Moosic Flashcards
(208 cards)
1
Q
Harmonic raise 6th and 7th
Melodic just 7th
A
Harmonic sounds more hopefull
Melodic sounds more dramatic
2
Q
A major chord with a raised 3rd (by a semitone) is a sus4
A minor chord with a lowered 3rd (by a semitone) is a sus2
A
3
Q
Pentatonic scales consists of 5 consecutive fifths, but not necessarily in the same order.
A
4
Q
Pentatonic scale becomes blues scale by adding the blues note, the blues note comes by flattening the 5th for a minor pentatonic scale (but still keeping that 5th) or flattening the 3rd in a major pentatonic scale (but still keeping that 3rd)
A
5
Q
The 3rd always still dictates the quality of an extended chord
A
6
Q
Adding a dominant 7th on to the end of the tonic chord can be used to pull it more toward the 4th
A
This is because it turns the tonic into a sort of secondary dominant in its own key. (The tonic is a fifth away from its fourth)
7
Q
6 chords (1st, 3rd, 5th and 6th) are often used to embellish the tonic
A
8
Q
Vibrato
A
Frequency
9
Q
Tremolo
A
Amplitude
10
Q
low frequency resonance
A
a hum that is usually 200-400hz
11
Q
Telephone range
A
Resonance around 2.5-4.5 khz
usually sounds like a scratch sound
12
Q
High frequency resonance (notch frequencies)
A
10-15 khz
13
Q
If trying to create something wide and atmospheric then make the left and right of the same sound slightly out of phase- it will make it sound bigger
A
14
Q
Chromatic means moving by semitones
A
15
Q
In natural minor scale the 7th is called the subtonic and lacks desire to move into the tonic
A
16
Q
Any interval larger than an octave is a compound interval; intervals smaller than an octave are called simple intervals. in most musical contexts the compound interval and its simple counterpart are functionally equivalent.
A
17
Q
FACE- from bottom to top for all notes inbetween lines of notation when key sig is treble cleff. (In guitar notation the key sigs treble cleff)
A
18
Q
A normal (dominant) 7 is a minor 7th on a major triad and a maj7 is major 7th on a major triad. A minor 7th is a minor 7th on a minor triad.
A
19
Q
Augmented: major triad and raise fifth by semeitone
Diminished: minor triad and lower fifth by semitone
A
20
Q
Minor scale is the major scale but starting from the 6th
(The 6th degree of a major scale is that scales relative minor)
A
21
Q
a major scale occurs by treating the 3rd of the natural minor scale as the first (the relative major tonic is the 3rd note of the minor scale)
A
A relative minor scale is two notes (3 semitones) behind it’s relative major
22
Q
Minor 2nd
A
Jaws
1 semitone from root (makes it dissonant)
23
Q
Major 2nd
A
Mama mia
Do- rei
2 semitones
24
Q
Minor 3rd ascending
A
Smoke on the water
3 semitones
25
Minor 3rd descending
Hey jude
3 semintones
26
Major 3rd ascending
Oh when the saints
Do- me
4 semitones
27
Maj 3rd descrnding
Swing low
4 semitones
28
Perfect 4th ascending
Harry potter
5 semitones
Moves to home
29
Perfect 4th descending
Ice ice baby bassline
5 semitones
30
Perfect 5th ascending
Twinkle twinkle
Star wars
7 semitones
Supports root note without really adding new tone
Moves away from home
31
Perfect 5th descending
Dont you (forget about me)
7 semitones
Supports root note without really adding new tone
32
Minor 6th
Entertainer
Make me - feel like... (ascending)
8 semitones
Dissonant- sounds like it wants to resolve to fifth
33
Major 6th ascending
This is - crazy
9 semitones
34
Major 6th descending
Im - talking (to the man in the mirror)
9 semitones
35
Major 7th ascending
A - world (of pure imagination)
11 semitones
Half step from tonic
36
Major 7th descending
Have - yourself (a merry little christmas)
11 semitones
Half step from tonic
37
When doing intervals focus on how wide or narrow they sound
38
Negative harmony
39
Pentatonic scales are made up of 5 consecutive fifths, but not necessarily in order
40
U always get the major traid of the root note in major pentatonic scales and always get the minor traid of the root note in minor pentatonic scales
(The 1st 3rd and 5th are the only degrees that don't get removed when turning minor scales into minor pentatonic OR major scales into major pentatonic)
41
The sharps added clockwise round the circle of fifths are a semitone below the root note for major keys and one whole tone above the root notes of minor keys
