Penggunaan Teknik Miking XY Pada Sesi Perekaman Lagu Aduhai Indonesia Untuk NabilaRahmat Gitar Duo di Fisella

AbstrakSetiap manusia memiliki kedua telinga yang berfungsi untuk mendeteksi sumber suara dan mendengar seluruh isi suara didunia dalam stereo, setiap suara yang terdengar dari satu sisi (kiri atau kanan) akan lebih dulu sampai ke telinga yang lebih dekat. Perekaman audio stereo bertujuan untuk menghasilkan ilusi pemetaan suara dari sebuah lagu dengan menciptakan perbedaan wakt, volume, dan penempatan (panning) untuk pendengar yang menggunakan sepasang speaker stereo dan headphone. Terdapat banyak teknik miking yang dapat digunakan untuk perekaman audio stereo. Perekaman audio stereo menggunakan teknik miking XY dengan mikrofon small-diaphragm condensers merupakan salah satu teknik miking yang paling umum digunakan dalam perekaman gitar akustik. Penggunaan teknik ini dilakukan dengan menempatkan kapsul atau sudut pada mikrofon sedekat mungkin antara satu sama lain sehingga membentuk sudut 90 derajat. Namun, dikarenakan terbatasnya peralatan perekaman audio yang digunakan pada sesi perekaman ini, mikrofon yang digunakan untuk perekaman audio stereo dengan teknik miking XY akan menggunakan mikrofon tipe large-diaphragm condensers. Dengan menggunakan dua mikrofon kondensor yang dipasangkan sejajar dengan jarak 1 meter menyerupai spaced pair namun tetap disilangkan menghadap masing-masing player dengan jarak 1 meter. Hasil dari perekaman menggunakan teknik miking ini akan menghasilkan penyebaran stereo yang luas, namun seakan terdapat celah pada sisi tengah yang membuat hasil audio tidak telalu padat. Selain itu audio yang dihasilkan dari perekaman menggunakan teknik miking ini akan membentuk suasana terbuka “breath”. Masalah lain yang terkadang mengganggu adalah out of phase yang akan menghasilkan kualitas audio yang terdengar lemah.Kata kunci: Mixing, Strategi mixing, Prosedur mixing, Rap mixing.AbstractAudio mixing is the third step in the music production process after carrying out the initial production process, recording and editing. Mixing aims to combine and balance two or more audio tracks, both in terms of instruments or non-instruments, so the sound character of audio tracks has more aesthetic value. The mixing material in this study uses the Daddy’s Fav Boy song by Muhammad Al Ghifari. The mixing process described by Bobby Owsinski uses a sequence starting from balance, frequency range, panorama, dimension, dynamic, and interest. From the mixing process applied by Bobby Owsinski, it will be reviewed to be adapted to the song Daddy’s Fav Boy. This study will use a qualitative descriptive method with a  musicological analysis approach. The mixing process that applied  by Saga Audio to the Daddy’s Fav Boy was processed using the order of volume balancing, panning, tonal balancing, dynamic processing, and time based processing. The order of the vocal mixing process on the Daddy’s Fav Boy was chosen based on consideration of the sound output description which has the form of hip-hop music. Vocals in hip-hop music use solid, fast, and tight sentence techniques with a firm demeanor called rap. The consequence of processing rap vocal techniques without applying cuts to breath noise sounds will interfere with every sentence spoken  by the vocalist. Audio vocal that sounds clear of course supported by clear audio brightness level as well, Saga Audio uses a frequency boost technique and uses a compressor with a bright sound character to get the intended result.Keywords: Mixing, Mixing Strategy, Mixing Procedure, Rap mixing

A Semantically Motivated Gestural Interface for the Control of Audio Dynamic Range

This paper proposes and tests the efficacy of a 2D gestural interface as a means of controlling audio processing parameters. The process of parameter mapping and subsequent optimisation can be applied within a 3D environment. Highly immersive computer interfaces, such as those found in modern virtual reality systems, offer an alternative platform suitable for 'virtual mixing desk' implementation, using a mixture of familiar controls and novel gestural control. By focusing on a small element of the proposed 'virtual mixing desk', audio dynamic range compression, this paper aims to evaluate the efficacy and practicality of a global gesture set. Following a large scale gesture elicitation exercise utilising a common 2D touch pad and analysis of semantic audio control parameters, a set of reduced multi-modal parameters are proposed which offers both workflow efficiency and a much simplified method of control for dynamic range compression

