Hearing Is Believing

Transcript

Hearing IS Believing A Soundtrack Pro and Sound Mixing Guide Some Basic Ideas Going Into the Studio • Editing and mixing sound is a complex process of both hearing and SEEING. I cannot stress enough that your eyes WON’T decieve you in any of the production phases, but your ears will. You should learn how to combine the senses. Don’t get frustrated at first with this physiological process, but it WILL make all your other production work shine (most award-winning journalism-based media happens because of great audio). • When using software to edit in a timeline you’re merely referencing an audio file; specifically, time code from a file that exists on your hard drive. Much like editing video in a timeline, with audio what you do in the timeline simply is a map of files that exist on your computer. You are essentially manipulating time. We make edits in the timeline, which is similar to creating a complex playlist. The timeline determines when to play the file: a visual map of audio timecode. • When you create a multi-track project, this is typically referred to as a “session.” You may in fact create many of these sessions for one audio project. My advice is that you do this at certain points in longer projects in case you start going down a creative path that you maybe shouldn’t. So, at logical points in this process save the multi-track project/sessions under different names. In STP, when you double click on an audio track in the timeline it will send that actual file into the WAVEFORM edit mode. • So, while a session refers to the use of mixing and manipulating multiple tracks of audio, you can also edit a waveform itself. It is very important that if you edit a sound file--meaning the file you originally captured-you do so“non-descructively.” For instance, if you want to make cuts, EQ, apply filters, or kill frequencies, etc. to the file itself then you want to make a copy of that file so you don’t “destroy” the original file. Any “destructive” edit you make to an original file and save will change the original file itself...you CAN’T go back!!! This rule DOESN’T apply to a session where you EQ, cut, or manipulate representations of sound files. Destructive editing can be okay, as well, let’s say if you’re taking out background noise (even then). • Any time you record into a computer or even a digital recorder, you are using an analog-to-digital converter. A/D converts continuous sound signals into discrete bits of information. Essentially, it turns vibrations into 1s and 0s. • When you play back a sound file from a computer, or iPod for that matter, the process is reversed using a digital-to-analog converter. The D/A converts information packets into audible sound waves. BOTH converters are found inside digital field recorders, computers, etc. Hearing Sound in Post-Production: • Monitors are the last and a very important link in the recording chain of audio production. Much like the headphones that are used to monitor in field recording, you will want studio monitors that give off a flat frequency response. Any emphasis or demphasis on high or low frequencies through your monitors will not accurately represent the actual sound IN the recordings/mix and eventually what everybody will hear. Sony MDR-7506s are great for recodring in the field, as well as for studio reference only when you NEED to wear headphones. • Monitor placement in any studio is key. The diagram is an overhead view of monitor placement relative to you. Ideally, you want the monitors at ear level. Do your best to get both the woofer (the larger bottom speaker that emits low frequencies) and the tweeter (the smaller top speaker that emits high frequencies) to be at ear-height. If you cannot do this with the speakers upright then turn them on their side so that the tweeter isn’t well above your ears (this would heighten your sensitivity to low frequencies sounds). If you are using a mixer board for monitor sources, set the frequency gains to 0 or U. I prefer the KRK Rokit studio monitors, although there are tons of other great monitors on the market. Playback Reference: • So, well, everything sounds great in your studio or in your monitors, but how many people listen to sound in that environment??? Listening to your recording and editing in a professional studio with professional monitors doesn’t mean that your recording will sound good on all sound reproducing machines. For instance, you want your work to sound as good on a clock radio as it would on somebody’s home surround sound system. It is helpful to reference playback, which means once you’ve worked on it in the studio that you go and listen to it in your car and hear it as others will hear it. • Most people do listen to audio productions in their car, home stereo, or on their iPod. If your work sounds as nice through these playback media as it does in the studio, then success! Most of my mixtapes were referenced with my stock Saturn stereo system. I would literally sit there in the car and listen to the mix, taking notes, and then going back into the studio and making adjustments. Consider doing this not only for audio work made for the radio/web but also listen to the audio for your video projects this way. If you have the booming system in your whip, it WON’T really help. Accoustics: • The science of studying sound is known as acoustics. Here we’re mainly referring to the sonic characteristics of a room and how that impacts sound. In essence, an acoustic guitar is merely a space that shapes sound just like a studio is a