Edición de Audio

IAT 380: Sound Design Audio Editing and Sound Effects
Philippe Pasquier. Assistant Professor

Office 565 (floor 14) pasquier@sfu.ca
Summary of previous weeks

We have seen some fun amentals of acoustics an i!ital au io processin!"
#oun " its pro uction$ propa!ation an perception #onic %aves representation an properties" time #oun i!italisation" A'( an 'A(" samplin! rate an )it epth Aliasin!$ quantisation noise Au io file formats
vs. frequenc& omain (%aveform vs spectro!ram)
Au io in an out"
*icrophones *i+in! consoles or soun )oar ,ou spea-ers

2
Philippe Pasquier, September 2008
IAT-380 Sound Design
Digitalising sound
Overvie% of the au io i!ital recor in! an pla&)ac- chain
aveform
A %aveform is a !raphical representation of a soun %ave.
Amplitude
Time
!re"uency Spectrum T#roug# Time
Sound $ !re"uency spectrum

/he spectro!ram is the visual representation of the frequenc& spectrum
Sound $ !re"uency spectrum

#pectral anal&sis is one %ith the 1ourrier transform"
/ime2 omain %aveform
1o ur rie r tr a ns f
or m
1requenc&2 omain spectrum

IAT-380 Sound Design 0
%armonic sound
1requenc& spectrum of a trumpet pla&in! a A4
1un amental frequenc&: F 4armonics: 2*F, 3*F, ...
In#armonic Sound
1requenc& spectrum of a metal shime
Fundamental frequency: F Overtones
&oise
7oise is ran om si!nal" it is the e+treme in term of aperio icit& /here are ifferent t&pes of noise (or colors) istin!uishe )& po%er istri)ution in their frequenc& spectrum White noise is characterise )& a flat spectrum
16
&oise
8lectric hum$ mains hum$ or po%er line hum is a special case of noise create )& electroma!netic or electric interference. Often$ it is relate to a !roun loop pro)lem. 8+ample" the !roun of the alimentation of an equipment is share %ith the !roun of the soun si!nal. 8+ample" 6649 hum
11
'utline of today(s lecture
:ntro uction Au io e itin!" tips ;arious operations an effects /he )asics of masterin! 7e+t %eeActive listenin! session
12
1.
Audio Editing
Au io e itin! is the process of ta-in! recor e soun an chan!in! it irectl& on the recor in! me ium (analo!) or in <A* ( i!ital). 'evelope in the mi le part of the 26th"
Straight raz r! and "!plicing" tape t c nnect piece! f magnetic tape that had #een cut. Audi edit r! $ uld li!ten t rec rded tape! at l $ !peed!, and then l cated !pecific ! und! u!ing a pr ce!! called !cru##ing, $hich i! the !l $ r c%ing #ac% and f rth f the tape reel! acr !! the play#ac% head! f the tape dec%.
#oun 'esi!ner %as the first mainstream i!ital soun e itor ()& 'i!i esi!n %ho achieve earl& in ustr& ominance). /he multi2platform pac-a!e Au acit& is currentl& the most full&2feature free soft%are au io e itor.
14
Important concept of audio editing

As true silence oes not e+ist$ ever& s&stem %ill create or e+hi)it noise /he noise floor of a s&stem is the point at %hich the softest soun can )e hear . An& si!nal un er the noise floor is covere )& the )ac-!roun noise an cannot )e hear or i entifie properl&. /he si!nal &namic ran!e is the ifference )et%een the pea- amplitu e an the softest value of a si!nal (e+presse in =). /he si!nal2to2noise ratio (#7<$ #>7) is the &namic ran!e )et%een the lou est si!nal an the noise floor value (e+presse in =).
15
Dynamic )ange
We use &namic ran!e or #7< to escri)e"
/he ratio of the lou est possi)le un istorte soun to the quietest or to the noise level of a microphone or lou spea-er. 8+" 126 = #P, ? 56 = #P, @ 06 = #P,
&ac%gr und n i!e: empty r 'ea% amplitude at the micr ph ne m
:n i!ital au io$ the ma+imum possi)le &namic ran!e is !iven )& the au io )it epth (see si!nal2 to2noise ratio).
The higher the rati , the le!! #tru!i(e the #ac%gr und n i!e i!.
Dynamic )ange
:n the i!ital omain %here there is a ma+imum possi)le enco in! usin! fi+e at 6 = ( =1# for full scale)"
The )*+#it ',- !ignal ha! a dynamic range f ./ d&.
:n the analo! omain"

*a!netic tape has a &namic ran!e of appro+imatel& 55 =. A vin&l is- has a &namic ran!e of appro+imatel& 65 =. *icrophones have various &namic ran!es #ame for lou spea-ers
10
Dynamic )ange
One e+ample of incompressi)le noise floor on i!ital s&stems is the quanti9ation noise (noise of half a )it of amplitu e)
13
Dynamic )ange
/r& to ma-e the )est use of the &namic ran!e %hen recor in! an in ivi ual soun
021d&
15
Dynamic )ange
=it epth" a !erie! f le(el! t $hich audi energy can #e appr 2imated at any gi(en m ment in time.
3ith )* #it audi , there are *4,43* p !!i#le le(el!. 3ith e(ery #it f greater re! luti n, the num#er f le(el! d u#le.
=& the time %e !et to 24 )it$ %e actuall& have 16$000$216 levels.

