Saturday, February 27, 2010

The Fletcher Munson Curve & Why You Should Know About It

In the 1930's two scientists at Bell Labs named Harvey Fletcher and Wilden Munson came to the conclusion that the way humans hear specific frequencies is in fact much more complicated than anyone had previously thought. They developed the Fletcher Munson Curve, which helps us to see how frequencies are perceived. Humans do not hear the entire frequency range at the same loudness level. Furthermore; as amplitude changes, so does our ears response to the frequency spectrum. In other words certain parts of the frequency spectrum (lows, mids, highs) may seem louder to us than others, and when amplitude (volume) increases or decreases our ears hear these frequencies at different loudness levels. For example; as you turn your system louder, bass and treble sounds will increase while the mid-range frequencies will begin to get drown out. This will make more sense after we look at an Equal-Loudness Contour graph. While Fletcher & Munson were the first to create the Equal-Loudness Contour, today we use a different contour compiled from a much broader test group of subjects. The idea is still the same though, and most Equal-Loudness Contours are still refereed to as a Fletcher Munson Curves at present time.

Equal-Loudness Contour Graph


The Y axis represents Sound Pressure Level (dB SPL) or volume, in simple terms. The X Axis represents the frequency range. Phons are simply a term used to rate equal loudness. As you can see, our ears are most responsive to the middle range of the frequency spectrum. Most likely because, this is where human speech occurs in the frequency range. (score one for evolution) At lower volumes you can't hear all of the frequency range at the same level. Mids are exaggerated while bass and high frequencies are not heard as well. At higher volumes the curve begins to flatten out and we begin to hear at a flatter response than we did at lower volumes. If you're still having trouble understanding this whole idea, the following real world example may help you out. Have you ever seen the "Bass Boost" button on an amplifier or car stereo? The purpose of this button isn't to blast bass. In fact, it's actually meant to be used when listening at low volumes, and its existence can be directly contributed to the Fletcher Munson Curve. The bass boost setting is something like an EQ that amplifies low and high frequencies so we can hear them more in line with the middle range frequencies at low volumes.

If it's not obvious by now, the level your monitoring your productions or mixes at is extremely important. If you're monitoring at to low of a level (usually never a problem for most beat freaks) the mid range of the frequency spectrum is going to be louder so you're going to end up compensating for this by cranking the low and high end of your project. If you're monitoring at too loud of a level the bass is going to begin drowning out the mid range and the high end of the spectrum will be ripping through your ears. So... What's the best level to monitor at? It's widely accepted that right around 80-85 dB SPL is the best spot to work at. At this level our ear's frequency response is just about as flat as is humanly possible. The best way to ensure that you're monitoring at this level is to get a dB SPL meter (buy & return or rent one, if you're broke like me) Once you have one of these you can mark on your interface or mixer where 83 dB SPL roughly lies. That way you're always sure you're hearing everything that exists in your project.

Hopefully this whole concept makes a little more sense now. Now, go take this idea back to the lab with you. Thanks again for reading

Understanding Audio: Getting the Most Out of Your Project or Professional Recording Studio

Principles of Vibration and Sound

Tuesday, February 16, 2010

Free Plug-ins!!!




One way to differentiate your music from others is by using plug-ins to shape the sound you've created and arranged. Most are expensive and one can often wonder why they're spending 500 dollars on a piece of software. But... Don't worry the internet is full of freeware plug-ins for both PC and Mac users. Some are crappy, others are downright amazing. I've compiled a small list of a few places you can download some of these free plug-ins. Enjoy & happy searching, there are literally thousands of them on the internet! Let this list just be a stepping stone for you. Download and try out as many of them as you can, you may find something that sounds great with your productions.



Stillwell Audio (My Personal favorite)
Free Plugin List
KVR Audio (Links to Thousands of free plug-ins)
Recording Review Article w/ Links to Free Plug-ins
VST Planet
Kjaerhus Audio (Free Package of Plug-ins for Windows Users)
Blue Cat Audio (Software designers who offer a ton of freeware)
Plugins-Audio (The Plug-in Blog!)
Voxengo (Plug-in Designers that offer a bunch of free plug-ins)
KResearch (Free Reverb & Delay)
ANWIDA Soft (Great Free Reverb)
Izotope's Vinyl (Free vinyl simulation plug-in)
XOXOS (Blog w/ a grip of freeware)

Picking a Pair of Refrence Monitors


What's the most important part of any production? What you're producing! Therefore, what is the most important tool in your production arsenal? (Aside from your ears) Your monitors! If you can't hear what you're creating, then you can't perfect it. Having a pair of quality monitors that you know and trust will take your productions to new places. This being said, picking a set of monitors is an extremely personal decision and no amount of information I give to you here will be able to make this decision for you. You need to listen and use your ears to decide which set of monitors will be best for you and your music. However, I can give you some guidelines that might make purchasing such an important (and expensive) part of your home studio a little bit easier.

-Passive VS Active Sytems

I'm assuming that most of my readers are producers and DJ's who work out of their bedrooms. Taking this into account the whole passive VS active war is quickly won by the active systems. However, it's worth taking a look at each to understand the differences.

First and foremost a passive system requires an amplifier. I'm assuming most of you are short on: space, money and, time to learn about: ohms, watts, amplifiers, crossovers and, limiters. If you just want to make music and not worry about these things, just go with an active system, you'll thank yourself later. However, passive systems do offer some advantages. There is typically less electronic noise with passive systems because the power source (amplifier) is farther away from the drivers but, the speaker wire can be a source of interference if you're not careful. Also, you can purchase a much higher quality amplifier than you can normally get in most active systems and, you can choose an amplifier to meet your needs exactly. It's important to remember that amplifiers have their own sonic character (sound) when purchasing one be sure to listen to it powering your monitors before you buy it.

