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.
Gravação e edição de MIDI
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From the course by Berklee College of Music
A tecnologia da produção musical
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From the lesson
O DAW
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.
Meet the Instructors
Loudon StearnsAssistant Professor
Contemporary Writing & Production
Now we'll look at the common MIDI recording and editing functions that
you'll need to use regardless of the DAW. You have to be comfortable with these
techniques. So we're going to just review them right
now and then you'll go to your DAW and figure them out there.
So what we have now is a bass line and drum groove.
The bass line was recorded as audio, and the drum groove is being played back by a
sampler. Now I'd like to point out what a sampler
is and talk about some of the specifics of a sampler in general.
Now we see that I'm using one DAW made by a company, and I have a plug-in from a
separate company. So this is that plug-in idea where a
different company can build a synthesizer or sampler that functions with an
apparent DAW. Now this sampler is designed specifically
for drums. And we can see if I play this kick sound
[SOUND], we hear a kick. And that is a recording of a kick drum in
a specific room that was done at some other point.
Now the beauty of this instrument, is it's a multi-sampled instrument.
Meaning, meaning if I play different velocities it will p-playback a different
recording. So the drummer originally played really
quietly on a kick drum and recorded this sound.
Hard even to hear and he played kind of at a moderate velocity and got this sound
[NOISE] and then he played at a hard velocity and got this one [NOISE] that's
mapped across the velocities of my keyboard.
We call this multi-sampling and the beauty of this is it's not just the
volume that's changing as you hit the key harder, but the timbre or sound of the
instrument changes naturally and how it would if played by a real drummer.
So a multi-sampled instrument is really important if you want to recreate the
sound of an actual instrument, and this sampler does a great job at recreating a
real drum sound. It really does sound like real drums
because they've gone through all this careful recording and mapping of this
instrument. Now we see on this instrument every key
has a whole set of different samples and a single-sampled instrument can have
thousands of samples. We find that working with sampled
instruments can be very, very taxing on your hard drive because it's having to
play back all these different audio files repeatedly and as soon as you hit the
key. It's working that hard drive very, very
hard. It can be quite processor intensive.
You find that the large orchestral libraries really challenge what a
computer can do, specifically the storage and RAM capabilities of that computer.
Now I'll be using a synthesizer for the piano or chord part that'll be adding to
the song. This is the instrument I'm using.
Now we see that a synthesizer does not rely on prerecorded audio files.
Instead, it uses kind of formulas or algorithms of simple wave forms and then
builds up from there. And we'll look at synthesis more later in
this semester, but it's important to know right now that a synthesizer will tax
your CPU much harder than it will kind of hard drives and RAM because it's having
to calculate the sound in real time, not pull it from a hard drive.
So it's important to know when working with a DAW what part of the computer is
being taxed by what you're doing. If you're working heavily with samplers
and audio files, you'll find that the hard drive is going to be used a lot,
because it's going to be pulling from that to play back those audio files.
If you're using synthesizers, the CPU will be using much more because it's
having to calculate those wave forms in real time.
Let's hear the drum and bass group as it stands right now.
[MUSIC] I'm happy with this. I would just like to have some chords and
a melody to go along with it. We find that recording MIDI is very much
the same as recording audio. But there are some slight variations.
Now before I even record this part, I'd like to point out that there are two
different ways that just recording in general can work in a DAW.
In some DAW's as soon as you hit the Record button it will start recording.
In others like this one you record arm, or prepare the project for recording and
then you hit the Play button for it to start recording.
Now just like with audio I've practiced ahead of time so I know what I'm going to
play, and I could give good performance, and now I'm ready to go, I have my count
off set, my click tracks on, and I'm going to record a cord part to go along
with this.
[MUSIC].
So I've recorded my part and now we can start editing it.
Now most DAW's are set up the same exact way.
And we call this kind of view the piano roll editor or the graphic editor.
And it's how we manipulate the notes that we have recorded as MIDI.
Right away you want to look at your MIDI editor, at your piano roll editor, and
you have to figure out some things. You want to identify where the notes are
located and also where the velocities are located.
So very often you see the same kind of format.
We have a piano roll with horizontal rectangles denoting each individual note.
And then at the underneath, you'll find that you have the velocities and that
every single one of the rectangle notes has an associated velocity along with it.
And you have to be able to edit the velocity amount for each one of the notes
individually. It's a very important type of editing.
Zooming can be a little more complicated with MIDI than it is with audio.
Because you'll have to zoom horizontally, and also vertically.
And also scroll up and down. It's very easy to kind of get lost, and
not even see the MIDI notes you're working on until you scroll them into the
correct location. So take a moment when you get into the,
the DAW. And really figure out how you can
efficiently scroll and zoom within this editor.
The next thing we'll want to do is see how to edit an individual MIDI note.
And this is going to be the virtually the same as editing an audio region.
You can grab the end of the note. Kind of edge edit it, the beginning of
the note, edge edit it there, just like we did in with audio regions.
You can grab the middle and drag it back and forth, or move it to a different
pitch. Now one setting that is in almost all
DAW's is the ability to MIDI through, or monitor, or listen to the notes as you're
moving them. You see, as I move this, I'm not hearing
it. And sometimes it's nice to get an
audible, sound for as you move the notes. And this DAW, I have a headphone icon
here. Most DAW's, though, have a way to get a
MIDI through, or a m-, MIDI monitor as you're dragging things around.
And now, if I move this note. [MUSIC].
Which can make it much easier when editing MIDI so look for that function in
your DAW, and note how to turn it on and off.
It can be really, really useful. The next thing I want to do with this is
clean it up a bit. I see there's an extra note right here.
