Recording Basics – Various Audio Effects
Satisfactorily recording all tracks for a musical piece is just the first step of a long journey. The tasks ahead are numerous. Next comes adding and processing audio effects (here, we refer to post-recording enhancements. Many effects can also be applied during recording using front-end methods, like using hardware EQs or reverbs during recording, or leveraging the mixer's built-in effects. This step is akin to seasoning soup – too little is bland; too much ruins it; just right makes it delicious. Note that many DAWs offer non-destructive audio editing (e.g., temporarily loading effects that only apply during playback or mixdown without altering the original waveform, most notably Samplitude 2496). Use this feature extensively to avoid irreversible mistakes. Below is a brief introduction to common audio processing effects. Application requires hands-on exploration.
1. Volume: Self-explanatory. Software volume adjustment usually has three methods: slider/knob; percentage; dB value increase/decrease; another is maximizing volume without clipping.
2. Noise Reduction: Reducing or eliminating unwanted noise like device hum, ambient noise, plosives, pops. Common methods: FFT sampling noise reduction, noise gates, EQ adjustment.
3. Equalizer (EQ): Boosting or attenuating volume in specific frequency bands. Audible/infrasound vibrations have frequencies: lower frequency = lower pitch; higher frequency = higher pitch. Bass instruments (cello, BASS) primarily occupy 30-300Hz; human voice 60-2000Hz (2KHz, 1KHz=1000Hz), etc. Often, a sound isn't pure; recorded audio comprises multiple frequency bands (fundamental and harmonic ranges). E.g., female voice fundamental is 200Hz-2KHz, harmonics extend to 8-10KHz; instruments likewise.
Often, EQ is necessary: Boost violin highs for brilliance; Boost lows/attenuate highs for BASS/kick drum. With many tracks, EQ is vital for clear layering, separation, and preventing muddiness.
EQ's other key uses: (1) Noise reduction, often applied during recording (using mixer EQ); (2) Creating new timbres.
Common instrument/vocal EQ boost/cut ranges (reference):
● Guitar & Vocals share similar primary ranges, roughly 200Hz-2KHz.
● Snare Attack: 5K-7K, Shell Resonance: 160-400Hz; Cymbals above 10KHz.
● Lead Vocal: Boost: 200-500Hz; 2K-5KHz; Cut: Below 50Hz, Above 12KHz.
● Strings: +: Similar to vocals; -: None.
● Acoustic Guitar: +: 10K-12KHz; -: Below 100Hz.
● Electric Guitar: +: 150-300Hz; 2K-5K; -: Below 150Hz.
● Hi-Hat: +: Above 10KHz; -: Below 100Hz.
● Tom: +: 100-300Hz; 2K-6KHz; -: Below 60Hz.
4. Compression: Can be understood conceptually like EQ, but targets volume dynamics across different parts of the audio. It smoothly boosts volume in parts below a threshold (leaving others unchanged) and attenuates parts above a threshold (leaving others unchanged), or both. Simply put, it balances volume.
5. Reverb: Essentially sound reflections, the lingering sound waves bouncing in space. Proper reverb makes the sound source feel more realistic and present, also adding embellishment.
6. Chorus: Refers to sound layering (not group singing). It widens and thickens the original sound.
7. Delay: Extends the sustain of the sound source. Unlike reverb (reflections), it's direct repeats, not lingering sound. Unlike chorus (simple layering), delay creates a sense of displacement and extension.
8. Pitch Shift: Changes the pitch of an audio segment, raising or lowering it.
9. Time Stretch: Changes the duration (waveform length) of an audio segment, altering tempo.
10. Panning: 2D spatial positioning (left/right placement in stereo).
11. Surround (Panning Automation): Creates moving 2D spatial positioning.
12. Fade In/Out: Gradually brings sound from silence to presence or vice versa (volume gradient).
13. Silence: Zero amplitude, muting the waveform.
14. Echo: Sound reflections.
15. Convolution: Reverb + Echo with a distinct electronic character.
16. Stereo Enhancement (Expand): Widens the stereo field.
17. Limiting: Caps audio levels exceeding a set value at that value.
18. Many other effects exist: Exciter/Enhancer, Flanger, Distortion, Wahwah, etc. Specific applications and operations will be covered later.