5uiet pa!!age! $ill #e le!! li%ely !truggling t !tay a# (e the n i!e fl r n y ur !y!tem. 6 u can rec rd at l $er le(el!, $ith m re headr m. Thi! en!ure! that the cca!i nal pea% i! n t truncated at the t p and it $ill gi(e c n(erter! ! me r m t #reathe. &ecau!e y u are n t pu!hing the limit! f y ur #and$idth, y ur in!trument! $ill ! und clearer, and the ( cal! may ! und "cleaner", the ! ng $ill mi2 #etter and there $ill #e le!! n i!e.
/hese are !oo reasons for usin! 24 )its

21
Audio editing
;arious operations on soun files"
;olume>!ain>amplitu e mo ulation (uttin!" fa e in fa e out an 9ero crossin! 7ormalisin! (ompression>8+pan er <eversin! 8ffects"
'istortion Phaser$ 1lan!er (horus /ime shifter
1requenc& omain effects

1ilters 8qualisation Pitch shifter
Sound Editing: *olume

;olume>!ain>level control"
/he volume can )e a Auste (correspon s to the amplitu e of the soun %ave an to the perceive lou ness) Operation" multiplication )& a constant
+3d&
8+presse as a ratio (in =) All the previous consi erations appl&"

Bse as much of the &namic ran!e availa)le for a sin!le soun =ut allo% for some &namic in &our mi+
IAT-380 Sound Design 2.

/he %aveform shoul )e continuous" iscontinuities are anomalies Clitches$ clic-s an pops are un%ante soun s ften f und in (inyl rec rding! r fr m #ad !plice+ editing, and are !een a! !harp glitche! in the n rmal cur(e f a $a(ef rm.
24

(an &ou ear the ifference )et%een these three soun sD
25

A special case of clic is the )e!innin! an en of a soun . *ore !enerall&$ follo% the 9erocrossin! rule Al%a&s fa e in > fa e out the volume
74m! i! en ugh8
26

Amplitu e mo ulation" refer to cases %here the volume varies throu!h time (volume automation is an e+ample) 1or e+ample" tremolo (sine %ave of ..249)
20

7ormalisation is the volume a Austment that )rin!s the pea- amplitu e at 6 = (ma+imum amplitu e)
23

Eoom on that %aveform
25

*ore !ain an it is the saturation
.6

8ven more !ain an it is istortion"
.1
+ompression, E-pansion and .imiting

(ompression$ e+pansion$ an limitin! affect the &namic ran!e of the soun file )& var&in! the !ain as a function of the input soun level.
.2

A compressor l $er! the dynamic range f a !ignal #y
reducing the le(el f high ( lume !ignal! and applying an (erall gain t rai!e the le(el up again. , mpre!!i n i! ften u!ed in ( cal! and mu!ic t get e(en ( lume le(el! $hich ften re!ult! in a !m ther, fuller ! und.
..

An e+pan er increa!e! the dynamic range f a !ignal #y
decrea!ing the le(el f l $ ( lume !ignal!. 92pander! are c mm nly u!ed f r n i!e reducti n r f r empha!izing the dynamic! f a piece.
.4

A limiter i! a c mpre!! r $ith a greater rati
f dynamic range reducti n. :imiter! are u!ed in #r adca!ting f r ma%ing !ure that the ( lume le(el d e! n t g (er a certain thre!h ld $hich (erdri(e! electrical equipment.
.5
Dynamic )ange /anipulation

A noise !ate removes si!nals )elo% a set threshol . :tFs use to remove noise from silent )rea-s in a soun file.
.6
)eversing a sound
<everse soun %ave" invert the or er of the list of samples
.0
Sound effect: delay