F# is the first sharp added clockwise round the circle of 5th
- in the major key of G/ relative minor key of E
42
In the major circle of fifths the flats added (anticlockwise) are always the root notes (perfect) fourth degree
43
In the minor circle of fifths, the flats that get added (anticlock-wise) are always 2 whole tones below the tonic/ root note of the key
44
Sharps/ flats are called accidentals
45
a 9th is just the 2nd of that scale but usually an octave up
46
Sus chords sound as if the 3rd is suspended and wants to move up/ down
47
A Plagal cadence
from the 4 to the 1 which makes it feel complete but in a gentler manor
48
interrupted/ deceptive cadence
from the 5 to the 6. (Sounds like it should end then carries on in new direction)
49
Incomplete cadence
Ends on the 5
Sounds incomplete
50
shell chords
sevenths without a fifth
51
Whole tone scale
6 note scale that only goes up in whole tones
Dreamy feeling
52
if u left out the 5th out of a 6 chord it would just sound like a triad starting on what was meant to be the 6th: 6-1-3 (1-3-5)
53
Legato means notes transitioning together smoothly with no breaks in between, glissando means sliding between, Staccato means performed with each note sharply detached from the others.
54
In major scales the halfs are between the?
3rd and 4th
7th and root
(4th and 8th flattened)
55
In minor the halves are between the?
2nd and 3rd
5th and 6th
(3rd and 6th flattened)
56
Using the chord ur about to land on but with all the notes just shifted by a semitone is pretty funky
57
Circle of fifths anti clockwise (major and minor) follows the pattern
BEADGCFbeadg
(Lower case are flats but could easily be converted into the sharps a, d, g, c and f
58
What notes to take out the major scale to make it pentatonic
4th and 7th
59
What notes to take out the minor scale to make it pentatonic?
2nd and 6th
60
Sub bass
20-60 hz and is often more felt than heard
61
Bass
60-250hz
62
Low mids
250-500hz if there is too much it may be described as boxy but can give alot of fullness to the mix
63
Mid
500-2khz offers clarity.
(2k-20khz is all considered highs)
64
6-9khz
features sibilance and stuff such as a pick attack on a guitar
65
Shelf Filter raising high mids has a huge effect on bringing things closer/ less seperation
Shelf filter lowering high mids has a huge effect on bringing things further back/ more seperation (less transients/ definition)
High mids tend to sound louder than things that are the same volume
66
Ring modulation multiplys signals together
Can be used to make stuff sound robotic/ metallic
67
An ascending 5th makes the note it starts from sound like the tonic whereas an ascending 4th makes the note it lands on sound like the tonic.
When descending this is reversed (a descending 5th makes the note it lands on sound like the tonic and a descending fourth makes the note it starts on sound like the tonic) cos a descending fifth is the same as an ascending fourth except down an octave (C is up a fifth to G and it is down a fourth to G)
68
To make a major pentatonic scale u take any major scale and take 4th and 7th away
- Minor take out 2nd n 6th
- (the 6th and 2nd of the minor scale ARE the 4th and 7th of its relative major scale)
69
The fifth chord wants to resolve into the one cos it includes the 7th and 2nd which lead into the one
70
Major sounds sure of itself and proud
Minor sounds less so
71
1-5-6-4
Taake onn mee take on me
72
6-4-1-5
Grenade
73
1st inversion: 3rd lowest note
2nd inversion: 5th is lowest note
Root position: 1st is the lowest note
The rest of the notes in the triads CAN be in any order
74
Wow' describes slow fluctuations in pitch caused by inconsistencies in the rotational speed of the playback machinery. Flutter is more rapid pitch variation that's usually the result of imperfections in the tape itself.
75
It can be good to automate flangers for rises
76
Formant: oo
250hz
77
Formant o:
500hz
78
Formant: ah
1khz
79
Formant: a
2khz
80
Formant: ee
4khz
81
S
8khz
82
Ts
16khz
83
Depth knobs tend to control the percentage at which an LFO is applied to a signal.
- In fm situations the depth would increase vibrato and affect hz (f.ex.).
- In am situations the depth would increase tremolo and affect amplitude.
