Showing posts with label AudioBasics. Show all posts
Showing posts with label AudioBasics. Show all posts

Friday, March 2, 2012

Understanding what does RMS stands for in Audio


OK so you have encountered a lot about “RMS” in audio recording, mixing and mastering. You might have read it many times in different tutorials featured in this blog or in recording forums. So what is really RMS?
RMS is Root Mean Square

It is assumed you are not a mathematician or have strong engineering knowledge so let’s explain this term in the easiest way. RMS stands for Root mean square. Do not confuse with those squares or means; the easiest way to understand RMS is simply it’s just an unique way of finding out the “average”.

Why not simply use the word “average” instead of “RMS”? Well, technically RMS is used to characterize the “average” of continuous varying signals such as audio, electrical signals, sound, etc.

Like any properties of a continuous signal such as audio or electrical signals. It can be characterized as having a maximum, minimum and average. In audio waveforms, these maximum is often called “peak” signal and often measured in dB in digital. In digital audio, the maximum allowable is 0dB. If it exceeds that amount, distortion would occur.

Between the minimum (the quietest sections of the audio) and the loudest section (towards 0dBFS, the peak) is where the RMS value can be found. It would be depicted on the screenshot below:

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Understanding what does RMS stands for in Audio
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Modulation Effects Explained - revolutionaudio.blogspot.com

Modulation Effects Explained
Modulation effects are a great way to create movement within a mix. This article will explain the different types of modulation effects available for mixing.



Tremolo
Vibrato
Flanging
Phase Shifting or Phasing
Chorus


All of these effects are built around a Low Frequency Oscillator more commonly referred to as just an LFO. An LFO is an audio signal usually less than 20Hz that creates a pulsating rhythm rather than an audible tone. These are used for manipulate synthesizer tones, and as you will see, to create various modulation effects. All the effects listed use Sine wave as the waveshape for the LFO.




Tremolo is an effect where the LFO is modulating the volume of a signal. The signal attenuation amount is controlled by the depth and the rate adjusts the speed of the LFO cycles.
Listen to an example of Tremolo


Vibrato is an effect where the LFO is modulating the pitch of a signal. This is accomplished by delaying the incoming sound and changing the delay time continually. The effect usually not mixed in with the dry signal. The depth control adjusts the maximum delay time, and rate controls the lfo cycle.
Listen to an example of Vibrato


Flanging is created by mixing a signal with a slightly delayed copy of itself, where the length of the delay is constantly changing. Historically this was accomplished by recording the same sound to two tape machines, playing them back at the same time while pushing down lightly on one of the reels, slowing down one side. The edge of a reel of tape is called the flange, hence the name of the effect.
Today the same effect is accomplished in a much less mechanical way. Essentially the signal is split, one part gets delayed and a low frequency oscillator keeps the delay time constantly changing from 1-10ms. Combining the delayed signal with the original signal results in comb filtering, notches in the frequency spectrum where the signal is out of phase.
A flanger will usually have depth and rate controls. The depth adjusts how much of the delayed signal is added to the original, and the rate controls how fast it will change.
Listen to an example of Flanging


Phase shifting or phasing is a similar effect to flanging, but is accomplished in a much different way. Phasers split the signal, one part goes through an allpass filter then into an LFO then recombined with the original sound. An allpass filter lets all frequencies through without attenuation, but inverts the phase of various frequencies. It actually is delaying the signal, but not all of it at the same time. This time the LFO changes which frequencies are effected.
Phase shifters have 2 main parameters, Sweep Depth: how far the notches sweep up and down the frequency range. Speed/Rate: how many times the notches are swept up and down per second.
Listen to an example of Phasing


Chorus is created in nearly the same way as flanging, the main difference is that chorus uses a longer delay time, somewhere between 20-30ms compared to flanging which is 1-10ms. It doesn’t have the same sort of sweeping characteristic that flanging has, instead is effects the pitch. Again the LFO is controlling the delay time. The depth control affects how much the total delay time changes over time. Changing the delay time up and down results in slight pitch shifting.
Listen to an example of Chorus


You may have noticed that the majority of effects here involve delay. It's possible to recreate most of the effects by using a digital delay with rate and depth controls, such as the ModDelay2 included with Pro Tools.


Modulation Effects Explained
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Monday, February 20, 2012

When Delay is Better - 5 Reasons to Skip the Reverb | Audio Issues

Don’t you dare touch that reverb!

