Diploma in Sound Engineering

The wonderful
world of sound
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Contents

3 Introduction

3 Lesson outcomes

3 Properties of sound

5 Recording hardware

6 Let’s record!

8 Conclusion

9 Additional resources

10 References

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Lesson outcomes
By the end of this lesson, you should be able to:

• Identify the types of waves

• Understand the relationship between frequency, pitch, amplitude, loudness and harmonics
• Identify the basic types of recording hardware needed for recording
• Navigate a DAW
• Make a recording

Practical lesson outcome:

By the end of today’s lesson you should be able to record with a microphone and knwohow to do basic audio editing

Introduction
In the previous lesson we learnt that our modern microphones and loudspeakers still rely on the same basic principles as
almost a century ago. In today’s lesson we will begin to apply that knowledge and make our first recording!

We will discuss the basic properties of sound, recording hardware and software and how to use them to make your own
recordings.

To help you get up and running, a list of free DAW’s (recording software) is included in the additional resources section of
the summary notes. Go grab yourself a free copy and let's start recording!

Properties of sound
Whether you want to create beats, record bands, a podcast or do sound and music for your videos, the equipment that you
use will vary depending on your needs. In order for us to identify the equipment that we would need for a production, we
first need to understand a few basics about how sound works and operates with our gear

Types of waves
Have you ever listened to really loud music and felt the vibrations of the sound in your body? Those vibrations in your chest
happen because sound is actually a longitudinal pressure wave.

For the purpose of sound engineering, we’ll be concerned with two types of waves. Transverse and longitudinal waves.

Transverse waves are the waveform I would assume everyone is sort of familiar with. It's the one that looks like the top wave
in this video and can be seen in nature such as waves in a pond or a vibrating guitar string. On the other hand we have
longitudinal waves. Sound waves are classified as longitudinal waves and this is where we’ll be spending some time today.

When a guitar string is plucked, the string vibrates in a transverse fashion. You can clearly see it in this video. Now, what is
important to realise, is that the vibration down the length of the string is creating super tiny differences in air pressure that
is moving away from the guitar. The differences in air pressure moving away from the string is what we call sound.

In actual fact, all sound is purely very quick changes in air pressure, which our ears translate into something we can hear. To
illustrate the difference between the two waves, have a look at the following clip:

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(Audio recording tutorial: The different microphone types | [Link], 2020)

Before we move on, just to recap:

When a string vibrates, you can see the transverse vibrations along the string. These vibrations push air molecules and cause
changes in air pressure that moves away from the string. Those changes in air pressure are called longitudinal waves and
when the air pressure differences reach our ears, we perceive it as sound.

Frequency, amplitude and wavelength

Frequency
When an object like a string vibrates really fast, we say that it has a high frequency. When it vibrates really slowly, we say
that it has a low frequency.

Frequency is measured in Hertz where 1 Hertz is equal to 1 complete vibration in a second. The correct term to use for the
vibration, is actually the world oscillation and refers to the rate it takes a wave to move from peak to peak.

We refer to how high or low a musical note is based on its pitch. The higher the frequency, the higher the pitch. Similarly, the
lower the frequency, the lower the pitch.

Amplitude

Amplitude is how we measure how much power a sound has and is measured in decibel (dB). The bigger the amplitude, the
more power the pressure wave has. It relates to loudness, but loudness is a topic we will discuss at length in module 2, so
for now, all that you need to know is that an increase in amplitude means an increase in sound power.

Phase

Phase refers to the relationship between two waves and how much of the frequency, wavelength and amplitude
corresponds. When 2 of the same waves crash, the frequency, amplitude and wavelength will affect what happens to those
two waves.

Harmonics

A piano and a cello sound very different from one another and this difference in sound, even if they play the same note, is
called Timbre. We use the word timbre to describe the tonal qualities of different instruments. So the question then arises,
why do they sound different if they are playing the same note?

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• The answer is due to harmonics, also known as overtones

Ok, so then, what are harmonics or overtones?

Every sound in the world is made of a combination of frequencies. So, when a guitar and piano play for the note A, the pitch
sounds the same, but the timbre of the instruments sound different. This is because every tone is made of layers of different
frequencies. The frequencies are all based on a ratio, so no matter what sound you make, these frequencies will be present.