place that shapes sound. • ***You MUST remember that every room has sound and its own acoustic charateristics. How you record sound will depend on acoustics; how you hear it in post will depend on acoustics. It’s so important to consider this. To get a sense of a room’s acoustics, stand in the middle of the space and clap and just listen to what sounds like an echo. • Recording studios are meant to be acoustically dead. This will allow for true reproduction of the sound being recorded and mixed with no effect from the room. Remember that sound is movement through matter. When that movement hits surfaces it bounces off those surfaces (called reverb), and will then bounce off of another surface, and another, and another, until its energy dies out. This is why most recording is done in large rooms or why opera houses/ theaters are set up in a way where the room gets larger the further it is from the stage. There are less surfaces for sound to reverberate off of and theaters literally shape the flow and amplification of the sound sourcel . Reverberation: • Reverberation or reverb is when sound energy is enclosed in a space it creates reverberation. When sound waves encounter a surface, they simply bounce off and head in another direction. Reverberance is linked to the speed at which sound energy disappears in a room. Typically, reverberation creates and echo (you will commonly hear this added in post-production to color the voice (mainly in song vocals) and give it the effect of real reverb). Here is an example of reverb in a church. Churches are generally very acoustically active and therefore create tons of reverb. Click here to see how reverb and acoustics work. • Sound absorbing materials are used to diffuse the reverberation or room noise. Concrete is the worst and absorbs nothing. Wood us usually quite absorptive and foam seems to absorb the most sound. • Sound will reverberate off of its opposite surface. That is why you will often see studios where the foam is checkered. Clearly, the opposing wall would be foamed directly across from where there is no foam. Sound also does a ton of reverberation in room corners. Here are some profiles of acoustic sound foam. This stuff isn’t cheap, but you DON’T need to foam the whole room. DON’T EVER USE consumer-grade eggshell foam. (Right): A little checker foam in action. If you can’t sound-proof the entire room, go for the checker method. (Left): Cork is another option instead of foam, although it is in the same price range generally. Sound blankets can also be used to dampen reverb. You can hang these on walls, drape them over televisions, air conditioners, etc. or even hang them to create a recording booth w/in a room. This is your best bet for dealing w/ concrete walls, as well. A wood door is best for a studio, but blanket-hanging or door foaming is an option for metal doors. How to Set Up a Home Studio • Site 1 Site 2 Soundtrack Pro Guide • The most important thing about editing in STP is that you take the time to learn the software. Obviously, you will learn it by exploring it, experimenting with it, and simply getting your hands dirty. If you understand how FCP or any other layerbased softwares (i.e. Photoshop, Illustrator, etc.) work then you will at least have the basic concepts down. • This guide is intended only to get us through some of the basics and as a point of reference in case you have some troubles. • If you continue to have problems, try working w/ the tutorials listed to the right or search the Web for other examples. Typically, if you have a question about functions and processes w/ STP, others have too. So, ask the “Internets.” Online STP Tutorials This five-part tutorial goes through way more than I do in this guide, so please take advantage of it (if you can get through the guy’s accent). • • • • • Part 1 Part 2 Part 3 Part 4 Part 5 Lay of the Land: • STP is part of the Final Cut Pro/Logic suite, so like FCP there are about 3-4 different ways to perform tasks. Getting familiar w/ those options will help you to figure out how to most effectively work with audio. My suggestion is to learn some of the basic shortcuts to improve your overall workflow. This is a view of STP with all the PANES opened. You can close these panes out, move, edit, and delete tabs in those panes for a custom digital work station. Pane Controls: • Pane controls allow you to control the options that you see while you’re working. I prefer to work with only the Right Pane on so I can see my VU levels, and, when working with a complicated mix, sometimes the Lower Pane/Mixer is good. ***By clicking the Pane icons you turn the panes on/off. If you want to move the tabs around to customize, just click on them and drag and drop. Left Pane: • The top window in the left pane has you VIDEO or PROJECT tabs. The Project tab has all the info about the project and the Video tab is if you are working on a sound project that you exported from FCP. This will allow you to see what you are editing to and is best used when you are doing sound effects to match to action (Foley work). • The bottom window has a tons of tabs, but the only one I use is the Effects tab. This is where you will select and add different effects in an effects chain/signal chain. A to dd Ti Vis m u el al in M e ( M ar k ) er k A ) l( B B la de (B ) To o ow rr A in lad Ti e A m ll el T in ra e ck (B s B ) A to dd M AN ul e tit w ra T ck r a c M A ake ud io a N Fi ew le M a ac ke k Ne Pr w oj M ec u t lti tr *You can hit M to add a time marker Stamp Properties onto a clip (U) Master Envelope