Tips for Creating Depth in a Mix - Audacity Tutorial How to Slow Down Music for Practice Remix and Mashup | Record Tutorial

Tips for Creating Depth in a Mix




Hey, folks. Matthew Weiss here â€" weiss-sound.com,
theproaudiofiles.com, and mixingwitheq.com.
In this tutorial, we are going to be talking
about depth. How to create a sense of front
to back image inside your stereo mix.
Now, a stereo mix is essentially a two-dimensional
plane, not unlike a painting canvas, and much
like any painting, we can create the illusion
of three dimensions.
Obviously, in a painting, we do it using things
like shading, perspective, size. Well, in
music, we do similar things. We use signal
processing, like level, EQ, and reverb.
I think it's fairly obvious how we use level.
Things that are louder generally appear closer,
things that are quieter generally appear further.
That's pretty self explanatory.
EQ's a little bit more complicated. There's
something called the dispersion effect, where
over distance, high frequencies damp out faster
than lower frequencies, except for in very
interesting and weird acoustic environments,
but for the most part, we're going to lose
more high end over distance, and so if we
have things that are generally EQ'd to be
darker, they will also appear further away,
and things that are very bright are going
to appear close.
The last one is going to be reverb. Reverb
is sort of complicated, but reverb is the
illustration of sound inside of a space, and
where you locate that space comes down to
a number of different settings, and they are:
the level of early reflections, the level
of late reflections, and the predelay.
And everything sort of plays into it, like
the absorption qualities that your individual
reverb unit allows you to setup, and things
like this, that, and the other, but these
are the three main ones.
So, early reflections. Early reflections are
the first-order echoes that happen in a reverberant
space, so when I speak, the sound waves go
out, they hit a boundary, and they bounce
back. That's the early reflections.
The late reflections are my voice goes out,
hits a boundary, reflects, hits another boundary,
reflects, hits another, and it bounces around
this room forming all of these complex reflections.
Those are our late reflections.
When we are closer to a source, we generally
hear a greater proportion of the early reflections,
and a smaller proportion of the late reflections,
and conversely, the opposite is true. When
we're further away, we hear more of the late
reflections and less of the early reflections,
and they seem to blend together more, and
it makes sense if you think about that.
You get more of a “boom, slap” type of
thing if we're close to something, and you
get more of a convolution of echoes coming
together when you're farther away.
The other thing that happens is the predelay.
If I'm very close to a source, you don't hear
any reverberation until that sound travels
out, and bounces back, and at about a foot
per millisecond, if I'm say, five feet away
from my nearest boundary, then I'll have about
a ten second predelay before my first reflections
get back to this microphone.
However, if I'm on the other side of the room,
the first reflection that say, hits the floor
and then bounces back up into the mic is going
to get there almost at the exact same time
as the actual direct sound of my voice.
So, as we get farther away, predelay goes
down. When we're very close, predelay goes
up. All of these things come together, and
we formulate a system of creating an idea
of depth by using all of those processes.
So, what I'm going to do now is I'm going
to play â€" I just said a random phrase that
came to mind, I don't know where it came from
or â€" I just plucked it out of thin air,
but I recorded myself saying a random phrase,
and we're going to do some experiments using
processes to show depth of field.
Alright, so first of all, let me give you
just basically the dry phrase here. Again,
this is totally random.
[vocal playback]
I don't know where I got that idea from. Anyway!
What I have here setup is a number of the
exact same recordings, but I've made a few
modifications. I've set them up to a couple
of different reverb units, and I've also set
the EQ on my voice differently for each one.
I've also set the level a little different.
So, I'm going to show you a big contrast first.
Ready? Here we go.
[vocals]
Okay, it's pretty obvious that one of those
sounds closer, and one of those sounds further
away. So, what all goes into that? Is it simply
that there's more reverb on one, and less
reverb on another? Well, level of reverb does
have a lot to do with it, but no, it's not
quite that simple.
So, here's what's going on. First of all,
the second one is four decibels quieter, and
the amount of reverb is about seven decibels
louder. So, it's a much quieter dry signal,
and a much louder signal being sent to the
reverb, so I guess it only ends up being about
3dB louder, but I mean, the point still stands.
The EQ curve is a little different. Here,
my EQ curve, I have a nice little top end
boost and some presence boost and a little
bit of a mid-range scoop, and on the second
one, no treble or mid-range boost at all.
And then, lastly, the settings on my reverb
are different. Here, I have this going to
my near reverb. So, I'm using a medium sized
hall, and I have a 72 millisecond predelay.
That's a pretty long predelay.
Also, my early reflections are very up, whereas
my late reflections are about 13dB down.
Here, on my far reverb, I have a zero millisecond
predelay, I have the early reflections turned
down 8dB, and I have the late reflections
up at zero dB. So, one more time.
[vocals]
<br><br>
Now, to illustrate the in between points,
I've also decided to setup a couple other
ones.
So, here I'm going to have a mid-field one,
which is being sent to a reverb where it's
got a 26 millisecond predelay. So, a little
less than halfway between the two extremes,
and the late reflections and early reflections
are set exactly even at minus five, and the
level that's going to them is minus nine,
so it's a little bit less than the far reverberant
one, but it's much more than the near reverberant
one, and the EQ setting has a little bit of
an upper mid-range bump, and a little bit
of a high end bump, and the overall level
is turned down slightly, but not as much as
the far reverb one.
Then lastly, I'm going to have this super
close one, where the amount â€" it's going
to the near reverb again, but this time it's
18dB down, and the level of the signal is
slightly turned up. It's got a little bit
more high end, it's got a little bit more
upper-mid, and it's got about half a dB more
overall level.
So, now I'm going to play them all, and you
will hear the sound of it getting closer and
closer as we go.
[male vocals]
Alright, so it's creating the illusion of
a front to back space, and I can iron that
out more, like if I were to go in here and
actually shelf off some top end... Maybe starting
at around 5kHz, I'll take out about 3 dB,
then it's really going to start to sound far
away.
[vocals]
Right? So, using those different tools, you
can create front to back image. What's important
to understand is that if you want to create
the idea of something being very far away,
it really helps to create the idea of something
being very close.
So, if I were to play this...
[vocals]
...and then play this...
[vocals]
We get a very big sense of difference. There's
a large contrast between the two, and that
creates a more pronounced front to back image
overall.
Alright, guys. Hope that you learned something.
Until next time!