Every sound in the world is a wave, and it is the combination of these sine waves that create what we hear as timbre. To see
what a harmonic series sounds like, click on the image below to visit the website and explore the harmonic series:

(Chen: 2020)

Recording software and hardware

DAW

The computer software that we use to record and process sound is called a digital audio workstation, or DAW, for short.

In the starter pack we’ve included links to a host of great free DAW’s. You will need to download and install one to get the
most out of this lesson and course.

Audio Interfaces

Your audio interface is the link between your microphones, instruments, controllers and your computer. All sound that is
captured from the outside world has to pass through your audio interface to be recorded. If you have speakers, you will also
connect them to your audio interface. For playback.

The interface is important for a variety of reasons:

• Remember in lesson 1, we showed how microphones generate electric current? Well, the audio interface translates
the current from the microphone to the computer. This process is called Analogue to Digital Conversion (ADC).

• In order to play sound from your computer through your speakers, your audio interface translates the information
from your computer to an electrical current which we can send to our speakers to listen. This process is called
digital-to-analogue-conversion (DAC).

• Some microphones like condenser microphones, work with 48 volt phantom power. The audio interface can
provide this to your microphone. Almost all audio interfaces will be bale to supply your microphones with phantom

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power. If you are considering buying an audio interface or soundcard, make sure that your audio interface supports
your microphones requirements!

• Most audio interfaces also support direct lines in. This means that you can plug in a keyboard, bass guitar or any
other instrument with a cable and start recording.

Microphones
We discussed microphones quite extensively in lesson 1, so here is a recap of what we spoke about with a little extra info:

Types:

• Dynamic microphones are also called moving coil microphones

• Condenser mics require 48v phantom power to operate
• Ribbon mics are very fragile and require a lot of care when handled

Invest in a dynamic microphone, or a large diaphragm condenser as your first microphone. These mics are robust and won’t
break if treated roughly. They are also easy to use and make great recordings!

Ribbon microphones are very fragile, even a puff of air from someone singing can break the microphone diaphragm. On
average the diaphragm of a ribbon microphone is 5 micron thick. That is 5 hundredths of a millimeter!
These microphones are most suited for those who are experienced working with very sensitive equipment. They sound
great!

Speakers and headphones

The speakers and headphones that we use to monitor our recording and mixing are slightly different from the ones we use
to listen to music and other media for recreation.

The main difference is that studio speakers (we will call them studio monitors from now on) and headphones have a flat
response where speakers such as hi-fi or radio speakers have a shaped response.

All that this means is that studio monitors and headphones with a flat response play all frequencies at equal loudness.
Recreational speakers often have a shaped response, such as a bass boost function.
In this graph you can see that the red curve has a bass boost and the pink one a bass cut. This is typical of our home speaker
systems that compensate for the way we hear sound.
The green curve has the flattest response with minimal deviation from the center line. This is what we want from our studio
speakers and headphones.

We prefer monitoring sound over speakers with a flat response because it is easier for our ears to identify sound issues that
need to be adjusted.

Let’s record!
By now we covered all the necessary theory to be able to make a good recording. We discussed microphones, audio
interfaces, the speakers we need, we learned about types of waves, how to measure frequency, amplitude, phase and
what DAW’s are.

If you have your recording software installed, now is the time to open your software and get ready.

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Sample Rate (Fs)

In order to make a video, your camera takes lots of pictures and plays them back really quickly to give us the impression of
moving pictures and is measured in frames per second (images being played in 1 second of footage). The same way that
video works with frames per second, sound recording works with sample rate. The sample rate is how many map points
your computer takes of the sound wave in a second.

Humans can hear from 20 – 20 000 Hertz, so to be able to record every possible sound wave that we are able to hear, we
need to be map 2 points of every oscillation of a sound wave. The reason for this is tecause you need two points to draw a
line, so to map the shortest oscillation (highest frequency), the sample rate needs to be double the highest frequency.