Lift Properties of a clip (UU) Set Project Sampling Rate Snapping On/Off (N) • 32=Podcast • 44.1=CD • 48=Broadcast Snap To Track Height Zoom In Volume Output Level Record Play Turn Loop Region On/ Off Lower Pane: • The main thing that you’ll want to use in the Lower Paner is the MIXER. This is especially good for mixing with multiple tracks that are layered over one another. This way you can see the individual tracks’ VU meters and also be able to monitor the master VU meter simultaneously. • Changes made to a tracks’ gain in the mixer will correspond to the gain control on the track in the timeline. Solo Track Record to Track Mute Track • In the Right Pane you’ll find your METERS tab and Right Pane: you RECORDING tab. Remember you can place tabs in any of the windows you’d like, so customize STP in a way that makes sense to you. ALWAYS keep an eye on the meter!!! Amplitude is measured in dB. Reset resets the db reading This right here is a nice reading. -12 thru -3db. Can I say it enough??? • Keep it so that your levels are under -3dB at ALL times. • A healthy range is -12 thru -3db in the master mix. • Your eyes rarely lie. Listen and watch. • Just becasue you set the gain at -3 doesn’t mean it plays at -3. This is bad. You’re clipping. You’re losing information. Bad! Stop! Now! Recording: • I prefer to record onto a digital recorder and then import into STP. I like being able to move around w/ the recorder and monitor in the headphones. Use this recording option preferably in a studio setting. Set the track you would like to record to using either the drop-down menu or in the R button. Recording device (BuiltMic, Built-In Input). Stereo or Mono Select Monitor: Use the built-in output but ALWAYS use headphones unless you’re in a studio. • Once you have set the recording to go to a track and it turns RED, check your levels in the Recording VU meters and you, again, want a -12 thru -3 range. • After everything is set move the scrubber to where you want to start the recording. Give yourself 5-10 seconds of roll time BEFORE you need to begin the narration or dialog to just ready yourself as a “performer.” • When you’re ready, hit the record button in the lower pane. Click here for a short video on recording controls and using some of the functions in the multi-track. (Although I stress that you record on the digital recorders). • Below the Meters/Recording window you’ll find the BROWSER window. Here is where you will access your media. Simply click on the file you’d like to add to the multi-track and drag it into an open track in the timeline. Multi-Tracking: • The multi-track is where you will do most of your work: blading, manipulating gain, panning, fading, and alinging files in the time line. • Most of the FCP principles apply here. • Try right clicking on any of these controls and you’ll see myriad options. Track Gain Pan to Left and Right Channels When you select this arrow above you can see the Volume and Pan envelopes. Here is where you set key frames. ***Sound envelopes allow you to manipulate the audio levels at different points in an audio track, such as creating a fade in or a fade out in an audio clip, by adding key frames (the little diamonds), for volume, pan, and added effects. If you right click on the Stereo Panner you can change the track to a surround sound track where you can manipulate sounds that travel through 5 sourround sound speakers. Effects: • While there is a GREAT deal you can do with effects, much of that knowledge will come through using them and testing out different effects settings. The MOST important will be the EQ, Single Band EQ, Delay, Dynamics, Modulation, Pitch Shift and Reverb types of effects. However, the most important for you right now is the EQ/Single Band EQ types of effects. Here is an example of a signal chain or effects chain. What you do in STP is the same as you’d do w/ an electric guitar. • When you apply an effect to a track your create a signal/effect chain. If you play an electric guitar you know how this works. Basically, like effects pedals, effects at the beginning of the chain will be processed through each effect placed after it. So if a delay (an echo) is at the end of the chain all the previous effects signals will have delay before it is amplified. If you look at the diagram above the guitar creates the original signal (this would be your audio track) and then that signal is processed the all the effects in the chain (so all signals will be processed by the Wah) before it is amplified through a speaker. • While you can add effects to an audio file, we will just do it in a session in the multitrack as a nondestructive procedure. To add an effect first make sure that you have the Track selected that you’d like to add it to (this is not the audio clip itself, but the track), which will turn the track a silver highlighted color. • Next, go into the Effects tab and select an effect from the categories. So, here we’ll add a Channel EQ by selecting it w/ the cursor and then hitting the + sign. Once you do that you’ll see it pop down below w/ a check mark next to it and the Advanced Parameters window will also pop up (this is where you fine tune your effect). The -- button is how you remove an effect. • The Check button will turn the effect on and off during playback but doesn’t remove it entirely (the -- button does that). • When you click on the Advanced button a new window will pop up where you can adjust the parameter of the effect. For us here, we’re equalizing or adjusting high, low, and middle frequencies (bass/mid/treble). This