We’ll now give an overview of different recording situations you might encounter and the equipment appropriate for each. In Chapter 1, we introduced a wide variety of audio hardware and software. So plan ahead as best you can to make sure that you have all the necessary elements in the right place at the right time as you work through the project. But the last thing you want is to run into some technical roadblock when the creative juices start flowing. ![]() The creative process is messy and somewhat unpredictable. To some extent you can’t plan out the entire process ahead of time. ![]() Also, you’ll need to get the proper equipment ready for on-location or outdoor recording sessions. Recording sessions may need to be scheduled and musicians hired. You also need to consider where and how the artifacts will be made. For example, if you’re going to record singers against a MIDI-sequenced backing track, the backing track will have to be created ahead of time – at least enough of the backing track so that that the singers are able to sing on pitch and in time with the music. Some sounds may need to be recorded in the presence of others that have already been created, and these interdependencies determine your scheduling. Your project could be comprised of many different types of sounds, including live recordings (often on different tracks at different moments), existing recordings, Foley sound effects, MIDI-synthesized music or sound, or algorithmically-generated music or sound. In what follows, we assume that for the most part the sound that is to be created has been designed or the music to be recorded has been composed, and you’re ready to make the designs and compositions come alive.Ī logical place to begin as you initiative a project is by making a schedule for the creation of the different audio artifacts that make up the entire system. Design and composition are very big topics in and of themselves and are beyond the scope of this book. O Finishing the synchronization of sound and visual elements (for production of sound scores for film or video)Ĭlearly, all of this work is based on the first important, creative step – sound design and/or music composition. O Mastering (for CD and DVD music production) O Audio processing individual tracks and mixing tracks (applying EQ, dynamics processing, special effects, stereo separation, etc.) O Recording, finding, and/or synthesizing sound and music O Analyzing recording needs (choosing microphones, hardware and software, recording environment, etc.), making a schedule, and preparing for recording ![]() ![]() O Designing and composing sound and music The three main stages can be further divided into a number of steps, with some variations depending on the purpose and delivery method of the sound. In this chapter, we examine these three steps as they apply to sound, regardless of its ultimate purpose – including music destined for CD, DVD, or the web sound scores for film or video or music and sound effects for live theatre performances. There are three main stages in the workflow for sound and music creation: pre-production, when you design your project and choose your basic equipment production, when you record and edit the sound and post-production, when you mix and master the sound (for CDs and DVDs) and deliver it, either live or on a permanent storage medium.
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