I'll just select that and I'll use the Delete key on my keyboard, but of course
you need to know how to get rid of unwanted MIDI notes.
It's an important function. So overall I like the performance.
but I thought it was a little sloppy. it's not as tight as I would like it to
be. If I look at the downbeat of measure
three or the first beat of measure three, we see that I was a bit ahead of the beat
or. Early in my performance.
And I would like that to be a little more lined up with the bar, a little more in
time, as if I was a better player than I really am.
And the function that does that in a DAW as we mentioned earlier is quantization
which will automatically move something to a predefined musical grid.
Now you can just select everything and quantize it all at once.
But, it's often nice to be able to quantize just small portions that are
really farther out. I think you'll find that if you are a
little more selective with your quantization and if you use some
quantization strength, you can get a better performance overall.
So I'll select these notes and then you'll hear there, sometimes it's kind of
annoying to have that audible [UNKNOWN] on, so I'll turn it off.
And then we'll quantize the notes. Again, this is something else that you're
going to want to know how to do. Very quickly, because you'll be doing it
a lot. Now we have a set of common quantization
settings. The first is our quantization grid.
And we can set that to a standard musical grid.
So like, chord notes, eighth note, eighth note triplets.
And so forth. Now in this performance I know I did play
some 16ths, so that's what I'll leave it on, is a 16th note grid.
We often have options to quantize the beginnings and ends of the notes.
Musicians, in general, in real performances, tend not to be as careful
with the ends of notes as they are with the beginning.
So I often find it's nice to quantize just the beginnings of the notes.
And leave a lot of variation in the ends of notes to get a more musical
performance. If you're trying for a more robotic or
technical feel, you may want to adjust both the beginning and ends of the notes.
And finally I have a quantization amount which is often called a quantization
strength. And that's defining how far the notes
will be pulled to that grid. If that's at 100% which I can do right
here, and I'll quantize it we see that it brings those notes all the way right on
the beat and again I've left that variability at the end of the note.
Now, I'll undo that. Another really important key command to
get used to. And this time, I'll quantize to a
percentage. I'll try 20%.
And I like 20%, because it will make it tighter.
But it's never going to bring it all the way.
And I can continually do that again and again.
To get it closer and closer, get it tighter and tighter, until I'm really
happy with the performance. Now I'll go ahead and quantize all this
material. And I feel like I was a little more off
than I wanted to be, so I'll use a quantization strength of around 50% and
bring things kind of half way to their grid.
And now, I'll hit play and check the performance out.
[MUSIC]. So I like the performance right now but I
don't love the voicings and when you have cords the voicings are kind of the up and
down organization of the notes. And we're free to move notes by octave,
maintain the cord and change the voicing. I'm going to take this bottom line so
this is the bottom line of the chord, and I'm going to move it up an octave.
So it was on G3 here, and I'll bring it up to G4.
And let's hear this now. [MUSIC] It's a nice brighter, crunchier
sound. I really like how it fits now.
One of the things we'll talk about next week is mixing, and one of the big
challenges in mixing is kind of getting instruments out of each other way across
the frequency range. So some of those things can kind of
compete with each other across the frequency range.
And often we find that we try to fix things in mixing that could be fixed
within the MIDI data or within the performance themselves.
And this idea of adjusting octaves also known as adjusting the range or register
of an instrument can really have a major impact and can make it much easier to
mix. So we find that if you can, if you can
get the instruments and the performances correct here, the mixing challenges will
be much less later on, and I like this performance here.
Now, I think I was playing a little bit heavy handed, I'd like to reduce the
velocity of all these. And before I do that, I'd like to point
something out. Remember, each MIDI note consists of
actually two events, a MIDI on event and a MIDI note off event.
We said earlier that there is a MIDI on velocity, which we're seeing right here
at this dot, but there's also a MIDI off velocity and this DAW has decided to
actually not display that information, which is actually very common.
It is happening in the background. There is MIDI off velocity, it's just not
showing it within this DAW to make the display nice and clean.
I'm going to go ahead and select all the MIDI notes and just bring their
velocities down a little bit. And it's important to know how to kind of
batch process notes to adjust all the velocities at the same time.
One other thing that's important with MIDI recording is the ability to add to
that region. So with audio, you can't really add more
to an audio track that's already in place, but with MIDI, I can actually add
in another line to this. And I'd like to add a melody to this
keyboard part. As if the keyboard player were playing
keyboard and melody at the same time. Now that's common for keyboard players to
do, but I'm not a good enough keyboard player to do that all at once by myself.
So I can record it in two separate passes, and add the melody right to the
same region. This function is called overdub or MIDI
merge. And it's really important to know how to
overdub or MIDI merge in your DAW. In this one we have an OVR or Overdub
button. If I have that off and I rewind and
record. [MUSIC] We see that all the chord
information was deleted as the new notes were entered.
Functioning very much like audio does. It's kind of a destructive kind of
record. I'll end do that.
I'll turn over dub recording on and we'll try it now.
We'll see a big difference.
[MUSIC].
[MUSIC]. [SOUND].
And I was able to add my melody along with the chord part right in that clip.
So those are the important techniques I wanted to show you with MIDI editing.
When you go to your DAW after this lesson, I'd like you to explore MIDI
recording editing in some detail. Take some time, and focus on just how to
get efficient with the MIDI recording and editing.
Figure out how to. Add software instruments.
Record MIDI. Overdub record MIDI.
Efficiently edit including zooming, moving, edge editing and changing the
octave of notes. And quantization that you can quantize to
a selected grid and to mount and finally adjusting velocities of individual notes
and for a group of notes at once.
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