/he ela&>echo effect a s a ela&e cop& of the soun si!nal to the file. A sin!le ela& or eca&in! multiple ela&s can )e a e )efore or after the soun si!nal. /he multi2tap ela& effect is use to simulate multiple echoes$ rever)eration an other ela&2 relate effects. :t accomplishes this %ith multiple ela& taps$ pitch mo ulation$ an filterin!.
.3
Effect: +#orus
/he chorus effect creates the illusion of t%o or more soun sources pla&in! to!ether. /his is one )& a in! a pitch2mo ulate an ela&e version of the input si!nal to the unprocesse input si!nal. /he effect simulates the variances in pitch an timin! that occur naturall& %hen t%o or more people tr& to pla& or sin! the same thin! at the same time.
.5
Effects: !lange, 0#aser,
a#1wa#
1lan!e" /he flan!in! effect is hear in man& 66s an 06s recor in!s. :t is the result of mi+in! a mo ulate ela& si!nal %ith the ori!inal si!nal to create a s%eepin! soun much li-e an airplane ta-in! off. Phaser" A phaser is similar to a flan!er$ e+cept that instea of usin! a #imple 'ela&$ frequencies are phase2shifte over time. When use on stereo files$ stran!e effects on the stereo ima!e are create . Wah2Wah"/he %ah2%ah effect %as populari9e )& man& a roc->)lues !uitarists favorite to&$ the %ah2%ah pe al. :t consists of a )an 2pass filter %hich attenuates lo% an hi!h frequencies in var&in! amounts over
Effect: time stretc#ing

/ime stretchin! chan!es the uration of a soun file %ithout alterin! the pitch. ;er& useful %hen"
/r&in! to a Aust a loop at a certain tempo. /r&in! to a Aust a soun effect to the len!th of some movin! ima!es (e+ample" oor closin!). *a-e speech fit the len!th of a ra io>/; commercial. #lo% speech o%n for forei!n au iences. Cive a sense of velocit& to soun effects. 8+ample" car passin!
=ase on comple+ resamplin! al!orithms

!re"uency Domain Effects
, mpara#le t en(el p #ut in the frequency d main

!re"uency Domain Effects

8quali9ation (or equalisation$ 8G) is the process of chan!in! the frequenc& envelope of a soun *a e of filters (an volume controls)
4.
Effect: 0itc# S#ift

/his pitch shift (pitch scalin!) effect chan!es the pitch of a selection %ith or %ithout preservin! the uration of the soun file. ;i)rato is %hen the pitch varies accor in! to (rou!hl&) a sine %ave 8+ample" pitch shiftin!
4 !emit ne! d $n ;riginal 4 !emit ne! up
Bseful to"
-atch the pitche! t$ pre+rec rded clip! f r mi2ing $hen the clip! cann t #e reperf rmed r re!ampled. ,reate effect! !uch a! increa!ing the range f an in!trument 7li%e pitch !hifting a guitar d $n an cta(e8.
Effect: 0itc# 2end

8quivalent to pitch control on turnta)les /hese are rea in!>pla&in! rates Bse )& 'Hs$ these chan!e pitch an uration at the same time 'Hs are a Austin! the pitch of recor s so that the )eats match /he i!ital equivalent is calle pitch )en in!
45
46
Editing and /astering

8 itin! (e itin! %in o%)"
: ading ! und!, cutting them, preparing them Sequencing Ad<u!ting le(el!, pan!, intr ducing effect!
*asterin! (mi+in! %in o%)"

Apply n i!e reducti n t eliminate hum and hi!!. Ad<u!t !tere $idth. Add l cal r gl #al am#ience: re(er#erati n, ... Finali!e trac% le(el! and equalize audi #et$een trac%!. =ynamic e2pan!i n. =ynamic c mpre!!i n. 'ea% limit the trac%!.
=ouncin!"
,h !ing e2p rt f rmat Selecting the p rti n f the timeline t e2p rt 92p rt
43
D
>T li!ten i! an eff rt, and <u!t t hear i! n merit. A duc% hear! al! .? @g r Stra(in!%y 7Au!!ian c
mp !er, )//2+).B)8
3our la4 t#is week

An re% 4a%r&sh-e%ich %ill rive &ou throu!h the la).
We %ill pursue the learnin! of Pro /ools

Iou %ill refine &our soun e itin! s-ills Iou %ill learn ho% to appl& effects (plu!2ins) to soun trac-s Iou %ill see ho% to master an )ounce &our proAect an e+port it as a sin!le WA; file.
;er& useful for &our proAect

!or ne-t week

Wor- on &our first proAectJ
/A24ours: Andre$ 7y ur TA8, $ill n $ #e a(aila#le $ee%ly n *on a&s$ from 122P* in room 5.62 f r CTA D ur!C. Thi! mean! if y u ha(e any que!ti n! r need any a!!i!tance that cann t #e c (ered during la#+time! r #y email, pic% up a ! und+card fr m the li#rary, and meet Andre$ there.
7o rea in!s )ut revision (rea in!s an sli es) Ee2t $ee%, there $ill #e an in+cla!! a!!ignment We %ill test &our un erstan in! of the concepts seen so far.
51
!irst 0ro5ect: /iniature +oncrete

