Home Page Icon
Home Page
Table of Contents for
Section 4: Applied Effects
Close
Section 4: Applied Effects
by Alex Case
Sound FX
Front Cover
Half Title
Title Page
Copyright
Dedication
Contents
Acknowledgements
Introduction
Section 1: Sound — Signals, Systems, and Sensation
Chapter 1: Audio Waveform
1.1 Medium
1.2 Amplitude versus Time
1.2.1 Amplitude Confusions
1.2.2 Time Implications
1.3 Amplitude versus Distance
1.4 Amplitude versus Frequency
1.5 Complex Waves
1.5.1 Square Waves
1.5.2 Sawtooth Waves
1.5.3 Triangle Waves
1.6 Decibel
1.6.1 Logarithm
1.6.2 Ratios
1.6.3 References
1.6.4 Zero Decibels
1.6.5 Negative Decibels
1.7 Dynamic Range
1.8 Sound Misconceptions
1.8.1 Mistaking the Message for the Medium
1.8.2 Don’t Picture These Sketches
Chapter 2: Signal Flow
2.1 Types of Sessions
2.1.1 Basics
2.1.2 Overdubs
2.1.3 Mixdown
2.1.4 Live to Two
2.2 Console Signal Flow
2.2.1 Channel Path
2.2.2 Monitor Path
2.2.3 Split Console
2.2.4 In-Line Console
2.3 Outboard Signal Flow
2.3.1 Parallel and Serial Processing
2.3.2 Effects Send
2.3.3 Insert
2.4 FX Decision Making
2.4.1 FX Procrastination
2.4.2 FX Assertion
2.4.3 FX Undo
2.4.4 FX Innovation
Chapter 3: Perception
3.1 Preconscious Listening
3.2 Audible Sound
3.2.1 Masking
3.2.2 Masking Reduction
3.3 Wishful Listening
Section 2: Amplitude Effects
Chapter 4: Distortion
4.1 Distortion of Amplitude
4.1.1 Harmonic Distortion
4.1.2 Intermodulation Distortion
4.2 Sources of Distortion
4.3 Motivations for Distortion
4.4 Distortion Dos and Don′ts
4.5 Selected Discography
Chapter 5: Equalization
5.1 Spectral Modification
5.2 Parameters for Spectral Modification
5.2.1 Frequency Select
5.2.2 Cut/Boost
5.2.3 Q
5.2.4 Multiband EQ
5.2.5 Take Away the Q
5.2.6 Take Away the Frequency
5.2.7 Take Away the Knobs
5.2.8 Some Knobs Are Switches
5.2.9 Shelving EQ
5.2.10 Filters
5.3 Applications
5.3.1 Technique
5.3.2 Fix
5.3.3 Feature
5.3.4 Fit
5.3.5 Special Effects
5.3.6 Audio Ear Training
Chapter 6: Compression and Limiting
6.1 Parameters
6.1.1 Threshold
6.1.2 Ratio
6.1.3 Attack
6.1.4 Release
6.1.5 Make-Up Gain
6.1.6 User Interface
6.2 Technologies
6.2.1 Tube Compressors
6.2.2 Optical Compressors
6.2.3 VCA Compressors
6.2.4 Digital Compressors
6.3 Nominal Application: Dynamic Range Reduction
6.3.1 Prevent Overload
6.3.2 Overcome Noise
6.3.3 Increase Perceived Loudness
6.3.4 Improve Intelligibility and Articulation
6.3.5 Smooth Performance
6.4 Advanced Applications
6.4.1 Altering Amplitude Envelope
6.4.2 Ambience and Artifacts
6.4.3 De-Essing
6.4.4 Distortion
6.5 Advanced Studies — Attack and Release
6.5.1 Definitions
6.5.2 Visualizing Attack and Release
6.5.3 Parameter Interdependence
6.5.4 Program Dependence
6.5.5 Pumping and Breathing
6.6 Learning Compression — Some Personal Advice
6.6.1 Unnaturally Difficult to Hear
6.6.2 Hype and Hyperbole
6.6.3 Imitation
6.6.4 Multiple Personalities
6.7 Achieving Compression Success
6.8 Selected Discography
Chapter 7: Expansion and Gating
7.1 Increasing Dynamic Range
7.2 Parameters
7.2.1 Threshold
7.2.2 Slope
7.2.3 Attack
7.2.4 Release, Fade, or Decay
7.2.5 Hold
7.2.6 Range
7.3 Applications
7.3.1 Expansion
7.3.2 Noise Gating
7.3.3 Gating Through Waveform Editing
7.3.4 Gating
7.3.5 Keyed Gating
7.3.6 Ducking
7.3.7 Envelope Following
7.3.8 Tremolo
7.4 Selected Discography
Chapter 8: Volume
8.1 Volume Controls
8.1.1 Faders
8.1.2 Pan Pots
8.1.3 Mute Switches
8.2 Volume Applications
8.2.1 Balance
8.2.2 Ideal Level
8.2.3 Ideal Faders
