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Revision Pack
AS/A2 MUSIC
TECHNOLOGY
PLEASE NOTE: This guide is not intended as an exhaustive guide to all of Music Technology.
Rather, I realised that there was a limited range of help for Unit 2 out there and so put together some prompts.
You should combine this with general listening, class notes and any workbooks to help you achieve success in your exam.
EXAM TIPS
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NOTATION Practice identifying intervals and
writing out simple rhythms from songs you know.
VOCABULARY Know the words! Use your glossary to
recap on words you might not remember.
LISTENING LOG Listen critically to several recordings per week to hear Music Technology in action
RECORDING TECHNIQUES Know how to record all of the
instruments discussed previously.
PERFORMING TECHNIQUES Recall some of the techniques previously discussed & be able to relate this to your
listening.
PRACTICE QUESTIONS This is the MOST IMPORTANT part – make sure you are familiar with the
question styles and know exactly the kind of questions you should expect.
REVISION TIPS KNOW WHAT TO EXPECT If you know instantly the track is a
Reggae track then listen out for a 2+4 beat emphasis. If the track is Soul, then
try to hear catchy hooks, use of horn sections etc… CLOCKWATCHING
You can estimate BPM using the seconds hand on an analogue
watch/clock. The clock ticks at 60BPM! Double this to get
120BPM etc…
I LIKE THAT TRACK… Don’t get hung up just listening to
one track all the way through again and again. You are likely to need to listen to a small segment of a song so don’t waste time playing it on loop. Also you might like it, but
MOVE ON!
TIME IS...MARKS? Remember to keep moving
through the paper – don’t get stuck on any single question. This should be old hat by now. NO BLANKS
Attempt every question – blanks won’t get you a mark but a
MUSICAL GUESS might. BULLET POINTS All Music Examiners love
bullet points – they’re to the point and get your message
across without lots of waffle. Use them wherever you can.
1 MARK = 1 POINT Whenever you see the mark
allocation for a question, take it to mean the number of points you have
to make. Then add one for safety.
Remember these top tips for top marks!
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ALL THINGS SYNTHESISED
TTACK ECAY USTAIN
ELEASE
SYNTHESISER BASIC WAVEFORMS
MONOPHONIC
POLYPHONIC SUBTRACTIVE
LPF V C F L F O A D S R
(ENVELOPE)
OW
REQUENCY SCILLATOR
OLTAGE ONTROLLED ILTER
Sine Triangle Sawtooth Square Noise
FILTERING
• An electric sound generating device• Capable of creating synthetic sounds• Can manipulate (i.e. change) synthetic sounds• Analogue and digital versions
HPF BAND PASS
FILTERS
All frequencies above cut off can pass through
All frequencies below cut off can pass through
Combination of LPF and HPF – all frequencies not affectedby either pass through
NOTCH FILTER
SHELVING FILTER
Used to cut specific freqs – extreme band pass
e.g. tone controls on hifisand guitar amps
TYPES OF SYNTHESISER ADDITIVE
OSCILLATOR FILTER AMPLIFIER
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MUSICAL INSTRUMENT DIGITAL INTERFACE MIDI is an electronic language that sends information telling digital instruments (e.g. synthesisers) what to play and how to play it.
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KEY WORDS: Multi-timbral
Program Change
MIDI Choke
Velocity
Polyphony
Standard MIDI File
CC Name
1 Modulation
7 Volume
10 Pan
11 Expression
64 Sustain
91 Reverb
93 Chorus
GENERAL MIDI ‘PATCHES’
Power
Brush
DRUM
S
Orchestral
Analogue
Organ
Piano Chr. Perc.
Guitar
Bass Strings
Ensemble Brass
Reed Pipe
Synth Lead Synth Pad
Synth FX Percussive
Ethnic Orch. Hit
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CAPTURE – MICROPHONES AND DIs CHALLENGES
• Tuning• Buzzes/Hums• Capturing Frequency Range• Appropriate Microphone• Strong Levels• Avoiding Distortion• Balance and Blend• Ambience• Capturing Dynamic Range
MICROPHONE CHOICES
DYNAMIC CONDENSOR PZM
MICROPHONE POSITIONING
CLOSE/DISTANT SINGLE/PAIR
POLAR PATTERN / PICKUP PATTERN
CARDIOID OMNI FIGURE OF EIGHT
ACTIVE: Need Phantom Power PASSIVE: Don’t Need Phantom Power
QUESTIONS TO THINK ABOUT: • What type of microphone?• Where are you going to place it (distance?)• What type of pickup pattern?
DI BOXES
SHE’S ELECTRIC (GUITAR)
PLAYING TECHNIQUES Strumming/Plucking
Palm-muting Legato
Shredding Slide/Pitch Bends
Harmonics
Tremolo Arm
Volume Control – ‘violining’
GUITAR FX Distortion
Fuzz Overdrive
Wah-Wah
Reverb
Delay Chorus Flanger Slapback Echo
DO YOU KNOW THE SOUND OF EACH?
