Automation

Let the computer record and playback all of 

your mixing moves.

Non-Daw

Automators

NEVE Flying Faders

Solid State Logic (SSL)

Automation Modes

Auto Write

Writes continuous information for all of your changes. (While recording)

Auto Latch

Only writes automation when the user changes a parameter.

Leaves value at the level where you last touched it.

Auto Touch

Like Latch, but leaves the value at the level of the previous setting.

Good for minor corrections.

Auto Read

Will read automation but ignore any changes.

Auto Off

Will ignore all automation changes.

Automation

Downside

These modes work well with physical controllers.

They all create a bunch of extra information that affects performance.

Breakpoint Automation

draw in the exact automation you want on a graph

more efficient because only the point you add affects performance

Auto Trim

Useful for moving all the automation up or down

Allows you to change automation values yet maintain its relative values

Automate Everything 

Pan

Volume

Mute

Bit Depth

the more bits used during recording the better the sound of the recorded piece

Digital Audio Files 

audio data

metadata

how many channels?

how many bits per channels?

what is the sample rate?

Slope

Determines the rate that the 

sound goes from the effected portion to 

the non-effected portion. 

Expressed in dB/Octave

Equalization

aka EQ

changes amplitude of certain frequencies 

shapes the harmonics of sound

Types

of EQ

Parametric

Shelving

Band Pass

Low-Cut (High-pass)

Low-Pass (High-cut)

Graphic

Parameters

of EQ

Gain

Frequency

Bandwidth/Q

Slope

GAIN

Amount of 

boost or cut in amplitude 

applied to the original 

sound. 

Expressed in dB

Frequency

Point of maximum amplitude change (parametric)

Point where EQ curve is down -3dB from the maximum (Shelving, Bandpass, Low-cut/Low-pass, High-cut/High-pass)

Bandwidth

& Q

The range of frequencies effected by the 

EQ, Expressed in Octaves 

Q is the inverse of bandwidth. (If the bandwidth is 2 octaves then the Q 

is 1/2) Applies mostly to Parametric EQ.

Slope

This setting determines the rate that the 

sound goes from the effected portion to 

the non-effected portion. 

Expressed in dB/Octave

Parametric EQ

has gain, frequency, and bandwidth/q

15 or 31 

parametric EQ’s chained together and 

each handling a small part of the total 

sound frequency range

Shelving

Affects a broad range of frequencies 

evenly. 

Only controls are Gain & Frequency

Bandpass

Gets rid of all frequencies except those 

within a certain range. 

Used frequently to obtain the 

‘telephone’ sound 

Useful for giving a track its own 

“frequency space”

Low-Cut/

High-Pass

Gets rid of all frequencies below a 

certain point. 

That point is the frequency setting 

The reduction increases as frequency 

decreases. 

Useful for compensating for the 

Proximity effect.

Low-pass/

High-cut

Gets rid of all frequencies above a 

certain point. 

That point is the frequency setting 

The reduction increases as frequency 

increases. 

Useful for eliminating excessive 

sibilance.

Surface Material

carpet - absorbs high frequencies

glass - reflects high frequencies

concrete, wood, plaster

Echo

small number of repetitions of a 

sound. Typically 1-3

Reverb

repetitions of a sound becoming 

more closely space and diminishing in 

amplitude over time

Delay

time interval between a sound and it's first echoes

Decay

How long it takes for a sound and it's reverberations to die away

3 elements of Reverb

1. Direct sound

2. Echoes (early reflection)

3. Reverberation (diffuse echo)

Reverberation Time

time it takes the original SPL to drop to 60 dB

echo chamber reverb

natural sounding and limited reconfiguration possibilities

Electro-mechanical 

Systems

worked great for echoes

not good for reverb

Plate Reverb

(Vibrating Mediums)

Smaller than echo chamber 

but still limited in sound possibilities. Has a 

‘plate’ sound characteristic.

Spring Reverb

(Vibrating Mediums)

Very compact. Found in most 

cheap guitar amps. Has an annoying ‘spring’ 

characteristic to the sound. Used a lot in 

surf rock.

DSP

(Digital Signal Processing)

Use (semi) complex math to create the reverb.

Convolution Reverb

Impulse response used to measure room characteristics

Convolution Reverb

uses measurements from real space to make reverb profile

impulse response file created from measurements determines the algorithm that controls the reverb sound

can completely mimic real spaces thus eliminating the need for echo chambers

Other Time Effects

Doubling

Chorus

Phasing/Flanging

Harmonizing

Sampling

Dynamics Control

changes only the amplitude of audio

can change the dynamic range and envelope of a sound

4 types: Limiting, Compression, Expansion, Gating

Dynamics Range 

difference in decibels between the softest and loudest sound there is

Human Hearing - 130dB (based on environment)

CD 90dB

Limiting

Amplitude of the sound is not allowed to be any 

louder than a Threshold you specify.

Usually results in clipping.

Compression

Gain is reduced if the Amplitude of the sound 

becomes any louder then a Threshold you specify. 

Reduction only takes place during the period while 

the sound is above the threshold.

Expansion

Gain is increased if the Amplitude 

of the sound becomes any louder 

than a Threshold you specify.

Gating

 Sound is only allowed to pass through if 

it is louder then a Threshold you specify.

Can cause clicking if not used correctly

Ratio

Once sound surpasses the threshold, the ratio is the 

amount of change that happens relative to the 

amplitude above the threshold.

1:1 to 10:1 - compression

10:1 to Infinity - Limiting

1:1 to 1:10 - Expansion

Attack

How quickly the device reacts to the sound 

surpassing (or not) the threshold.

Release

How long it takes for the device to stop 

affecting the sound.

Knee

allows you to create a variable ratio.

Hard Knee

compression/expansion starts 

immediately and fully once sound surpasses the 

Threshold.

Soft Knee

allows you to gently bring in compression 

before the actual threshold is reached.