This is why we have a sample rate of 44 100 samples. Because it allows us to record frequencies up to 22 500 Hertz (half of
44 100), well above the human hearing range. For a brilliant example of how sample rate affects the frequency rang we can
record, read the notice below and then click on the YouTube image to be redirected to the Izotope channel.

EXTREMELY IMPORTANT NOTICE:

• Music you need to record at 44100 samples per second. In some DAW’s this may be indicated as 44.1kHz.

• If you want to sync your sound or music to video, you will need to record your sound at 48 000 samples per
second, or a 48kHz. This due to how clocking works in computers. Videos play at frame rates of on average 24
frames per second. In order for computers to accurately sync the audio and video, it uses a single clocking source.
This means that if your audio is recorded at 44.1kHz and you want to add it to a video, your will end with sound
that ends much earlier than the video, and in some places the sound will be sped up and soud completely
unnatural.

(What is Sample Rate? | iZotope Pro Audio Essentials, 2020)

Buffer size
To make sure that your recording experience runs as smooth as possible, you need to keep an eye on your buffer size.

It might happen that you record, but you realise that there is a big time difference between your microphone and your
headphones or speakers. If this happens, try decreasing the buffer size a little. This should help in solving the issue.

After you are done recording or your are busy mixing, if your computer struggles to play sound back, try increasing the
buffer size. This will also increase latency between your mic and monitors, but at least you can record now!

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Conclusion
Understanding the basic principles of how our equipment processes sound, allows us to problem solve if issues arise. As
with any technical field, it is important to stay informed about new software/hardware features, releases and upgrades.
Understanding how our equipment works also outlines the limitations we have when using it. By staying up to date and
informed about how our equipment evolves through technological innovation, you will be on par with industry practices
and understand whether the new release will benefit your production.

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Additional resources
Recording software (DAWs)

Free DAWs:

DAW Download link

Tracktion [Link]
Studio One [Link]
Cakewalk [Link]
ProTools First [Link]
Reaper [Link]
Soundbridge [Link]
LMMS [Link]
Podium [Link]
Audacity [Link]

Paid DAWs:

DAW Download/purchase link

ProTools ://[Link]
&sku=DYNA20000&isCSRFlow=true&portalUser=&store=shop&cclcl=
en_ZA
Reason [Link]
Ableton [Link]
CuBase [Link]
Nuendo [Link]
FL Studio [Link]

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References
• [Link]. 2020. Audio Recording Tutorial: The Different Microphone Types | [Link].
[online] Available at:
<[Link] [Accessed 26
October 2020].
• Chen, A. Harmonics (2020). Available at: [Link] (Accessed: 27
October 2020).
• Izotope, Inc. 2020. What Is Sample Rate? | Izotope Pro Audio Essentials. [online] Available at:
<[Link] [Accessed 28 October
2020].
• [Link]. 2020. Guitar Strings Oscillating In HD 60 Fps. [online] Available at:
<[Link] [Accessed 28 October
2020].
• [Link]. 2020. Transverse And Longitudinal Harmonic Waves. [online] Available at:
<[Link]
[Accessed 28 October 2020].
• [Link]. 2017. Wavelength, Frequency, Amplitude And Phase - Defining Waves ! -
Techplayon. [online] Available at: <[Link]
phase-defining-waves/> [Accessed 28 October 2020].
• [Link]. 2020. Waves And Wavelengths | Introduction To Psychology. [online]
Available at: <[Link]
wavelengths/> [Accessed 28 October 2020].
• [Link]. 2020. AC Phase | Basic AC Theory | Electronics Textbook. [online] Available at:
<[Link] [Accessed 28
October 2020].
• [Link]. 2020. The Most Mind-Blowing Concept In Music (Harmonic Series). [online] Available
at: <[Link] [Accessed 28
October 2020].
• Magazine, W., 2020. How The Internet's Steve Lacy Makes Hits With His Phone | WIRED. [online]
[Link]. Available at:
<[Link] [Accessed 28 October 2020].
• Feinstein, S., 2020. Understanding Frequency Response - Why It Matters. [online] [Link]. Available at:
<[Link] [Accessed 28 October 2020]

DIPLOMA IN SOUND ENGINEERING