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T4.2 Defined Terms

The document defines key terms related to audio mixing and compression including: static mixes, signal-to-noise ratio, dBfs, dynamic range, headroom, frequency spectrum, EQ, digital distortion, compression threshold, make up gain, compression ratio, and attack/release settings. Maintaining levels between -6dBfs and -14dBfs, using compression to control dynamic range instead of automation, and avoiding clipping are recommended for achieving good audio quality in a static mix.

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116 views3 pages

T4.2 Defined Terms

The document defines key terms related to audio mixing and compression including: static mixes, signal-to-noise ratio, dBfs, dynamic range, headroom, frequency spectrum, EQ, digital distortion, compression threshold, make up gain, compression ratio, and attack/release settings. Maintaining levels between -6dBfs and -14dBfs, using compression to control dynamic range instead of automation, and avoiding clipping are recommended for achieving good audio quality in a static mix.

Uploaded by

JonFromings
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as DOC, PDF, TXT or read online on Scribd
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Defined Terms

1) Static Mix A static mix is a mix whereby you do not use any volume automation. Volume automation is where you can change the volume of a channel on your track automatically every time you play it. This can be useful for when there is a point in your song where the volume on one of your channels increases so that you cannot hear your other channels. You would then use volume automation to make that channel quieter when you reach that point in the song. But for this particular project we are not allowed to use volume automation (we must have a static mix). This is so that we learn to use compressors instead to equal out the dynamic range of our track. 2) Signal to Noise Ratio (SNR) Signal to Noise Ratio is the ratio to which your signal (the noise that you want to hear) to the noise (the background/unwanted noise). Obviously youll want a high signal to noise ratio, this will mean that your signal is much more prominent than your noise, which will give you much more clarity in your mix. Some ways which you might get a low signal to noise ratio is if you normalize a recording that is too quiet, youre not only increasing the volume of the signal but also the noise. This means that your track will be muddied by background noise, and will not be as clear. 3) dBfs (Decibels Relative to Full Scale) dBfs is the scale to which you measure the overall volume of your channels/overall mix. You will notice (if you are looking at the logic arrange page) at the bottom left of the screen there is an image of a fader. This is the fader that you will measure your channels dBfs on. Above this there is a small box called the peak level indicator; this will show you what the maximum DBFS each channel reaches. For an average recording you want your peak level indicator to be on no more than -6dBfs and no less than -14dBfs. This will mean that you wont get any digital distortion and your track will be at an appropriate level and that you will retain enough headroom to work with when finally mixing your track. 4) Dynamic Range Dynamic range is the maximum range between the quietest point of your recording and the loudest point. You can see this if you zoom into a recording on logic; you will see peaks in the sound waves demonstrating the maximum point of your dynamic range. 5) Headroom

The amount of room that you have to work with, in terms of volume, after youve recorded is whats known as headroom. Obviously the more headroom that you have the better and easier it is to mix, but if you have too much headroom, your signal is probably going to be too quiet in your final mix (which is why there is the recommended dBfs shown above).

6) EQ / Frequency Spectrum The Frequency Spectrum is the range between the high end and the low end. Each instrument has a low and high end on the frequency spectrum. Obviously the range of frequencies vary depending on what instrument you are playing also whether you are male or female. The EQ (Equalizer) is a way in which you can raise or decrease the volume in selected frequencies. For example if your guitar seems to have too much low end, you might either want to drop some of the low end and/or bring the volume up on the high end. The 2 types of EQ are Shelf EQ (which increases/decreases the volume of everything below/above a particular frequency) and Semi-Parametric EQ (which increases the volume of a chosen frequency, but doesnt give you the option to edit the bandwidth/Q Factor). 7) Digital Distortion Digital Distortion is a horrible noise you get when, during recording or pre-bouncing your song, the audio is going to loud and clipping. This cuts off the top of the sound wave and makes a horrible sound. This is different to Analogue Distortion. Analogue distortion is a manufactured sound, designed to control the distortion and change the sound wave instead of cutting it. This makes Analogue Distortion much easier on the ears. 8) Compression Threshold The Compression Threshold is the level at which the compressor starts working on the sound waves at the selected Compression Ratio. On the Compressor on Logic, you will find that when you bring the Compression Threshold below a certain level the compressor will show you that its working through the visual display. 9) Compression Output / Make Up Gain When the Compressor is working it decreases everything that goes over the Compression Threshold. To compensate for this, you need to increase the Compression Output of the whole track. Doing this makes the quieter parts louder and the louder parts quieter. 10) Compression Ratio

The Compression Ratio is to ratio at which the sound is compressed. When the Compression Threshold is set the sound is compressed at a particular Ratio. If the ratio is 5.0:1 for example; for every 5.0db over the Threshold, the Compressor will only let 1dB through. Compression Attack / Release The Attack and Release is how quickly the Compressor starts working (Attack) and how quickly it stops working (Release). Obviously, the higher the Attack / Release the slower everything happens (the measurement is in ms [milliseconds]).

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