Practical Recording Techniques

Name: Practical Recording Techniques
Price: 4.65 USD
Availability: InStock
ISBN: 9780672302657

ISBN-10: 0672302659

ISBN-13: 9780672302657

Edition: N/A

Authors: Bruce Bartlett

List price: $27.95

30 day, 100% satisfaction guarantee!

Marketplace

3 new & used from $4.65

what's this?

Rush Rewards U
Members Receive:

You have reached 400 XP and carrot coins. That is the daily max!

Book details

List price: $27.95
Publisher: Elsevier Science & Technology Books
Binding: Paperback
Pages: 544
Language: English

Preface	p. xxv
Acknowledgments	p. xxvii
The Recording Chain	p. 1
Types of Recording	p. 2
Live Stereo Recording	p. 2
Recording with Several Mics and a Mixer	p. 4
Multitrack Tape Recording	p. 4
Random-Access Multitrack Recording	p. 7
MIDI Sequencing	p. 9
Pros and Cons of Each Method	p. 10
Editing/Mastering	p. 11
Quality Levels of Recording Formats	p. 12
Equipping Your Studio	p. 13
Low-Cost Recording Equipment	p. 14
Cassette Multitracker	p. 14
Digital Multitracker	p. 15
Multitrack Recording Software	p. 15
MIDI/Digital-Audio Software	p. 16
Effects Unit	p. 16
Compressor	p. 16
Two-Track Recorder	p. 16
Editing Software	p. 17
Monitor System	p. 17
Microphone	p. 17
Equipment Costs	p. 18
Cassette Multitracker Studio	p. 18
Digital Recorder--Mixer Studio	p. 19
Computer Studio	p. 19
MIDI Studio	p. 19
Recording System for Classical Music	p. 20
Higher-Cost Recording Equipment	p. 21
Mixer	p. 21
Multitrack Recorders	p. 22
Hard-Disk Recorder--Mixer: 16 to 24 Tracks	p. 24
Equipment Details	p. 24
Cassette Multitracker	p. 24
Microphones	p. 28
Direct Box	p. 29
Monitor System	p. 29
Effects	p. 30
Rack and Patch Bay	p. 31
Miscellaneous Equipment	p. 31
Blank Recording Media	p. 31
MIDI Studio Equipment	p. 31
MIDI Controller	p. 31
Synthesizer	p. 32
Sequencer	p. 32
Sampler	p. 32
Sound Module	p. 32
Drum Machine	p. 33
Line Mixer	p. 33
MIDI Interface	p. 33
MIDI Tape-Sync Box	p. 33
MIDI Software	p. 33
Setting Up Your Studio	p. 34
Cables and Equipment Connectors	p. 34
Cable Connectors	p. 36
Cable Types	p. 38
Rack/Patch Panel	p. 39
Equipment Connections	p. 39
Acoustic Treatment	p. 42
Sound, Signals, and Studio Acoustics	p. 43
Sound Wave Creation	p. 43
Characteristics of Sound Waves	p. 44
Amplitude	p. 45
Wavelength	p. 45
Frequency	p. 45
Phase and Phase Shift	p. 45
Harmonics	p. 47
Envelope	p. 48
Signal Characteristics of Audio Devices	p. 48
Frequency Response	p. 49
Noise	p. 51
Distortion	p. 51
Optimum Signal Level	p. 51
Signal-to-Noise Ratio	p. 51
Headroom	p. 52
Behavior of Sound in Rooms	p. 53
Echoes	p. 53
Reverberation	p. 54
Leakage	p. 55
How to Tame Echoes, Reverb, and Leakage	p. 56
Controlling Room Problems with Recording Techniques	p. 56
Controlling Room Problems with Acoustic Treatments	p. 56
Controlling Standing Waves	p. 59
Making a Quieter Studio	p. 60
Monitoring	p. 63
Speaker Requirements	p. 64
Nearfield Monitors	p. 65
