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CHAPTER 9 RECORDING AUDIO
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ZynAddSubFX (GNU/Linux, Windows, Mac): A software synthesizer with many advanced features, some excellent preset sounds, and support for JACK. Windows and Mac versions are at http://zynaddsubfx.sourceforge.net. Mx44 (GNU/Linux): Another software synth with JACK support, only with a more radical interface featuring a 4x4 oscillator matrix. http://web.comhem.se/luna/. Aeolus (GNU/Linux): A realistic church organ emulator synth, with support for JACK and multiple manuals (keyboards). www.kokkinizita.net/linuxaudio/aeolus/.
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Mixing and Mastering
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Optimizing Your Sound
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In 9, you looked at recording your first Ardour session, with drum, bass, synthesizer, and guitar tracks exported to a stereo WAV file. If you burned your exported file to an audio CD and tried it on your stereo, then unless you re a naturally talented sound engineer, you probably found that it sounded quiet and, in subjective terms, lacked clarity and punch. This is most likely because you re comparing it to the commercial releases you re used to hearing on the radio, on TV, or on the Internet, which have gone through a lot of sonic mangling to make them sound that way. Since the 1950s, popular music producers have used ever-greater amounts of analog (and now digital) processing to make their recordings stand out from the rest. Broadly speaking, there are two parts to this process. Mixing means making the different tracks in a session fit together sonically and musically. Mastering comes later and is all about making the various mixes sound as good as they possibly can when assembled into the final project. If you look on the back of a CD or at the inlay notes, you often see different people and different studios credited for the mixing and mastering, because each craft is a specialism of its own. With Free Software, you have the tools to tackle both tasks. As in all creative endeavors, close study of the efforts of others and a great deal of practice are required for best results. Whether mixing or mastering, good audio engineers depend first and foremost on their ears to make the right judgments. However, you can use certain features of the software to help you when you re learning and as a reference check later on. In particular, to measure how the sonic enhancement involved in mixing and mastering is achieved, you need to read up on audio metering. If you re already familiar with the decibel scale as applied to digital audio, you can skip the next section.
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Digital Audio and the Full Scale
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A decibel (dB) is one tenth of a Bel, but hardly anyone uses the Bel for anything. In contrast, the Bel s smaller brother is used for a many different measurements in science and engineering. To quote a number of decibels without any context is meaningless, because a decibel reading is based on a comparison with a known reference level that differs according to that context. Even in the specific field of acoustics and human hearing, there are a variety of uses for the decibel. If someone says their guitar amplifier was measured at 110 decibels, making it about as loud as an aircraft s jet engine sounds when you re standing beside a runway, they re talking about sound pressure level. The reference level for decibels of sound pressure is the threshold of human hearing the quietest sound the average person is
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CHAPTER 10 MIXING AND MASTERING
supposed to be able to hear. This reference level is abbreviated 0dBSPL, which stands for zero deciBels of Sound Pressure Level. Digital audio metering has a completely different use for the decibel. The Pulse Code Modulation (PCM) system used by audio CDs and computer soundcards is based on sampled, numerical values for the amplitude of a waveform at different points in time. Sampling amplitude values many thousands of times per second allows that waveform to be approximated and reconstructed inside a computer. (As you read in 9, 44100Hz and 48000Hz are commonly used sample rates in digital audio). A standardized PCM system must have a fixed number that represents the maximum sample value allowed, or the full scale. Because the actual sample values are long binary numbers and not very userfriendly for making comparisons, the decibel is used to describe how close a particular sample is to the full scale value. The maximum possible level of digital audio equipment is therefore referred to as zero deciBels from Full Scale, or 0dBFS. This dBFS value isn t related to sound pressure level (dBSPL) until the digital audio is converted to analog waveforms, amplified, and sent to loudspeakers or headphones. Amplitude levels below the maximum level of 0dBFS are expressed as negative numbers, which you can see displayed on the Ardour meter strips in the mixer in Figure 10-1.
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