Advanced automatic mixing tools for music

PhDThis thesis presents research on several independent systems that when combined together can generate an automatic sound mix out of an unknown set of multi‐channel inputs. The research explores the possibility of reproducing the mixing decisions of a skilled audio engineer with minimal or no human interaction. The research is restricted to non‐time varying mixes for large room acoustics. This research has applications in dynamic sound music concerts, remote mixing, recording and postproduction as well as live mixing for interactive scenes. Currently, automated mixers are capable of saving a set of static mix scenes that can be loaded for later use, but they lack the ability to adapt to a different room or to a different set of inputs. In other words, they lack the ability to automatically make mixing decisions. The automatic mixer research depicted here distinguishes between the engineering mixing and the subjective mixing contributions. This research aims to automate the technical tasks related to audio mixing while freeing the audio engineer to perform the fine‐tuning involved in generating an aesthetically‐pleasing sound mix. Although the system mainly deals with the technical constraints involved in generating an audio mix, the developed system takes advantage of common practices performed by sound engineers whenever possible. The system also makes use of inter‐dependent channel information for controlling signal processing tasks while aiming to maintain system stability at all times. A working implementation of the system is described and subjective evaluation between a human mix and the automatic mix is used to measure the success of the automatic mixing tools

Audio mixing desk

Hlavním obsahem této diplomové práce je návrh audio mixážního pultu a simulace jednotlivých částí v programu OrCAD. Nejdůležitějšími částmi zařízení jsou vstupní předzesilovače pro dynamické, elektretové a kondenzátorové mikrofony, vstupní stereo nesymetrické a symetrické předzesilovače pro linkovou úroveň signálu, ekvalizační obvody a LED indikátory úrovně jednotlivých kanálů, obvod sluchátkového příposlechu, deseti pásmový ekvalizér, spektrální audio analyzátor, obvody se symetrickými výstupy a napájecí obvody.The main content of this masters’s thesis is designing of an audio mixing desk and simulation of individual components in software OrCAD. The most important parts of the device are input preamplifiers for dynamic, electret and condenser microphones, stereo unbalanced inputs and balanced line level preamplifiers, equalization circuits and LED level indicators of individual channels, headphone listening circuit, 10-band equalizer, audio spectrum analyzer, circuits with balanced signal for main outputs and power supply circuits.

Let's mix it up: interviews exploring the practical and technical challenges of interactive mixing in games

Game audio has come a long way since the simple electronic beeps of the early 1970s, when significant technical constraints governed the scope of creative possibilities. Recent years have witnessed technological advancements on an unprecedented scale; no sooner is one technology introduced than it is superseded by another, boasting a range of new refinements and enhanced performance

Final Research Report for Sound Design and Audio Player

This deliverable describes the work on Task 4.3 Algorithms for sound design and feature developments for audio player. The audio player runs on the in-store player (ISP) and takes care of rendering the music playlists via beat-synchronous automatic DJ mixing, taking advantage of the rich musical content description extracted in T4.2 (beat markers, structural segmentation into intro and outro, musical and sound content classification). The deliverable covers prototypes and final results on: (1) automatic beat-synchronous mixing by beat alignment and time stretching – we developed an algorithm for beat alignment and scheduling of time-stretched tracks; (2) compensation of play duration changes introduced by time stretching – in order to make the playlist generator independent of beat mixing, we chose to readjust the tempo of played tracks such that their stretched duration is the same as their original duration; (3) prospective research on the extraction of data from DJ mixes – to alleviate the lack of extensive ground truth databases of DJ mixing practices, we propose steps towards extracting this data from existing mixes by alignment and unmixing of the tracks in a mix. We also show how these methods can be evaluated even without labelled test data, and propose an open dataset for further research; (4) a description of the software player module, a GUI-less application to run on the ISP that performs streaming of tracks from disk and beat-synchronous mixing. The estimation of cue points where tracks should cross-fade is now described in D4.7 Final Research Report on Auto-Tagging of Music.EC/H2020/688122/EU/Artist-to-Business-to-Business-to-Consumer Audio Branding System/ABC D

The effect of dynamic range compression on the psychoacoustic quality and loudness of commercial music

It is common practice for music productions to be mastered with the aim of increasing the perceived loudness for the listener, allowing one record to stand out from another by delivering an immediate impact and intensity. Since the advent of the Compact Disc in 1980, music has increased in RMS level by up to 20dB. This results in many commercial releases being compressed to a dynamic range of 2–3 dB. Initial findings of this study have determined that amplitude compression adversely affects the audio signal with the introduction of audible artifacts such as sudden gain changes, modulation of the noise floor and signal distortion, all of which appear to be related to the onset of listener fatigue. In this paper, the history and changes in trends with respect to dynamic range are discussed and findings will be presented and evaluated. Initial experimentation, and both the roadmap and challenges for further and wider research are also described and discussed. The key aim of this research is to quantify the effects (both positive and negative) of dynamic range manipulation on the audio signal and subsequent listener experience. A future goal of this study is to ultimately define recommended standards for the dynamic range levels of mastered music in a similar manner to those associated with the film industry