window will also pop up when you first add the effect. • In the box on the right I have boosted the low and middle frequencies and have taken the high frequencies down. Again, you will have to play around in these and refer to web tutorials or use the STP PDF manual to really figure it out. You will be able to hear adjustments you make as the track plays. You can just close out the box once you’ve adjusted the parameters. • Other helpful EQ effects are the Single Band EQs. These effects only alter high or low frequency bands. The LOW CUT only adjust frequencies below the set frequency level; HI CUT is frequencies above the level. LOW PASS is frequencies above; HIGH PASS is frequencies below the set level. • Additive EQ: is when you sweeten audio to boost certain frequencies. We want to feel the bass first. • Subtractive EQ: is used to take out unwanted background noise or intrusive frequencies. Remember what frequency level “natural” distractions happen at. Mixing Down/Exporting: • After you’ve mixed everything, added effects, etc. and you’re ready to be done with it you will have to mixdown all the multiple tracks into a singular track by exporting the project. • Go to FILE--->EXPORT or E and the Export window will pop up. • Name the file and select its destination. Select the items to mixdown. Typically it’s the MASTER MIX, although sometimes you may only want to mixdown selected tracks. The Master Mix refers to not only edits made in the multitrack but also the gain of your MASTER OUTPUT, which can be used to adjust the levels of the overall mix. Do you want to send the new file to a track in the multi-track or to iTunes? Or, maybe do nothing? Set that here in AFTER EXPORT. Select the FILE TYPE. Wave=CD Audio Quality/Size while MP3 is smaller and more compressed, etc. • Stereo Bit Rate = file size. The higher the number (192/320) supposedly equates to a higher quality sound. • Sample Rate = file size. As the number of samples per second gets larger the wave signal becomes more defined. Again this is a quality thing and there are different standards for different media. Normalization: • It is often recommended that once you mix a file down or perform DESTRUCTIVE edits to an AUDIO FILE that you NORMALIZE the file. • Audio normalization is the process of increasing (or decreasing) the amplitude of an entire audio signal so that the resulting peak amplitude matches a desired target (usually -6dB thru -3dB) • To normalize an audio file it must be selected in the timeline and then go PROCESS-->NORMALIZE or L • Set the level, hit OK and then it will take a few seconds to process this. • ***Note that if you have a clip in the multi-track/waveform mode that is very low, you can really boost its signal through normalization. Working With Waveforms: • As mentioned before, when working in the WAVEFORM edit mode you are working with the actual audio file iteself, so changes you make and save will “destroy” those qualities in the original. It sounds bad, but it’s not (especially if you have room hum or other sounds that hinder your audio that you want to take out, but experiment non-destructively first). • If you want to experiment w/ files you’ve captured or want to reverse, slow or speeden, etc. an audio file then MAKE A COPY OF IT in the original folder and work with that. Remember, whatever you do and save you cannot go back on. • When working in the multi-track mode you can double click on an audio track and it will send it into the Waveform edit mode. • Here is an image of the WAVEFORM mode. The track pictured here is a MONO track. A stereo track would have two channels and two waveforms which can be adjusted and manipulated seperately. Fr A rr ow To o l( A To eq ) ol ue (W nc ) yS Sa el m ec pl e tio Ed A n ud it io To ol Zo Str (P om etc ) To hin A g ol ud To ( Z io ol ) Sc (T ) ru b To ol (H ) • Most all of the functions in Waveform mode are the same as in Multi-Track mode, except for several nuances. Allows you to select, loop, move, etc. (A) Select and delete when in frequency mode (W) Reshape the waveform (P) Lengthen or shorten a section of the waveform (T) Drag the scrubber in the waveform (P) Display Waveform View Display Frequency Spectrum View • One of the most useful processes you can perform in Waveform mode is removing unwanted background noises and room noises from your audio files. I’d love to show you how, but instead, just watch these tutorials. • Removing Background Noise • Surgical Noise Removal Please Note: • You will find out, as you delve deeper into this software, that there is so much more that you can do in both the Multi-Track mode (especially with effects processing) and Waveform mode (i.e. analyze an audio file for pops, clicks, and power line hum, etc.). This is up to you to find out and experiment with as this guide is just the basics. Please watch all the tutorials for a more interactive lesson. • Remember, the more acticulate you are in the PRODUCTION phase the less time you’ll spend fixing mistakes in POST-PRODUCTION. • Also, the ideas in both production and post are quite the same: 1) always listen critically; 2) always watch your VU meters; and 3) treat sound recording and editing as a sonic-visual process. Speeding Up Your Workflow: • I have always felt that people could do two easy things to really save themselves time when working with any software such as STP: 1) customize the layout, tabs, and toolbars; and 2) learn the basic keyboard shortcuts for actions you perform often. 