S o u n d F X

Unlocking the Creative Potential of Recording Studio Effects
by
Alex U. Case

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Table of Contents

S E C T I O N 1: Sound – Signals, Systems and Sensation

Chapter 1 : The Audio Waveform

1.1 - Medium
1.2 - Amplitude v. Time

1.2.1 Amplitude Confusions
1.2.2 Time Implications

1.3 - Amplitude v. Distance
1.4 - Amplitude v. Frequency
1.5 - Complex Waves

1.5.1 Square Waves
1.5.2 Sawtooth Waves
1.5.3 Triangle Waves

1.6 - The Decibel

1.6.1 The Logarithm
1.6.2 Ratios
1.6.3 References
1.6.4 Zero Decibels
1.6.5 Negative Decibels

1.7 - Dynamic Range
1.8 - Sound Misconceptions

1.8.1 Mistaking the message for the medium
1.8.2 Don’t picture these sketches

Chapter 2 : Signal Flow

2.1 - Types of Sessions

2.1.1 Basics
2.1.2 Overdubs
2.1.3 Mixdown
2.1.4 Live to Two

2.2 - Console Signal Flow

2.2.1 Channel Path
2.2.2 Monitor Path
2.2.3 Split Console
2.2.4 In-Line Console

2.3 - Outboard Signal Flow

2.3.1 Serial and Parallel Processing
2.3.2 The Effects Send
2.3.3 The Insert

2.4 - FX Decision Making

2.4.1 FX Procrastination
2.4.2 FX Assertion

Chapter 3 : Perception

3.1 - Pre-Conscious Listening
3.2 - Audible Sound

3.2.1 Masking
3.2.2 Masking Reduction

3.3 - Wishful Listening

S E C T I O N 2: Amplitude Effects

Chapter 4 : Distortion

4.1 - Distortion of Amplitude

4.1.1 Harmonic Distortion
4.1.2 Intermodulation Distortion

4.2 - Sources of Distortion
4.3 - Motivations for Distortion
4.4 - Distortion Dos and Don’ts

Chapter 5 : Equalization

5.1 - Spectral Modification
5.2 - Parameters for Spectral Modification

5.2.1 Frequency
5.2.2 Cut/Boost
5.2.3 Q
5.2.4 Multiband EQ
5.2.5 Take Away the Q
5.2.6 Take Away the Frequency
5.2.7 Take Away the Knobs
5.2.8 Some Knobs Are Switches
5.2.9 Shelving EQ
5.2.10 Filters

5.3 - Applications

5.3.1 The Technique
5.3.2 The Fix
5.3.3 The Feature
5.3.4 The Fit
5.3.5 The Special Effect
5.3.6 The End

Chapter 6 : Compression and Limiting

6.1 - Parameters

6.1.1 Threshold
6.1.2 Ratio
6.1.3 Attack
6.1.4 Release
6.1.5 Make-Up Gain
6.1.6 User Interface

6.2 - Technologies

6.2.1 Tube Compressors
6.2.2 Optical Compressors
6.2.3 VCA Compressors
6.2.4 Digital Compressors

6.3 - Dynamic Range Reduction

6.3.1 Prevent Overload
6.3.2 Overcome Noise
6.3.3 Increase Perceived Loudness
6.3.4 Improve Intelligibility and Articulation
6.3.5 Smooth Performance

6.4 - Advanced Applications

6.4.1 Altering Amplitude Envelope
6.4.2 Ambience and Artifacts
6.4.3 De-Essing
6.4.4 Distortion

6.5 - Advanced Studies – Attack and Release

6.5.1 Definitions
6.5.2 Visualizing Attack and Release
6.5.3 Parameter Interdependence
6.5.4 Program Dependence
6.5.5 Pumping and Breathing

6.6 - Learning Compression

6.6.1 Unnaturally Difficult to Hear
6.6.2 Hype and Hyperbole
6.6.3 Imitation
6.6.4 Multiple Personalities

6.7 - Selected Discography

Chapter 7 : Expansion and Gating

7.1 - Dynamic Range
7.2 - Parameters

7.2.1 Threshold
7.2.2 Slope
7.2.3 Attack
7.2.4 Release, Fade or Decay
7.2.5 Hold
7.2.6 Range

7.3 - Applications

7.3.1 Expansion
7.3.2 Noise Gating
7.3.3 Gating Through Waveform Editing
7.3.4 Gating
7.3.5 Keyed Gating
7.3.6 Ducking
7.3.7 Envelope Following
7.3.8 Tremolo