- For some plugins e.g. chorus depth may increase delay times and affect ms.
84
All music has a pulse
Think of this when doing time based stuff such as delays or modulation
85
Up a fourth and down a fifth gets you to the very same place (obviously an octave apart,) but harmonic function doesn't depend on pitch.
86
Drop voicings mainly apply to 7th chords (or any other 4 note chord.)
They move one note or more of the chord down an octave.
A drop 2 would drop the 5th of a 7th chord down an octave.
A drop 3 would drop the 3rd of a 7th chord down an octave.
- this is because the 5th is the 2nd note from the top (2nd highest) and the 3rd is the 3rd note from the top (3rd highest)
87
If duplicating something (f.ex when making something mono -> stereo) then to keep the same volume level, you need to decrease the gain on the original and duplicate by 3 db each (6db all together)
88
Left should normally go first (or in A)
Reds normally right
89
How fast does sound travel?
approximately 1 ft per ms
- so if we have delay speakers 30ft from normal speakers they will need approx 30ms delay
90
The window in granualar synth is...
the crossfade to stop clicks and pops
91
A leading tone is the 7th in a scale which is one semitone from the root
- present in major, dramatic minor and harmonic minor scales
The leading tone makes the seventh degree and therefor also the fifth chord (which contains it) pull toward 1st more
In natural minor the 7th is called the subtonic and lacks desire to move into the tonic
92
The interval + its inverse always add up to 9 and one of them is always minor while one of them is always major (opposite qualities)
Fex. Minor 3rd + major 6th
Perfect fourth + perfect fifth also all add up to 9 but aren't opposite qualities
93
Aflat major scale has 4 flats
A major scale has 3 sharps
(The 3 natural notes in the Aflat major scale will be the 3 sharp notes in the A major scale)
- also works the same with sharp scales (f.ex. The non accidentals in C minor will be the sharp notes in C# minor)
In terms of scales, the flats + sharps of a notes scale and its relevant flats scale always add up to 7 and the accidentals that don't appear in one scale will appear in that same lettered notes accidental scale.
94
A major chord with a raised 3rd (by a semitone) is known as a sus4, a minor chord with a lowered 3rd (by a semitone) is a sus 2 - these notes sound as if the 3rd is suspended and wants to move up/ down
95
A major chord with a raised 3rd (by a semitone) is known as a sus4, a minor chord with a lowered 3rd (by a semitone) is a sus 2 - these notes sound as if the 3rd is suspended and wants to move up/ down
96
Major keys for sharps: C has no sharp, then the next one on the circle of fifths (G) has one- the sharp added is gonna be one semitone lower than the root note of this key (in this case F#)
The sharps carry over: the perfect fifth in the G major scale AND the next note in the circle of fifths is D. This keeps F# and has another sharp which is also a semitone below D (C#).
97
CofF intervals: (Clockwise is up and anticlockwise is down)
- opposite end is a tritone f.ex C to G flat
- One space in either direction is a fifth up/ a fifth down (4th)
- 2 spaces in either direction is a major 2nd up/ a major second down (min 7th)
- 3 spaces in either direction is a major 6th up or a major sixth down (min 3rd)
- 4 spaces in either direction is a major 3rd up or a major 3rd down (min 6th)
- 5 spaces in either direction is a major 7th up or a major 7th down (min 2nd)
98
6-9khz will feature sibilance and stuff such as a pick attack on a guitar
99
Tritone are opposite ends of CoF
diminished 7th chord is a square in CoF
Augmeted triad is an equilateral Triangle in CoF
100
A way to EQ sidechain something:
u can send the thing thats clashing to a mixer track and EQ it so its only the section thats clashing, THEN sidechain this to the thing you want to multiband compressor/ eq and make sure it isnt sent to master because u only want the info sent not the sound.
101
Negative harmony.
preserves tension but flips feeling.
Makes perfect cadences become plagal and vice versa.
The notes that wanted to resolve down are transformed into notes that want to resolve upward and the notes that wanted to resolve upward are transformed into notes that want to resolve downwards.
102
How to create negative harmony:
Each key in the circle of fifths has a harmonic axis which splits between the tonic and dominant (1st and 5th). Using this axis, swap notes in the scale your using with the notes opposite across the axis.
Ignore the minor circle if using major and vice versa (e.g. if using C major f.ex. then reflect the A, which is in the major circle three clockwise of C ((it would swap with Bb)) across the axis not the A which is C majors relative minor circle.)
