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

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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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