An active system on the other hand has amplifiers that are built into the cabinet that houses the drivers. No need for an external amplifier, just plug them into the master out of your mixer or interface and you’re good to go! The amplifiers (most active systems have 2, one for each end of the frequency spectrum) that are part of an active system are tuned and balanced for use with those drivers. No need to worry about getting the perfect amplifier for your system, it’s essentially already been done for you. Be careful with budget monitor systems though, often times the amplifiers in those aren’t as good as they would like you to believe.

The bottom line of this debate. With the technology today, if you spend the money, you can get an active system that rivals most passive systems for anywhere near the same price. Be weary though, the market is flooded with cheap crappy active systems that will, in the long run, just be a waste of money.

Here’s a good article from Sound on Sound that can help you understand the differences between these two even better.

Know Your Budget

Before you begin searching, you need to know how much money you have to dedicate to this purchase. This part is a little scary, quality monitors aren't cheap, so just prepare yourself. A decent pair of active near field studio monitors can usually be had for around 700 to 1,500 dollars. Find a price that you’re comfortable with spending and then research and listen to (if possible) every monitor that falls into your price range. Higher price does usually mean better components, but this isn't always the case. Only your ears and your music will be able to tell you what you really need. Remember what I said about monitors being the most important tool in your production arsenal though. If you don’t have the money to get a quality set that you’re happy with. Don’t get them! Wait it out until you can afford the system that you are happy with.

Accuracy VS Good Sound

A monitor system isn't designed to work like a hi-fi system in a home. Monitors are designed to provide as flat of frequency response as possible. In other words good monitors won't add or take away anything from your sound. Monitors aren't designed to sound "good" they are designed to sound "accurate" just because you think a monitor sounds great, doesn't mean your work will sound great on them. In fact a good monitor may make your music sound horrible. They will show you things you've never heard, and when you hear things you've never heard; you're probably going to want to take a closer look at that set of monitors. They may be your new babies.

What's Your Personal Style?

It's important to hear monitors with your music before buying anything. I recommend taking a CD to your local music shop with a few tracks that you've created and know really well. You might also want to throw some of your favorite professional tracks on that CD too so that you can hear those mixes from your perspective monitors as well. If you produce hip-hop or dance music (which I’m assuming most of you do) you obviously really want to concentrate on bass. Look for monitors with larger low end drivers. (subs) And you might even want to consider looking at a 2.1 system (2 monitors and a subwoofer) Blue Sky makes a very nice affordable one. This isn't necessary but hip-hop and dance music is created to be felt, if you don't have a sub, or monitors with good low end response you may find yourself pumping your monitors to get that bass your searching for. Pushing any sound system to the limit will cause it to distort what we're hearing and this is obviously something that we don't want. While we're on this low end subject, it's worth mentioning that Mackie monitors are notorious for their low end coloration (addition of low end information) I've worked with multiple Mackie setups and can attest to this myself. While they may "thump", your track won't thump like they do on Mackies when you listen to it on another system. Not to say Mackies are a bad choice, it's just something to remember when you hear them. They sound deeper because, they are, not because they're better than other systems. You will notice all these difference as you listen to more and more monitors. Only you will be able to decided which ones you really like.

A Few Brands Worth Checking Out

Adams: Their A7 monitors are unbelievable (just ask trees :D)

Genelec: If you've got the money... Check em out

Dynaudio: Never actual heard them, however I've only heard good things.

Blue Sky: Another personal favorite of mine, however not the most durable of monitor systems.

Tannoy: They've been building speakers since 1926, they know what's up.

KRK: A good "bedroom" monitor; simple, rough, and fairly accurate.

All this being said I hope that this post can help you in your quest to perfect the sound that you're all searching for. There are tons of resources that can help you pick out a pair of monitors, and the research on your part shouldn't stop here. Monitors are an expensive investment and I recommend doing as much homework as possible before you buy a set. Remember what matters: YOUR EARS! Listen, listen, listen to every set you can. Once you start listening you will begin to hear the subtle differences. When you've found some your comfortable with take them home and rock out with whatever it is you rock out with! Good Luck! If you have any questions you can always contact me at: nlucini@me.com or click the call me widget at the bottom of the sidebar.

PreSonus FaderPort



The PreSonus FaderPort is a high quality USB DAW controller that is by no means new to the market. The only reason I'm writing about it in fact is because, I just found out about it and plan on purchasing one for myself. For $129.00 you can have a touch sensitive ALPS motorized fader (these same faders are in Digidesign's D-Control) and a host of transport controls for your DAW. There really isn't anything of this quality that does this available on the market at this price. For $199.99 you can have Frontier Design's AlphaTrack. The AlphaTrack has a lot more control of your DAW but, to me the fader seems sloppy and the buttons really harsh. Not to mention, it's honestly ugly as sin. Before it seems like I'm bashing this product into the ground you should know that The AlphaTrack is a really practical controller with some pretty cool features that might work perfectly for you, so be sure to check it out. I personally just wasn't a fan of the way it felt and, feel for me is really important. I haven't used the FaderPort before but, I know the fader in it well, and I'm really excited that I can make that feel a part of my home-setup. The control and precision of high quality long throw faders in production and mixing is something you have to use to believe. If you're currently only using a mouse and keyboard to mix, record and, automate your tracks, this will speed up your work flow tremendously. No more drawing automation, you can actually write it. I honestly can't believe I just found out about this but, I'm glad I did because it is certainly going to be my next purchase. Below are some links to various articles and reviews on the FaderPort from the manufacturer and third party reviewers.

PreSonus Website
Sound on Sound's Article on the FaderPort
Sonicstate.com's Review of the FaderPort