103
Negative harmony:
The reason the axis is between the 1st and 5th is that this is the only one that keeps active notes active and stable notes stable (active want to resolve and stable don't)
However, flipping notes across this axis makes it so that the active notes that wanted to resolve upwards are transformed into active notes that want to resolve downwards and visa versa.
104
When we translate chords for negative harmony we need to do it note by note.
F.ex. In the C major scale, the C major chord doesnt simply become the G major chord.
The C will change to a G. The E (which is the major third of the chord) will change to an Eb. And the G, (the fifth of the C major triad,) will change to a C, this creates a C minor triad variation.
105
Negative harmony
It will change the notes being used to the notes from that notes minor/ major scale (f.ex. C major scales notes will change to C minor scales notes when flipped across the negative harmony axis)
HOWEVER, it is doing more than this, because it changes the function and pull of the notes in an arrangement and this is why changing an arrangement to negative harmony causes the distinctive sound. It is not the same as changing the scale of a song.
106
Negative harmony can be applied to a song using a major scale (which would change it so that it uses notes from the same notes minor scale)
OR it can also be applied to a song that uses a minor scale (which would change it so that it uses notes from that same notes major scale)
107
Diminished chords are usually written with a small circle, like the sign for degrees (temperature)
half diminished chords are usually written with the same circle with a line going thru it.
108
Diminished chords are effective as passing chords when travelling a full tone. F.ex. D, Ebdim7, E
Diminished chords can be useful for embellishing the tonic
109
Playing a fully diminished 7th built on the 7th degree of a major scale can be usefull to pull us to the...
Five (even tho its not diatonic)
This is cos it contains a flattened 6th. (Minor scale already contains a flattened 6th anyway)
110
The vii triad in major scales, and ii triad in minor scales, are acc diminished.
The reason these triads are diminished is cos the triads fifths (as in the last note in the triad) are only 6 semitones up from the root note. not 7. (f.ex F is 6 semitones up from B in the C maj scale)
(Only degrees which have two halfs/ flattened notes between 1st and 5th in their chords)
111
Diminished triads and half diminished 7ths (flat fifth with a flat 7th) are diatonic for major and natural minor scales.
Fully diminished sevenths (,where the 7th is double flattened so that it is only 3 semitones from the already flattened 5th,) are not.
112
Every note in a diminished chord is 3 semitones from eachother.
(Fully diminished not half diminished)
In a diminished 7th this seperates the 12 semitones in an octave perfectly, it means that any note can be the root and if u slide it up or down 3 frets u will get the same chord
113
Upper case roman numerals mean a chord is major
Lower case roman numerals mean a chord is minor
114
Secondary dominants usually resolve by a fifth (perfect cadence), however sometimes they don't. F.ex. Creep uses a secondary dominant that follows a deceptive cadence.
115
Usually secondary dominants are sevenths, but not all the time. The seventh just helps to pull toward the chord a fifth away more
116
A dominant 7th chord starting one semitone up from the root note of the next chord in the chord progression also makes for a good passing chord. E.g. a Db dom7th before landing on C
(Will contain a B)
117
So a dominant chord is the chord a perfect fifth away that leads us to the tonic.
A secondary dominant is a chord a fifth away from a note in the scale, (that isnt the tonic), that leads us to that very note. A secondary dominant chord can be used to help modulate to a new key, by introducing a non diatonic note, or just to pull us towards a chord/ note already in the key.
118
Tritone substitution: Tritones are in dom 7 chords (between 3rd and 7th)
- If u play a dominant 7 chord then travel a tritone (3 full tones) away from the root and play the dominant 7 chord of the note u land on, that notes dominant 7 chord will contain the same tritone as the first dominant 7 chord. (In reverse)
F.ex. A Gdom7 chord mainly wants to resolve to C cos of the tritone between the 3rd n 7th: B and F. The same tritone is also present (in all major keys) if u build a dominant 7 chord starting one semitone higher than the tonic. This note can also be found opposite the keys dominant on the circle of fifths.
119
Harmonic and melodic minor keys obviously have different diatonic chords to natural minor keys.
The chords in a harmonic scale are the same as natural except:
the 3rd chord is augmented, the 5th is now major and the raised 7th is now diminished.
