julio, 2020

jue30jul16:0020:00ABLETON TRAINING03. THE MASTERCLASS16:00 - 20:00 Laboratorio Octogon, Calle Cerámica, 16 - 28038 Madrid Esta actividad ha finalizado

Hora

(Jueves) 16:00 - 20:00

Localización

Laboratorio Octogon

Calle Cerámica, 16 - 28038 Madrid

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Detalles de la actividad

Module 3. Recording, editing, mixing and mastering

Recording

To get final quality music production we first
need to obtain excellent audio recordings. Understanding the techniques
that support the recording concepts like the wiring equipment, recording
formats, audio levels, environmental arrangement and recording workflow
is vital. The determining factor is making the right decisions at the
moment of recording audio. The right decisions are based on the
following points:

  • Audio recording systems throughout history
  • Ideal audio levels for optimum and correct right recordings
  • Measurement scales (VU, BBC, DIN, NORDIC, IEC, dbFS)
  • Instruments and vocal recording techniques
  • Recording audio generator equipment (synthesiser)
  • Choosing and connecting the microphone
  • Current audio recording systems
  • Transitory response on an audio system recorder

Audio Sampling (Software)

The collection and expansion of your own audio
library encourages personal and discerning musical taste and music
production. This chapter will communicate the correct techniques for
quality digitalisation processes in order for efficient sound storage
and arrangement.

  • Ableton 10 Sampler
  • Digital tools configuration and setup
  • Managing libraries, formats and protocols
  • Sample editing
  • Velocity, key and looping
  • Multisampling
  • Resampling
  • Alternative free and creative tools

Audio Sampling (Hardware)

The collection and expansion of your own audio
library encourages personal and discerning musical taste and music
production. This chapter will communicate the correct techniques for
quality digitalisation processes in order for efficient sound storage
and arrangement.

  • Analog to Digital conversion
  • Dynamic range
  • Resolution. Number of bits
  • Sampling frecuencies
  • Sound design. Creating personal libraries
  • Editing and preparing samples
  • Formats with and without compression
  • Controlling hardware equipment trough Ableton Live
  • Samples in nowadays
  • Using the sampler in a creative way

Recording audio from Live 10 to Logic, Cubase and Protools. Bouncing to disk

The correct connection and compatibility between
hardware, software and the different applications is crucial to
guarantee the best performance in our system. This section “connects”
our audio engine to other different native software through several
protocols. This software and these protocols include the following:

  • Connecting software between computers via Rewire
  • Connecting equipment between them via Ethersound / Ethernet
  • Importing and Exporting audio between workstations
  • Simultaneous recording between both hardware and software

Dynamic, time and frequency processing with Ableton Live

Manipulating the audio once recording is finished
is one of the most creative aspects when you are performing live. This
section reviews all tools that are included inside the Ableton Live
Suite Pack.

  • Equalise (Cosmetic and surgery treatment)
  • Dynamic (Compression, Expansion and Limitation)
  • Real time feedback (Delay, Reverb, Flanger, etc.)
  • Technical and creative application
  • Native plugins in Ableton Live review
  • Free and creative alternatives

Mix and Premix

Once finished, the next step is to mix every
audio track and obtain a complete audio, a ‘one track piece’. This final
step depends on either, its use as a musical piece or by contrast, for
Live Performance.

  • Spectrometer FFT, Goniometer and Phasemeter
  • The importance of phase
  • Selective filtering
  • Sum of levels
  • Peak level vs. RMS level
  • Suitable Mono vs. Stereo choose
  • Multiple plugin chain
  • Practical application

Automation “on time and off time”

This powerful technique records our movements and
actions when touching the controls and other physical parameters. We
can use this technique in both cases, Studio and Live Performance.

  • Stereo balance
  • Levels
  • Individual clips
  • Arrangement line
  • Other parameters

Stereo and Mono bounce. Mastering

Now, the final piece is almost complete. This
section analyses the correct protocol for professional completion of the
final track.

  • Final export to one or several tracks
  • Parameters to bear in mind
  • Preparing audio depending the mastering platform

Mastering, partial edition and equalisation

  • Partial editing of each section
  • Editing of possible corrections

Mastering, colouring and boosting

  • Colouring
  • Optimum levels
  • Parameters

Mastering, compression and expansion by parts

  • Seeking band cut frequencies
  • Limiting and final energising

Mastering. Middle / Side (MS)

  • MS processing
  • MS Routing

Mastering. Analog vs. Digital

Compairing analog and digital sound, it is not a
case of which one is better, but simply that they are different. This
section will analyse the difference between both types of technologies
enabling you to select the best one for you and your project objectives.

  • Analog vs. Digital wave
  • Vinyl disc mastering. Preparing the audio
  • Vinyl disc mastering. Recording process
  • Vinyl disc mastering. Physical consideration
  • Compact disc mastering. Preparing the audio
  • Compact disc mastering. Recording process
  • Compact disc mastering. Computing consideration
  • Hybrid mastering. Analog and Digital process

Adapting formats depending on the media type

Audio must be adapted in a different way
depending on the media in which it will be played such as the car,
studio, internet, radio, etc. Trying to reach the right balance between
the different platforms is complex. Therefore, this section illustrates
the different techniques to adapt the final result to the different
media systems.

Laboratorio OctogonCalle Cerámica, 16 - 28038 MadridLaboratorio de pruebas en vivo, tecnología, I+D+i y comercialización de sistemas.

Organizador

Daniel Cantero (Ableton Trainer)Working as a sonologist, sound designer and music producer and combining these skills with his role as a hardware and software developer, Daniel Cantero is a talented all round audiovisual engineer managing research projects for the Digital Luthier company, which he founded. From adolescence, Daniel was surrounded by a variety of musical styles and genres which encouraged him to not only produce his own music, but also craft his own tools to make music. He soon implemented Ableton Live in his sets, became a distinguished professional offering new and innovative live sets both internationally and at home, and enhanced the experience for both the audience and the performer. Since his training at the Music Technology Group of UPF University, Daniel has dedicated his life to the research of new approaches and techniques for teaching and music production. Recently, he created the first Live Electronic and Acoustic Music Production Master, using Ableton Live, which opens up many possibilities for students, including the ability to produce music from scratch on stage. In addition, he has implemented new tools and gadgets in order to take music production a step further. Furthermore Daniel developed advanced learning techniques for audio and video engineering, which can be adapted to the needs and skill level of the student. Today, success for producers, musicians, collectives, and bands has become easier, in part owing to Daniel’s continued creative and fresh approach to teaching, combined with the development of adaptable learning resources. Classes are available in groups, or one-on-one.laboratorio@octogon.info | +34 687 287 200 Calle Cerámica, 16 - 28038 Madrid