CAN YOU IDENTIFY THESE ON A SONG?
Amps Spring Reverb
Skanking
SINGERS
VOCAL DELIVERY Male or Female?
Aggressive
Restrained
Emotional
Reserved
Unrestrained
Wide Vocal Range
Narrow Vocal Range
PIA-PIA-PIANO
PIANO PLAYING Broken Chords
Stride Piano
Scales Block Chords
Electric Piano Rhodes/Wurlitzer
Grand Piano Acoustic
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IDENTIFYING ELEMENTS – WHAT & HOW?
TIMBRE What instruments
are playing?
TEXTURE
MELODY/PITCH TONALITY
RHYTHM
TIME SIGNATURE
TEMPO
Recognise in listening
Identify in notation
Fill in missing notes on a stave
Describe the way parts are combined in songs
Major or Minor?
Higher or Lower Key?
BPM
Sudden tempo changes
Selecting the correct multiple choice melody
Describe the ‘sound’ of an instrument
Swung Rhythm
Selecting the correct multiple choice rhythm
Specific rhythm parts common to a style (e.g.
2+4 emphasis)
Accelerando Rallentando
COMPOUND SIMPLE
Higher or lower in pitch?
Syncopation
Melody & Accompaniment
HARMONY Chord changes or
progressions?
Simple or Extended? Root position chords
Angular Stepwise
Range
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These words will help you to discuss a musical ARRANGEMENT – i.e. how that piece of music is put together from its building blocks.
Fill in correct rhythms on a stave
Chords I, IV and V
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THE ARRANGEMENT: INSTRUMENTATION
ORCHESTRATION TEXTURE
What is playing?
What musical parts have they been given?
How are they playing?
Where is the melody? How is it accompanied?
What types of patterns? e.g. chords, broken chords, power
chords, drum kit patterns
THE PRODUCTION: DYNAMICS PROCESSING
Compressor Limiter
Noise Gate EQUALISATION (‘EQ’) (FREQUENCY CONTENT)
High Mid Low
CAPTURE & FEEL Close Mic
Studio Ambient
Live
MIX & STEREO FIELD Wide Narrow
Prominent Instruments?
Hidden Instruments?
FX?
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THE EFFECTS OF EFFECTS
CHORUS
DELAY
PHASER
FLANGER
DISTORTION
WAH WAH
TREMOLO REVERB
Sound stored & played back after a length of time (‘echo’)
Sound detuned & delayed by around 40ms. Makes the sound appear thicker & richer.
T h e r e s u l t o f s o u n d reflecting against walls. There a re a l ot more reflections in a large room compared to a small room. Carpets & fabrics absorb reflections.
“Reverberation”
C o m b i n e s t wo c o p ie s o f t h e same sound with t h e s e c o n d slightly delayed, giving a ‘swirling’ effect.
Guitar Based FX
SPRING PLATE DIGITAL
GATED CONVOLUTION
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DISTORTION/WIDE DYNAMIC RANGE Use a compressor to control dynamics Adjust levels when sound-checking NO STEREO FIELD/MONO RECORDING Mix to stereo master Place tracks in stereo field using pan POOR BALANCE BETWEEN PARTS Multitrack the recording Use faders to adjust individual track volumes MUDDY PARTS/DULL SOUNDING Use EQ to remedy Position microphones correctly Use appropriate microphones LITTLE DEPTH OF FIELD Use reverb to add depth Use EQ to change ‘position’ in mix PLOSIVE SOUNDS Use pop shield Move away from microphone PROXIMITY EFFECT Accents bass frequencies Move away from microphone
ENHANCING MUSIC USE OF STEREO FIELD Panning of instruments Moving of instrument across field USE OF EFFECTS e.g. delay, reverb, chorus, flanger, phaser LOOPING OR SAMPLING Taking a pre-recorded piece of audio and integrating it into a project SEQUENCING Add parts not performed by live players and further edit after process finishes ENHANCING MUSICAL DETAIL e.g. ‘breathy’ quality to vocal parts ADDITION OF SUB-BASS Often used in club circuits SOME OTHER EFFECTS VOCODER Synth follows voice - sounds ‘robot-like’ AUTOTUNE Tunes voice – over use gives ‘R&B effect’
AMBIENT RECORDING
MUSICAL ENSEMBLE
MUSICAL ENSEMBLE
MUSICAL ENSEMBLE
SPACED PAIR
NEAR COINCIDENT PAIR
COINCIDENT PAIR (XY)
Three main possible configurations for recording a musical ensemble in stereo using two microphones.