Melodic is the same as harmonic except: the 2nd is a normal minor, the 4th is major and the raised 6th is also diminished.
120
Natural minor scales have a flat 3rd, 6th and 7th COMPARED TO major scales. F.ex. A major scale includes the accidentals C# (3rd) ,F# (6th) and G# (7th). In the A natural minor scale these are flattened out (COMPARED TO the A major scale), and all notes are natural.
- this happens because the half steps between notes happen earlier in the minor scale than the major scale.
- (this doesn't mean that those notes are always flat in minor scales, it means that they are flattened compared to their equivalent major scales)
121
major
1 2 3 4 5 6 7
C D E F G A B
W W H W W W H
minor
1 2 3 4 5 6 7
A B C D E F G
W H W W H W W
This is why a relative minor scale is 3 semitones down from its relative major.
And why when we take out the 4th and 7th from a key to make a major pentatonic key/ take out the 6th and 2nd from the relative minor key to make a minor pentatonic key we are actually removing the same notes.
122
Comb filtering is caused when a signal is combined with a very slightly (less than 20ms) delayed version of itself. This creates repeating destructive and constructive interference in which the filters peaks will follow the harmonics of the sound that it is filtering.
Can occur naturally due to phasing. however is reduced drastically if the levels of the signals arent the exact same, this is why sound foam is placed where the shortest path between sound source, wall and, mic is and why the sound foam improves sound quality so much.
123
A phaser is basically a flanger that only delays desired parts of the spectrum. The phase cancellation doesnt follow the harmonic series so doesnt create a complete comb filter effect, there will be less cuts/ phase cancellation so the effect will be less harsh.
The amount of cuts are determined by the amount of times the signal goes thru an all pass filter and these are often called 'poles'.
124
Flanger is basically a comb filter LFO
- The rate and depth attached to a flanger determines the speed of the LFO that modulates the flanger and how far it moves the delay time
- Feedback determines the strength of the flanger
125
The further away a note is on the circle of fifths, the more dissonant it usually sounds
126
Flattening the 3rd in a major scale has a bluesy sound to it
This makes sense cos the blues sound is like a merging of minor and major
127
To make a progression feel cinnymatic, you can...
Flatten the 5th/ sharpenthe 4th
128
The same diminished chord could resolve up a halfstep into the tonic of a major scale (treating the diminished seventh as the seventh degree of a major scale) OR down a wholestep into the tonic of a minor scale (treating the same diminished seventh as the 2nd degree of a minor scale)
F.ex: from Bdim7 for example u can go a half step up to C (which u can treat as the tonic for Cmaj scale) or u can go a whole step down to A (which u can treat as the tonic for the Amin scale).
U can also treat any of the 4 notes in a dim7 chord this way, so from one dim7 chord u can resolve to 8 different keys.
129
Chamber reverbs are designed on old reverbs where they built actual reverb rooms.
Plate reverbs sound unnatural but bright and smooth, a popular technique is to have it nearly dry but with a really long decay so theres just a small bit of reverb always shimmering under something.
Spring reverbs can give of a boingy sound on fast transients but this can sound good on plucky guitar f.ex.
Halls are designed with acoustics in mind whereas rooms arent.
130
Reverb E.R/ early reflection
Controlls the amount of early reflections that u will hear
- with more early reflections it is easier to decipher the shape of the room- whereas the later reflections make up the lush, main body of the reverb.
131
A ring modulator just combines a signal with another signal
- often a sine wave
132
In reverbs, damping refers to how the high frequencies within the reverb decay over time.
By adjusting damping, you can simulate the absorption of sound in a real environment, where higher frequencies are absorbed more quickly than lower ones.
133
Reverb diffusion controls how many echos are generated and their density.
High diffusion helps get a thick sound, associated with irregular rooms, creating more reflections + more variation.
Lower diffusion sounds thinner and are associated with regular shaped rooms. Lowering diffusion can help maintain clarity however it can sometimes sound grainy/ metallic.
134
We can tell which notes are secondary dominants of another note thru the chain of fourths
7 3 6 2 5 1 4. (This, as an example, could be B E A D G C F)
Fex the 7 to 3 is up a fourth or down a fifth, either way the 7 would be the secondary dominant resolving to the 3.
135
We can tell which notes are secondary subdominants thru the chain of fifths.
