bigsoundbrown

[bigsoundbrown]

The ever-elusive equalization

When I first began recording, I had no idea of how and why one would process their signal. I always assumed that the great recordings I heard coming out of my headphones sounded exactly the same as the performances going in.

However, like most art, especially performance art, it is all a smoke and mirror games.

Equalization (shortened to EQ) as defined by www.Wikipedia.org is, "the process of adjusting the balance between frequency components within an electric signal." In laymen’s terms: EQing is about removing the “bad” sounding frequencies and accentuating the “good” sounding frequencies.

Remember though, the definition uses the phrase: “adjusting the balance”. Always keep this in mind… EQing isn’t about boosting the bass on every track because you like a big bass. And it definitely shouldn’t look anything like this:

When mixing, you are looking for an even balance of frequencies. Just like editing a photograph while paying attention to its histogram (a graphic representation of the color response/balance), you should edit music while paying attention to its frequency response/balance.

No two timbres should ever be fighting for a frequency.

I try to practice what it known as “subtractive EQ”. Instead of boosting the frequencies, I subtract (or cut) the frequencies that don’t sound “good”. This technique is extremely helpful in removing unwanted background or electrical noise. If done right, the listener won't even know you did anything at all.

Another useful technique stemming from EQ is the range of manipulation one can have when cutting frequencies.

For example, to achieve that vintage speaker sound you have to take into consideration the technical limitations of vintage speaker. They couldn’t replicate the 20hz-20khz hearing ability of the human ear, so you would simply cut the low and high frequencies until you get a recognizable loss of quality. After that, add some distortion to the voice with some 1.5khz.

[bigsoundbrown]

Recently, I have been trying my hand at audio in a non-musical sense. Or rather, audio production that isn’t focused specifically on capturing a musical performance.

I took some time to analyze how exactly one could utilize audio editing and effects to manipulate a piece of music to better suite the video happening on screen. Like the Vangelis example used in my video, having the right sound at the right place can create an iconic and memorable moment.

The effect I use in my video is a phaser effect, which uses a filter to modulate the frequencies randomly, creating a distinct wishy-washy noise across the recording. Phasers’ settings can be adjusted to increase the speed and specific frequency that the filter is manipulating.

So remember, when choosing or creating the audio for your video, think about what feeling or emotion is trying to be conveyed. You can elicit these emotions by using effects that mimic those feelings.

Another example would be putting a big reverb on your music during a scene in space to metaphorically elicit the vastness of space.

Other practical examples would be:

- Dulling the music during an underwater scene to mimic water’s effect on frequencies.

- Distorting the music during a driving scene to mimic the radio’s less-than-perfect frequency replication.

[bigsoundbrown]

Never give up, for that is just the place(ment) and time that the tide will turn.

I’ve said it before and I’ll say it again: the recording arts have no easy “plug these numbers in” formula for greatness.

(Yes, yes, though, I know… there may be some arithmetic involved in calculations for the reflective properties of sound waves, etc… )

When it comes to capturing the details of your sound source, microphone placement is more important than any formula you could be given. However, it isn’t as simple as “place your mic X to get Y sound”. You have to be an engin-ear, and move your microphone around until all of those precious details are revealed.

For example, I was recently walking in the evening and heard a bunch of grasshoppers hiding in a bush and felt an urge to capture the sound.

I whipped out my field recorder, squatted down and began recording and received this:

As I moved in closer, and re-arranged the position AND direction of my microphone, the finer details of how exactly these grasshoppers produce this sound were revealed:

As you can hear, by re-positioning my microphone, I was able to actually hear the insect’s wings vibrating, exposing and capturing the biological and mechanical working of these creatures.

So remember: don’t simply place the mic and walk away. Hit record and listen in to what sounds you are capturing. By settling and not-moving the microphone around, you may be missing out on some very unique and fantastic sonic treasures.

[bigsoundbrown]

All the world's a gain stage.

Now that we are going to enter the realm of recording, I thought it would be best to start with (what I believe is) the most important step: gain staging.

Gain staging is the process of taking your electric signal, and making sure it’s perceived volume (in decibels) has “room” for more expansion.

 In the world of audio recording, you can always increase the loudness or distortion of a signal you put in. However, it is very difficult to reduce the loudness or distortion. This is because when you are recording, you are essentially etching the signals’ energy output into a medium. In other words, there is no going back.

 For example, I recorded two different tracks. Each is from the same guitar, same chord, etc… However, one was with proper gain staging, and the other was recorded “too hot”. (Listen with headphones, but WARNING: IT MIGHT GET LOUD!)

