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The term audio itself refers to sound technology. If at first it was just a way of perceiving the environment, now with its help people have even learned to have fun.
What would our life be like without music? They say that she is even capable of healing. It is no coincidence that there are many common myths about sound, its processing and recording that simply require consideration.
Investments in quality sound cannot start with the right acoustics of the room. This statement is actually not true. You have to understand that the concept of "sound quality" is actually non-linear. It is also important to remember that the recording room is just as important a part of the overall contribution as the sound source itself. That is why it is so important to pay special attention to the room. Some of them have truly euphonious places where standing waves are neutral or even decorate their source. But without a thoughtful and even scrupulous approach to this issue, it can happen that even the best equipment and instruments in the world will sound disgusting.
It's better to pay attention to a good preamp than a good mic. This question has no single answer. Initially, it is the microphone that affects the sound more than the preamp. But, as mentioned above, quality is a non-linear concept. As a result, it happens that inexpensive dynamic microphones can respond better to certain sources than elite condenser microphones. In this case, it is the preamplifier that will become the narrow bottleneck. It is he who will determine the quality, influencing the character of the sound and its tone. Experienced sound engineers say that the best combination is a great mic and a decent preamp. But even the quality of the microphone will not prevent the situation if the preamp turns out to be bad. So in reality you have to experiment, choosing the best option.
It is best to record vocals in booths or small rooms. This statement has very little to do with reality. Even if the acoustics are linearized with absorbers, small rooms are usually unsuitable for vocal recording. In such rooms, resonances are located in the middle frequency range, where the vocals are located. As a result, the voice may acquire unnecessary coloration. When mixing, it will be very difficult, if not impossible, to fix.
If you want to record vocals in a way that is free of natural reverberations, a medium sized room is the best place to do this. There should be appropriate acoustic design, sound absorbers and maybe even diffusers. Another option would be a small room with non-parallel walls and fiberglass insulation. If you record audio in a medium-sized room, the vocals will sound accordingly. If you record in a tight, confined space, then nothing good will come of it.
Sounds that the human ear cannot hear can be felt in a certain way. On this issue, it is rather difficult to unequivocally state anything, because there is no sufficient research that would determine the impact of ultra-low and ultra-high frequencies on humans. This is a rather subjective matter, which has more to do not with science, but with psychophysics and emotional moments. For example, some people may not be able to pick up even half of the range heard by others. Others go beyond the generally accepted framework, while others generally hear sounds from other worlds.
When mixing a track, you should try so that it immediately has CD quality. Mixing actually has other tasks - to create a balanced and coherent sound that meets the artistic task at hand. Brightness, sound and other characteristics of commercial audio CDs must be left to the mercy of mastering.
Thanks to mastering, the song starts to sound like on the radio. This statement is completely untrue. Mastering is really an important process. But the musical quality of the composition is laid even at the moment of composition, arrangement and performance. Sound quality comes from recording a track. It's worth noting that well-recorded material will be fairly easy to mix. You have to literally crawl out of your skin to make it sound bad. If mixed correctly, well-recorded material will become a real masterpiece. Of course, not everyone has the opportunity to record in top quality studios. But even with a limited budget and with the appropriate competent approach, you can achieve acceptable audio quality. But if you treat the process without proper attention and wait for the appearance of quality from just mastering, then nothing good will come of it. In the best case, the mastering engineer will have to spend his time at least making something out of the already spoiled melodies that would be at least not so disgusting to listen to.
The sound can be improved with high quality cables. And while it is difficult to be 100% certain that this opinion is wrong, it is likely that it is. Only now it is difficult to make a correct comparison, since our perception is tied to the person himself and depends on many different factors. Even if you listen to the sound and immediately play it through the same system, you will hear the difference. The perception of sound is related not only to physics, but also to psychology. Differences in the conductivity of cables do not play a special role. The difference can only be noticed when working with very long cables. And if earlier work was carried out with Chinese material from the nearest flea market, then switching to a normal cable can significantly change the sound.
The best sound quality is obtained when recording at around 0 dBFS. This statement is an absolute myth. When digital audio was just in its infancy, it was recorded at 16 bits. Now it is already 24 bits, which allows you to leave a lot of clean headroom and not think about the efficiency of using the digits. Many preamps perform best at levels that are significantly less than 0 dBFS. That is, a digital-looking quality level of -1 dBFS after passing through the preamplifier will be distorted. This will degrade the overall sound quality. It is also important to remember that the analog part of the converter will work better in a certain range of maximum levels, usually from -10 to -20 dBFS.
You can completely remove vocals from a finished track. In fact, this is not true. People come up with the most unusual ways to remove certain sounds from the received audio material. But none of them is able to do it completely. With phrases subtraction, EQ or M / S processing, you can only crush vocals. And it will turn out, I must say, not bad. Only vocals are a very broadband source. The most advanced method available today is spectral editing. The sound is presented in the form of a multi-colored picture, which can be edited in any graphics editor, in the same "Photoshop". Then it remains to convert the drawing back to sound. Skillful processing allows for truly amazing results. Even for playing "Guitar Hero" songs were decomposed into composites using this technique. But she also has her limitations, especially they are critical to vocals.
The best recording requires the best equipment. And this opinion is wrong. You need the right equipment and the right hearing. So you shouldn't invest in expensive items, it is better to spend money on acquiring new knowledge, on learning from real professionals, on developing your own skills and hearing.