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Unit 49 - Introduction to Music Technology -Be Able to Design and Create a Piece of Original Music Using Available ResourcesComposition: eg structure, form, genre, statement, repetition, inversion, difference; individuality; originality; composers’ rightsSound design: eg sampling techniques, waveform structures, waveform editing techniquesAvailability: software inputs; analogue and digital inputs; editing sources; sound libraries; playback equipment; file transfer, formats and compatibility; copyright issues
Mastering: eg mastering to CD, PQ codes, mp3, internet distribution, compression, loudness, equalisation, sonic problems
Composition:
Musical composition can refer to an original piece of music, either a song or an instrumental music piece, the structure of a musical piece, or the process of creating or writing a new song or piece of music. People who create new compositions are called composers in classical music. In popular music and traditional music, the creators of new songs are usually called songwriters; with songs, the person who writes new words for a song is the lyricist. "Composition" is the act or practice of creating a song or other piece of music. In many cultures, including Western classical music, the act of composing typically includes the creation of music notation, such as a sheet music "score", which is then performed by the composer or by other instrumental musicians or singers. In popular music and traditional music, songwriting may involve the creation of a basic outline of the song, called the lead sheet, which sets out the melody, lyrics and chord progression. In classical music, orchestration (choosing the instruments of a large music ensemble such as an orchestra which will play the different parts of music, such as the melody, accompaniment, countermelody, bassline and so on) is typically done by the composer, but in musical theatre and in pop music, songwriters may hire an arranger to do the orchestration. In some cases, a pop or traditional songwriter may not use written notation at all, and instead compose the song in her mind and then play, sing and/or record it from memory. In jazz and popular music, notable sound recordings by influential performers are given the weight that written or printed scores play in classical music.
Although a musical composition often uses musical notation and has a single author, this is not always the case. A work of music can have multiple composers, which often occurs in popular music when all of the members of a band collaborates to write a song, or in musical theatre, when one person writes the melodies, a second person writes the lyrics, and a third person orchestrates the songs. A piece of music can also be composed with words, images, or, since the 20th century, with computer programs that explain or notate how the singer or musician should create musical sounds.
Structure:
Structure in music means the way the piece is built up. What order are the sections in?
The best example of Structure is in a pop song.
The different sections (Verse, Chorus, Instrumental, Guitar Solo etc) are in a different order: that's Structure!
Form:
The term musical form (or musical architecture) refers to the overall structure or plan of a piece of music, and it describes the layout of a composition as divided into sections.
Genre:
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably.
Statement:
Usually a statement refers to musical spans towards the lower end of the durational scale; i.e. melodic or thematic entities well below the level of 'movement' or 'section', but above the level of 'motif' or 'measure'. The term is usually encountered in discussions of thematic construction.
Repetition:
Repetition is important in music, where sounds or sequences are often repeated. Repetition is a part and parcel of symmetry—and of establishing motifs and hooks. You find a melodic or rhythmic figure that you like, and you repeat it throughout the course of the melody or song.
Inversion:
Inversion, in music, rearrangement of the top-to-bottom elements in an interval, a chord, a melody, or a group of contrapuntal lines of music. The inversion of chords and intervals is utilized for various purposes, e.g., to create a melodic bass line or (with certain chords) to modulate to a new key.
Difference, Individuality & Originality:
A prime example of the lack of diversity and originality in current day pop music is the concept of the 'Millennium whoop' . It’s a sequence of notes that alternates between the fifth and third notes of a major scale, typically starting on the fifth. The rhythm is usually straight 8th-notes, but it may start on the downbeat or on the upbeat in different songs. A singer usually belts these notes with an “Oh” phoneme, often in a “Wa-oh-wa-oh” pattern. And it is in so many pop songs it’s criminal.
In my composition I intend to completely stray from this. I want it to possess all three elements, difference, individuality and originality. Some areas more obvious than others.
The only source being unoriginal is the Sample being a speech relative to education, however keeping difference by incorporating it into music.