1. Volume: Self-explanatory. Software volume adjustment usually has three methods: slider/knob; percentage; dB value increase/decrease; another is maximizing volume without clipping.
2. Noise Reduction: Reducing or eliminating unwanted noise like device hum, ambient noise, plosives, pops. Common methods: FFT sampling noise reduction, noise gates, EQ adjustment.
3. Equalizer (EQ): Boosting or attenuating volume in specific frequency bands. Audible/infrasound vibrations have frequencies: lower frequency = lower pitch; higher frequency = higher pitch. Bass instruments (cello, BASS) primarily occupy 30-300Hz; human voice 60-2000Hz (2KHz, 1KHz=1000Hz), etc. Often, a sound isn't pure; recorded audio comprises multiple frequency bands (fundamental and harmonic ranges). E.g., female voice fundamental is 200Hz-2KHz, harmonics extend to 8-10KHz; instruments likewise.
Often, EQ is necessary: Boost violin highs for brilliance; Boost lows/attenuate highs for BASS/kick drum. With many tracks, EQ is vital for clear layering, separation, and preventing muddiness.
EQ's other key uses: (1) Noise reduction, often applied during recording (using mixer EQ); (2) Creating new timbres.
Common instrument/vocal EQ boost/cut ranges (reference):
● Guitar & Vocals share similar primary ranges, roughly 200Hz-2KHz.
● Snare Attack: 5K-7K, Shell Resonance: 160-400Hz; Cymbals above 10KHz.
● Lead Vocal: Boost: 200-500Hz; 2K-5KHz; Cut: Below 50Hz, Above 12KHz.
● Strings: +: Similar to vocals; -: None.
● Acoustic Guitar: +: 10K-12KHz; -: Below 100Hz.
● Electric Guitar: +: 150-300Hz; 2K-5K; -: Below 150Hz.
● Hi-Hat: +: Above 10KHz; -: Below 100Hz.
● Tom: +: 100-300Hz; 2K-6KHz; -: Below 60Hz.
4. Compression: Can be understood conceptually like EQ, but targets volume dynamics across different parts of the audio. It smoothly boosts volume in parts below a threshold (leaving others unchanged) and attenuates parts above a threshold (leaving others unchanged), or both. Simply put, it balances volume.
5. Reverb: Essentially sound reflections, the lingering sound waves bouncing in space. Proper reverb makes the sound source feel more realistic and present, also adding embellishment.
6. Chorus: Refers to sound layering (not group singing). It widens and thickens the original sound.
7. Delay: Extends the sustain of the sound source. Unlike reverb (reflections), it's direct repeats, not lingering sound. Unlike chorus (simple layering), delay creates a sense of displacement and extension.
8. Pitch Shift: Changes the pitch of an audio segment, raising or lowering it.
9. Time Stretch: Changes the duration (waveform length) of an audio segment, altering tempo.
10. Panning: 2D spatial positioning (left/right placement in stereo).
11. Surround (Panning Automation): Creates moving 2D spatial positioning.
12. Fade In/Out: Gradually brings sound from silence to presence or vice versa (volume gradient).
13. Silence: Zero amplitude, muting the waveform.
14. Echo: Sound reflections.
15. Convolution: Reverb + Echo with a distinct electronic character.
16. Stereo Enhancement (Expand): Widens the stereo field.
17. Limiting: Caps audio levels exceeding a set value at that value.
18. Many other effects exist: Exciter/Enhancer, Flanger, Distortion, Wahwah, etc. Specific applications and operations will be covered later.