1. For instance, you could pull all your tabs (i.e. Video Monitor, Recording and Meters VUs, and Effects) into one window or at least in one pane so you can see as much of the multi-track as possible and everything is in the same spot. The more you have to move the cursor across the screen, the more energy you waste. So, think psycho-ergonomically here as we all tend to look, effeciently move, and think in similar patterns. Like most Mac-specific software, you can drag and drop tabs with little effort. 2. In line with customization as a way or working better/quicker, learn the keyboard shortcuts for some operations, but definitely for switching between tools. Think about how much time you waste using the cursor to switch between the arrow and blade tool when you just have to press a or b to select those tools. I don’t even want to tell you that you NEED to know that S saves the project...that shortcut should be second nature to you in ALL software. Use the space bar to play/pause. Just learn to be more efficient. You can find a complete shortcut guide in the STP manual, but I list some in this guide. Please Note: General shortcut keys to use in Soundtrack Pro Space Bar = makes playhead play Return = brings playhead to beginning of file/project Shift+Return = brings playhead to beginning and starts playing Option-Right/Left Arrow = Moves the playhead forward or backward by one frame L = To begin forward playback at normal (1x) speed J = To begin reverse playback at normal (1x) speed K = To pause playback JJ or LL = To double the current playback speed, forward or reverse To move the playhead at below 1/2x speed hold down the K key, then press and hold down J or L Layouts: Control A = Show/Hide Left Pane Control S = Show/Hide Lower Pane Control D = Show/Hide Right Pane Navigation: Apple + = Zoom In horizontally Apple - = Zoom Out horizontally Apple Shift + = Zoom In vertically Apple Shift - = Zoom In vertically Shift Z = view the entrie file or project in the editing window N = Snaping off and on M = Make a marker Shift M = moves playhead to next marker Option M = moves playhead to previous marker Quick Keys for Multitrack Projects ONLY: B = Razor Blade Tool A = Arrow or Selector Tool S = Split a track in two Option S = Join two split track back together E = To show/hide envelopes for specific tracks Up Arrow = takes playhead to start of next clip in timeline Down Arrow = takes playhead to end of previous clip in timeline Some Tips for Mixing: • Mixing is a total art form unto itself and is where I believe that a recordist becomes the artist. While there is so much you can do mixing in multi-track software, it’s best that you can just make it sound nice and balanced and just learn how to be consistent in a mix. These tips are just some techniques I use to maintain a balanced mix and to keep it fluid. Mixing Music With Voice: • You have to remember that all sound files have their own unique natural amplitude based upon how they were recorded by yourself, or mixed/mastered by others. So, just setting all files to, let’s say -3dB, doesn’t mean they will play at that amplitude because adding or subtracting a track’s gain in the multi-track literally modifies the original file’s amplitude characteristics. • When I bring files into the multi-track to edit the first thing I do is check its VU reading and then adust the gain to range in the -6dB to -3dB range. *Note: this is what I do for a “typical” mix such at for a NPR-styled feature or audio from a film; for making sound effects or laying many tracks in a small timeframe, the techniques are much more finite. • When working with multiple files from the same recording source (i.e. narration or one interviewees’ sound bites) set them at all the same gain point in the project, which should result in the same VU reading. This will keep narration/inteview tracks at the same level throughout the mix. • After you’ve set the levels and the files are in place in the timeline you are ready to make fine edits using the volume envelopes. Music Soundbite or Narration • Now hit the arrow to make the envelopes drop down. Set two anchor keyframes about one second before and one second after the soundbite waveform. • Now set two more keyframes on the music track which basically set your fade to and fade from points. If you place the scrubber somewhere between these two points and adjust the track gain. This will only lower this section of audio w/in the inner keyframes. ***Setting the anchor keyframes means after the soundbite ends the music will fade back up to the initial gain setting w/ the healthy VU read. • You will have to determine what gain to set this to by listening. Make sure the music doesn’t fight the voice but KEEP monitoring your VU levels (remember, laying tracks is adding one track’s amplitude to that of another track’s amplitude). I have found that bringing the music level down to a -18dB to -24db reading will mix well with a soundite and will still keep you in the -6dB to -3dB range. • However, I found that the beginning of the soundbite itself was too hot while the rest of clip had a good VU reading. • To fix this, repeat the same process as above and set the section’s level to it peaks like the rest of the clip. • The last step is to add a short fade in and a fade out to the soundbite. This will lessen the “attack” when the the soundbite comes in, as well as fade in/out any of the room noise that a clip has. • ***ALWAYS fade in from and fade to the ZERO LINE. You don’t ever want to have the fade begin or end on a sound waveform. Fading from/ to the zero line produces a true and goodsounding fade.