audio-engineering-patterns

Files (4)

• SKILL.md
• daw-shortcuts.md · references/
• frequency-chart.md · references/
• plugin-chains.md · references/

SKILL.md (first lines)

# Audio Engineering Patterns

Technical foundations for audio production and sound design.

## Signal Flow Fundamentals

### The Audio Chain

```
Source → Processing → Summing → Output

[Mic/Synth] → [EQ/Comp/FX] → [Mix Bus] → [Master] → [Playback]
```

### Gain Staging

Maintain optimal levels at each stage:

| Stage | Target Level | Headroom |
|-------|--------------|----------|
| Recording | -18 to -12 dBFS | 12-18 dB |
| Processing | -18 to -12 dBFS | 12-18 dB |
| Mix Bus | -6 to -3 dBFS | 3-6 dB |
| Master | -1 to -0.3 dBFS | True peak limit |

**Rule**: If a plugin sounds bad, check your input level first.

---

## Frequency Fundamentals

### The Spectrum

| Range | Frequency | Character | Instruments |
|-------|-----------|-----------|-------------|
| Sub Bass | 20-60 Hz | Felt, not heard | Kick, bass, 808 |
| Bass | 60-250 Hz | Foundation, warmth | Bass, low vocals |
| Low Mids | 250-500 Hz | Body, mud | Guitars, vocals |
| Mids | 500-2000 Hz | Presence, honk | Vocals, snare |
| Upper Mids | 2-4 kHz | Clarity, harshness | Vocals, guitars |
| Presence | 4-6 kHz | Definition, sibilance | Vocals, cymbals |
| Brilliance | 6-10 kHz | Air, shimmer | Cymbals, strings |
| Air | 10-20 kHz | Sparkle, hiss | Room, breath |

### EQ Patterns

**Subtractive First**:
1. Find problem frequencies (boost, sweep, identify)
2. Cut problems (narrow Q)
3. Boost characteristics (wide Q)

**Common Problem Areas**:
| Issue | Frequency | Action |
|-------|-----------|--------|
| Mud | 200-400 Hz | Cut |
| Boxiness | 400-600 Hz | Cut |
| Honk | 800-1000 Hz | Cut |
| Harshness | 2-4 kHz | Cut or dip |
| Sibilance | 5-8 kHz | De-ess or cut |

---

## Dynamics Processing

### Compression Parameters

| Parameter | Function | Typical Range |
|-----------|----------|---------------|
| Threshold | When compression starts | -30 to 0 dB |
| Ratio | How much compression | 2:1 to 20:1 |
| Attack | How fast it engages | 0.1-100 ms |
| Release | How fast it lets go | 50-1000 ms |
| Knee | Soft/hard transition | 0-12 dB |
| Makeup | Compensate for gain reduction | As needed |

### Compression Archetypes

| Style | Attack | Release | Ratio | Use |
|-------|--------|---------|-------|-----|
| Transparent | Fast | Auto | 2-3:1 | Vocals, mix bus |
| Punchy | Slow | Medium | 4-6:1 | Drums, bass |
| Glue | Medium | Slow | 2-4:1 | Mix bus, groups |
| Limiting | Fast | Fast | 10:1+ | Peaks, protection |
| Pumping | Slow | Fast | High | Creative effect |

### Sidechain Patterns

```
Trigger Source → Sidechain Input → Compressor → Target

[Kick] → [SC Input] → [Comp on Bass] → [Ducked Bass]
```

Use for:
- Kick/bass separation
- Vocal ducking
- Rhythmic pumping
- De-essing (high-pass SC)

---

## Spatial Processing

### Reverb Types

| Type | Character | Use |
|------|-----------|-----|
| Room | Small, tight | Drums, guitars |
| Hall | Large, long | Orchestral, pads |
| Plate | Dense, bright | Vocals, snare |
| Chamber | Warm, smooth | Strings, vocals |
| Spring | Bouncy, lo-fi | Guitars, vintage |
| Convolution | Realistic spaces | Film, realism |
| Algorithmic | Controllable | Everything |

### Reverb Parameters

| Parameter | Effect |
|-----------|--------|

From 4444J99/a-i--skills, MIT.

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