Google. Logic's Master Blasters: Part 2. This is the last article in a two-part series. Read Part 1. Mike Watkinson In the second part of this two-part workshop on mastering solutions available to us in Logic Pro, we’ll be discussing the use of dynamics processors, as we prepare and polish a stereo mix for the listening public. Dynamics Dynamic range is notably absent from a lot of modern music.
Bus Compression Sometimes all you need is a simple compressor to ‘glue’ the mix together, provide some dynamic control and perhaps impart character to the sound. In a mastering situation, the use of a higher threshold and lower ratio (less than 2:1) is appropriate, with at least 50ms of attack to preserve transients. Multiband Compression If you just need to ‘glue’ the mix together, a simple buss compressor is the best bet, but if you need dynamic control of individual bands of frequency, turn to Multipressor. Expanding Horizons Multipressor also has an expander on each band. A similar technique can be employed to tighten up the bass end. Siel Orchestra.
The Siel Orchestra is an analogue subtractive synthesizer, which was produced by Italian manufacturer Siel from 1979 to 1982. The original Orchestra was very limited but still a very characteristic instrument for its time. It produces its sounds from a divide-down oscillator network and therefore has 49 note (unlimited) polyphony. Although it contains 4 sections of presets (Brass, Strings, Reed and Piano), each which contain two sounds, the only parameters that can be edited are Vibrato (LFO), Brilliance (for the Brass, which also has a separate 'Brass Attack'), Attack and Decay.
This ultimately means that the Orchestra cannot produce many different sounds; however because of its Italian origin and its distinctive routing, the Orchestra sound is not matched by any other similar synthesizers. The Orchestra was later bought by ARP Instruments to be slightly modified, relabeled and then sold as the ARP Quartet. Later, a more programmable version of the Orchestra was released. Acoustical Society of America - The Wave Theory of Sound. Excerpts from Chapter 1 of Acoustics: An Introduction to Its Physical Principles and Applications by Allan D.
Pierce (published by the Acoustical Society of America) Acoustics is the science of sound, including its production, transmission, and effects. In present usage, the term sound implies not only phenomena in air responsible for the sensation of hearing but also whatever else is governed by analogous physical principles. The broad scope of acoustics as a area of interest and endeavor can be ascribed to a variety of reasons.
Some indication of the scope of acoustics and of the disciplines with which it is associated can be found in Fig. 1-1 . The speculation that sound is a wave phenomenon grew out of observations of water waves. The analogy with water waves was strengthened by the belief that air motion associated with musical sounds is oscillatory and by the observation that sound travels with a finite speed. The wave viewpoint was not unanimous, however. Return to ASA HomePage. Mix Magazine | Pro Audio, Live Sound, Music Recording and Live Post for Audio Pros.