• Level & time differences between mics give stereo effect
• Sharp images • Accurate stereo spread • Sounds more ‘spacious’ • Not mono compatible
• Time differences give stereo effect
• Off centre images diffuse • Exaggerated stereo
spread • Warm sense of ambience • Not mono compatible
• Level differences give stereo effect
• Sharp images • Stereo spread ranges
from narrow to accurate • Mono compatible
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RECORDING SESSIONS 1
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GRAND PIANO • Condenser Microphone • Stereo / Coincident Pair • One for bass, one for treble • 15-60cm from strings • With lid open
UPRIGHT PIANO • Condenser Microphone • Stereo / Coincident Pair • Three octaves apart • 15-60cm from strings • Not pointing directly at
hammers
VOCALS • Condenser Microphone • Cardioid Polar Pattern • 14-45cm from mouth • A little above/below mouth • Use pop shield & sprung
cradle
AC. GUITAR • Condenser Microphone • Cardioid Pickup • 20cm away • Point where neck joins body OR – fretboard & soundhole - 2 OR – stereo XY pair
EL. GUITAR • Dynamic Microphone • Close to speaker grille • Avoid proximity effect • Take amp off the ground OR – DI / use amp modelling
BASS • Use a DI • Phantom Power required OR - could mic up cabinet in same way as E. Guitar
DRUM KIT • Close mic each drum with
clip dynamic microphones and 2 condenser overheads
• Cardioid pickups • Close to each skin (15cm) OR – stereo recording using 2 condenser microphones OR – same as above but with dynamic microphone on snare
BRASS/SAX. • Condenser Microphone • Cardioid Pickup • 30cm-1.5m • Front of instrument to pick
up ‘heard’ sound
You will be asked to suggest a recording set up including microphone choice, distances and pickup patterns. These are common instruments.
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LARGE ENSEMBLE • See ‘AMBIENT RECORDING’
SMALL ENSEMBLE • Stereo pair to pick up ensemble • Musicians placed naturally • Condensers for detail & sensitivity • Ambience – louder instruments
further back • Far enough away to capture general
sound and not to damage mics
e.g. STRING QUARTET, HORN SECTION
ORCHESTRAL INSTRUMENT PERCUSSION INSTRUMENT • Condenser Microphone • Cardioid Pickup • Small diaphragm • Up to 12 inches from skin/sound • Careful for overload
RECORDING SESSIONS 2 Alternatively, it is possible that you may be asked how you would record a larger ensemble (i.e. a group of instruments). This could be anything from a horn section to an orchestra, so have a look at this.
• Condenser Microphone • Cardioid Pickup • 30cm-1.5m • Front of instrument to pick up
‘heard’ sound
MUSICAL ENSEMBLE
MUSICAL ENSEMBLE
MUSICAL ENSEMBLE
SPACED PAIR
NEAR COINCIDENT PAIR
COINCIDENT PAIR (XY)
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SIMPLIFYING ONSTAGE SOUND There are a number of problems associated with live sound that have cropped up on the exam in previous years. You would basically have to suggest solutions to possible problems with live sound. PROBLEMS WITH LINE OF SIGHT: (i.e. conductor cannot see or hear part of band) Use video screen Speakers/Monitors/Earpieces PROBLEMS WITH CAPTURE: ‘Spill’ from louder parts of group to quieter – use clip on or close mic techniques Natural reverb – choose venue with dry acoustics or use acoustic panels PROBLEMS WITH BALANCE: Unequal levels – use a sub mix group on your mixer (like a bus send) Use compression to control wide changes in dynamic range PROBLEMS WITH EQUIPMENT: Use robust microphones e.g. dynamic ones such as SM58, SM57 where possible
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THE PROCESS OF PROCESSING
COMPRESSOR
NOISE GATE
EQ A compressor reduces the dynamic range of a piece of music. THRESHOLD - where the compressor ‘kicks in’. RATIO - how much the signal is compressed (i.e. the gain reduced) ATTACK/RELEASE - speed at which the compressor kicks in and lets go of the audio signal
An EQ is made up of var ious band pass filters with equally s p a c e d c e n t r e f re q u e n c ie s . T h ey allow you to alter the frequency range that makes up a particular track to emphasise ‘bass’, ‘mid’ or ‘high’ qualities.
ATTACK/HOLD/RELEASE- controls the opening, hold time and close of the noise gate. LOOKAHEAD - The noise gate preempts the signal and opens just before it gets there – use with attack
THRESHOLD - where the gate ‘kicks in’. REDUCTION - the amount the noise gate reduces the gain when it does not meet threshold.
A noise gate reduces the level of a signal that falls below a threshold i.e. increases the dynamic range.
SEQUENTIAL SEQUENCING
Velocity Editing
SEQUENCING CONSIDERATIONS
Rubato / ‘feel’ of part
Legato or Staccato?
Use of Sustain Pedal
Pitch Bends / Articulation
DO NOT REFER TO EFFECTS OR MIXING TECHNIQUES HERE
CHOICE OF TIMBRE
Sampler
Synthesiser
I N P U T
Piano Roll
Score
Playing In
E D I T I N G
Quantise
Velocity
Dynamics
KEY WORDS
Quantise Resolution
COMMON EXAM QUESTIONS
1. Complete the sequencingarrange window as a track plan
2. Fill in the piano rolldiagram for a given part
Score Edit
Velocity
Automation
Controller Portamento
Mixer Window
Timbre Editing
Transport Bar
MIDI
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