facts about mp3 format

Music is a form of art. It’s an art that’s derived and celebrated with sound as it’s medium. It’s the art of putting sounds in an organized way that leaves a soothing sensation to the listener’s ears. Music is also a form rhythmic noise that tried to trick and play with the idiot brain. It has four parts : pitch, rhythm, dynamic, timbre. Music has many forms and can be produced and enjoyed anywhere. Music is often termed as the only element that’s independent of universe cosmic energies and causes time to flow through instantaneous universe. There is no particular definition of music. It’s healing sensation for some, for some it is a life style, for some it’s a profession and for some it’s the only delight left in life. Music in today’s world is a part of every moment. From the loud speakers in ceremonies to the movies to the ear phones plugged in our ears, music is everywhere! The technology itself has caused music to rise in popularity to such a level. Digital music has also played a role in how we perceive the expectancy of perfectness of a played music. In old times, music was relayed with singers singing completely relying on the tone and perfectness of their voices and melodies. With the rise in technological advancements, we have computers which auto tune human recorded voice into perfectness and faultless. Though the advantages, there are many disadvantages like people don’t appreciate human melodies since often their ears find the hidden faults in the melodies that were to be hidden by the auto tuning functions. However the digital technology has brought us with different ways of enjoying it and in varied ways, formats in its own terms. The digital world presents music in various formats including mp3, wav, flac, mpg, was formats etc. Out of these, the mp3 is the most chosen and played one. It is best suited because of it’s popularity and is easily portable because of it’s compressed nature. It can be played in almost every music player and downloaded easily. However it’s not always all merry. Because of it’s large acceptance, mp3 files are often pirated, downloaded breaking copyright laws and other illegal crimes. Though every format has their fair share of advantages and disadvantages and it’s quite natural because every coin has two sides. With rise in technology, music has reached in space, you can fill music in every part of your daily life with just the touch of a button. Just a few megabytes can contain so many feelings that can be derived by each according to his own. It indeed plays a great role of everyone’s life by keeping their life paceful, distracting them from the undeserving load and nuisances of world. It help us in so many ways from helping to concentrate during work to keep the mind relaxed and acceleration of refreshing the brain to making us healthy mentally and spiritually. It’s also a form of exercise that strengthen the confidence level and keeps chemicals and hormone level balanced. Music is indeed a blessing from nature!

You can add some thickness to your studio production by creating a double effect that mimics the sound of the stacked instrument or vocal part. There are techniques that you can try to give you the similar feel of having the performer perform that part many times.


Short delays: a delay can give the impression of multiple takes. Start by trying a delay of 25ms where you have no feedback. Discerning a delay is hard for the human ear when it is shorter than 25ms. If your delay is longer, though, it will sound like an echo. Try playing around with delaying the time and see if you like it. If you have a modulation adjustment in the delay, try using a slow rate setting or speed to add a subtle pitch variance to the echo. When you have a pitch change, it helps to make the effect authentic. This trick to get a double guitar track is an old one.


Editing: an audio engineer student may find this one hard and time-consuming, but this is preferred on vocals more than a short delay. Make two copies of your vocal track. Go through your first copy and chop up the vocal randomly every few words. Now, go to your second copy and chop up vocals again, making sure you don’t chop in the same places as the first copy. Go back through your chopped tracks and nudge each region randomly about 20ms. Some need to be nudged early in some late. When they are random, it helps the effect. Send these tracks to the slow-moving chorus effect to add modulation. To find the sound you are looking work, you can now play around with the balances.


Plug-ins: each year, new plug-ins come out that sound better. Some of these plugins allow you to get the double effect that would normally take a lot of pitch and delay shifting. Sometimes, you can get a cool effect by using the editing and delay trick with a double plug-in.
Hopefully these tips will help you to add thickness to your studio project.

Are you planning to have your music played on the radio? By mastering your music, you prepare it for the air. Unfortunately, a lot of the mastering sessions are delivered on files in the wrong format. You can’t expect mastering engineer work miracles. When you give them garbage, you get garbage in return. If you handle the mix process improperly, your music will likely never be broadcasted or sound decent with any system.


There are a few mistakes that are commonly made that make it impossible for the mastering engineer to do his job right. If you can avoid these pitfalls, your sound will be far superior.


1. Mix levels.

If the bus meters he can read as soon as I press play, that will be a deal breaker. This is because there is no room left to add any gain. You need to monitor your output level by using the master fader. Some systems will force you to create a master fader or session. It is a valuable tool for the mix engineer. You will need to watch the final output level of the master fader to ensure the peaks ever go above 5 dB’s. No resolution will be lost if the original recording is in high definition.

2. Bus compression.

Most people love to hear the sound that comes with a good stereo bus compressor. There can be too much of a good thing, though. You can use an expander to help, but that leaves you working backwards attempting to undo the steps that were taken in the mix. The same sound will never be found. You should never overdo the limiting or compressing. If you create a heavily compressed or limited mix to listen to yourself, that should be fine, but the mastering studio should not receive that version.

