no longer heard. 

The gates attenuate the noise floor, allowing passage only to sounds that exceed the threshold. 

Expanders unlike a compressor, make soft sounds softer and the strong stronger. 

The de-esser, which are frequency selective compressors, are used to reduce sibilant frequencies.

Delay

They are related to the propagation of sound. Are used to alter the timing of the signals passing through them. The altered signal is usually combined with the original signal to create different effects. Usually these processes are connected by an auxiliary bus. 

The delay keeps the audio signal for a certain period of time. The signal can be routed back to the processor to be re-traced over and over. 

The effects of phaser, flanger and chorus are essentially delays with modulation parameters such as depth, speed and waveform. The reverbs are designed to mimic the reflections that exist in a natural environment.

Phase

Chorus

Flanger

Well, that's all for now. I know my English is not very good but hope I used the correct terms. Please let me know any details you notice. Thank you.

Week 1, Introduction to Music Production. Microphones by Type.

Hi, my name is Angel Ibis Ortiz, I’m from Querétaro, México. I think it's a beautiful city, so you are invited whenever you want.

Microphones by Type

First, I have to say that microphones are like guitars, each model has its own sound and we must know everything about them to determine which one to choose.

How do they work?

Microphones are transducers and they can convert sound pressure variations in voltage variations.

Shure SM57

Dynamic microphones have a magnetic structure around a suspended diaphragm. And when the diaphragm (which is a coil) receives sound pressure, proportional voltage is produced. They can be used in many applications, especially on stage. For price and versatility my favorite is the Shure SM57and I love the MD421.

RCA 44

Ribbon microphones are very similar to a dynamic microphone structure, but instead of having a diaphragm, these have a thin strip of aluminum. These are fragile and easily damaged. Not everyone needs phantom power, some could melt or permanently damaged if applied. They have a unique sound, and they are normally used in studio, but there are new models that can also be used on stage. Unfortunately I've never used one of these.

AKG C414

Condenser microphones have two parallel plates. A diaphragm lined with gold or nickel and a stationary plate. When phantom power is applied, work together to create a capacitance that varies with changes in sound pressure exerted on the diaphragm. They are more commonly used in studio, but there are models created for use on stage. Just now I'm recording on a RODE NT2-A and I have recorded drums, flute, amplified guitar, acoustic guitar, vocals and other instruments with this microphone and I think it's wonderful.

RODE M5

The electret-condenser microphones, do not require phantom power to feed the capacitor, since they have a permanent static electric charge. But they do need phantom voltage to power a preamp after the capsule. As condenser microphones, they also are used mainly in the study. Unfortunately I've have not used one of these.

Well, that's all for now. I know my English is not very good but hope I used the correct terms. I tried very hard to make a video, I made several shots, but my pronunciation is not so good. I'll keep trying. Please let me know any details you notice. Thank you.