4 1 5 2 6 3 7
Fex the 4 to 1 is down a fourth or up a fifth, either way the 4th would be the secondary dominant resolving to the 1st.
136
Minor keys are not fixed.
F.ex. We might mainly use natural minor, and then dip into harmonic minor because we want the 5 chord to pull to the tonic. (In harmonic minor the 7th is raised so it is a leading tone and pulls to the tonic.- the 7th degree would be the third in a fifth chord.
In that example we would play the V as a major chord
137
Dominants and dom 7ths:
Dominant 7th chords resolve into a major triad through voice leading, where each note moves stepwise between chords.
F.ex. Lets look at the dominant (fifth) of the C maj scale as a dom7 chord: Gdom7: (G B D F) resolving into the tonic major triad
Cmaj: (C E G )
The 3rd (B) of the Gdom7 chord acts as a leading tone for the tonic (C) of the Cmaj triad.
The 7th (F) acts as a leading tone for the 3rd (E) of the Cmaj triad.
^this is why there is a strong pull for dominants (esp 7ths) to resolve down a fifth/ up a fourth.
138
Sub dominants and minor 7ths:
The seventh in a min7th will contain the 3rd of a minor chord a fourth down/ fifth up, or the leading tone (one semitone before) the 3rd of a major chord a fourth down/ fifth up. The minor 3rd would be a leading tone (one semitone after) the fifth of the chord a fourth down/ a fifth up.
F.ex. The seventh in Fmin7 is Eb (so it is the leading tone before E, whereas Gmin7, which is the actual dominant, contains the leading tone after E.)
Minor 7ths will have more pull if using a chord as a sub dominant cos major thirds are not leading tones for, or a part of the chord a fourth down/ fifth up.
139
The 7th for a DomMaj7th would not act as a leading tone for a minor OR major third of the chord a fifth down or fourth up.
The 7th of SubDomMaj7th would contain a leading tone (one semitone after) for a minor third of a minor chord a fourth down/ fifth up. Or it will contain the third of a major chord a fourth down/ fifth up.
140
interval of a fourth from 4th to 7th is a semitone longer than the rest of the intervals in chain of fifths cos its the only interval of a fourth, in said chain, that doesn't contain a half step, when following the major scale. The same rule applies for minor scales except the odd intervals are between the 2nd and 6th. (Cos minor scales half steps are in different places)
The opposite is true for intervals of fifths in the chain of fifths: the interval of a fifth from 7ths to 4ths contains two half steps therefore the interval is one semitone shorter. (Thus we get diminished chords)
141
A mode is just a major scale starting from a different note
(Major scale is ionian mode)
F.ex. D dorian is just the C major scale starting from the second note (D)
Aelonian mode IS the minor scale cos it is a major scale starting from the 6th
142
Exciter
Adds saturation/ harmonics to the high freqs (usually 3k n up)
Can make things sound more crispy
143
Glue compression
Compression on a bus.
Increases quiet elements and decreases loud elements.
Usually has long release.
144
Diminished chords and augmented chords both sound very dissonant
The way i tell them apart is;
Diminished chords sound even more like they wanna resolve than augmented chords.
Diminished chords have more of a spooky (in a kind of ghost town dim chord way) vibe to them
145
Mid= mono sum (left + right)
Side = left - right (the difference)
146
Gated reverb:
Thick punchy reverb that disapears in an instant
(Use a gate with a high threshold to achieve this)
147
A state variable filter (SVF) is a common design for synth filters.
This design lends itself to allowing low pass, high pass, and bandpass all being available simultaneously.
148
Mid side is often good to keep bass in center or to only tame ambience/ width without taming the center
149
Non linear reverb gets louder as a sound decays (sounds a bit like a whip)
150
Different chord sounds
Min
Aug
Dim
7 (dom 7)
Minor sounds like major with regret.
Aug just sounds dissonant.
Dim sounds dissonant but ghost town vibes.
7 sounds like maj or minor but u can hear the overtone, and its slightly more dissonant
151
152
Due to 7362514skr we know there is an extra semitone difference between the 4 and 7 in a major scale. HOWEVER IT IS DIFFERENT FOR A MINOR SCALE. In a minor scale the extra semitone gap is between the...