3. Method of delivery.

You should never send your files on the CD. The audio CD only has one format where a data disc can have a number of formats burned to it. You can also deliver your files on a USB flash drive, hard drive, or uploaded to an FTP server like Dropbox. Never zip the files before you upload them. When you send a zipped file, the data is compressed and make calls problems for the mastering engineer.


By avoiding these mistakes, you will keep your mastering engineer happy.

When you go to school to learn about sound design, you learn a lot about MIDI Programs, Electronic Music, and Synthesizers. Understanding each of these technologies is important to sound design and sound synthesis training. In the 1960’s, subtractive synthesis became a lot more popular. By the 70’s, this form of synthesis was available to the masses. Only a handful of components are necessary for subtractive synth to give you a wide range of sounds. This makes it great for early synth designers who needed accessible and affordable synthesizers.


In the early 1900’s, additive synthesis was first seen as the tonewheel based instruments were created. The concept of these was first seen, though, in 1822 by Joseph Fourier and his research on harmonic analysis.


You can achieve both forms of synthesis through using some basic elements such as amplifiers, filters, and oscillators. The primary difference between the two forms is their approach, not their parts. Below will tell how the approaches of the two differ.


A subtractive synthesizer provides you with oscillator wave shapes like square, sawtooth, triangle, and sine. Since a sine wave only generates one frequency, it is known as a pure tone. Other wave shapes give you even and odd harmonics that are above the fundamental frequency that they are tuned to. The concept is to generate a higher number of harmonics than you want with subtractive synthesis, then subtract certain frequencies with a filter. Therefore, all subtractive synthesizers must use a minimum of one filter.


There are oscillators with additive synthesis too, but they only have one wave shape with those oscillators, the sine wave. If you go this route, you only want to build the sound with one harmonic at a time. Each of the sine wave oscillators is at a specific frequency that corresponds with a single harmonic. It is a lot like creating with Legos, in that you build with one block at a time. The higher number of clocks you use, the better your sculpture can be realistic. Additive synths typically have more oscillators and do not need a filter like the subtractive synths do.

If you have ever recorded in a studio, you understand that the recording process, to be effective, must be streamlined and efficient. There are things that you can do to maximize your time in the studio. This is especially important if you have a small recording budget. When you can make the most of your time, you will capture a better performance and keep within your budget easier. Both benefits are critical to help you survive in this market. Below are some ideas to help you keep your audio recording session running smoothly.

1. Have a pre production meeting scheduled.

This meeting will include the engineer, the artist, and you. And allows each acquaintance to familiarize themselves with one another and to discuss the goals of the project. The engineer will have a chance to listen to your work and help you to come up with a plan for the completion of your project.

2. Create a budget that is realistic.

It is a process to bring your vision to life, one that includes a good space to record and an audio engineer with technical expertise. Both things are costly. Be realistic with your budget and ask the engineer and studio manager for suggestions on the rooms available and what the studio may offer. A good studio professional will help you to get the most for your money, instead of just trying to take it all. They are looking for repeat customers.

3. Predetermine your song list.

Go into the studio knowing the songs that you want to play instead of just going in for a jam session. By the time you get into the studio, you should already know who is playing which instrument, the solos, the structure, and all other pertinent information. The songs you are recording should be once you have played numerous times before. All the tricky parts should have already been worked out and everyone knows the song like the back of their hand. Only through this kind of preparation can you give a good performance.


By following these steps, you will be on your way to producing a recorded project professionally. Now get out there and get to recording!

When you first start your career as a mix engineer, you can be quite overwhelmed. You need to remember that your success will come from lots of experience. To help you get your results quicker though, I have a list of five stakes that are common in first time studio mixes from those who aspire to be mix engineers.

1. The mixing is too loud.

When noise is over 90 dB, as a self-protection mechanism, your ears start to compress. Because of this, if you create a mix that is above 90 dB, there will be problems hearing certain instruments when it is listen to below 80 dB. Even though you could not hear the problem when making it, what you have created is a bad mix.

2. Deciding not to use a reference mix.

A reference mix can sometimes be seen as a double-edged sword. We want to listen to the competition so we know the dynamics balance and frequency that our customers will be wanting to hear in their own mixes. On the other side of the sword, though, these commercial releases have been professionally mastered. A reference mixes good if you’re trying to determine the frequency balance, but if you try to match the volume, you will merely get frustrated and likely mess up the mix.

3. Trying to put together a political mix.

When you try to make sure all the instruments are allowed or that the instruments reflect the political dynamic of the band, this is when you have a political mix. When you are creating a mix, the only guiding principle should be what sounds good. You should always let the song itself determine the mix.

4. Managing a bad mix.

Many times, a new engineer will start at his mix with one instrument. As he continues to instruments, the levels of the mix to come out of control. The only way to get control back is to start over.

5. Using too much reverb.

The typical new mixer goes overboard with effects. They tend to add reverb to everything to give their mix the feeling of grandeur. The mixes need to have perspective from all angles to make it work well. To do this, try to visualize the band on the stage and where everything would be in that situation.
By following these tips, even new mixers can find success.