Friday, 7 March 2014

Amp envelope configurations

Hi I am Chris Farrell from Western Australia. The following lesson is for week 6 of Introduction To Music Production at Coursera.

Today I'll be demonstrating different amplitude envelopes on a synthesiser, so you can see how adjusting the attack time (A), decay time (D), sustain level (S) and release time (R) on a synth can make sounds which have different energy over time. We'll be looking at configuring synth patches that have switch, percussive, damped percussive, sustaining and quirk amplitude envelopes.

I'll be using the Gmedia ImpOSCar synth for today's demonstration, but any synth with a standard ADSR amplitude envelope will be able to create similar types of sounds.


Switch envelope


A switch envelope is used to recreate sounds that are only audible while a key is pressed - they begin when a note on event is received, and end when a note off event is received. Switch envelopes are typically used to create organ-style patches, for example the sound of a hammond organ where as soon as you release the key, the organ sound ends immediately.

I set up an organ-style patch in the imposcar synth with the following amp envelope settings:

A: very low
D: very low
S: 100%
R: very low

With a patch like this, the sound will immediately fall to the sustain level when the key is pressed (note on), and when the key is released (note off) the sound will end straight away. Take a listen to the organ patch:



What did you hear? The organ notes have no decay or release and end abruptly on note off, just like a real organ. If you take a look at the waveform you can also see the lack of decay or release, and the notes start and end very abruptly.


Percussive envelope


A percussive envelope is used to create hit or plucked type sounds, such as drum hits (kick, snare, hi-hat) or pizzicato (plucked) type playing technique on a stringed instrument like guitar or violin. A percussive envelope has sustain and release set to zero, normally a very short attack time, and the decay time is used to set the length of the percussive hit or pluck.

I set up a kind of snare-style patch in the imposcar synth with the following amplitude envelope settings.

A: almost zero
D: around 0.5s
S: 0
R: almost zero

Take a listen to the patch and note the characteristics of the sound:



What did you notice? The sound is very percussive and decays over the specified decay time. With a patch like this, the note length is not affected by the sustain level or release time, and the sound will always be the same length unless the note length is shorter than the decay time. Take a look at the waveform and notice how the hits begin immediately and then decay quite quickly. Waveforms for other percussive style sounds like hi-hats and claps will look very similar.


Damped percussive envelope


A damped percussive envelope is used to recreate sounds of instruments like piano (where the notes are damped by the key dampers) or on guitar where strings can be damped by muting with the left or right hand.

A damped percussive envelope is similar to a percussive envelope except it will also have a release time set quite high - when the key is released the release part of the envelope will kick in, giving the sound a longer tail than strictly percussive sounds.

In the imposcar synth I set up an electric-piano style patch with the following amp envelope settings:

A: almost zero
D: around 0.5s
S: 0
R: around 1.5s

Take a listen to the patch:



How did it sound compared to the percussive patch? The damper percussive sound has a bit more of a natural tail as you can see by looking at the following waveform:


Instead of sounding like a drum hit, the sound has a piano-like characteristic as if the note is being damped by a key damper.

Sustaining (blown or bowed) envelope


To recreate the sound of a string or brass instrument, such as violin or trumpet, we can use a sustaining envelope. In this type of envelope the sound will have an initial attack and decay,  fall to a specified sustain level while the note is held, and then fall to zero when the note is released.

I set up a string-style patch in the imposcar synth with the following settings:

A: around 0.6s
D: around 4s
S: around 33%
R: around 1.5s

Take a listen to the patch and note the characteristics of the sound:



This sounds more like a bowed instrument than the other patches due to the sustaining envelope - while the note is held the sound falls to the sustain level, and when the note is released the sound fades out to zero. The sound also has a natural fade in because of the attack time. In this example the next note starts before the previous envelope has finished, creating a continuous sound as shown in the following waveform representation:


Quirk envelope


The last type of envelope we'll be looking at, is what Loudon calls a quirk envelope. This type of envelope has a very low attack, short decay time, 0 sustain level and very high release time. As the release phase starts on note off, if the note is released before the decay time ends it means the release part of the envelope takes effect. This can be useful to create sounds that have a very short percussive beginning and then long release time, not to model a real-world instrument but to create a different kind of sound.

I set up a patch with a quirk envelope in the imposcar synth, with these settings:

A: very low
D: around 0.6s
S: 0
R: around 4s



As you can hear the sound has an extremely quick pluck at the beginning because of the extremely short note length I used to play back the patch, and a long release tail because of the release setting. Take a look at the waveform and you can kind of see this characteristic.


Conclusion


Today you've learned how using a synths amplitude envelope can be used to create sounds similar to real instruments, because of the nature of the envelopes. We saw how you can create organ style patches with a switch envelope, or percussive style hit or pluck patches with a percussive envelope. We then saw how you could create an electric piano style patch with a damped percussive envelope, a string style patch with a sustaining envelope, and we also looked at the quirk envelope.

I hope you've enjoyed reading and listening today and that having audio clips, waveforms and showing the envelope settings has demonstrated each type of envelope clearly for you. Feel free to leave any comments and let me know if any of my information is incorrect. Thanks for reading!

Sunday, 2 March 2014

Configuring an EQ plugin to function like a mixing console EQ section

Hi I am Chris Farrell from Western Australia. The following lesson is for week 5 of Introduction To Music Production at Coursera.

In today's lesson I'll be configuring an EQ plugin (WaveArts TrackPlug) to function like a mixing console EQ section. I've chosen the Solid State Logic (SSL) 4000 G Series mixing console to base my EQ plugin settings on, which was a very popular mixing console in the 80s.