Let go of the reverb for one day, and use a delay instead. Delays are easier to handle, and some are much less confusing than the average reverb.

Sometimes you just need a little depth, without adding reverb, and delay can easily do the job.

So when would you substitute your reverb for a little bit of delay?
For Guitar Solos

Sure, guitar solos can sound awesome with a hefty amount of reverb. But they can sound equally cool with a nice delay.

Use a short to medium stereo delay with one repeat. It’ll add width and depth to your signal immediately. The stereo delay will make the solo sound wider, and the delay will add the depth. And if you have the original signal in the middle, summing to mono won’t ruin the sound.
For Rhythm Guitar

Both reverb and delay can quickly ruin a tight rhythm guitar take. If you use too much of either one, you’ll end up with a cluttered guitar track. However, using a short slap echo or 8th note delay can also add interest. Send your guitar track to a delay via a send, and mix the delayed track underneath just to add a little space. It doesn’t have to clutter the track if you use it sparsely.
For Lead Vocals

For an in-your-face lead vocal, scrap the reverb entirely and use delay to add depth. Delay adds space without pushing the vocal back, something that happens all too often when you use too much reverb. Depending on the BPM of the song, style and genre, use either short, medium or long delays.

If it’s a ballad with long, drawn out words then a long delay creates a big sound without overpowering the actual vocal. A fast rock song benefits from a short, subtle delay and groovy pop songs use medium delays to a great effect.
For Percussion?

Similar problems arise from using too much delay on percussion as it does on rhythm guitar. A short delay timed to the BPM of the song gives percussion punchiness without giving it too much room in the mix.
For Organs

Medium to long delays with a fair amount of feedback can beef up an organ or pad sound. If you have an organ playing long, sustained chords then a long delay can give that foundation a thicker sound.
Conclusion

Basically, use delay to create depth, for whatever instrument, without taking up space. Use it for sweet sounding guitar solos, funky rhythm guitar, punchy vocals or foundational elements like organs or percussion.

How do you use delays in your productions?

When Delay is Better - 5 Reasons to Skip the Reverb | Audio Issues
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Sunday, February 19, 2012

Pan vs Balance vs Mono vs Stereo

(True) Panning
true panning would be if you actually took the audio signal from one side and really did move it over to the other side ...

Balance
is when you adjust, raise or lowwer volume levels on the left side or right side of a two channel track. your not moving anything around your just raising or lowering volume of one side or the other of that track.

what is a MONO track
its actually a two channel track that has the exact same audio signal on its left side channel as it has on its right side channel. since both left and right side are identicle(clones of each other) the overall sound is therefore mono. You cant tell that there are two channels, since they both sound Identical it sounds like just one mono signal(but its really two ).

what is a STEREO track
like the mono track above a stereo track also has two audio channels, But the big difference is that the channels on a stereo track each carry a different audio signal. They are not two identical audio signals like the mono track has. In a stereo track the right side audio signal is a different signal than the left side audio signal, so the sound that you hear in this situation is refered to as stereo sound.

Panning vs Balance vs Mono....(panning a mono signal)
almost all panning that we do is done using volume manipulation to give the illusion that the audio sound is moving from one side to the other, its not really (true) panning since nothing is really being moved at all.
All that is done in most panning is that a two channel MONO track is being manipulated using a volume balance, to raise and lower the volume of one side or the other so that it sounds like the mono signal is moving form one side to the other, but its not moving at all, we just percieve it as movement when we hear this volume manipulation happening to a mono track.
Therefore because you need two identical audio channels to be on the track all panning we do is done using a two channel MONO track...its basically using a form of Balence control to create the illusion of moving or Panning the mono signal form one side to the other.

(True) Panning vs Panning vs Stereo....(panning a stereo signal)
If you wanted to actually move the audio signal from the left side of a stereo two channel track over to the right side of that stereo two channel track. you could not do this with just normal panning that uses volume manipulation. The panning that acts like a Balance and uses volume manipulation to simulate movement on a mono track wont work the same way for a stereo track that has two different audio signals on each channel. This type of panning that uses volume manipulation will not create the illusion of movement or panning when used on a stereo track, it will only act like a volume balance and just shut off the volume of one of your channels and not move that channel at all..
So what you need in this case is something or a way to do (TRUE)Panning, to actually be able to move the audio signal on one channel of a stereo track over to the other channel of that stereo track. And since most recording software programs only use mono type panning the manipulation of volume levels to simulate movement/panning of a mono signal you will have to probably look outside for add on programs or vst programs or pluggin programs to help you acomplish (TRUE)Panning on your stereo two channel track........( I call it TRUE panning for lack of a better word, probably just referring to it as stereo panning would suffice)