Powered Monitors	p. 66
The Power Amplifier	p. 67
Speaker Cables and Polarity	p. 68
Control-Room Acoustics	p. 68
Speaker Placement	p. 70
Using the Monitors	p. 70
Headphones	p. 72
The Cue System	p. 73
Conclusion	p. 74
Hum Prevention	p. 75
Grounding Definitions	p. 75
Preventing Hum Pickup in Audio Cables	p. 76
Electrostatic Interference	p. 76
Magnetic Interference	p. 77
Balanced and Unbalanced Lines	p. 77
Preventing "Dirty" AC Power	p. 79
Preventing Ground Loops	p. 79
Isolate the Grounds	p. 80
Connect Everything to the Same Ground	p. 81
Break the Loop	p. 81
Connect Shields to Grounded Chassis	p. 82
Keep the Loop Area Small	p. 83
Prevent Ground Loops in Racks	p. 83
Prevent Accidental Ground Loops	p. 85
Reducing Hum with Mics and Electric Guitars	p. 85
Microphone Hum	p. 85
Electric-Guitar Hum	p. 86
Reducing Radio Frequency Interference (RFI)	p. 87
Special Considerations for On-Location Work	p. 88
Power-Distribution System	p. 88
Electric-Guitar Grounding	p. 88
Interconnecting Multiple Sound Systems	p. 89
Special Considerations for Small Studios	p. 90
Special Considerations for Large Studios	p. 90
AC Power Wiring	p. 90
Ground Wiring	p. 91
Summary	p. 92
Hum-Fixing Checklist	p. 93
Microphones	p. 95
Transducer Types	p. 95
General Traits of Each Transducer Type	p. 97
Polar Pattern	p. 98
Traits of Different Polar Patterns	p. 99
Frequency Response	p. 102
Impedance (Z)	p. 104
Maximum SPL	p. 104
Sensitivity	p. 105
Self-Noise	p. 105
Signal-to-Noise Ratio	p. 106
Polarity	p. 106
Special Microphone Types	p. 106
Boundary Microphone	p. 106
Miniature Microphone	p. 107
Stereo Microphone	p. 108
Microphone Selection	p. 109
Mic Accessories	p. 109
Pop Filters	p. 111
Stands and Booms	p. 111
Shock Mounts	p. 111
Cables and Connectors	p. 111
Snakes	p. 112
Splitters	p. 112
Summary	p. 113
Microphone Technique Basics	p. 115
Which Mic Should I Use?	p. 115
How Many Mics?	p. 116
How Close Should I Place the Mic?	p. 117
Reducing Leakage	p. 119
Don't Mike Too Close	p. 119
Where Should I Place the Mic?	p. 120
On-Surface Techniques	p. 121
The Three-to-One Rule	p. 123
Off-Axis Coloration	p. 124
Stereo Mic Techniques	p. 124
Goals of Stereo Miking	p. 124
Types of Stereo Mic Techniques	p. 125
Coincident Pair	p. 126
Spaced Pair	p. 128
Near-Coincident Pair	p. 129
Baffled Omni Pair	p. 130
Comparing the Four Techniques	p. 131
Hardware	p. 132
How to Test Imaging	p. 132
Microphone Techniques	p. 133
Electric Guitar	p. 133
Miking the Amp	p. 134
Recording Direct	p. 135
Electric Guitar Effects	p. 136
Electric Bass	p. 136
Synthesizer, Drum Machine, Electric Piano	p. 138
Leslie Organ Speaker	p. 139
Drum Set	p. 139
Tuning	p. 140
Damping and Noise Control	p. 141
Drum Miking	p. 141
Drum Recording Tips	p. 147
Percussion	p. 148
Acoustic Guitar	p. 149
Singer/Guitarist	p. 150
Grand Piano	p. 151
Upright Piano	p. 152
Acoustic Bass	p. 153
Banjo	p. 155
Mandolin, Dobro, Bouzouki, Lap Dulcimer	p. 155
Hammered Dulcimer	p. 155