 Just take a look at the waveforms and you can see the difference!

  When properly staging the gain, you should always keep your signal in the “green” area. If you hit red, and “peak”, your signal will “clip” and cause unwanted distortion.

I treat the “yellow” area as my peak, just to make sure I have room to expand.

Here I added a distortion effect to my guitar signal. Take a listen to what happens to the already too distorted signal:

There is way too much unwanted noise from the guitar. To me, this wouldn’t fly in a recording environment.

So remember: When recording, you can always turn it up after it’s been recorded, but if you record it loud, it’s very hard to turn it down.

[bigsoundbrown]

Act III: Two new players enter the stage.

Now that we have gone over what you equipment you need to record, and how to approach the recording arts, it is time to touch on the standard application settings that one should use when trying to record and playback with good fidelity.

In an earlier blog post, I discussed how microphones and pre-amps sense and convert information into an electric current. Varying mediums have been created to store and replay this information.

Current technology, combined with our knowledge of physics, has allowed us to perfectly recreate a sound wave in digital playback. This is called analog-to-digital and digital-to-analog conversion (A/D or D/A conversion).

There are two major players when it comes to A/D conversion and vice versa: “Sample Rate” and “Bit Depth”.

Sample rate is the number of samples of audio carried per second, measured in Hz or kHz (one kHz being 1,000 Hz). For example, 44,100 samples per second can be expressed as either 44,100 Hz, or 44.1 kHz.

When it is necessary to capture audio covering the entire 20–20,000 Hz range of human hearing, audio waveforms are typically sampled at 44.1 kHz or 48 kHz. The approximately double-rate requirement is a consequence of the Nyquist theorem.

The Nyquist theorem introduces the concept of a sample-rate that is sufficient for perfect fidelity so that no actual information is lost during the reconstruction.  

The sample rate of playback or recording determines the maximum audio frequency that can be reproduced, for example:

Sample Rate: 8kHz = Maximum Frequency: 3.6kHz

11kHz = 5kHz

22kHz = 10kHz

32kHz = 14.5kHz

44kHz = 20kHz

48kHz = 21.8kHz

Audio is typically recorded at 8-, 16-, and 20-bit depth, which are theoretical maximum Signal-to-quantization-noise ratios (SQNR) for a wave. The SQNR reflects the relationship between the maximum nominal signal strength and the quantization error (margin of error for mapping large sets of input values) introduced in the analog-to-digital conversion. The higher the bit depth, the better the smaller the margin of error and the better the reconstruction.

In other words, bit depth gives input values a range values to map. For example, 16-bit resolution gives us 16 “digit slots” to work with when re-creating the value of a sine wave. The values can be combinations of 1’s and 0s from 0000000000000000 to 1111111111111111.  As one might imagine, that’s a lot of values to be mapped!

Here is a visual representation of a bit depth of 3:

This is a deep concept to grasp, but just remember that 1) To capture the range of human hearing, a sample rate must be twice that range (44kHz = 20kHz playback) and 2) A higher bit depth allows for a smaller margin of error when recreating a sound wave.

Good luck, watch your settings, and hit record!

[bigsoundbrown]

Like most arts, audio engineering isn’t something that you can simply learn from a book and extrapolate into the real world instantaneously. Be prepared to make mistakes! And take solace in the fact that every mistake you make and correct are benchmarks to becoming a better engineer.

The mistakes that you want to avoid are the monetary mistakes. Lost and without a guide, I made overzealous purchases and came to find that kind of equipment I collected were both redundant and incompatible.

The most wonderful thing about the Internet is that you can find answers to questions you haven’t even asked yet. Every technical issue that you run into has most likely been run into before, and solved. Every purchase decision you may be weighing has probably been weighed before. Look around, go on forums, call the companies… just ask questions!

We live in an exciting time for the recording arts: The accessibility and replication capabilities of digital technology are mixing with the current resurgence of analog work ethic and technology.  

“Commit to tape” is an example of the ideals of analog work ethic. Be confident that what you send into that microphone is worth writing in stone. But know it’s okay to walk away when it felt good, even if you aren’t sure you did it “correctly”. Think of it as a way of trying to maintain some humanity in a digitally integrated society.

When it comes time, look back at your benchmarks. Learn that you could have placed the microphone better. Hit record. Learn that you can ask for one more take. Feel it. Learn how to trust your ears.

After all, it is called audio engine-ear-ing.

[bigsoundbrown]

Recording 101: So you wanna rock?

