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This is just a limited (or clipped through distortion) sound wave added through the normal mixing process, to a lower frequency soundwave.
I've created a simple example to demonstrate what I mean.
The higher frequency sound wave; Let's pretend it's a nice brass instrument:
The brass instrument is then clipped for whatever reason:
The ...
5
how far away? is your macbook air connected to speakers?
Your file has a "loudness" (RMS level) -> player volume (gain) -> system volume (gain) -> audio interface voltage specs (gain/level) -> amp (gain) -> speakers (sensitivity). So it's impractical to try and "compute" it with that many variables. Grab an SPL meter.
There are SPL meter smartphone apps ...
5
After a 3 year hiatus I return with an answer that I hope doesn't get torn to shreds by newer members here:
I'm going to start out with a more general answer: NOTHING done as a corrective measure (ADR, 'fixing in post', etc.) is necessary to do on a film set if it is properly planned for and solutions are brought to the table well enough and early enough in ...
4
Assuming we're thinking about the same thing, it's not octaves, it's harmonics. The difference being that harmonics are doubles of the original harmonic, meaning for example the first overtone of 250Hz being 500, the secon one being 750 and so on. They are pretty hard to come by because they are mainly used to remove hum and such, though it can indeed be ...
4
Uh oh, don't do that... the stereophonic inversion police aren't up for any fun...
Truth is, many headphones are designed almost symmetrical, so if you turn them around and flip the stereo channels you get exactly the same experience. Flipping the channels is easy enough if you're working with a mixing console. In consumer devices there's seldom such an ...
4
You will note that this emulates the effect of a DC blocking capacitor, in a record player on clipped vinyl... i.e. no 0Hz being passed. This waveform's clipping slopes exclusively the same way, towards zero. Unless this were a mixture of a triangle, and a square (clipped) wave, of the same frequency, with a phase difference of 90 degrees, Marc W's example ...
4
In my experience, it all depends on where the audio is to be used next. If there is a limiter of some kind in the next phase of the process. Sometimes a limiter will be applied at varying levels below 0dB to prevent overload and clipping distortion.
-o.1dBFS is a peak normalization preset because basically, that is the highest level a sample can be without ...
3
Labels ask remixers for remixes as these serve as added content and added value to sellable products. In the professional industry the label typically initiate the process (that is, you are asked to remix something, you don't ask to remix something).
As you have mentioned, remixing competitions are common nowadays as they increase the artist reach, exposure ...
3
I dont think this is particularly a Sound Design question in the first place, but I would point out that there can be considerable differences between any two different equalisers (hardware or software) in the first place, so the notion that settings for 'an' EQ might be studied, rather than the more consistently measureable frequency content of music, seems ...
3
I don't think you will find any research in to what EQ settings will make a difference. There may be certain frequency groups that help, but EQs just apply adjustments to what is already there though and countless other things have more of an impact. Pacing of the music, how busy the music is, how complete the "wall of sound is", tempo, style, volume, etc ...
3
The most "proper" solution is to use a bass sound that in itself has some midrange as well. For normal subtractive synth sounds, that means: don't use too steep LP filters, try a simple 12 dB/8ve or perhaps 18 instead of 24 dB/8ve.
There's a trick that works pretty well on almost any bass, to introduce some "non-sub" harmonics: apply gentle overdrive/...
3
Depends...
If it's a track played by humans then unless they played to a click then it's unlikely the BPM is consistent because people will fluctuate tempo. Obviously the best will fluctuate only microscopically but fluctuate all the same.
However it's electronic then the BPM is (likely) to be consistent. Therefore what happens isn't that it suddenly goes ...
3
I would recommend using square and saw waves detuned with some unison. I recommend you start with massive but serum is better if you have it. Modulate the wavetables in bend+/- or bend plus or bend - if you don't know what this is, read the manual or google it. This will add movement I recommend to synch this modulation. Add an extra oscillator to taste for ...
3
The uses range from simple separation (one instrument left, another right, vocals and percussion centred) to realistic spatial separation to match the real world environment.
Effectiveness is a very subjective point - what I'd suggest is listening to a track by your favourite artist and turning the balance full left and full right to see what is panned ...
3
As mentioned in the DiscID howto that you can find here : http://ftp.freedb.org/pub/freedb/misc/freedb_howto1.07.zip,
The disc ID is an 8-digit hexadecimal (base-16) number, computed using
data from a CD's Table-of-Contents (TOC) in MSF (Minute Second Frame)
form.
This document includes a description of the algorithm used to compute the DiscID of a ...
3
Well…how to say this…
There is no software (that I know of) that can make your voice sound like Paul McCartney's voice. The only way to achieve this is to either;
A. Learn how to sing like Paul McCartney, or;
B. Hire someone who knows how to sing like Paul McCartney.
This forum is really the wrong place to post this question, but I figured it deserved an ...
3
Yes, it is simply a compressor - typically you'd use one with a relatively low threshold and ratio.
And some may store metadata for the whole track once it has been compressed/normalised once. I know my car stereo could do that - would zip through new tracks to identify peaks and normalise against them.
You don't need predictive normalisation though - ...
3
It's 'simply a compressor'... however it's a very specialised type of compressor.
There are probably others in this field, but the go-to name for radio compression is Optimod by Orban
Optimod is, to over-simplify, a multi-band compressor specifically made for radio transmission & includes specific timing & frequency compensation for the way radio ...
3
If you don't start with timecode, or even a 2-pop or clapper, I can't see any other way than lining it up by eye; finding a common beginning… then hoping they stay approximately in sync.
I've never tried this in Audacity, but in any regular DAW or video suite you can just drag one track against the other roughly by eye, then keep increasing zoom & ...
2
Since you're working with an audio file, not "live" sound...and you appear to be trying to do this with no budget...you can download Audacity (free open source program) and do time manipulation to the file within it. Work with the director to get the desired effect, then output the file. You'll have something predictable and repeatable for the performers ...
2
There are a number of sources you can look into but not all of them are accurate. David Sonnenschien is great for explaining how to set up projects, how to analyze your script, how to create transitions, evoke the emotional energy of a a sonic landscape etc. Other good books or websites are:
The Foley Grail
www.epicsound.com
www.soundworkscollection.com
...
2
I realize this is an old thread, but iZotope RX3 does a great job of this if the music is in stereo. What you can do is use the Center Channel Extractor in RX3, and it will use phase cancellation to isolate the mono dialogue from the stereo music. I work in a trailer house where we frequently need to clean up bites from movies with bad stems.
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I recommend looking into a free online course from a site like Coursera .
There are also plenty of books available: The Sound Reinforcement Handbook by Gary Davis or Modern Recording Techniques by Huber could be a good resource for learning about the subjects you mentioned.
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I think if you have a good melody it will stand on its own outside of the context of the chord changes. For example, sing any great melody out of context. Moon River, Somewhere Over the Rainbow, Yesterday, The Sound of Music, God Only Knows.. I think the melody in these example are so strong that they do well to imply the structure without needed a chord bed ...
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Loudon Stearns of Berkleemusic.com runs Introduction to Music Production course on Coursera. It's free.
I can't recommend Loudon's courses high enough.
If you hooked up, you may also choose to take his paid Berkleemusic.com course. It will blow you away. I promise.
As for the choice of gear and software, it strongly depends on the kind of music you want to ...
2
I am not a lawyer, but my understanding is that with CC licenses, as long as the licence doesn't specify share-alike or non-commercial, you would even be fine to use it in a screening that you charged for.
Non-commercial prohibits ALL commercial use, so if it has an NC tag on it, you can't use it.
If it has an SA (Share alike) tag on it, they you must ...
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