7.4 - Selected Discography

Chapter 8 : Volume

8.1 - Volume Controls

8.1.1 Faders
8.1.2 Pan Pots
8.1.3 Mute Switches

8.2 - Volume Applications

8.2.1 Balance
8.2.2 Ideal Level
8.2.3 Ideal Faders
8.2.4 Automation
8.2.5 Cross Fades
8.2.6 Fade Out

8.3 - Selected Discography

S E C T I O N 3: Time Effects

Chapter 9 : Delay

9.1 - Source of Delay
9.2 - Signal Flow

9.2.1 Basic Features
9.2.2 Modulation

9.3 - Long Delay

9.3.1 Calculated Delay
9.3.2 Echo
9.3.3 Support
9.3.4 Slap
9.3.5 Emphasis
9.3.6 Groove

9.4 - Short Delay

9.4.1 Constructive & Destructive Interference
9.4.2 Comb Filter
9.4.3 Early Reflections
9.4.4 Inevitable Combinations
9.4.5 Flanger

9.5 - Medium Delay

9.5.1 Double Tracking
9.5.2 Chorus

9.6 - Summary

Chapter 10 : Pitch Shift

10.1 - Theory

10.1.1 Pitch Recalculation
10.1.2 Fixed Delay
10.1.3 Accelerating Delay

10.2 - Applications

10.2.1 Side Effects
10.2.2 Special Effects
10.2.3 Surgical Effects
10.2.4 Obvious Effects

10.3 - Selected Discography

Chapter 11 : Reverb

11.1 - Reverberation

11.1.1 Key Parameters
11.1.2 Reference Values

11.2 - The Need for Reverb Devices

11.2.1 Multitrack Production
11.2.2 Isolation
11.2.3 Creative Microphone Technique

11.3 - Sources of Reverb

11.3.1 Room Tracks
11.3.2 Acoustic Reverberation Chambers
11.3.3 Spring Reverb
11.3.4 Plate Reverb
11.3.5 Digital Reverb

11.4 - Reverb Techniques

11.4.1 Sound of a Space
11.4.2 Non-Spatial Applications

11.5 - Selected Discography

S E C T I O N 4: Applied Effects

Chapter 12 : A Basic Mix

12.1 - Global Effects
12.2 - Special Effects
12.3 - Kick Start
12.4 - Back Beat
12.5 - Get Down
12.6 - Chug On
12.7 - Key In
12.8 - Speak Up
12.9 - Go Solo
12.10 - Do It All

Chapter 13 : The Snare Drum

13.1 - The Sound

13.1.1 Possibilities
13.1.2 Goals

13.2 - Recording

13.2.1 Close Microphones
13.2.2 Overhead Microphones
13.2.3 Room Microphones

13.3 - Signal Processing

13.3.1 Equalization
13.3.2 Envelope
13.3.3 Image
13.3.4 All of the Above

13.4 - Summary
13.5 - Selected Discography

Chapter 14 : The Piano

14.1 - The Mother Instrument
14.2 - Defining the Piano
14.3 - Effects

14.3.1 Spectrum
14.3.2 Image
14.3.3 Envelope

14.4 - Outside the Box Behavior

14.4.1 The ‘Acoustic’ Piano
14.4.2 The Digital Piano

14.5 - Summary
14.6 - Selected Discography

Chapter 15 : The Automated Mix

15.1 - Un-Automated Mixing
15.2 - Automated Mixing

15.2.1 Faders and Cuts Automation
15.2.2 Everything Automation
15.2.3 Snapshot Automation

15.3 - Mix Modes

15.3.1 Write or Read
15.3.2 Write: Absolute or Relative

15.4 - Automation Strategies: Organizing the Infinite Options

15.4.1 Phase I: Balance
15.4.2 Phase II: Signal Processing
15.4.3 Phase III: Cuts
15.4.4 Phase IV: Rides
15.4.5 Phase V: Tweaks and Special Effects

15.5 - Playing the Instrument

15.5.1 Practice
15.5.2 User Interface

15.6 - Caveats

15.6.1 Master the Gear Before It Masters You
15.6.2 Resist Temptation
15.6.3 Save Often

15.7 - Summary