Before we get into any recording theory, or practice, I thought that it would be best to familiarize y'all with some terminology. Additionally, I wanted to touch on the basics of signal-flow and what the minimum required hardware/software are:

A microphone is an acoustic-to-electric transducer that converts sound in air into an electrical signal.

A preamplifier (preamp) is an electronic amplifier that prepares a small electrical signal for further amplification or processing.

Audio interfaces have audio connectors that are electrical connectors that carry audio signals to your medium by either analog or digital format.

A digital audio workstation (DAW)is an electronic tool or application used for recording, editing and producing audio files.

In essence, the energy created from your voice or an instrument propagates (moves through) the air as waves of pressure. The microphone detects, reads and converts this pressure into an electrical output signal.

The electrical signal produced is sometimes low and needs amplification, or with large diaphragm condenser microphones, active electronic circuits must be powered. To correct this, a preamplifier is used to amplify, or “boost”, a signal’s level.

Next, the electrical signal must pass through an audio interface of some kind in order to reach your digital medium. Working like a mixing board to a tape machine, the audio interface allows the engineer to balance the level(s) before being recorded to the medium. Most audio interfaces that work with digital mediums connect via thunderbolt, firewire and USB. 

Finally, the data is saved in your DAW. Apple’s Garageband is an example of a common DAW.

4 easy steps:

1)   sound goes into the microphone and produces an electric signal.

2)   The signal is run into a preamp that boosts the signal to an appropriate, or readable level.

3)   Next, the signal(s) are run through an audio interface that

4)   Allows the data to be recorded into the DAW application running on your computer.

To make things even easier, a lot of producers of audio interfaces incorporate preamps into their devices, combining steps 2 and 3!

[bigsoundbrown]

I can lament with this situation. I have this habit of giving straight answers with kids. I tend to speak to them like I would any other adult, as I believe that to properly socialize any person, I should speak to them properly. However, this can lead me to bouncing around a sensitive issue (such as sex, as in your story). I found that I really monitor what media I consume around kids, especially my 6-year-old brother-in-law. That way, if I don't want him to ask me about sex, I don't watch shows about sex with him around.

Okay so tonight while watching The Big Bang Theory they were talking about sex, like how pretty much every episode does. My step daughter who is 8 was sitting on the couch drawing, looks up and asks “what is sex”? Ummm really what the heck am I suppose to tell an 8 year old what sex is. What’s...

[bigsoundbrown]

This is one of those moments that make me believe that art appreciation is a very natural human desire and feeling. Recording arts have especially allowed moments of merriment to be captured and shared endlessly. Capturing a moment of bliss isn't just for those involved in the recording, but social media and the internet has given us the opportunity to share these moments worldwide, instantaneously. What a wonderful thing.

Something I want to do with my photography is make some kind of difference. I don’t mean huge scale like change the world difference (though that would be kind of awesome.) I want to make a difference in someone’s day, week, month, or year. Knowing that I made someone feel better, even for a...

[bigsoundbrown]

Gravity. A natural force. Normally a topic discussed within astronomical and physical discussions. However, in this instance I refer to gravity to a specific art/medium. It is unsure why some gravitate toward a certain medium to express their messages, but for me, it has always been audio.

One explanation for this may be my upbringing. My earliest (and still terrifyingly awesome) memories are of me and my brothers playing with Lincoln Logs and building blocks while my father blast RUSH records on his turntable. The percussive booms and sonic screams were the soundtrack to my youthiness. Because of this, I have always had an affinity and comfort toward music/audio.

Another explanation could be my education. As soon as I possibly could I jumped into the public school music and band programs. I wanted to be a musical wizard, but became a band geek, and loved it. Concert band was my favorite extracurricular. It beat football, it beat theater, hell it even beat skipping class (yes that counts as an extracurricular). The atmosphere and professionalism that was perfectly performing a piece of music while locking brainwaves with your peers… That is a great, human feeling.

These experiences led me to pursue audio and music production. I wanted to tap into the experiences that affected me the most, the experiences that I believe truly shaped me, and the way I have connected with others.

Now, this blog will be my conduit in which I can share my experiences. I want to help others, and myself, learn to produce bigger and better audio. I want to deepen the exploration of personal recording, while simultaneously deepening my own knowledge of the craft.

I look forward to making some slick, sweet tunes with y’all.

[bigsoundbrown]

WHAT IS YOUR EARLIEST HUMAN MEMORY?

Building kingdoms of Lincoln Logs to RUSH records.