Composers’ rights:
The recording of a popular song is protected by two separate copyrights. First, the composition (the lyrics and the written music) are protected by a copyright held by the composers. The composers may be represented by a songwriting team such as Lennon & McCartney, a team of the composer and lyricist such as Rodgers & Hammerstein, or a single person. Regardless of the number of composers, they jointly hold a single copyright.
The copyright will continue to protect the composition for seventy years beyond the life of the author. If the composition is created by a corporation, the term will be ninety-five years. When the song is jointly authored, the seventy years will run from death of the last living author. In most situations, the author of a song will be the individual composer or team of composer and lyricist. But situations occur where the members of the band have arranged to work as employees for the band as a corporation or limited liability company. In this case, band members would be creating the work as a work-for-hire, and the corporation/LLC would be the author. There are a few other situations where the composer will be asked to sign a work-for-hire agreement, but in all but rare cases, musicians should resist these arrangements.
The copyright will continue to protect the composition for seventy years beyond the life of the author. If the composition is created by a corporation, the term will be ninety-five years. When the song is jointly authored, the seventy years will run from death of the last living author. In most situations, the author of a song will be the individual composer or team of composer and lyricist. But situations occur where the members of the band have arranged to work as employees for the band as a corporation or limited liability company. In this case, band members would be creating the work as a work-for-hire, and the corporation/LLC would be the author. There are a few other situations where the composer will be asked to sign a work-for-hire agreement, but in all but rare cases, musicians should resist these arrangements.
If you own the copyright you possess the sole authority to:
- copy the music
- issue, lend or rent copies to the public
- perform, show or play the music in public
- communicate the music to the public, for example broadcasting it via TV, radio or internet
Sound design:
Sampling techniques:
In music, sampling is the act of taking a portion, or sample, of one sound recording and reusing it as an instrument or a sound recording in a different song or piece.
Sampling was originally developed by experimental musicians working with musique concrète and electroacoustic music, who physically manipulated tape loops or vinyl records on a phonograph. By the late 1960s, the use of tape loop sampling influenced the development of minimalist music and the production of psychedelic rock and jazz fusion.
Hip hop music was the first popular music genre based on the art of sampling – being born from 1970s DJs who experimented with manipulating vinyl on two turntables and an audio mixer. The use of sampling in popular music spread with the rise of electronic music and disco in the mid-1970s to early 1980s, the development of electronic dance music and industrial music in the 1980s, and the worldwide influence of hip hop since the 1980s on genres ranging from contemporary R&B to indie rock. Historically, sampling was most often done with a sampler — a specialized piece of hardware — but today, a computer program is more commonly used. However, vinyl emulation software may also be used, and turntablists continue to sample using traditional methods. The inclusion of sampling tools in modern digital production methods increasingly introduced sampling into many genres of popular music, as well as genres predating the invention of sampling, such as classical music, jazz and various forms of traditional music.
Waveform structures:
There are four different types of basic wave shapes, or waveforms.
Sine
Sine waves look similar to a gentle wave in a bowl of water, moving up and down with no abrupt starts or stops. Common sounds similar to a sine wave include whistling, air blowing across the opening of an empty bottle, and a ringing tuning fork.Here is an example of two sine waves the first two sine waves are added together to produce a third, different wave.
Sawtooth
Sawtooth waves, also called saw waves, have a very strong, clear, buzzing sound. A sawtooth wave can be made by adding a series of sine waves at different frequencies and volume levels. The frequency of the first, loudest sine wave is what we hear as the frequency of the resulting sawtooth. This is called the fundamental frequency. Each of the other, progressively quieter, sine waves that make up a sawtooth have frequencies which are integer multiples of the fundamental frequency. These frequencies are called harmonics.
For example, an ideal sawtooth wave with a fundamental frequency of 100Hz would have harmonics at 200Hz, 300Hz, 400Hz, and so on to infinity, with each harmonic quieter than the last. Because the sawtooth wave contains every integer harmonic of the fundamental frequency, it sounds very rich to our ear. The fundamental frequency defines the pitch of the sound, while the harmonics change the character, or timbre, of the sound without affecting the pitch.
