Un lenguaje del timbre

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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

Síntesis

Estudiaremos el sintetizador, una herramienta muy importante dentro de la producción de música contemporánea. Aprenderemos cómo funciona el sintetizador, el cual te dará un lenguaje para describir el sonido. La música es una forma de arte colaborativa, por lo tanto, no hay nada más poderoso que una comunicación efectiva.

Osciladores7:08

Amplificadores13:33

LFO (Oscilador de baja frecuencia)9:41

Un lenguaje del timbre5:01

Conoce a los instructores

Loudon Stearns
Assistant Professor
Contemporary Writing & Production

Timbre is a tough thing to quantify, to define numerically.

We really don't have a precise definition of it.

We can say it's the relative levels of the partials of a complex sound.

But it also includes how sounds evolve over time.

One definition of timbre involves just relating two things.

Like timbre's the difference between an oboe and a violin playing the same note.

Which actually is a really good way to describe it.

Because they're the same pitches but their sounds are different, and the

sounds evolve in different ways. So it's hard to get a precise definition,

but hopefully learning a bit about synthesis gives you a way to kind of

categorize. And I'd like you to start thinking about

that with the sounds you hear around you. And with all these lessons we've done in

this course, I'd like you to start listening differently.

And actually even being aware of the different ways in which you do listen.

We can be focused on the music and the performance, like the pre-production side

of things. Where we focused on the song and the

performance and the music itself. Or we can get in a, a producer mindset.

We start thinking about dynamics, and timbre.

And we, or we can think about space. There's so many different ways to listen.

I want you to start focusing on those different things.

And synthesis gives us that language of timbre.

So every time you hear a sound, just give yourself a little thought.

Is that a sustaining sound or a non-sustaining sound?

Is that bright or dull? Would it have a faster tack or a slower

tack? Are there any cyclic variations that you

might represent with an LFO? So instead of thinking of kind of a

language of timbre, it's kind of a collection of descriptors.

And these descriptors are all things we learn about in synthesis.

So hopefully we get closer to defining kind of a language of timbre.

Now I also want you to consider how all the synthesis terms relate back to what

we've done with effects. If I think about a compressor, well

that's an envelope follower modulating a VCA, a voltage controlled amplifier,

right? All these things kind of connect in

really interesting ways. And there are other effects you'll run

into, like an auto pan, right? An auto pan is an LFO controlling a pan

knob. Just moves back and forth in a cyclic

manner, controlled by an LFO. So you'll find a lot of things can

actually be described with what we just learned here with synthesis.

And another thing I'd want to just kind of clue you in with in synthesizers,

they're almost all the same. They really are very similar to each

other and synthesizer designers are kind of tricky.

If you look at the interface, you'll find they're nearly all laid out in these

functional components that we've described here.

Most synthesizers will put the oscillator in the top left corner, and then the

filters in the middle, and then the amplifier at the end and the modulation

kind of going beneath. In fact, I would challenge you to go to

any synthesizer or sampler you have and try to define those components.

Where's the oscillator section? Probably have more than one oscillator,

but where is that section? Where is the filter section, there'll

probably be more than one, but where is that section?

Where is the amplifier and the amplifier envelope section?

And where is the modulation section? Now you may see a couple more elements in

a synthesizer. Very often there's an effect section

that's actually after the amplifier, which will include all your delay

effects. We've already looked at those though, and

there'll be direct control component, which is sort of a kind of modulation,

but it's things that you do personally. Remember when we were looking at MIDI

data, how we had those eight knobs on our controller?

Lots of synthesizers have eight knobs designed, just to be controlled by those.

And there's other direct control. Velocity.

Velocity is a modulation source that can control anything else.

So usually you have velocity modulating amplitude.

Maybe velocity modulating filter cutoff, so it gets brighter as you play the key

harder. Key position, modulating oscillator

pitch. So all these things are connected.

And hopefully, you're starting to see how synthesis is not connected just to

itself. But also to all the other components that

we've studied this semester. This has been an excellent semester.

I really enjoyed this six weeks, and I hope you did too.

But again, there's so much more to know. You want to take this further.

Take it to the discussions here in the Coursera course.

You have this huge group of people that you've been studying with for these six

weeks. And I hope these, these communications

and these friends can last longer than this course.

You can keep in touch with them. And continue on your journey.

One of the beautiful things about the internet and the con, contemporary

society we live in, and this internet society is musical collaboration is not

confined by geography. We can collaborate over the internet

easily and it's becoming the standard way.

So what you've built up here. These, these friends you've built here

can go on with you for a long time. And you can produce with them, and I hope

you do.

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