6 and the 2
2514736skr (sad voice for minor)
153
U can use delay plugins to create feedback and then record the feed back and use it
154
Bi polar
Goes from minus one to one, with zero as the crossing in the middle
155
Unipolar
Only goes in one direction from zero. (usually between 0 and 1)
156
Sweeping resonance filters can make stuff squelchy
157
The cutoff frequency in an eq is:
The point at which a frequency reaches -3db
158
In terms of feedback, a mic being closer to a loudspeaker means...
Higher pitch
159
An Insert
Requires a balanced cable, it takes a signal out and then back to the same place in the signal path.
160
161
Additive synthesis =
Subtractive synthesis =
Additive synthesis = oscillators
Subtractive synthesis = white noise generators + filters
162
Using same plugins thru out track will maintain characteristics and make mix more unified
163
Some compressors may have adaptive thresholds
These are thresholds that u dont pick, but they adapt to the signal
164
Delay tips:
May wanna Make delay off beat so that it fills in gaps rather than adds to transients.
Have delay sidechained to vocals (f.ex.) So that it plays when these arent playing.
May want to automate delay (oft physically) so that it pops at ends of phrases.
Can make delay more encompassing by making it stereo and subtly altering L/R.
May wanna add a subtle reverb to delay and voice (f.ex.) Even if the reverb cant be heard on its own, it can be helpful to tie them together
165
AFL=
PFL=
After fader listen
Pre fader listen
Sometimes mixers may have PAFL button, this is to switch between pre and after fader listen.
166
Inputs/ Outputs (I/Os) in DAWS are literally digital patchbays
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TS cable
TRS cable
Tip Sleeve is mono
Tip Ring Sleeve is stereo
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When live recording drums it is important to check they are in phase.
Putting drums in phase can help them sound much bassier and fuller
169
When EQing drums
It can be better to put EQ on the drum bus because this will make it sound more together (same when putting compression on drums)
Also, for live recording, different parts of the kit will appear in more mics so it will be better to just EQ bus rather than each mic individually.
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For recording guitars, having a mic the 12th fret tends to be a good balance between bass/body and treble
the closer the mic is, the less body. 50cm is a good starting point.
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3to1 rule
Mics must be atleast 3 times as far from each other as they are from there sources.
- just to reduce bleed
- Also means that when converted to mono there is less phase cancellation because both microphones arent recording exactly the same thing
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What does a pad (fex on a D.I) do?
Reduces gain by 20db.
Useful if the faders down really low, and u want it higher for better control
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A rides thicker and heavier than a...
Crash.
This means rides are quieter when struck but have longer overtones.
Cymbals with holes in will decay shorter and be lower. They will also sound quieter.
174
Symbol for phase inversion is
Ø
175
Sound travels approximately 1 ft per ms
- so if we have delay speakers 30ft from normal speakers they will need approx 30ms delay
176
Sensitivity often means gain
177
The front is always positive in a mic diaphragm
So in figure of 8 the back is negative
(The front will be side with logo on it)
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Squelch
similar to a gate, it mutes stuff when its close to silent, i.e when the person aint talking
179
Asio means
audio stream input/ output
180
Cutting low end off of delays and reverbs (anything under 300hz) can help mix if its sounding muddy
181
0 gain is sometimes reffered to as ... on a mixer
unity
182
Chromatic means moving by semitones
183
clicks and pops will appear as ... in spectograms
verticle lines
184
A way to make stuff (especially drums) sound more human and less repetitive is to...
Slightly modulate the start time.
185
U can route an ambient sound to a Comb filter/ flanger and increase resonance/ feedback to make it more harmonic.
If u play the ambient sound as a melody then the melody will peak thru as u turn up resonance/ feedback
(Comb filter can make stuff harmonic cos it attenuates frequencies at regular intervals)
U can use a flanger as a comb filter by setting delay time to close to zero
A feedback and resonance knob in a flanger is basically the same thing
186
Sample rate is the amount of samples taken per second - determines the highest frequency that can be recorded.
A sample rate of 48khz could comfortably record a sound at 20khz (each cycle of a sounds vibration must be measured a minimum of 2 times)
Higher sample rates also mean that we can slow things and raise pitch. F.ex. We could half somethings speed and then move it back up one octave (to its original pitch) at 96khz
187
Bit depth
In audio, each bit constitutes to the question 'are u louder than x?' The more time the question gets asked the more accurate amplitude measurements therefore a more detailed sound.
