Aprenda sobre o processo de produção musical (inclusive sobre gravação, edição e mixagem) e conheça as ferramentas disponíveis para criação de música contemporânea no computador. Devido à recente disponibilidade de softwares e hardwares de alta qualidade e baixo custo, agora as ferramentas de produção musical estão ao alcance de todos. Os álbuns deixaram de ser criados apenas em estúdios, agora também são criados em quartos. À primeira vista, isso é libertador. Qualquer pessoa pode criar um álbum por um custo bem baixo, basta comprar alguns equipamentos e um pacote de software. Mas, se você for mais a fundo, verá que não é tão fácil assim. É preciso conhecimento, dedicação e criatividade para produzir música. Fornecer conhecimento é o propósito deste curso. Não importa o tipo de música que você está produzindo, há um grande conjunto de ferramentas que você precisará usar. Cada lição deste curso demonstrará um conjunto diferente de ferramentas de produção musical, seguindo vagamente o processo da produção musical de gravar, editar e mixar. Vamos começar com algumas noções sobre a natureza do som e como o percebemos. Em seguida, vamos analisar os componentes necessários para gravar áudio em um computador, para que você compreenda os dispositivos pelos quais o som precisa se deslocar em um processo de produção musical. Depois de gravado, o som precisa ser organizado em uma linha de tempo, um processo conhecido como edição. A edição nos permite dar a impressão de execuções perfeitas e criar muitos dos sons que ouvimos na música contemporânea. A ferramenta de edição contemporânea é a estação de trabalho de áudio digital (DAW, Digital Audio Workstation), um software que armazena e organiza todos os recursos de um projeto musical. Vamos focar as ferramentas de edição que são essenciais na produção de música contemporânea e que são fornecidas por todas as DAWs. Após a edição, os sons devem ser combinados ou mixados, por isso vamos analisar a mesa de mixagem, que pode ser um local muito criativo se você souber usá-la. Vamos explorar as funcionalidades básicas das mesas de mixagem em hardware e software, inclusive volume, panning, mudo, solo, barramentos, inserções, envios e submixagens. O processo de mixagem, no entanto, engloba mais ferramentas do que a mesa de mixagem fornece. O som também deve ser processado, ou seja, modificado de modo a fazer com que seu estado gravado se enquadre no contexto da música. Vamos analisar a compressão, a equalização e o retardo, além de examinar os muitos efeitos de áudio que são extensões desses dispositivos e como eles são usados em um contexto musical. No fim das contas, o processo de produção musical depende da sua criatividade. A criatividade é um produto da mente, e ela permanece armazenada ali, sem ser expressada, até que as ferramentas certas são usadas da maneira certa para compartilhá-la com o mundo. Se você tem uma ideia em mente, precisará passar por inúmeras etapas, cada uma com uma ferramenta importante, para chegar ao seu público. Traga a dedicação e criatividade para este curso, que ele fornecerá o conhecimento para fazer acontecer.
Filtros
Loading...
Del curso dictado por Berklee College of Music
A tecnologia da produção musical
19 calificaciones
Explorar los videos relacionados
En Coursera, encontrarás las mejores conferencias del mundo. Aquí te mostramos algunas de nuestras recomendaciones personalizadas para ti
De la lección
SÍNTESE
Vamos analisar o sintetizador, uma ferramenta importante na produção de música contemporânea. Ao prender como funciona um sintetizador, você terá o conhecimento necessário para descrever os sons. A música é uma forma de arte colaborativa, por isso não há nada mais poderoso do que a comunicação efetiva.
Conoce a los instructores
Loudon StearnsAssistant Professor
Contemporary Writing & Production
In a synthesizer after the sound leaves the oscillator it enters the filter
section. Now in a simple synthesizer there'll be a
single filter. But in a more complex synth you'll have
many filters. Now, we've already talked about filters
in general. We've talked them in EQ setting, and I
said in a mixing board that a low pass filter isn't incredibly useful, because
it reduces the high end so much, kind of removes the high end completely.
In a synthesizer though, the low pass filter becomes the most important type of
filter because these geometric wave forms are so bright and so harsh we have to
remove the high end drastically. So, the low pass filter, 24 decibel low
pass filter, becomes the most important type of filter.
And if you just say, the filter, that's what you're talking about.
Most synthesizer filter's actions are state variable, they can change their
shape. You can switch them over to be high-pass
filters or band pass filters. But the most common is definitely low
pass. Now like the oscillator and the
synthesizer and the filter can be modulated, and the most important
modulatable thing in a filter is going to be the filter cut off.
And you hear it all the time in a synthesizer patch where it starts bright
and then gets dull, kind of a sweeping sound across this across it, or a wah-wah
type of sound. Well that is the filter moving over time.
In fact, I'd like to make a little analogy to the human voice.
If we think of the human voice, we have an oscillator and a filter.
Our oscillators, are the vocal folds, right?
They create a steady tone. It's actually kind of like a square wave
with a narrow pulse with, it's kind of on and then off for a while, then on and
then off for awhile. We call it a, a pulse wave.
And the mouth functions as your filter. And in fact, if you're thinking of kind
of making a synthesizer patch, that's actually a really useful thing.
Try to vocalize it and see what changes. Like if I have a patch that goes,
wah-wah. Well, that's going to be the filter
changing, not the osillator, right? I move my mouth but my vocal folds, I
felt like they were at the same pitch the whole time.
So we have this idea of oscillator filter all over the place.
And when we have a moving filter we get these kind of wah sounds or the sense of
going from bright to dull. There's another important part of a
filter that you want to be aware of. The filters in a synthesizer tend to be
resonant filters. In a mixing board, we kind of avoided
boosts a little bit. We didn't want to really draw attention
to the EQing, we're trying to keep the sound a little more pristine.