Square
Triangle
Waveform editing techniques:
There are a multiple number of techniques in which to alter the waveform to best suit the intended/required outcome.
A few examples being:
Correcting timing with a clip -
You can edit the waveform within a clip without altering the overall duration of the clip or cutting it up in any way. In the Sample Editor, select AudioWarp from the tool panel on the left and then click Musical Mode and Free Warp. You should then be able to add warp markers and correct timing in any audio part freely.
Get Smooth Edit Crossfades -
When you have to make edits to a part, sometimes two sections of audio can end up overlapping. Cubase is pretty good at dealing with this if you use the Snap to Zero Crossings option and project Snap is turned on, but you can still get some issues with sounds not transitioning cleanly between clips. One quick way to deal with this is to open the lanes under a track and simply drag the second clip into the new lane, then use the manual fade handles to fade one clip out as the next one fades in. Get this right and you’ll get a clean crossfade.Apply Plug-ins to Sections of Audio:
From the Sample Editor window you can select any part of a waveform and apply processing directly to a section of a clip. So for example if you select then right-click you can choose any of the Process tools like silence, reverse or normalization, or apply any plug-in just to that section of audio. You’ll get to see the plug-in’s interface and make settings, and use the Preview button to hear the effect and alter its parameters. Click the More… button and you can even set a wet/dry mix, tail and crossfade settings. When you click Process, the effect is rendered as part of the audio clip. You can achieve a similar result by using automation to bypass and activate an effectat a specific point, but this technique is rather less fiddly.
Availability:
Software inputs:
An audio plug-in, in computer software, is a plug-in that can add or enhance audio-related functionality in a computer program. Such functionality may include digital signal processing or sound synthesis.
There are three broad classes of audio plug-in: those which transform existing audio samples, those which generate new audio samples through sound synthesis and those which analyse existing audio samples.
In my Project I have access too:
Sylenth1:
Sylenth1 is a virtual analog VSTi synthesizer that takes the definitions of quality and performance to a higher level. Until now only very few software synthesizers have been able to stand up to the sound quality standards of hardware synths.
Drum Groove Agent One:
Steinberg’s easy-to-use yet powerful drum studio is a great source for any kind of drum production style. Giving you acceess to combine electronic beats with warm acoustic drums to produce your individual sound.
Halion Sonic SE:
HALion Sonic SE is a streamlined version of HALion Sonic, Steinberg's premier VST workstation. Incorporating the same pristine audio and synth engine as its big brother.
An audio plug-in, in computer software, is a plug-in that can add or enhance audio-related functionality in a computer program. Such functionality may include digital signal processing or sound synthesis.
There are three broad classes of audio plug-in: those which transform existing audio samples, those which generate new audio samples through sound synthesis and those which analyse existing audio samples.
In my Project I have access too:
Sylenth1:
Sylenth1 is a virtual analog VSTi synthesizer that takes the definitions of quality and performance to a higher level. Until now only very few software synthesizers have been able to stand up to the sound quality standards of hardware synths.
Drum Groove Agent One:
Steinberg’s easy-to-use yet powerful drum studio is a great source for any kind of drum production style. Giving you acceess to combine electronic beats with warm acoustic drums to produce your individual sound.
Halion Sonic SE:
HALion Sonic SE is a streamlined version of HALion Sonic, Steinberg's premier VST workstation. Incorporating the same pristine audio and synth engine as its big brother.
Analogue and digital inputs:
An analog signal, by definition, is A nominally continuous electrical signal that varies in amplitude or frequency in response to changes in sound, light, heat, position, or pressure. Analog can be electrical or mechanical but the key word here is “continuous.” An analog signal path implies a continuous signal in contrast to a digital signal path, which breaks everything into numbers. This is the primary difference between analog and digital sound.
In this case I had access to a digital keyboard, much more common than that of a analogue keyboard, as this creates ease of access with current technology. The digital keyboard then inputs Midi data into Cubase which then the digital audio interface translates into audible information so you can hear it.
Editing sources:
Information shown in the 'Waveform editing techniques' section of this article.
