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Martika Dupigny-Williams

Research on Sonic Components in Recordings

High pitch frequencies like a radar system


Low pitch frequencies can be felt
Distortion extenuates certain frequencies
Frequency: How many timed a sound osculates in a second
High frequency High pitch
Low frequency Low pitch
Studio tuned to a key to reverberate the right sound
Can change rooms to match instruments
As you make a room bigger or smaller it extenuates different frequencies
Sound is measured in decibels
Spectrum from left to right Sonic field Sometimes artificially creates
Speakers balance left, right, centre
Depth perception Closer, further
Proximity effect Further from source, thinner Closer from source, hear more
bassier (more frequencies)
When a sound is higher the waves are closer together (higher frequency sound)
When a sound is lower the waves are further apart (lower frequency sound)
Longer waves pass through thinner materials and curve easily around barriers
Shorter waves are reflected by relatively thin materials and dont bent much
around barriers
Noise is unwanted sound
Signal is what youre trying to hear

Depth of Sound
Ambience/reverberation
EQ
Dynamics

Mix: Overall sound of a recording or performance


Voice is on top/in centre of a mix so its heard and not lost in the mix
Balance of a recording between sounds
Different styles have different mixes for stylistic reasons

Sound Effects
EQ Extenuate frequencies
Boosts and Cuts Volume and dynamics (e.g. wah wah frequencies)
Volume change masking Use effects to hide what dou dont want (e.g. string
noise, breathing, drum peddle squeaking)
More faults with live recordings as there is less control

Martika Dupigny-Williams

Noise gate: Everything above a


certain volume, it lets the sound
through
Anything below a certain volume wont be heard
Dynamics Compression The more compressed, the more unnatural the
sound
Only lets sound through once it gets above a certain threshold and then stops
Compressor squashes signal so never goes above a certain point

Musical Faults
A musical fault involves a problem that lies with the musician or a mistake linked
with an instrument or equipment that the player has adjusted or fixed themselves
This can be done from a drummer playing out of time, to a guitarist recording a
part without tuning the guitar beforehand
Sonic Faults
A sonic fault is linked with the production and mastering side when it comes to
recording a song
Whereas the musicians are the people to blame when it comes to musical faults,
a sonic fault is to do with the technology side of the recording
Surface Types
Tricky as sound waves travel frequently, they eventually hit obstacles
A percentage of sound is reflected and the rest is absorbed and passes through
whatever the material is
An echo or reproduction of the sound can be heard if it is designed for the sound
to be captured and absorbed
Reverberation
The perseverance of sound in a particular area or space a period after the
original sound has been produced
Reverberation is caused by sound being produced in abound space or area
resulting to a large number of echoes to compile p and then slowly decease due
to the walls or air absorbing the sound
Sound Proofing
Increasing the distance between source and receiver
Using noise barriers to reflect or absorb the energy of the sound waves
Studio Based Acoustics
Recording within a controlled environment that been built and designed correctly
is likely to produce sound that is more accurate , without using too may special
effects or devices to enhance the recordings quality
When putting together the sound for our film it is important to take these things
into consideration as it will affect the outcome of the final product. For example,
taking surface types into account depending on the
surroundings as some surfaces absorb sound while others reflect it. By taking

Martika Dupigny-Williams
things like this into account this
successful.

will make the short film more