Resumen de los procesadores de dinámica

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Del curso dictado por Berklee College of Music

Introducción a la producción de música

167 calificaciones

Berklee College of Music

Introducción a la producción de música

167 calificaciones

Curso 2 de 4 en SpecializationEl Músico Moderno

Aprende sobre el proceso de producción de música -incluyendo la grabación, la edición y la mezcla- y sobre las herramientas disponibles para crear música contemporánea en tu computadora. Esta obra fue financiada con una donación del Banco Inter-Americano de Desarrollo con recursos del Fondo Coreano para la Reducción de la Pobreza. Las opiniones expresadas en esta obra son exclusivamente de los autores y no necesariamente reflejan el punto de vista del Banco Interamericano de Desarrollo, de su Directorio Ejecutivo ni de los países que representa. El Banco Interamericano de Desarrollo no garantiza la veracidad de la data incorporada en esta obra. Puedes cambiar el idioma en Coursera de inglés al español utilizando la página de ajustes de tu cuenta. Para cambiar los ajustes en tu cuenta de Coursera sigue los siguientes pasos: 1. Ve a coursera.org 2. En la esquina derecha superior haz click en el pequeño triángulo invertido que está a lado de tu nombre y foto. 3. Haz click en ‘Settings’. 4. Selecciona el recuadro debajo de ‘Language’ (idioma), selecciona español y salva los cambios realizados. Coursera ofrece ayuda financiera a los estudiantes que no pueden pagar los cursos y necesiten de una beca. Los estudiantes con ayuda financiera podrán tener acceso a todo el contenido del curso y completar todo el trabajo requerido para adquirir el Certificado de Coursera. La ayuda financiera solo aplica al curso en el que se aprobó la solicitud de ayuda financiera. Para aplicar haz click en la opción “Learn More and Apply” (aprende mas y aplica) debajo del menú a la izquierda.

De la lección

Efectos dinámicos

El sonido debe ser procesado y modificado en el estado de grabación para encajar en el contexto de la música. Esta semana nos centraremos en las herramientas que se pueden utilizar para dar efectos a la dinámica de las pistas y en cómo usarlas en un contexto musical.

Distorsión7:12

Manipulación del rango dinámico4:35

Resumen de los procesadores de dinámica4:27

Parámetros de los procesadores de dinámica8:08

Conoce a los instructores

Loudon Stearns
Assistant Professor
Contemporary Writing & Production

As we start manipulating dynamic range in the post production process, there's

really two tasks we're going to try to complete.

The first is to reduce the dynamic range which is called compression or we're

trying to increase the dynamic range [INAUDIBLE] which would be expansion.

Now, if we think of reducing the dynamic range there's two ways we could actually

accomplish that. We could make the loud stuff quieter or

we could make the quiet stuff louder. Either way, we'll decrease the dynamic

range. We'll get a more consistent performance

or more consistent recording. if we want to increase the dynamic range

we have two similar choices. We can ether make the loud stuff louder

or make the quiet stuff quieter. So that would increase the distance

between the loud and the quiet. One of the most common things is actually

to reduce the dynamic range or compress the dynamic range.

And the first way we might want to accomplish this is that previous example

I talked about, which was taking a vocal and trying to make all the words a little

closer to each other and level. Now there's a couple ways we can

accomplish this. the first one would be to kind of chop up

the vocal. Isolate each individual section with

editing. And increase the gain using some kind of

clip gain feature in your DAW. And it, it can be, it can be a very good

way to approach it because you're just changing kind of word by word.

Another really common way to adjust the level of a vocal so that it's more

consistent, is what we call riding a vocal, riding the fader, in which, we

play back the performance and we just move a fader up and down.

Kind of opposite the dynamics of the performance.

Actually, if you look at it really fine, what's really happening is we're kind of

making a line that's drawing along the bottom side of the waveform in the, in

the DAW. In fact, you can even do that yourself

after you finish a vocal performance. Kind of zoom out.

Just take a Pencil tool that's controlling volume.

And just kind of, draw a line right across the bottom of the waveform.

And what you're really doing there is saying, okay, if the vocal gets loud I'm

bringing the level down. And as the vocal gets quiet I bring the

level back up. It's really kind of simple procedure but

it is quite effective. and one issue with that that you might

want to think about is, then, you start doing this vocal riding on your main

fader. So you look at the DAW and that fader is

going to be jittering up and down, which is fine but that makes it kind of hard to

mix later. Because what if you want to bring the

whole vocal down and level. So this is one instance where you might

want to examine kind of a gain or trim plugin in your DAW to give yourself

another gain stage. So you'll have one insert, that's the

gain or trim plugin, which you can use to ride the vocal, to even out those levels.

And then, you'll have the main fader, so that you can mix the vocal and have it as

a good level within the mix. Maybe even automate that for dynamic

purposes or musical purposes over the course of the project.

Now that process of, of vocal writing is kind of algorithmic, you know?

You're kind of just saying, okay, if the vocal get's lower, bring it down, if the

vocal gets quiet, bring it up. It seems like some kind of thing we could

just train a computer to do. And that's, in fact, all that these

dynamic processors are doing. There's just a rule.

if the vocal gets too loud, bring it down or if the vocal gets too quiet, bring it

up. And that's all these dynamic processes

are, a compressor, it's a simple rule like that.

And what we're doing really is the same thing a compressor does.

We tell the compressor if the vocal gets above a specific set point, a specific

threshold, start reducing the level, right?

Kind of drawing along the bottom of the waveform.

And then, as the vocal or signal gets below that threshold, we bring the level

back up. Just what we were doing by drawing on the

bottom of the waveform. So all these dynamic controls, all these

dynamic processors. They are just changing volume.

But they do it in an intelligent way. They do it by listening, by analyzing the

signal itself, and then, responding to it.

These are all what we call nonlinear devices, in that they react differently,

at different amplitudes. Just like distortion is a nonlinear

device as it gets above a certain threshold, it starts reacting

differently. Compressors, limiters, expanders, and

gates are also nonlinear devices. And they're going to have a set of

parameters things like threshold, attack, release and ratio.

I'm going to be common among all these dynamic processors but the rule will be

different. Now, I want to talk about the individual

parameters we see, what they mean and the then, the different rules on the

different dynamic processors.

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