Information shown in the 'Waveform editing techniques' section of this article.
Sound libraries:
A sample library is a collection of digital sound recordings, known as samples, for use by composers, arrangers, performers, and producers of music. The sound files are loaded into a sampler—either hardware or software-based—which is then used to create music. Sample libraries appear in a variety of forms:
- As a tempo-based musical phrase that can be looped (repeated in tempo with the arrangement), or edited in a cut and paste collage fashion.
- Collections of note-by-note recordings of musical instruments for playback on a digital sampler, known as multi-samples. This method of sample playback is to construct a playable instrument, or emulation of another instrument, from a sampler or computer.
- One-shot hits or stabs of non-tempo-based audio, particularly for sound effects.
The term sample library, when used in a commercial context, implies a collections of samples that have been produced and licensed for the purpose of being used as samples. Such a library, sometimes called a sample pack, can be distributed either physically (on CD or DVD) or over the internet. Some sampling websites, such as The Freesound Project, utilize user-generated sample libraries.
Individual sample packs can often be found in online libraries or website directories that host the files (free or paid) for download. It is important to know if the samples being utilized are royalty-free or having certain usage restrictions (such as not being allowed in commercial content) when downloading these files. Usually this is stated in the usage rights of the pack or under the Terms of Service on the website they were downloaded from.
Playback equipment:
Playback -
Formats: CD’s, CD/SACD, CD/HDCD,
Download, FLAC.
The Compact Disc, or CD for short,
is an optical disc used to store digital data.
Super Audio CD (SACD) is a
read-only optical disc for audio storage, The SACD format can offer more
channels (e.g. surround sound), and a longer playing time than CD. There are
claims that SACD offers sound quality significantly different from a standard
CD.
High Definition Compatible Digital,
or HDCD is an audio encode-decode process that claims to provide increased
dynamic range, while retaining compatibility with existing Compact disc
players.
A music download is the transferal
of music from an Internet-facing computer or website to a user's local
computer. This term encompasses both legal downloads and downloads of copyright
material without permission or payment.
FLAC - Free Lossless Audio Codec,
allows digital audio to be compressed so that file size is reduced without any
information being lost.
File transfer, formats and compatibility:
File transfer in essence is the movement of one for more files from one location to another across a medium such as the internet.
There are several ways to transfer files.
There are several ways to transfer files.
A collection of
electronically-stored files can be moved physically by file transfer bays which
include the likes of USB Sticks and External HardDrives. They are devices which
are inserted into a Computer so that files can be saved and used from a
different location on the future.
Alternatively you can send them via
a telecommunications medium. These are very accessible in our current day, FTP
(file transfer protocol) is a very common way to do so when sending individual
or a small number of files from one computer to another which is accessible in
e-mails, social media and cloud storages.
For larger transfers, file
compression and aggregation into a single file known commonly as a 'Zip."
file and is commonly transferred in newly developed platforms of cloud storage
with quick and accessible transfers such as 'Dropbox', 'Cloud Storage' or a NAS
(network access sharing) drive and is all electronically stored in global data
centers with storage data spread across multiple regions or continents.
You will find however that these
newly developed services cost however if you wanted to access it just one time
Public cloud storage services provide a multi-tenant storage environment that
is most suited for unstructured data.
However it has not always been this
simple to transfer files. Traditionally technology such as SCSI Drives and
Digital audio tapes.
SCSI (Small Computer System Interface) drives where a removable hard
disk which primed in the late 80's which allowed personal computers (PCs)
to communicate with peripheral hardware such as disk
drives, tape drives, CD-ROM drives, printers and scanners faster
and more flexibly than previous parallel data transfer
interfaces.
DAT ( Digital audio tapes) is a signal recording and playback medium
developed by Sony and introduced in 1987. Most DAT drives can record
at sample rates of 44.1 kHz, the CD audio standard, and 48 kHz. DAT
has become the standard archiving technology in professional and
semi-professional recording environments for master recordings. Digital inputs
and outputs on professional DAT decks allow the user to transfer recordings
from the DAT tape to an audio workstation for precise editing. The compact size
and low cost of the DAT medium makes it an excellent way to compile the
recordings that are going to be used to create a CD master.
