Yamaha AW2816 Учебное пособие - Страница 10

Просмотреть онлайн или скачать pdf Учебное пособие для Музыкальный инструмент Yamaha AW2816. Yamaha AW2816 31 страница. Professional audio workstation, recording101
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1. Recording on the Aw2816

"Mixdown" sounds like it refers to a single operation,

but in reality, it is a sequence that consists of numer-

ous processes. As you become more experienced, the

various steps will blend together into one big process.

It is important to keep this in mind, because you must

be aware of the effect that even the smallest operation

will have on the overall sound. For example if you use

the equalizer to slightly modify the tonal character of

one instrument, it will affect the way in which other

instruments are heard. Through experience, you will

gain the ability to predict the result of such changes.

As you create more mixes, you will become better at

it.

Step 1. Listen to the recorded

tracks and make your plans

The most important step in mixing is to make plans in

your mind before you actually begin mixing. Consider

the following points.

• Think about the music you intend to produce.

What is the lyric content? What is the atmosphere

you want to convey? How can you create a mix

that enhances the music itself?

• What is the deﬁning characteristic of the song? The

lyrics? The voice of the singer? The rhythm? A spe-

ciﬁc instrument or sound? You should emphasize

the element that is most important. For example if

the lyrics are important, you should avoid letting

the vocal be buried in the background, or obscured

by excessive reverb.

• How are the instruments placed in the stereo ﬁeld?

Are you going to recreate the sound ﬁeld of a life

performance? Or are you trying to create a more

abstract impression?

• In what type of space do you want to place the

music? An open and dry space? A spacious and

reverberant space? Narrow and tight? Distant?

Nearby?

• Are there any instruments that share a similar fre-

quency range and might conﬂict with each other?

Distorted electric guitar and organ are good exam-

ples of this. Such instruments might be separated

by being panned to left and right, or you might use

the equalizer to give each instrument its own dis-

tinct identity, skillfully bringing out the unique

character of each instrument.

• Will you need to change moods or scenes to create

signiﬁcant shifts in level, equalizer, or effects dur-

ing the mix? By using automation, even such com-

plex mixes can be easily performed.

These are just a few examples, but as you gain experi-

ence, you will learn how to make a good mixing plan

for each song.

Mixdown

Let's begin

Now that the song has been restored to the hard disk,

let's listen to the "unmixed" song.

Before you proceed, you must be sure to turn AUTO-

MIX off. In the AUTOMATION section, press the

[AUTOMIX] key. In the AUTOMIX area, move the cur-

sor to the ENABLE button and press the [ENTER] key

to set AUTOMIX to DISABLE (off).

Make sure that in the MIXING LAYER sec-

tion, "1-8" or "9-16" is selected.

Recall scene number 01 "FADERS NOMI-

NAL" to set faders 1–16 to the nominal

level. (Press the [SCENE] key, and use the

[DATA/JOG] dial to select scene number 01

"FADER NOMINAL," move the cursor to

the RECALL button, and press the [ENTER]

key. Then select "OK" and press the

[ENTER] key to conﬁrm.)

Press the MIXER section [VIEW] key to

access the parameters for the selected

monitor channel. Press [F1] to access the

CH View page.

Press the [PLAY] key, and listen to the

tracks.

The following table shows the track contents of

the included demo song.

Kick

Hi-hat

Piano

Tutorial

Snare

Overhead (L) Overhead (R)

Acoustic

Percussion

bass

guitar

Electric

Synth

Organ

guitar

(Chorus)

16 Vocal