Fiddle (Violin)	p. 156
String Section	p. 156
String Quartet	p. 156
Bluegrass Band, Old-Time String Band	p. 157
Harp	p. 157
Horns	p. 157
Saxophone	p. 158
Woodwinds	p. 158
Harmonica, Accordion, Bagpipe	p. 159
Lead Vocal	p. 159
Miking Distance	p. 160
Breath Pops	p. 161
Wide Dynamic Range	p. 161
Sibilance	p. 162
Reflections from the Music Stand and Ceiling	p. 162
Vocal Effects	p. 162
Background Vocals	p. 163
Summary	p. 164
Analog Tape Recording	p. 165
Tape Recorder Parts and Functions	p. 165
The Heads	p. 166
The Electronics	p. 167
The Tape Transport	p. 168
Tracks	p. 169
Tape Width	p. 169
Cassette Deck	p. 171
Multitrack and Synchronous Recording	p. 171
Overdubbing	p. 172
Meters and Level Setting	p. 172
Judging Machine Specifications	p. 174
Operating Precautions	p. 174
Noise Reduction	p. 174
dbx	p. 175
Dolby	p. 176
Preventive Maintenance	p. 178
Cleaning the Tape Path	p. 178
Demagnetizing the Tape Path	p. 178
Alignment and Calibration for a Cassette Deck	p. 179
Alignment and Calibration for Professional Tape Machines	p. 180
Using Magnetic Tape	p. 182
Editing and Leadering	p. 182
Reducing Print-Through	p. 186
Tape Handling and Storage	p. 186
Digital Recording and Editing	p. 189
Analog versus Digital	p. 189
Digital Recording	p. 190
The Clock	p. 192
Digital Audio Signal Formats	p. 192
Converting Signal Formats	p. 193
Dither	p. 193
Jitter	p. 194
Digital Transfers or Copies	p. 195
DAT	p. 196
DAT Tape	p. 197
DAT Subcodes	p. 198
DAT Features	p. 198
DAT Indicators	p. 199
DAT Controls	p. 199
The Digital Audio Workstation	p. 200
DAW Functions	p. 204
Optimizing Your Computer for Digital Audio	p. 206
CD Recordable	p. 210
CD-R Formats	p. 210
CD-R Technology	p. 211
CD-R Sessions, Disc-at-Once, Track-at-Once	p. 212
How to Use a Standalone CD-R Writer	p. 213
How to Use a Computer CD-R Recorder	p. 214
CD-R Recording Settings	p. 215
MDM: Modular Digital Multitrack	p. 216
Random-Access Multitracks	p. 217
Random-Access Units versus MDMs	p. 217
Computer DAW	p. 218
Hard Disk (HD) Recorder	p. 219
MO Recorder	p. 219
HD Recorder-Mixer	p. 219
MiniDisc Recorder-Mixer	p. 221
Portable IC Recorder	p. 225
Backup	p. 226
Digital Recording Options	p. 226
Signal Processors and Effects	p. 229
Equalizer	p. 229
Types of EQ	p. 230
How to Use EQ	p. 233
When to Use EQ	p. 235
Uses of EQ	p. 236
Compressor	p. 238
Using a Compressor	p. 239
Connecting a Compressor	p. 241
Limiter	p. 241
Noise Gate	p. 242
Delay: Echo, Doubling, Chorus, Flanging	p. 243
Echo	p. 243
Doubling	p. 245
Chorus	p. 245
Flanging	p. 246
Reverberation	p. 247
Enhancer	p. 249
Octave Divider	p. 249
Harmonizer	p. 249
Preverb	p. 249
Tube Processor	p. 250
Rotary Speaker Simulator	p. 250
Analog Tape Simulator	p. 250
Spatial Processor	p. 251
Microphone Simulator	p. 251
Guitar Amp Simulator	p. 251
Multi-Effects Processor	p. 251
Software (Plug-In) Effects	p. 252
Looking Back	p. 253
Sound-Quality Glossary	p. 253