The SSL console's EQ section


The EQ section on the particular console I'm referencing (with SL611G module) comprises of a four band parametric equaliser plus high and low pass filters. Here are the specifications of each filter in the console's EQ section:

  • Hi pass filter: 0 - 350Hz with 12dB/octave slope
  • LF (low frequency) band: a 12db/octave low shelf filter with a range of 30Hz - 450Hz, and boost/cut control
  • LMF (low-mid frequency) band: frequency adjustable from 0.2 - 2.5Khz, with a Q of 0.5 - 3*, and boost/cut control
  • HMF (high-mid frequency) band: frequency adjustable from 0.6 - 7Khz, with a Q of 0.5 - 3*, and boost/cut control
  • HF (high frequency) band:  a 12db/octave high shelf filter with a range of 1.5kHz - 16kHz, and boost/cut control
  • Low pass filter:  3Khz - +12Khz with 12db/octave slope
* Note this filter's bandwidth (Q) roughly corresponds to a range of +2 octaves (0.5) to about half an octave (3)

Now that we have a general idea of the SSL console's EQ bands and filters we can start to recreate this in a software plugin.

High pass filter


A high pass filter is used to remove frequencies below a sound's fundamental frequency which don't contribute to the sound and tend to muddy up a mix - such as noise, rumbles and vibrations.

In my EQ plugin TrackPlug I'm going to add a new Highpass band with a 12dB/octave slope, and set the cutoff frequency to 20Hz. Later when I'm mixing I'll be able to adjust the cutoff frequency to adjust where the low frequencies will start to be cut from. Note that TrackPlug doesn't allow me to specify the filter slope but it is set at 12db/octave in the plugin. To match the operation of the SSL4000G I would adjust the cutoff between 0 and 350Hz during mixing.


LF band (low shelf)

A low shelf filter can be used to boost or cut the low end - for example you might want to cut lower frequencies from guitar and vocals to make room for bass guitar. Shelving filters are gentle and provide a uniform volume shift beyond the cutoff frequency, unlike a hi pass or low pass filter which have a progressive volume shift.

In TrackPlug I'll add a new Lo Shelf band, set at 30Hz. TrackPlug doesn't allow me to specify the slope which is set at 12dB/octave automatically, but I'll be able to adjust the cutoff frequency and also whether a cut or boost is made (by adjusting the height). To match the operation of the SSL4000G I would adjust the cutoff between 30 and 450Hz during mixing.


LMF band 

This is a mid-range parametric EQ band which can be useful to remove unwanted resonances. It's always better to cut when adjusting in this range to avoid phase problems and distortion.

I'll add a parametric band with a Q (bandwidth) of around 0.5 octaves, and a cutoff frequency around 300Hz. Later I'll be able to adjust the cutoff frequency, height (boost or cut) and width (Q) to target any unwanted resonances. To match the operation of the SSL4000G I would adjust the cutoff between 0.2 and 2.5Khz.


HMF band

Like the LMF band, this is a mid-range parametric filter and can be useful for removing unwanted resonances.

I'll add a parametric band with a Q of around 0.5 octaves, and a cutoff frequency around 2000Hz. Later I'll be able to adjust the cutoff frequency, height (boost or cut) and width (Q) to target any unwanted resonances. To match the operation of the SSL4000G I would adjust the cutoff between 0.6 and 7Khz.


HF band (high shelf)

A high shelf filter can be used to boost or cut the high end to add brightness, particularly used on an element that you want to focus on in the mix. For example you could apply a high shelf boost to a vocal, while applying a high shelf cut to competing instruments, to bring clarity and focus to the vocal.

In TrackPlug I'll add a new Hi Shelf band, set at around 3500Hz. TrackPlug doesn't allow me to specify the slope which is set at 12dB/octave, but I'll be able to adjust the cutoff frequency and also whether a cut or boost is made (by adjusting the height). To match the operation of the SSL4000G I would adjust the cutoff between 1.5 and 16Khz.


Low pass filter

The final filter to be added is a low pass filter, and although probably used more rarely than the others is can be useful to remove all frequencies above a cutoff frequency.

In TrackPlug add a new Lopass band, and set the cutoff frequency to 20kHz, and I've bypassed this band so it's not active. Later when I'm mixing I'll be able to adjust the cutoff frequency and also the amount of cut or boost. Note that TrackPlug doesn't allow me to specify the filter slope but it is set at 12db/octave in the plugin.


Saving a preset with these settings

In my DAW, Presonus Studio One, I can click on the Preset menu item above the plugin GUI and choose "Save Preset As" to save a new preset. I've called it "Mixing EQ - SSL4000G" and I'll be able to load this preset whenever I want to start mixing with EQ bands similar to the famed SL 4000 series:


Putting it all together

To put this preset into practice I've loaded a vocal recording into my DAW and changed the EQ settings in the following way:


  • Hi pass filter: changed cutoff to 46Hz with -24dB cut to remove noise and rumbles
  • LF band (low shelf): changed cutoff to 345Hz with a slight cut to give other instruments (guitar, bass, kick) slightly more room
  • LMF: bypassed
  • HMF: bypassed
  • HF (high shelf):  slight boost at 1.5Khz to make vocal sound brighter
  • Low pass filter: bypassed
As you can see the lower frequencies are cut from the vocal while I've boosted the top end to make it brighter - this should allow the vocal to sit better with competing instruments like guitar and keys.

Conclusion


Today you've seen how to transfer the EQ section capabilities of a large format mixing console such as the SSL 4000 G series to a software EQ plugin - and save the settings as a preset to use as a starting point for general tracking EQ.

I hope you've enjoyed reading this and have learnt something, and feel free to let me know if you saw any errors. Note that I don't own an SSL4000 G series but I researched mixing consoles and found the user manual for the SSL 4000G and thought it would be good to base my assignment on this console. Apparently they claim that the 4000 series has had more platinum selling albums mixed on it than all other consoles combined.