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L'Odyssée du Son - Chapitre 1. Reverb 101 with PhoenixVerb. 5 Pro Tips - Setting Up A Reverb Plugin For Any Sound — Exponential Audio - Plug-ins. Michael White is a mix engineer and has worked for artists such as Whitney Houston, Talking Heads and The Rolling Stones, he is also the founder of the MPG Music Production School.

5 Pro Tips - Setting Up A Reverb Plugin For Any Sound — Exponential Audio - Plug-ins

In this free reverb pro tips article Michael gives tips for setting up reverb for any sound. Introduction Reverb is one of the most powerful tools an engineer has to shape the tone, depth and separation between instruments. So why do so many have difficulty using reverb in their mixes? From my own professional experience, most of what I learned about reverb was shaped by the many tracking sessions I worked on in the early part of my career. Tip 1: Size Up the Space with Early Reflections After the arrival of the direct sound, Early Reflections are the first set of delays that define the size and shape of a space before the onset of reverb. Start by setting up a Send/Return configuration in your DAW with the Mix at 100% Wet, The Reverb Level off and the Early Reflections Level maxed out.

Tip 2: Feel the Space. Bien mixer le bas du spectre, 1ère partie : la phase. Bonjour à tous !

Bien mixer le bas du spectre, 1ère partie : la phase

L’été fut long et la rentrée tardive pour le « chant du signe ». Pour ce retour, j’ai choisi de vous faire un résumé de l’article proposé par Sound on Sound le mois dernier. Pour ceux qui ne connaissent pas ce magazine, sachez qu’il est considéré comme la référence en matière d’ingénierie sonore, avec beaucoup d’articles ayant trait au mixage. Ce magazine britannique titrait le mois dernier « Mixing Bass ». S’ensuivait une master class de Mike Senior, sur une vingtaine de pages.

Mixer les graves Dans son article, Mike Senior discute principalement des fréquences allant de 20 à 100 Hz, zone dans laquelle les instruments graves (contrebasse, basse, piano, grosse caisse…) ont leurs fréquences fondamentales. Mixing Legend Tony Maserati: Sweet spot & speaker placement. Mixing Tutorial: How to Test and Analyze Your Home Studio Room. Les réseaux de zéro. Using Stereo Overhead Miking Techniques to Supplement a Multi-Miked Drum Setup.

Contributor: Mike Major I have always felt that the best drum sounds are achieved when there is a seamless marriage of the close-mics and a stereo pair of overhead mics.

Using Stereo Overhead Miking Techniques to Supplement a Multi-Miked Drum Setup

There should be but one drum sound, not a collection of mics that are mixed together. It’s not as simple as placing a mic on each drum and two more above the kit, and bringing up the faders. It takes work. It takes awareness and understanding of how the sound propagates from the drum and out through the room, and how the mics respond to that phenomenon. The Importance of the Overhead Mics The overheads are the unifying element in any drum sound. Be aware that even if you plan to use a substantial amount of the close-mics in your drum mix, you still have to get the overhead placement right.

Overhead Placement Techniques and Considerations. Recording Drums. You can now start to hear a stereo image of the kit as you will want to hear it in the mix.

Recording Drums

If you were to put the mikes together in a stereo pair but aimed each side of the dividing line you would get a stereo image but a narrow one. The width increases as you move the two mikes away from each other. The placement in the drawings above are about normal with enough spread to make the kit have some width.

With practice and careful placement of these two mikes you should be able to get a good balance of the kit. If you added a kick drum you would have a real, open sound of the kit. The next step is to mike the individual components so that their position and individual sound can be emphasised. There are three ways of setting up a kick drum Front and rear skins on. Kick & Snare Recording Techniques. We pass on the hard-won wisdom of fifty top producers in the essential Sound On Sound guide to recording kick and snare drums, the backbone of modern music.

Kick & Snare Recording Techniques

Mike Senior When it comes to describing in interview how they record drums, top producers seem to spend more time discussing techniques for snare drum and bass drum than anything else. The reason I know this is that I've recently been combing SOS's interview archive and Howard Massey's book of interviews Behind The Glass, looking for nuggets of wisdom on this very subject. LE SON : les fondamentaux - Lecteur vidéo - Les Tutos d'ANTO.

La transformation de fourier et ses applications en physique.

Animations flash

TS 2012 / ch2: caractéristiques des ondes I-1 définition d'une onde mécanique progressive. TS 2012 / 2: caractéristiques des ondes. Cours TS / onde / 2 points éloignés d'une longueur d'onde vibrent en phase. TS 2012 / ch2: caractéristiques des ondes II-3 tracé d'une élongation sinusoïdale. TS 2012 / ch2: caractéristiques des ondes II-4a définition de la longueur d'onde. Longueur d'onde. La longueur d'onde d'une onde électromagnétique périodique est la distance que parcourt la lumière dans le vide pendant le temps qui sépare deux crêtes successives de cette onde électromagnétique.

Longueur d'onde

On la dénote communément par la lettre grecque λ (lambda). Sons, rythmes et couleurs ... Spectre électromagnétique. C'est pas sorcier - Bruit. Cymatic Music. Cymatic experiment. Cymatics experiment tonoscope 432-440Hz. Sand Vibration Patterns - Chladni Plate. Resonance Experiment! (Full Version - With Tones)

The Ultimate Test: 440 Hz vs 432 Hz. Prise de son Stéréo par couple - Pierre VOYARD. Pierre Voyard - Toulouse le 10 décembre 1983 – Modifié le : 7 octobre, 2013 6:50 Visites depuis le mardi 10 septembre 2013 : Vous désirez poser une question ?

Prise de son Stéréo par couple - Pierre VOYARD

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