Audio Editing Software

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Audio editing software is software which allows editing and generating of audio data. Audio editing software can be implemented completely or partly as library, as computer application or as a loadable kernel module.

Wave Editors are digital audio editors and there are many sources of software available to perform this function. Most can edit music, apply effects and filters, adjust stereo channels etc.. with waveform editing views and many are freeware programs without any limitations.

A digital audio workstation (DAW) can consist to a great part out of software. are usually software suites composed of many distinct software components, giving access to them through a unified graphical user interface using GTK+, Qt or some other library for the GUI widgets.

Audio data can be characterized as digitized audio signal, cf. digital audio.

Mixing In Surround

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Mixing in surround is very similar to mixing in stereo except that there are more speakers, placed to “surround” the listener. In addition to the horizontal panoramic options available in stereo, mixing in surround lets the mix engineer pan sources within a much wider and more enveloping environment. In a surround mix, sounds can appear to originate from many more or almost any direction depending on the number of speakers used, their placement and how audio is processed.

There are two common ways to approach mixing in surround:

  • Expanded Stereo – With this approach, the mix will still sound very much like an ordinary stereo mix. Most of the sources such as the instruments of a band, the vocals, and so on, will still be panned between the left and right speakers, but lower levels might also be sent to the rear speakers in order to create a wider stereo image, while lead sources such as the main vocal might be sent to the center speaker. Additionally, reverb and delay effects will often be sent to the rear speakers to create a more realistic sense of being in a real acoustic space. In the case of mixing a live recording that was performed in front of an audience, signals recorded by microphones aimed at, or placed among the audience will also often be sent to the rear speakers to make the listener feel as if he or she is actually a part of the audience.
  • Complete Surround/All speakers are treated equally – Instead of following the traditional ways of mixing in stereo, this much more liberal approach lets the mix engineer do anything he or she wants. Instruments can appear to originate from anywhere, or even spin around the listener. When done appropriately and with taste, interesting sonic experiences can be achieved, as was the case with James Guthrie‘s 5.1 mix of Pink Floyd‘s The Dark Side of the Moon, albeit with input from the band.[8] This is a much different mix from the 1970s quadrophonic mix.

Naturally, these two approaches can be combined any way the mix engineer sees fit. Recently, a third approach, or method of mixing in surround was developed by surround mix engineer Unne Liljeblad.

  • MSS – Multi Stereo Surround[9] – This approach treats the speakers in a surround sound system as a multitude of stereo pairs. For example, a stereo recording of a piano, created using two microphones in an ORTF configuration, might have its left channel sent to the left rear speaker and its right channel sent to the center speaker. The piano might also be sent to a reverb having its left and right outputs sent to the left front speaker and right rear speaker, respectively. Additional elements of the song, such as an acoustic guitar recorded in stereo, might have its left and right channels sent to a different stereo pair such as the left front speaker and the right rear speaker with its reverb returning to yet another stereo pair, the left rear speaker and the center speaker. Thus, multiple clean stereo recordings surround the listener without the smearing comb filtering effects that often occurs when the same or similar sources are sent to multiple speakers.

Downmixing

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In multitrack recording, multiple sound sources are recorded from separate microphones to individualized audio channels. Downmixing is the process of combining some of those audio channels. This task, which is also known as fold-down, is performed by a mixing engineer.[citation needed]

Consumer electronics may also downmix automatically. For example, a DVD player or sound card may downmix a surround sound signal (four or more channels) to stereophonic sound (two channels) for playback through two-speakers.

Downmixing doesn’t just apply to audio signals. In radio communication, downmixing brings an IF signal down to baseband via demodulation with a complex carrier frequency.[citation needed]

Stereo downmixes / fold-downs

Left total /Right total (Lt/Rt)

Lt/Rt is a downmix suitable for decoding with a Dolby Pro Logic decoder to obtain 5.1 channels again. Lt/Rt is also suitable for stereophonic sound playback on a hi-fi or on headphones as it is.

Lt = L + -3dB*C + -3dB*(-Ls -Rs)

Rt = R + -3dB*C + -3dB*(Ls + Rs)

(where Ls and Rs are phase shifted 90°)[7]

Left only/Right only (Lo/Ro)

Lo/Ro is a downmix suitable when mono compatibility is required. Lo/Ro destroys front/rear channel separation information and thus a Dolby Pro Logic upmixer will not be able to properly extract 5.1 channels again.

Lo = L + -3dB*C + att*Ls

Ro = R + -3dB*C + att*Rs

(where att = -3dB, -6dB, -9dB or 0)

the role of audio mixing

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The role of a music producer is not necessarily a technical one, with the physical aspects of recording being assumed by the audio engineer, and so producers often leave the similarly technical mixing process to a specialist audio mixer. Even producers with a technical background may prefer that a mixer comes in to take care of the final stage of the production process. Noted producer and mixer Joe Chiccarelli has said that it is often better for a project that an outside person comes in because:

“when you’re spending months on a project you get so mired in the detail that you can’t bring all the enthusiasm to the final [mixing] stage that you’d like. [You] need somebody else to take over those responsibilities so that you can sit back and regain your objectivity.”[1]

However, as Chiccarelli explains, sometimes limited budgets dictate that a producer takes care of the mixing as well.[1]

Audio Mixing

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In sound recording and reproduction, audio mixing or mixdown is the process by which multiple recorded sounds are combined into one or more channels, for instance 2-channel stereo. In the process, the source signals’ level, frequency content, dynamics, and panoramic position are manipulated and effects such as reverb may be added. This practical, aesthetic, or otherwise creative treatment is done in order to produce a mix that is more appealing to listeners.

Audio mixing is done in studios as part of creating an album or single. The mixing stage often follows a multitrack recording. The process is generally carried out by a mixing engineer, though sometimes it is the musical producer, or even the artist, who mixes the recorded material. After mixing, a mastering engineer prepares the final product for reproduction on a CD, for radio, or otherwise.

Prior to the emergence of digital audio workstations (DAWs), the process of mixing used to be carried out on a mixing console. Currently, more and more engineers and independent artists are using a personal computer for the process. Mixing consoles still play a large part in the recording process. They are often used in conjunction with a DAW, although the DAW may only be used as a multitrack recorder and for editing or sequencing, with the actual mixing being performed on the console.