Different formats:
There are many different recording and playback formats.
The most common are:
wav -
standard audio file format used mainly in Windows PCs. It is mostly used for
storing uncompressed sound files, this means they can be large in size (approx.
10MB per minute of music)
mp3 -
the MPEG Layer-3 format is the most popular format for downloading and storing
music. Those formats are compressed to roughly one tenth the size of an
equivalent PCM file while keeping good audio quality.
wma - the popular Windows Media Audio
format owned by Microsoft. This format is designed with DRM (Digital Rights
Management) abilities for copy protection.
Copyright issues:
Copyright protects original literary, dramatic, musical and artistic works. It allows an original work to be considered a property that is owned by somebody. The framework for Copyright Law is the Copyright, Designs and Patents Act 1988 ('the Act').
In music, copyright begins automatically once a piece of music is created, and documented or recorded (eg. on video, tape or CD or simply writing down the notation of a score).
Copyright protects original literary, dramatic, musical and artistic works. It allows an original work to be considered a property that is owned by somebody. The framework for Copyright Law is the Copyright, Designs and Patents Act 1988 ('the Act').
In music, copyright begins automatically once a piece of music is created, and documented or recorded (eg. on video, tape or CD or simply writing down the notation of a score).
you own the copyright you possess the sole authority to:
- copy the music
- issue, lend or rent copies to the public
- perform, show or play the music in public
- communicate the music to the public (i.e. broadcasting it via TV, radio, Internet etc.)
In the UK, copyright generally lasts for a period of 70 years from the end of the calendar year in which the author dies. If the music originates from outside the European Economic Area (EEA), the copyright lasts for as long as the music is protected by copyright in its country of origin, provided that the length of time does not exceed 70 years.
If you're using someone else's music in something you're creating (for example as a soundtrack to a video or to a programme you are making), you’ll need to get permission from the copyright holder. A good place to start is the last known music publisher for the work.
If you wish to use music on TV or radio then speak to PRS for Music and PPL; they offer blanket licences for many uses in broadcast and radio.
PRS for Music and PPL offer a Limited Manufacture Licence, which gives you 'blanket' permission to use any music in your own CDs, DVDs or videos (and other formats). It can be used for personal use (such as wedding videos) or for performances such as school plays and amateur dramatics. You should contact PRS for Music to find out more about the Limited Manufacture Licence.
If you wish to include recorded music in a TV or radio programme for broadcast, this may be covered by the broadcaster's PPL licence. PPL can also license businesses to copy recorded music in order to supply music services to other businesses (such as digital jukeboxes). Visit the PPL website for more information.
HOWEVER, you are allowed to copy limited extracts of works when the use is non-commercial research or private study, but you must be genuinely studying (like you would if you were taking a college course). Such use is only permitted when it is ‘fair dealing’ and copying the whole work would not generally be considered fair dealing.
The purpose of this exception is to allow students and researchers to make limited copies of all types of copyright works for non-commercial research or private study. In assessing whether your use of the work is permitted or not you must assess if there is any financial impact on the copyright owner because of your use. Where the impact is not significant, the use may be acceptable.
If your use is for non-commercial research you must ensure that the work you reproduce is supported by a sufficient acknowledgement.
Mastering:
Mastering, a form of audio post production, is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device (the master); the source from which all copies will be produced (via methods such as pressing, duplication or replication). In recent years digital masters have become usual although analog masters, such as audio tapes, are still being used by the manufacturing industry, notably by a few engineers who have chosen to specialize in analog mastering.
Mastering requires critical listening; however, software tools exist to facilitate the process. Mastering is a crucial gateway between production and consumption and, as such, it involves technical knowledge as well as specific aesthetics. Results still depend upon the accuracy of speaker monitors and the listening environment. Mastering engineers may also need to apply corrective equalization and dynamic compression in order to optimise sound translation on all playback systems. It is standard practice to make a copy of a master recording, known as a safety copy, in case the master is lost, damaged or stolen.