Recorder--Mixers and Mixing Consoles	p. 259
Stages of Recording	p. 259
Mixer Functions	p. 260
Inputs and Outputs	p. 260
Input Modules	p. 261
Input Connectors	p. 262
Phantom Power	p. 263
Input Selector	p. 263
Mic Preamp	p. 264
Trim (Gain)	p. 264
Input Fader (Channel Fader)	p. 264
Direct Out	p. 265
EQ (Equalization)	p. 265
Assign Switch	p. 265
Pan Pot	p. 266
Aux (Effects or FX)	p. 266
Insert Jacks	p. 268
Output Section	p. 268
Mixing Circuits (Active Combining Networks)	p. 269
Master and Submaster Faders	p. 269
Meters	p. 270
Tape-Out Jacks	p. 270
Monitor Section	p. 271
Monitor Select Buttons	p. 271
Mixing-Console Styles: Split versus In-Line	p. 272
Additional Features Found in Mixing Consoles	p. 272
Digital Mixers	p. 275
Digital Mixer Features	p. 275
Operating the Multitrack Recorder and Mixer	p. 277
Session Preparation	p. 277
Recording	p. 278
Assign Signals to Channels	p. 279
Set Recording Levels	p. 279
Set EQ	p. 281
Recording	p. 281
Overdubbing	p. 281
Punching In	p. 283
Composite Tracks	p. 284
Bouncing Tracks	p. 285
Flying In	p. 286
Drum Replacement	p. 287
Mixdown	p. 287
Set up the Mixer and Recorders	p. 287
Erase Unwanted Material	p. 288
Panning	p. 289
Compression	p. 289
Set a Balance	p. 290
Set EQ	p. 291
Add Effects	p. 291
Set Levels	p. 292
Judging the Mix	p. 292
Changes during the Mix	p. 293
Calibration Tones	p. 294
Record the Mix	p. 294
Summary	p. 295
Recording	p. 295
Overdubbing	p. 296
Mixdown	p. 296
Automatic Mixing	p. 296
Session Procedures	p. 299
Preproduction	p. 300
Instrumentation	p. 300
Recording Order	p. 300
Track Assignments	p. 301
Session Sheet	p. 301
Production Schedule	p. 301
Track Sheet	p. 302
Microphone Input List	p. 304
Instrument Layout Chart	p. 304
Setting Up the Studio	p. 305
Setting Up the Control Room	p. 305
Session Overview	p. 307
Recording	p. 307
Overdubbing	p. 308
Composite Tracks	p. 308
Drum Overdubs	p. 308
Overdubbing in the Control Room	p. 309
Breaking Down	p. 309
Mixdown	p. 309
Assembling Analog-Tape Master Reels	p. 310
Sequencing the Songs	p. 310
Leader Length	p. 310
Master-Reel Assembly	p. 311
Digitally Editing and Mastering Your Mixes	p. 311
Transferring the Edited Program to DAT or CD-R	p. 313
Log	p. 315
Recording the Spoken Word	p. 317
Be Consistent	p. 317
Microphones	p. 318
Mic Placement	p. 319
Minimizing Sound Reflections	p. 319
Reducing Sibilance	p. 320
At the Session	p. 321
Digital Editing	p. 321
Proof CD-Rs and Inserts	p. 323
Sound Effects and Music	p. 323
Backtiming a Musical Outro	p. 324
The MIDI Studio: Equipment and Procedures	p. 325
MIDI-Studio Components	p. 326
The Keyboard Workstation	p. 330
MIDI Recording Procedures	p. 330
Recording with a Polyphonic Synthesizer	p. 331
Recording with a Multitimbral Synthesizer	p. 334
Recording with a Keyboard Workstation	p. 338
Recording with a Drum Machine and Synthesizer	p. 340
Recording with a MIDI System plus Tape Sync	p. 344
Recording with a MIDI/Digital Audio Recording System	p. 348
