Sound FX Unlocking the Creative Potential of Recording Studio Effects 1st Edition by Alex Case 1138468991 9781138468993

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ISBN 10: 1138468991

ISBN 13: 9781138468993

Author: Alex Case

FX introduces today’s up and coming musician to the fantastic creative potential of the most popular instrument today- the home studio. Explaining the basic and advanced signal processing techniques used in professional music production (EQ, compression, delay, reverb etc), using real world popular music examples and an emphasis on the perceptual results and musical value of these effects, FX teaches the Recording Musician how to achieve professional production standards and maximise their creative potential. The accompanying website www.soundfx-companion.com includes audio exaples of FX featured in the book. Features: A chapter dedicated to each key effect: Distortion Equalization Compression and Limiting Delay Expansion and Gating Pitch Shift Reverb Volume More than 100 line drawings and illustrations. Accompanying website featuring examples of all FX covered in the book. Discography of FX at the end of each relevant chapter. From the Sound FX Intro: The most important music of our time is recorded music. The recording studio is its principle musical instrument. The recording engineers and music producers who create the music we love know how to use signal processing equipment to capture the work of artists, preserving realism or altering things wildly, as appropriate. While the talented, persistent, self-taught engineer can create sound recordings of artistic merit, more productive use of the studio is achieved through study, experience and collaboration. This book defines the technical basis of the most important signal processing effects used in the modern recording studio, highlights the key drivers of sound quality associated with each, shares common production techniques used by recording engineers with significant experience in the field, references many of the touchstone recordings of our time, and equips the reader with the knowledge needed to comfortably use effects devices correctly, and, more importantly, to apply these tools creatively.

Sound FX Unlocking the Creative Potential of Recording Studio Effects 1st Table of contents:

Section 1: Sound—Signals, Systems, and Sensation
Chapter 1: Audio Waveform
1.1 Medium
1.2 Amplitude versus Time
1.2.1 Amplitude Confusions
1.2.2 Time Implications
1.3 Amplitude versus Distance
1.4 Amplitude versus Frequency
1.5 Complex Waves
1.5.1 Square Waves
1.5.2 Sawtooth Waves
1.5.3 Triangle Waves
1.6 Decibel
1.6.1 Logarithm
1.6.2 Ratios
1.6.3 References
1.6.4 Zero Decibels
1.6.5 Negative Decibels
1.7 Dynamic Range
1.8 Sound Misconceptions
1.8.1 Mistaking the Message for the Medium
1.8.2 Don’t Picture These Sketches

Chapter 2: Signal Flow
2.1 Types of Sessions
2.1.1 Basics
2.1.2 Overdubs
2.1.3 Mixdown
2.1.4 Live to Two
2.2 Console Signal Flow
2.2.1 Channel Path
2.2.2 Monitor Path
2.2.3 Split Console
2.2.4 In-Line Console
2.3 Outboard Signal Flow
2.3.1 Parallel and Serial Processing
2.3.2 Effects Send
2.3.3 Insert
2.4 FX Decision Making
2.4.1 FX Procrastination
2.4.2 FX Assertion
2.4.3 FX Undo
2.4.4 FX Innovation

Chapter 3: Perception
3.1 Preconscious Listening
3.2 Audible Sound
3.2.1 Masking
3.2.2 Masking Reduction
3.3 Wishful Listening

Section 2: Amplitude FX
Chapter 4: Distortion
4.1 Distortion of Amplitude
4.1.1 Harmonic Distortion
4.1.2 Intermodulation Distortion
4.2 Sources of Distortion
4.3 Motivations for Distortion
4.4 Distortion Dos and Don’ts
4.5 Selected Discography

Chapter 5: Equalization
5.1 Spectral Modification
5.2 Parameters for Spectral Modification
5.2.1 Frequency Select
5.2.2 Cut/Boost
5.2.3 Q
5.2.4 Multiband EQ
5.2.5 Take Away the Q
5.2.6 Take Away the Frequency
5.2.7 Take Away the Knobs
5.2.8 Some Knobs are Switches
5.2.9 Shelving EQ
5.2.10 Filters
5.3 Applications
5.3.1 Technique
5.3.2 Fix
5.3.3 Feature
5.3.4 Fit
5.3.5 Special Effects
5.3.6 Audio Ear Training

Chapter 6: Compression and Limiting
6.1 Parameters
6.1.1 Threshold
6.1.2 Ratio
6.1.3 Attack
6.1.4 Release
6.1.5 Make-Up Gain
6.1.6 User Interface
6.2 Technologies
6.2.1 Tube Compressors
6.2.2 Optical Compressors
6.2.3 VCA Compressors
6.2.4 Digital Compressors
6.3 Nominal Application: Dynamic Range Reduction
6.3.1 Prevent Overload
6.3.2 Overcome Noise
6.3.3 Increase Perceived Loudness
6.3.4 Improve Intelligibility and Articulation
6.3.5 Smooth Performance
6.4 Advanced Applications
6.4.1 Altering Amplitude Envelope
6.4.2 Ambience and Artifacts
6.4.3 De-Essing
6.4.4 Distortion
6.5 Advanced Studies: Attack and Release
6.5.1 Definitions
6.5.2 Visualizing Attack and Release
6.5.3 Parameter Interdependence
6.5.4 Program Dependence
6.5.5 Pumping and Breathing
6.6 Learning Compression — Some Personal Advice
6.6.1 Unnaturally Difficult to Hear
6.6.2 Hype and Hyperbole
6.6.3 Imitation
6.6.4 Multiple Personalities
6.7 Achieving Compression Success
6.8 Selected Discography

Section 3: Time FX
Chapter 9: Delay
9.1 Source of Delay
9.2 Signal Flow
9.2.2 Basic Features
9.2.2 Modulation
9.3 Long Delay
9.3.1 Calculated Delay
9.3.2 Echo
9.3.3 Support
9.3.4 Slap
9.3.5 Emphasis
9.3.6 Groove
9.4 Short Delay
9.4.1 Constructive and Destructive Interference
9.4.2 Comb Filter
9.4.3 Early Reflections
9.4.4 Inevitable Combinations
9.4.5 Flanger
9.5 Medium Delay
9.5.1 Double Tracking
9.5.2 Chorus
9.6 Experimental Sessions
9.6.1 Experimental #1
9.6.2 Experimental #2
9.7 Summary
9.8 Selected Discography

Section 4: Applied FX
Chapter 12: Basic Mix Approach
12.1 Mix Challenge
12.2 Global Effects
12.3 Special Effects
12.4 Kick Start
12.5 Back Beat
12.6 Get Down
12.7 Chug On
12.8 Key In
12.9 Speak Up
12.10 Go Solo
12.11 Do It All

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