There are many definitions of audio mastering. Most commonly, though, the term mastering is used to refer to the process of taking an audio mix and preparing it for distribution. There are several considerations in this process:
- Unifying or adjusting the sound of a record to correct any mix balance issues, or enhance a particular sonic characteristic.
- Maintaining consistency across an album so that each track sits comfortably within the overall aesthetic of the playlist.
- Preparation for distribution, which could mean traditional duplication or replication onto CD/ vinyl or preparing for digital download, depending on the intended delivery format.
PQ codes:
PQ codes refer to 2 of the 8 subcode channels P, Q, R, S, T, U, V, W, that run alongside the audio data on a CD. The P and Q bits contain basic info like track start, pause (end), index, and the basic TOC (Table Of Contents) data. Some other things included are ISRC codes, UPC code, emphasis flag, and copy inhibit flag.
ISRC is short for International Standard Recording Code and is a unique identifier for each track that lists the country of origin, registrant (releasing entity, usually the label), year, and designation code (unique identifier created by the registrant). This code stays with the audio recording for the life of it. Even if it later appears on a compilation, the same ISRC will accompany it.
It is not for the composition, however, simply the recording. If a new recording of a song is made, it will receive a new ISRC code. In the US the codes are administered by the RIAA. They can help with anti-piracy and royalty collection, though most US radio isn't very good about using the codes. There is better support for them in Europe.
The UPC code is the Universal Product Code, which is essentially the number represented by the barcode on the back of the packaging. These are administered by the UCC, or Uniform Code Council. While an ISRC refers to a single track, the UPC code is for the entire album. Each unique physical product that may be put on a store shelf has a unique code. In addition to the barcode on the back, you can actually encode this into the PQ information.
The code is compatible with the Europenan EAN code, which is why it is often referred to as a UPC/EAN code. The UPC has 12 digits, while the EAN has 13, so if you are encoding a UPC onto the disc, you simply add a leading zero and the rest of the numbers are identical.
Copy Prohibit status and emphasis are less likely to be used much these days. However, early digital recordings did indeed use emphasis, so if you are doing a reissue, compilation, or career retrospective, you may indeed need to know how to deal with pre-emphasis.
CD-Text information (not supported by most players, and not to be confused with CDDB which supplies titles to computer players) is included in one of the other bits (R through W), as is karaoke info, graphics, and other extended features not standard to the original red book CD spec.
Some other "books" besides red include yellow book, which is a data CD (or CD-ROM, often used for DDPi masters), orange book, which is recordable CD, and the extended, +G, and enhanced versions like blue, green, and purple. SACD (Super Audio CD) with its DSD recording is Scarlet book. SACD and DVD are not put on CD media, but rather UDF (Universal Disc Format) higher capacity discs (flavors of DVD).
PQ codes refer to 2 of the 8 subcode channels P, Q, R, S, T, U, V, W, that run alongside the audio data on a CD. The P and Q bits contain basic info like track start, pause (end), index, and the basic TOC (Table Of Contents) data. Some other things included are ISRC codes, UPC code, emphasis flag, and copy inhibit flag.
ISRC is short for International Standard Recording Code and is a unique identifier for each track that lists the country of origin, registrant (releasing entity, usually the label), year, and designation code (unique identifier created by the registrant). This code stays with the audio recording for the life of it. Even if it later appears on a compilation, the same ISRC will accompany it.
It is not for the composition, however, simply the recording. If a new recording of a song is made, it will receive a new ISRC code. In the US the codes are administered by the RIAA. They can help with anti-piracy and royalty collection, though most US radio isn't very good about using the codes. There is better support for them in Europe.
The UPC code is the Universal Product Code, which is essentially the number represented by the barcode on the back of the packaging. These are administered by the UCC, or Uniform Code Council. While an ISRC refers to a single track, the UPC code is for the entire album. Each unique physical product that may be put on a store shelf has a unique code. In addition to the barcode on the back, you can actually encode this into the PQ information.