Stereo Panning.......(the old school way )
there is a way to (True)pan a pair of stereo audio signals using just your recording software as it is. To do this you need to have your stereo audio signals separated, and have each one sent to its very own separate track. That way each of those signals can then be treated as a MONO signal in its very own two channel mono track. So now that you have one of the signals as a mono signal in its own track you can use the normal Pan thats in your recording software program (the volume manipulation type pan fader that behaves like a balace) to pan it just like you would any other mono signal in the usual way. you do the same to the other half of the original stereo signal and you end up with two separate tracks that each have their own pan fader, now you can use those two pan faders to start moving and position (panning) each of those two signals that came from the original stereo source.

Tip - You could have recorded your original stereo source onto two separate mono tracks right from the beginning, or if you had originally recorded your stereo source onto just one two channel track as a stereo track, then you can use your recording softwares features to separate that track into two separate mono tracks, one that has one signal form your stereo source and the other that has the other signal from your stereo source.....

Just remember all tracks have two channels that you can record audio signals onto, if you record two Identical audio signals onto a tracks two channels then that track is what most of us call a mono track. But if you record two Different audio signals onto to the two channels of a track then that track will be what most of us refer to as a stereo track...so all tracks have two channels...(thanks Till)

(I think that about sums up the difference between Balance and Pan in very basic genneral terms...as far as i understand it anyway)

Post Source:
By suprosuperman via Cockos Reaper Forum

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Monday, April 4, 2011

The Evolution Of Digital Audio Technology To Now & The Next Generation - Pro Sound Web

AV: The Evolution Of Digital Audio Technology To Now & The Next Generation - Pro Sound Web
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How To Hook Up An External Preamp [Reader Question] | The Recording Revolution

How To Hook Up An External Preamp [Reader Question] | The Recording Revolution
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Thursday, March 31, 2011

The Loudness War


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Tuesday, March 29, 2011

Recording: Recording Basics: Starting At The Source With Good Levels - Pro Sound Web

Recording: Recording Basics: Starting At The Source With Good Levels - Pro Sound Web
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Sunday, March 27, 2011

Digital vs Analog | Music Software Training and Ableton Tutorial Videos

Digital vs Analog | Music Software Training and Ableton Tutorial Videos
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Friday, March 25, 2011

Recording: Audio Basics: A Primer On Phantom Power - Pro Sound Web

Recording: Audio Basics: A Primer On Phantom Power - Pro Sound Web
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Where There Is Flow… - Pro Sound Web

AV: Tech Topic: Where There Is Flow… - Pro Sound Web
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Wednesday, March 23, 2011

Recording: Audio Basics: What You Need To Know When Recording Multiple Takes - Pro Sound Web

Recording: Audio Basics: What You Need To Know When Recording Multiple Takes - Pro Sound Web
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Monday, March 21, 2011

What the Bel? - Decibels explained.

Audio Palette // What the Bel? - Decibels explained.
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Friday, March 18, 2011

The Truth About Balanced Audio Interfaces In Systems - Pro Sound Web

AV: The Truth About Balanced Audio Interfaces In Systems - Pro Sound Web
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Tuesday, March 8, 2011

The Tesseract: Home Recording Tip 3-4: Only drums and percussive instruments should come close to filling up the meters in ProTools or any DAW

The Tesseract: Home Recording Tip 3-4: Only drums and percussive instruments should come close to filling up the meters in ProTools or any DAW
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Friday, March 4, 2011

What is aliasing? | EarLevel Engineering

What is aliasing? | EarLevel Engineering
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Thursday, March 3, 2011

Much Ado About Dithering - Audiofanzine

Much Ado About Dithering - Audiofanzine
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Friday, February 25, 2011

Should You Print Reverb Or Delay? - Pro Sound Web

Recording: Tech Tip Of The Day: Should You Print Reverb Or Delay? - Pro Sound Web
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Wednesday, February 16, 2011

Understanding Loudspeaker Specifications And What They Can Tell You - Pro Sound Web

AV: Understanding Loudspeaker Specifications And What They Can Tell You - Pro Sound Web
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Saturday, February 12, 2011

dBzee: Digital Recording Levels - a rule of thumb

dBzee: Digital Recording Levels - a rule of thumb
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