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Metin Bektas's Audio Effects, Mixing and Mastering PDF

By Metin Bektas

This e-book is a short advisor to results, blending and gaining knowledge of for newbies with a spotlight on Cubase. the 1st bankruptcy highlights the main ordinary results in audio creation akin to compressors, limiters, equalizers, reverb, hold up, gates and others. you are going to know about how they paintings, whilst to use them, the tale at the back of the parameters and what traps it's possible you'll come across. The bankruptcy additionally encompasses a quickly peek into automation and what it could actually do. within the moment bankruptcy we specialise in what constitutes a very good combine and the way to accomplish it utilizing a transparent and understandable method. this is often through a glance on the gaining knowledge of chain that might support to shine and push a combination. The consultant is sprinkled with beneficial tips and historical past details to make the educational adventure extra vibrant. Readers attracted to the mental results of tune are invited to maneuver directly to the booklet "Curiosities of the Mind".

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Extra resources for Audio Effects, Mixing and Mastering

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3. Equalizers A problem is a chance for you to do your best - Duke Ellington Equalizers are to audio engineers as screwdrivers are to mechanics - a fundamental tool you'll need for any job. As you start your journey into mixing and mastering, learn as much as you can about equalization, from the big picture to the nuances. This approach will most certainly pay off later on. The task of the EQ is to boost or cut a certain frequency region to either solve a problem or make a mix shine. If the song is too boomy, a cut around 100 Hz can do wonders, if it's missing warmth, a boost around 300 Hz might be just what it needs.

1. Compressors Small is the new big - Seth Godin Almost all music and recorded speech that you hear has been sent through at least one compressor at some point during the production process. If you are serious about music production, you need to get familiar with this powerful tool. This means understanding the big picture as well as getting to know each of the parameters (Threshold, Ratio, Attack, Release, Make-Up Gain) intimately. How They Work Throughout any song the volume level varies over time.

Hence, natural reverb lacks in high frequency content. The filters are usually controlled by a cut-off and dampening parameter. The cut-off parameter determines at what frequency to start dampening the spectrum (usually somewhere around 50 Hz for the low cut and 7000 Hz for the high cut). In Cubase's Roomworks plugin the cut-off parameters for the filters can be found on the left side at the top. The dampening parameter, usually in form of a gain knob, specifies how pronounced the cut is. Moderate values are around - 4 dB.

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