Audacity Tutorial How to Slow Down Music for Practice Remix and Mashup | Record Tutorial




ten thousand days by tool this is an
amazing recording you check it out
sonny's inability to attend
okay uh... today eleven jurors are going
away and today we're going to be uh...
looking at how to slow down sounds soda
music
in our destiny
beginning of a number of reasons why you
want to emusic uh... most common one is
that you're trying to learn the song
learn sold all learned something
but in the notes of our life so fast you
can keep up their income
so i can see the ritual for for asking
them use it for that reason
uh... another reason might be that
you're doing remixes are messed up
senior trying to make a good temples of
of two differently
music mix together
has always tricky and uh... you know he
was in some things by uh... man
artist like eighty six oh three uh...
you've been here of lots of ways that
uh... that musicians that musicians able
to
then the tempo in order to make a big
needs pieces fit together or the
whatever the reason it's pretty easy
process
to uh... to and uh...
to do this without insects assembled
okay i've got a very short exert here
are some easy to recorded a couple years
ago
and the stupid
three
okay so you can hear it said to fit in
terms of what i know what's going on
there so here while they're in this
you'd probably want to slow it down
'cause it is gone pretty fast sufficient
you did
uh... you we want select the portion of
the music that you want to slow down now
for two guitars or something in anyone's
like a portion of it what was the whole
peace like this one you might want to in
do the whole thing
if you are going to do the whole thing
that we do it is you disliked all
so you got to get at me and you can go
to select all
you can also be command a if you're on a
mac or control a if you're on the
windows-based machine
okay so once you got the material
selected that he wants to slow down
you go to the effect on you
and jean here we have two selections
that had to do with tempo or speed
what we're seeing them vote
uh... first we want to use temple that's
what we want uh... temple will maintain
the peaches of the music
it won't uh... mistake it is i mean data
if u
if you're at just the speed
it will slow it down or speed it up but
it will change the tent the features as
well temples what we want so logo
changed tempo which will maintain the
speed and it's going to like uh...
that's cool down by thirty percent since
you had sounds
so we do it display
here
it
don't he came here it slowdown cuidate
marriott he'll star to break up there as
well and you could hear that sounds kind
of wacky it
the excessive verbally right i mean that
you know if that's not good for
production stuff but for learning it's
good stuff
now if if your group if you do it that's
going to say i was not what i want don't
we do is come
what you want to do is doing on do first
go back to your original temple
okay to go back to racial tempered it
do select all again and then try your
uh... your change again still go change
templeton
and instead of thirty let's let's say
many need six fifteen percent
pride and the
means easy ideal pretty good but it does
change the temple so
you can play with it that way but i'm
saying is doing undo before you do the
next change because you've been
resembling a recently manual which is
<br><br>
wreck your figure audio
selam always doing on the on the back
the original temple
and then do the change again
that's because not much to this uh...
and for those either through their body
uses for either making your own
musictory mixes or mashup
or you can use this for practicing it's
incredible to attend weekly here since
if you guys have
begin the comments or questions
putting the kind of thing
don't forget to subscribe to let the
video jury had to ok good luck guys
siesta