But in a synthesizer anything goes. And often we do want to have a major
boost in the sound of the filter becomes an important characteristic of the
synthesizer itself. Some people would say the fill, the sound
of the filter is the most important part of the synthesizer.
And resonance is actually related to feedback on a delay line.
We said that all filters are really delays.
Well, delays have feedback and that's what resonance is.
As you turn up the resonance it emphasizes the cutoff frequency, so
instead of the low pass filter looking like this, it has a big peak right off
that cut off frequency, and it can be very obvious when it's swept.
In fact, the resonant peaks, it can be so obvious as it's swept if you have a
really peaky resonance, if it's really high, you'll hear each harmonic kind of
jump out as it sweeps across the the, the, the spectrum and across the note.
So there are many things that can modulate the filter.
Right? very commonly key position does.
You want that filter to move up and down along with the key position.
And you can also have envelopes and LFOs modulate the filter frequency.
All you want to remember with this and the most useful thing with this is if
you, if you pick a patch and it's too bright or too dull.
Go to that big filter cutoff frequency knob.
It's also a great one to modulate over time.
It's very dramatic and it's a really important motion in electronic music.
Let's look at the filter section of our simple synth before moving onto the
amplifier section. We're now going to examine the filter
section on this simple synthesizer. I'd like you to take a moment to go to
your synth, and see if you can locate the filter section there.
Mostly likely, it'll be called filter, or VCF, which stands for Voltage Controlled
Filter. Or FIL, and most likely, you'll have
options for how to adjust that filter, between the standard filter shapes of low
pass, high pass, band pass, and band stop, which also might be called notch.
What I'm going to do first is filter some noise.
And this way we'll get to see what the different filter shapes are.
But we've already covered this a bit in the course, it shouldn't be that
difficult. We'll start with a low pass filter.
[SOUND] And now I'm using the low pass filter, because it's a standard synth
filter, and I'm manually modulating cutoff frequency.
I'll start off with the high and we'll try a sawtooth waveform.
Now a sawtooth waveform can be very obnoxious [SOUND] but if I start start
lowering the cutoff frequency of the filter it becomes a much more manageable
and kind of, typical synth sound. Now an interesting thing about the filter
is, what happens when we keep on reducing it?
[SOUND] You see that oscilloscope? It starts looking more and more like a
sine wave. As we move those, as we remove those
upper harmonics, we remove the upper harmonics in the spectrum display.
Our oscilloscope starts looking more and more like a sine wave as I bring that
filter lower and lower. It's pretty interesting how the
relationship between wave shape and spectrum really works out.
If I try the same thing with square wave we get a similar thing happening.
I'll start with the cut off frequency high.
[SOUND] It's very bright. I'll start bringing it down.
[SOUND] And we get more and more toward a sine wave.
Once we have just that single fundamental frequency going.
We get more and more like a sine wave. Now, one thing we mentioned earlier was
that, if we have high resonance, we can notice the individual peaks of the
individual harmonics as we sweep the cutoff frequency.
And this is a sound you'll start to notice in synth sounds in general.
Let's try it out. [SOUND].
I'll increase resonance. And then I'll start sweeping the cutoff
frequency. [SOUND] See, it gets so loud when I get
over those harmonics, I start getting distortion.
There's another harmonic. Another one.
And there you go. So with high resonance we get a peak
right at the cutoff frequency, and as you sweep that it will emphasize those
individual harmonics drastically. We can also notice this as a steep peak
if you're using noise. [NOISE] Since there's no individual
harmonics on noise and there's just energy everywhere we hear it as a smooth
sweeping across the frequency range. Sounds a lot like a whistle, doesn't it?
You want to start noticing what high resonance sounds like.
and when you're creating synth patches, don't feel like you always need
resonance. Many synth patches don't have any at all,
and it can sound great. Resonance is useful when you're trying to
emphasize the sound of the filter. To make the filter an obvious thing in
your patch. When you want the filter just to remove
unwanted harmonics or unwanted frequencies.
Then use no resonance. We also have the other kind of standard
synth shapes. So I was using low pass which is the
standard, but we also have high pass which emphasizes the high end and it
sweeps. [SOUND] Sounds good.
It just ends up with a high sizzle as the frequency range gets high.
We, we also have band pass which is great at emulating for frequencies of the voice
particularly at higher resonances. [SOUND] And with maybe a square shape.
[SOUND] We just get a little. And a peak in the range, and we kind of
avoid that fundamental entirely. And then with the notch filter we can get
nice kind of hollow regions in the frequency range.
[NOISE] And that noise, that also becomes very obvious.
[NOISE] So we get that phaser sound that we had when we were looking at effects.
So those are the common things you'll have to adjust in a filter.
I'd like you to go to your synthesizer and see if you can locate the filter
section. It'll take some time to figure out how it
works. I think the most important thing about
learning synthesis is experimenting. That's why I'm keeping this week kind of
short. I want you to spend the time
experimenting with sounds, see what you can come up with.
Can you take the techniques we're looking at here, and the concepts we're looking
at here, and figure out how to apply them in your synthesizer?
The other thing I'd like to point out is that manuals are excellent.
And very often on a synthesizer, the manual of a synth will give you a
wonderful rundown of synthesis in general, and specifically how to apply
these exact techniques in your synthesizer.
Explora nuestro catálogo
Inscríbete de manera gratuita y obtén recomendaciones personalizadas, actualizaciones y ofertas.
Coursera brinda acceso universal a la mejor educación del mundo, al asociarse con las mejores universidades y organizaciones, para ofrecer cursos en línea.
© 2019 Coursera Inc. Todos los derechos reservados.