The code is compatible with the Europenan EAN code, which is why it is often referred to as a UPC/EAN code. The UPC has 12 digits, while the EAN has 13, so if you are encoding a UPC onto the disc, you simply add a leading zero and the rest of the numbers are identical.
Copy Prohibit status and emphasis are less likely to be used much these days. However, early digital recordings did indeed use emphasis, so if you are doing a reissue, compilation, or career retrospective, you may indeed need to know how to deal with pre-emphasis.
CD-Text information (not supported by most players, and not to be confused with CDDB which supplies titles to computer players) is included in one of the other bits (R through W), as is karaoke info, graphics, and other extended features not standard to the original red book CD spec.
Some other "books" besides red include yellow book, which is a data CD (or CD-ROM, often used for DDPi masters), orange book, which is recordable CD, and the extended, +G, and enhanced versions like blue, green, and purple. SACD (Super Audio CD) with its DSD recording is Scarlet book. SACD and DVD are not put on CD media, but rather UDF (Universal Disc Format) higher capacity discs (flavors of DVD).
Mp3:
You can master from an mp3 or video file, however I recommend using .wav or .aif files as the resolution is usually much better. If you only have access to mp3 or video versions you can still often achieve good results, but you will get a better final master using high quality .wav or .aif files.
You can master from an mp3 or video file, however I recommend using .wav or .aif files as the resolution is usually much better. If you only have access to mp3 or video versions you can still often achieve good results, but you will get a better final master using high quality .wav or .aif files.
Internet distribution:
Digital distribution (also called content delivery, online distribution, or electronic software distribution (ESD), among others) is the delivery or distribution of media content such as audio, video, software and video games. The term is generally used to describe distribution over an online delivery medium, such as the Internet, thus bypassing physical distribution methods, such as paper, compact discs, and VHS videocassettes. The term online distribution is typically applied to freestanding products; downloadable add-ons for other products are more commonly known as downloadable content. With the advancement of network bandwidth capabilities, online distribution became prominent in the 21st century.
Content distributed online may be streamed or downloaded, and often consists of books, films and television programs, music, software, and video games. Streaming involves downloading and using content at a user's request, or "on-demand", rather than allowing a user to store it permanently. By contrast, fully downloading content to a hard drive or other form of storage media may allow offline access in the future.
Specialist networks known as content delivery networks help distribute content over the Internet by ensuring both high availability and high performance. Alternative technologies for content delivery include peer-to-peer file sharing technologies. Alternatively, content delivery platforms create and syndicate content remotely, acting like hosted content management systems.
Compression:
Applying compression when mastering reduces the dynamic range of the signal being processed. This involves making louder sounds quieter, and conversely, once you have applied a make-up gain, making quieter sounds louder.
Applying compression to an entire mix is very different to compressing individual instruments, as you might during the recording process. When mixing, for example, you might compress a lead vocal heavily to make sure that it is at a constant level and always cuts through the mix.
During the audio mastering process, however, we are applying a compressor to the whole mix: some sounds will be triggering the compressor, but all sounds will be affected by it.
Used clumsily, compression can flatten, distort, muddy and strangle your music. Used judiciously, compression can add punch, clarity, drive and feeling to your music.
Applying compression when mastering reduces the dynamic range of the signal being processed. This involves making louder sounds quieter, and conversely, once you have applied a make-up gain, making quieter sounds louder.
Applying compression to an entire mix is very different to compressing individual instruments, as you might during the recording process. When mixing, for example, you might compress a lead vocal heavily to make sure that it is at a constant level and always cuts through the mix.
During the audio mastering process, however, we are applying a compressor to the whole mix: some sounds will be triggering the compressor, but all sounds will be affected by it.
Used clumsily, compression can flatten, distort, muddy and strangle your music. Used judiciously, compression can add punch, clarity, drive and feeling to your music.
Loudness:
To keep up with demand for CDs to be louder, louder, and louder again, mastering engineers have been relying more and more on compressors and limiters to coax the loudest levels out of a given audio format. In the days of vinyl records the pressure was to get the loudest ‘cut’ onto the lacquer, and radio stations have always vied to be 'the loudest station on the dial'. These days, the same competition for loudness is happening to the CD format.