Less accuracy = more random variation/ inharmonics therefor more white noise
Bit rates below 16bits have noticable noise. 24 bits is usually enough
188
Hard knee and soft knee compression
Soft knee means some of the signal will be slightly compressed before the threshold and gradually more so after the threshold until it matches the ratio set (affects whole signal)
Hard knee means the compression will abruptly start at the threshold following the set ratio immediately (affects peaks)
189
Lufs
Lu is db
Fs stands for full scale and means that 0 is the highest
Tp is true peak
Rms shows how loud something sounds and has to do with density and average. Peak is just the maximum transient of the audio.
Aim for around -14
190
Mic pairs
(Coincident, spaced and near coincident)
Coincident pairs (xy) localise left/ right better because they show the difference in gain, coincident pairs are more mono compatable.
Spaced pairs (ab) are better for depth because they show the difference in phase - better for ambience
Near coincident pair is a combo of the two.
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Angling microphone
High frequencies are more affected by angling the microphone and moving it off centre because high frequency soundwaves are more directional than low frequency soundwaves.
Angling the microphone can also reduce proximity effect and reduce sibilance and plosives from vocals.
192
Mic to diaphragm placement:
(Dead centre, Off centre & Off axis)
Dead center: clearest/ brightest and most transient.
Off center: tops/ high end rolled off, giving the impression that the bass is fuller.
Off axis 45: loss of high air and bass, giving the impression of more mids. Tighter sounding
- can combine off centre and off axis
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Resonance (in this context) is what occurs when 2 identical frequencies interact with each other, can be good (extra harmonics) but is often bad and can ruin dynamics.
194
Foldback path on a mixer
Foldback is a feed of audio to the studio (or a stage), via either loudspeaker, headphone or earpiece.
A console normally has two FB sections, often labelled A and B. i.e. (FB)A and (FB)B.
Each FB section will have a way of controlling two separated mix sources, these could be labelled Mix 1 or 2 / Aux A and B / Mix bus or Rec bus and so on.
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High mids
2khz - 4khz
196
A send
(Auxiliary)
A send effect creates a copy of a track's signal, applies an effect to the copy, and blends it back in with the original signal, leaving the original track untouched.
Whereas an insert modifies a signal directly.
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VCA/ DCA
A DCA is just a digital version of a VCA
It is just a control that controls the volume of multiple tracks
F.ex. The slider on a drum bus is a DCA/ VCA
198
One cycle if a sound wave starts at the 0 crossing and ends at the 0 crossing
It includes both the peak and trough
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Chorus effect
Chorus usually has slightly less delay than a flanger and the delay is modulated by a LFO creating a usually subtle pitch shift, ur able to control the rate of the LFO and the amount it moves the pitch of the duplicate(s). Stereo chorus is when the signal is duplicated on the left and right.
200
A triangle that isnt coloured in next a note means...
That the 7th is a major 7th.
U can still have it on the end of a minor chord, in which case it would be a minor chord with a major 7th
201
Akg d112
Akg c414 is the dynamic mic with different polar patterns and blue logo - good neuteral mic for vocals
D112 are the big dynamic egg kick mics
C424 are the condensor mics with different polar patterns and blue logo - good neuteral mic for vocals
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Sure sm57
Sure sm58
sm57: dynamic mics that u can basically use for anything
sm58: classic performance mic, durable, not sensitive to feedback, dynamic
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Neumann KM 184
pencil mic, condenser, often used for stereo pairs (f.ex L/R overheads).
204
Types of waves from least to most buzzy
Sine
Triangle
Saw
Square
205
Male vocals fundamentals are usually between:
Female vocals fundamentals are usually between:
85 and 155 hz
165 and 255 hz
206
Which are the highest and lowest out of alto, soprano and tenor?
Highest: Soprano
Alto
Lowest: tenor
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Gtar pedals
Go from gtar then through pedals then to amp. (Using jacks)
U can join up as many pedals as u like
These are the main types and the order they should usually be in in the signal path.
Tuner pedal (can tune silently)
THEN- Drive pedals add distortion
THEN- Compression/ dynamics
THEN- Modulation pedals (such as chorus, flanger or tremolo)
THEN- Time based (such as delay or reverb)
THEN Loop
- the last two (time based and loop) may sound better after the amplifier
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Remember that u dont always need to get a certain sound by just processing it
U could do stuff like make the reverb that of a different instrument, or play one chord accross multiple instruments