A composition of music concrete"
=et%een 56206 secon s in len!th 3 an 366 samples (inclu in! at least . recor e soun s) /he Pro/ools proAect must
Bse a minimum of . trac-s Bse at least one automation
/he final proAect must contain no more than 15 secon s of reco!ni9a)le speech (of course$ it can contain none) /he final proAect must )e mi+e o%n to a 44.1-49$ 16)it #tereo an e+porte in the WA; file format (.%av)
52
!irst 0ro5ect: /iniature +oncrete

Iou %ill )e evaluate on"
Ori!inalit& an concept Overall aesthetic Writin! report /echnical e+ecution"
<espect of the various constraints of the assi!nment Gualit& of &our soun s (clic-s$ pops$ #7<$ ...) Gualit& of the mi+" &namic$ spectral properties Gualit& of &our masterin!" overall soun presence
Coo luc-J
IAT-380 Sound Design 5.
54
D
>@ li%e t li!ten. @ ha(e learned a great deal fr m li!tening carefully. - !t pe ple ne(er li!ten.? 9rne!t Deming$ay 7American $riter, )/.. ).*)8
Today(s active listening session

*usique concrKte (1renchL literall&$ Mconcrete musicM)$ is a st&le of avant2!ar e music that relies on recor e soun s$ inclu in! natural environmental soun s an other noises that are not inherentl& musical$ to create music.
Pierre #chaeffer (151621555) coine the term Nmusique concrKteN to escri)e a music ma e Nconcretel&N )& %or-in! irectl& %ith soun s$ as a!ainst music ma e Na)stractl&N )& %or-in! %ith s&m)ols for soun s (as in a musical score).
/o a&$ %e %ill continue our e+ploration of musique concrete %ith short pieces that illustrate the t&pe of %or- that is e+pecte from &ou for the first proAect.
56
Today(s playlist
8lectro (lips" .mn per artist
*ichel A #mith$ Style de bougalou (1556) (rai! 4arris$ Somewhere between (1556) Hean21ranOois 'enis$ Point-virgule (1556) Hohn Os%al $ Bell Speeds (153.$ 56) Ives 'aoust$ Mi bmol (1556) (lau e #chr&er$ Les oiseaux de Bullion (1556) *artin Cotfrit$ The Machines our !umours (1556)
Availa)le at the li)rar&

D
>T li!ten i! an eff rt, and <u!t t hear i! n merit. A duc% hear! al! .? @g r Stra(in!%y 7Au!!ian c
mp !er, )//2+).B)8

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IAT 380: Sound Design Audio Editing and Sound Effects

Philippe Pasquier. Assistant Professor

Summary of previous weeks

vs. frequenc& omain (%aveform vs spectro!ram)

*icrophones *i+in! consoles or soun )oar ,ou spea-ers

IAT-380 Sound Design

Overvie% of the au io i!ital recor in! an pla&)ac- chain

IAT-380 Sound Design

Philippe Pasquier, September 2008

IAT-380 Sound Design

Philippe Pasquier, September 2008

!re"uency Spectrum T#roug# Time

IAT-380 Sound Design

Philippe Pasquier, September 2008

Sound $ !re"uency spectrum

IAT-380 Sound Design

Philippe Pasquier, September 2008

Sound $ !re"uency spectrum

1requenc&2 omain spectrum

1un amental frequenc&: F 4armonics: 2*F, 3*F, ...

IAT-380 Sound Design

Philippe Pasquier, September 2008

IAT-380 Sound Design

Philippe Pasquier, September 2008

IAT-380 Sound Design

Philippe Pasquier, September 2008

IAT-380 Sound Design

Philippe Pasquier, September 2008

'utline of today(s lecture

IAT-380 Sound Design

Philippe Pasquier, September 2008

'utline of today(s lecture

IAT-380 Sound Design

Philippe Pasquier, September 2008

IAT-380 Sound Design

Philippe Pasquier, September 2008

Important concept of audio editing

IAT-380 Sound Design

Philippe Pasquier, September 2008

:n the analo! omain"

IAT-380 Sound Design

Philippe Pasquier, September 2008

IAT-380 Sound Design

Philippe Pasquier, September 2008

IAT-380 Sound Design

Philippe Pasquier, September 2008

=& the time %e !et to 24 )it$ %e actuall& have 16$000$216 levels.

/hese are !oo reasons for usin! 24 )its

'utline of today(s lecture

IAT-380 Sound Design

Philippe Pasquier, September 2008

1requenc& omain effects

Sound Editing: *olume

8+presse as a ratio (in =) All the previous consi erations appl&"

Sound Editing: *olume

IAT-380 Sound Design

Philippe Pasquier, September 2008

Sound Editing: *olume

IAT-380 Sound Design

Philippe Pasquier, September 2008

Sound Editing: *olume

IAT-380 Sound Design

icrophones i+in! consoles or soun )oar ,ou spea-ers

1un amental frequenc&: F 4armonics: 2F, 3F, ...