Any digital format has a finite limit to the loudness of a signal recorded onto it, defined by the number of bits - in the case of a CD, 16 bits per word. In order to make a CD sound louder, the music must be pushed closer and closer to that maximum level, using compressors and limiters. Before compression or limiting, a piece of music may have dynamics – quiet parts, medium parts, loud parts and very loud parts. The louder you want your CD mastering to be, the more you must take away from those dynamics. What is often left at the end of this process is all the elements of the music forced to be as loud as is possible. Whilst this can make a track sound punchy, hard and powerful, it can also make the music fatiguing to the human ear, which misses the variety of dynamics.
Of course, if loudness is the most important factor to you, a good mastering engineer will use all the tricks he knows to apply the maximum boost into your music. Please consider, however, the advantages of leaving some dynamic range in your finished CD masters. Your music will sound more natural, more expressive and more real.
To keep up with demand for CDs to be louder, louder, and louder again, mastering engineers have been relying more and more on compressors and limiters to coax the loudest levels out of a given audio format. In the days of vinyl records the pressure was to get the loudest ‘cut’ onto the lacquer, and radio stations have always vied to be 'the loudest station on the dial'. These days, the same competition for loudness is happening to the CD format.
Any digital format has a finite limit to the loudness of a signal recorded onto it, defined by the number of bits - in the case of a CD, 16 bits per word. In order to make a CD sound louder, the music must be pushed closer and closer to that maximum level, using compressors and limiters. Before compression or limiting, a piece of music may have dynamics – quiet parts, medium parts, loud parts and very loud parts. The louder you want your CD mastering to be, the more you must take away from those dynamics. What is often left at the end of this process is all the elements of the music forced to be as loud as is possible. Whilst this can make a track sound punchy, hard and powerful, it can also make the music fatiguing to the human ear, which misses the variety of dynamics.
Of course, if loudness is the most important factor to you, a good mastering engineer will use all the tricks he knows to apply the maximum boost into your music. Please consider, however, the advantages of leaving some dynamic range in your finished CD masters. Your music will sound more natural, more expressive and more real.
Equalization:
Usually called EQ, equalization applies gain to a certain frequency while leaving others unchanged.
Mastering engineers use EQs to change the spectral balance of the music, in other words, to boost or cut various low, mid and high frequency ranges.
Mastering engineers use EQ for a number of effects when mastering: To compensate for anomalies in the listening environment it was mixed in. To bring clarity to vocals, guitars, snare, horns and other mid-range instruments.
To clear up a muddy bass, to add punch to a kick drum, to sparkle the cymbals. To make all the tracks in the project sound balanced next to each other.
Once again, EQ used badly can destroy, EQ used judiciously can transform.
Usually called EQ, equalization applies gain to a certain frequency while leaving others unchanged.
Mastering engineers use EQs to change the spectral balance of the music, in other words, to boost or cut various low, mid and high frequency ranges.
Mastering engineers use EQ for a number of effects when mastering: To compensate for anomalies in the listening environment it was mixed in. To bring clarity to vocals, guitars, snare, horns and other mid-range instruments.
To clear up a muddy bass, to add punch to a kick drum, to sparkle the cymbals. To make all the tracks in the project sound balanced next to each other.
Once again, EQ used badly can destroy, EQ used judiciously can transform.
Sonic problems:
Sonic faults normally happen by accident or because there are faults with gear. These faults can ruin a recording, create musical shortcomings and a whole list of problems. The majority of times they have a negative effect on a musical performance or recording, but it all depends what you believe is and isn’t a sonic fault. Some examples of sonic faults would be; headphone spill, clicks, editing mistakes, panning mistakes, hot microphone tones (distortion) or feedback whilst a guitarist isn’t playing during a live gig.
Final Product:
Using the famous speech by Alan Watts - What Do You Desire? , I incorporated this into a jazz/hip-hop style composition.
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