8.2.4 Automation
8.2.5 Cross Fades
8.2.6 Fade Out
8.3 Selected Discography
Section 3: Time Effects
Chapter 9: Delay
9.1 Source of Delay
9.2 Signal Flow
9.2.1 Basic Features
9.2.2 Modulation
9.3 Long Delay
9.3.1 Calculated Delay
9.3.2 Echo
9.3.3 Support
9.3.4 Slap
9.3.5 Emphasis
9.3.6 Groove
9.4 Short Delay
9.4.1 Constructive and Destructive Interference
9.4.2 Comb Filter
9.4.3 Early Reflections
9.4.4 Inevitable Combinations
9.4.5 Flanger
9.5 Medium Delay
9.5.1 Double Tracking
9.5.2 Chorus
9.6 Experimental Sessions
9.6.1 Experimental #1
9.6.2 Experimental #2
9.7 Summary
9.8 Selected Discography
Chapter 10: Pitch Shift
10.1 Theory
10.1.1 Pitch Recalculation
10.1.2 Fixed Delay
10.1.3 Accelerating Delay
10.2 Applications
10.2.1 Side Effects
10.2.2 Special Effects
10.2.3 Surgical Effects
10.2.4 Obvious Effects
10.3 Selected Discography
Chapter 11: Reverb
11.1 Reverberation
11.1.1 Key Parameters
11.1.2 Reference Values
11.2 The Need for Reverb Devices
11.2.1 Multitrack Production
11.2.2 Isolation
11.2.3 Creative Microphone Technique
11.3 Sources of Reverb
11.3.1 Room Tracks
11.3.2 Acoustic Reverberation Chambers
11.3.3 Spring Reverb
11.3.4 Plate Reverb
11.3.5 Digital Reverb
11.4 Reverb Techniques
11.4.1 Sound of a Space
11.4.2 Non-Spatial Applications
11.5 Selected Discography
Section 4: Applied Effects
Chapter 12: Basic Mix Approach
12.1 Mix Challenge
12.2 Global Effects
12.3 Special Effects
12.4 Kick Start
12.5 Back Beat
12.6 Get Down
12.7 Chug On
12.8 Key In
12.9 Speak Up
12.10 Go Solo
12.11 Do It All
Chapter 13: Snare Drum FX
13.1 Sound
13.1.1 Possibilities
13.1.2 Goals
13.2 Recording
13.2.1 Close Microphones
13.2.2 Overhead Microphones
13.2.3 Room Microphones
13.3 Signal Processing
13.3.1 Equalization
13.3.2 Envelope
13.3.3 Image
13.3.4 All of the Above
13.4 Summary
13.5 Selected Discography
Chapter 14: Piano
14.1 Mother Instrument
14.2 Defining the Piano
14.3 Effects
14.3.1 Spectrum
14.3.2 Image
14.3.3 Envelope
14.4 Outside the Box Behavior
14.4.1 “Acoustic” Piano
14.4.2 Digital Piano
14.5 Summary
Chapter 15: Automated Mix
15.1 Unautomated Mixing
15.2 Automated Mixing
15.2.1 Faders and Cuts Automation
15.2.2 Everything Automation
15.2.3 Snapshot Automation
15.3 Mix Modes
15.3.1 Write or Read
15.3.2 Write: Absolute or Relative
15.4 Automation Strategies: Organizing the Infinite Options
15.4.1 Phase I: Balance
15.4.2 Phase II: Signal Processing
15.4.3 Phase III: Cuts
15.4.4 Phase IV: Rides
15.4.5 Phase V: Tweaks and Special Effects
15.5 Playing the Instrument
15.5.1 Practice
15.5.2 User Interface
15.6 Caveats
15.6.1 Master the Gear Before It Masters You
15.6.2 Resist Temptation
15.6.3 Save Often
15.7 Summary
Bibliography
Index
Search in book...
Toggle Font Controls
Playlists
Add To
Create new playlist
Name your new playlist
Playlist description (optional)
Cancel
Create playlist
Sign In
Email address
Password
Forgot Password?
Create account
Login
or
Continue with Facebook
Continue with Google
Sign Up
Full Name
Email address
Confirm Email Address
Password
Login
Create account
or
Continue with Facebook
Continue with Google
Prev
Previous Chapter
Chapter 11: Reverb
Next
Next Chapter
Chapter 12: Basic Mix Approach
Section 4
Applied FX
Phonography with Wax Hand, 1997
. Catherine Widgery. Courtesy of the artist.
Add Highlight
No Comment
..................Content has been hidden....................
You can't read the all page of ebook, please click
here
login for view all page.
Day Mode
Cloud Mode
Night Mode
Reset