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.
Delay largo
Loading...
來自 Berklee College of Music 的課程
Introducción a la producción de música
167 個評分
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.
與講師見面
Loudon StearnsAssistant Professor
Contemporary Writing & Production
[BLANK_AUDIO] Now we're going to increase our delay time even more, to a category I
would call the long delays. And in these you hear a very distinct
echo, I say a word and I hear it again a little bit later.
And you've experienced this in the real world.
You go to a big canyon or a really big room, say something, and you hear it
again later. And these, these can be difficult to use
in a mix because they were, they make such a distinct delay that we often want
to make sure it happens in time with our music.
And one of the really common ways to use long delays is actually to have it tempo
set. And that's a great feature that's
available in most of our contemporary. Delay plugins is the ability to set the
delay time, not in milliseconds or seconds, but in metric units, like
quarter notes and eighth notes. Really useful because now the delay will
emphasize the underlying musical content, which is great.
As we also get into these longer delays, we want to think again about the stereo
spectrum. In that we don't have to have the delay
in the same exact place as the original dry signal.
In fact, very often we'll have the delays out to the sides.
We might even have a delay that's called a ping pong delay which is a specialized
type or a setting on a long delay where the sound bounces from left to right, to
left to right. Can be kind of overwhelming, maybe a
little psychedelic, but can also fit really well and kind of thicken up and
support the music. One last consideration when you start
getting into these longer delays, particularly when they have high feedback
and we continue on a long time. You want to make sure that the listener
can perceive a difference between the dry signal and the delayed signal.
If the delayed signal is the same exact sound as the dry one, it's hard to make
the distinction. And it just sounds like the person maybe
is talking over, and over, and over instead of it being a delay.
So, many of these long delay plugins have filters built into them.
So every time time the signal repeats, every time it delays, it changes
slightly. Maybe the high end diminishes or the
bottom end goes away. And this makes it easy for the listener
to distinguish within the dry and the wet signal, and really makes it fit much
better in a mix. One more thing about long delays, they
can tend to get in the way of your harmony.
If you have a piece of music with a complex harmony that's changing rapidly.
When you have a delay, if you think about it, the previous note is hanging on for a
long time. And if you have a long delay in a complex
piece of music those harmonies might clash.
So, be careful. Always make sure, just like with the
dynamic effects, that what you do with the effects has a relationship to the
underlying music. The song is the most important part.
You're just polishing it here. But delay effects can be a lot of fun to
play with. And let's look at some parameters that we
have on long delays. A medium delay like a slap back delay is
meant to emulate the sound of a real space.
But some songs require a more exotic sound, and having an extended number of
tempo sync delays can be very effective in many contexts.
And I'd like to try that out here. I'm going to synchronize the timing of
the delays to my tempo. And most contemporary delay plug ins have
this functionality, and it's a great one. First, I'm going to synchronize both the
left and the right to quarter notes, and I'm going to put the feedback up fairly
high. This way, we'll get a nice, repeated wash
of delays. Let's hear it.
[MUSIC] It's a nice sound but it can be kind of overwhelming.
When we have a set of long delays, it's really important that the listener
understands what they're hearing. That there's a dry signal and a bunch of
copies after. So it really helps to make the copies or
the delays sound different than the original dry.
A great way to do this is to use a built-in filter.
And many stereo delays or tape delays or long delays will have a filter built in,
which allows you to make the delays sound different than the dry signal.
Cutting some high end and cutting a little bit of the bass from the delayed
signal really helps to make the listener really understand what they are hearing.
Lets hear it again after we have introduced the filtering in the delay
path. [MUSIC] It's more subtle and it has
depth. And it's really interesting.
One other thing that can be very helpful is to change the delay time in the left
and right to give us a wide evolving ping pong kind of delay.
So I'm putting the left side synchronized to quarter notes but the right side
synchronized to eighth notes. Let's hear this.
[MUSIC] [MUSIC] I really like that. Now let's hear it in the context of the
whole mix. [MUSIC] So those medium slap back delays
are great for creating the sense of a space.
But we keep feedback quite low with those because we don't want to have a buzzing
note as part of our delay. And for the long delays, we can bring
feedback up a bit and it's really nice when they are synchronized at tempo to
create a delay that emphasizes the meter and fills in the mix.
