Amplitud en la mezcla

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來自 Berklee College of Music 的課程

Introducción a la producción de música

167 個評分

Berklee College of Music

Introducción a la producción de música

167 個評分

課程 2（共 4 門，Specialization 现代音乐家）

Aprende sobre el proceso de producción de música -incluyendo la grabación, la edición y la mezcla- y sobre las herramientas disponibles para crear música contemporánea en tu computadora. Esta obra fue financiada con una donación del Banco Inter-Americano de Desarrollo con recursos del Fondo Coreano para la Reducción de la Pobreza. Las opiniones expresadas en esta obra son exclusivamente de los autores y no necesariamente reflejan el punto de vista del Banco Interamericano de Desarrollo, de su Directorio Ejecutivo ni de los países que representa. El Banco Interamericano de Desarrollo no garantiza la veracidad de la data incorporada en esta obra. Puedes cambiar el idioma en Coursera de inglés al español utilizando la página de ajustes de tu cuenta. Para cambiar los ajustes en tu cuenta de Coursera sigue los siguientes pasos: 1. Ve a coursera.org 2. En la esquina derecha superior haz click en el pequeño triángulo invertido que está a lado de tu nombre y foto. 3. Haz click en ‘Settings’. 4. Selecciona el recuadro debajo de ‘Language’ (idioma), selecciona español y salva los cambios realizados. Coursera ofrece ayuda financiera a los estudiantes que no pueden pagar los cursos y necesiten de una beca. Los estudiantes con ayuda financiera podrán tener acceso a todo el contenido del curso y completar todo el trabajo requerido para adquirir el Certificado de Coursera. La ayuda financiera solo aplica al curso en el que se aprobó la solicitud de ayuda financiera. Para aplicar haz click en la opción “Learn More and Apply” (aprende mas y aplica) debajo del menú a la izquierda.

從本節課中

Filtro y efectos de delay

El sonido grabado puede modificarse usando herramientas que efectúan cambios en la calidad real del sonido. Esta semana veremos la ecualización y el delay, y estudiaremos los diversos efectos de sonido que se derivan de estos dispositivos.

Resumen de la lección3:16

El concepto del delay4:21

El espectro del delay9:45

Delays cortos modulados12:17

Resumen de filtros12:32

Delay medio: Slap Back4:38

Delay largo5:45

Reverberación10:57

Amplitud en la mezcla3:20

Espacio en la mezcla7:13

與講師見面

Loudon Stearns
Assistant Professor
Contemporary Writing & Production

We've seen how these delay affects can have a major impact on the stereo width

of our mix and I'd like to look at how we handle stereo width just in general in

the mix. The truth is, the most important stuff in

your mix is really right up the middle. We end up with this column of really

important elements. Usually we have the kick drum right in

the middle on the bottom. Above that, will be your bass.

Above that, your snare drum. And then your vocals.

And above that might be your high hat. So we have this column of really

important focal things, right in the middle.

And that's that's the central calm of the mix, and really what people are usually

focusing on. Now where the problems come in, and where

the stereo width comes in really handy, is right around those vocal frequencies.

In that range where you also have keyboards and guitars maybe.

And if you have them also right in the middle, right where that vocal is, it can

kind of get in the way of the vocal. In fact you might want to look up the

psycho-acoustic term masking at some point, cause it has a great impact on

this exact topic. But, so what we tend to do, is, where

there is a conflict, where in the middle of the mix you have a vocal, but also a

guitar. We can make the secondary elements wide.

And there is two ways we could do this, we could take a guitar, put it off to the

left and maybe a keyboard part that's in the same frequency range, off to the

right. And that'll give us a nice stereo width

of those two things out to the side, leaving the middle free for the vocal.

Or, if we just have guitar, we can use one of these stereo width enhancing

plugins. Like a chorus, flanger, phaser.

Or kind of a, a long delay with good stereo presence.

And put that on the device to push it out to the sides.

Now, you notice what's really important here is that there's a balance between

left and right. We don't want to have a mix that's really

heavy off to one side. We want to keep things nice and balanced.

So if you're putting something off to the left, put something off to the right to

balance it. Now we often find that the stereo width

is going to be much more pronounced in the higher frequencies and lots of mixes

take on kind of an inverted pyramid where the high end can be really wide, but then

when you get down to the base frequencies they're quite narrow.

And that has to do with just general acoustics.

have you ever set up a, a home stereo? Or read the manual?

I'm sure you read the manual, right, when you get your home stereo.

And when you're going to set it up, it talks about where to place the speakers.

And it'll be very specific about where to put kind of the mid-range and tweeters,

right? It'll be this many feet apart, pointed at

the perfect listening location. And then it'll just say put the subwoofer

somewhere in the room. You know?

You ever noticed that? You can put that anywhere and it's, it's

okay. Those low frequencies.

They just, they don't really, you don't really stereo-locate with them.

They just fill the room. So the best bet is, all your low-end

stuff. Put it right in the middle.

So that both speakers are moving in conjunction, moving together, and pushing

that information together. And then the upper frequencies are where

you can really have fun with that stereo width.

So think of balance, and also getting out of the way of that central column making

sure that those, those elements can really be heard right in the middle of

the mix.

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