Using Effects	p. 349
Automated Mixing	p. 350
Types of Automation Systems	p. 350
Storing Mix Moves	p. 353
Snapshot versus Continuous Automation	p. 353
Controls	p. 353
Automated Mixing Procedure	p. 353
Simulating Automation with MIDI	p. 354
On-Location Recording of Popular Music	p. 355
Two Mics Out Front	p. 356
Equipment	p. 356
Mic Placement	p. 356
Recording	p. 357
Recording from the PA Mixer	p. 358
Drawbacks	p. 359
Taping with a 4-Tracker	p. 359
Recording Off the PA Mixer Aux Outputs	p. 360
Feeding the PA Mixer Insert Sends to a Modular Digital Multitrack	p. 361
Connections	p. 362
Monitor Mix	p. 362
Setting Levels	p. 363
Mixdown	p. 363
Feeding PA Mixer Direct Outs or Insert Sends to a Recording Mixer	p. 363
Splitting the Microphones	p. 364
Multitrack Recording in a Van	p. 365
Preparing for the Session	p. 365
Preproduction Meeting	p. 365
Site Survey	p. 366
Mic List	p. 367
Track Sheet	p. 368
Block Diagram	p. 369
Equipment List	p. 370
Preparing for Easier Setup	p. 370
Protective Cases	p. 371
Mic Mounts	p. 371
Snakes and Cables	p. 372
Rack Wiring	p. 373
Other Tips	p. 373
At the Session: Setup	p. 374
Power Distribution System	p. 375
Power Source	p. 375
Interconnecting Multiple Sound Systems	p. 376
Connections	p. 378
Running Cables	p. 378
Recording-Console Setup	p. 378
Mic Techniques	p. 379
Electric Guitar Grounding	p. 380
Audience Microphones	p. 381
Setting Levels and Submixes	p. 382
Recording	p. 383
Teardown	p. 384
On-Location Recording of Classical Music	p. 385
Equipment	p. 385
The 2-Track Recorder	p. 386
Microphones	p. 386
Monitors	p. 387
Mic Cables	p. 388
Mic Preamp or Mixer	p. 388
Stereo Microphone Techniques	p. 388
Preparing for the Session	p. 390
Session Setup	p. 390
Microphone Placement	p. 391
Distance	p. 391
Stereo-Spread Control	p. 392
Soloist Pickup and Spot Microphones	p. 392
Recording	p. 393
Editing	p. 394
Judging Sound Quality	p. 395
Classical versus Popular Recording	p. 395
Good Sound in a Pop-Music Recording	p. 396
A Good Mix	p. 397
Wide Range	p. 397
Good Tonal Balance	p. 398
Clean Sound	p. 399
Clarity	p. 399
Smoothness	p. 399
Presence	p. 399
Spaciousness	p. 400
Sharp Transients	p. 400
Tight Bass and Drums	p. 400
Wide and Detailed Stereo Imaging	p. 400
Wide but Controlled Dynamic Range	p. 401
Interesting Sounds	p. 402
Suitable Production	p. 402
Good Sound in a Classical-Music Recording	p. 402
Good Acoustics	p. 403
A Natural Balance	p. 403
Tonal Accuracy	p. 403
Suitable Perspective	p. 403
Accurate Imaging	p. 404
Training Your Hearing	p. 404
Troubleshooting Bad Sound	p. 406
Bad Sound on All Recordings	p. 407
Bad Sound on Playback Only	p. 407
Bad Sound in a Pop Music Recording Session	p. 408
Bad Sound in a Classical Music Recording Session	p. 415
Surround Sound: Techniques and Media	p. 419
Surround Speaker Arrangement	p. 420
Setting Up a Surround Monitoring System	p. 422
Surround Mixing Equipment	p. 422
Bass Management	p. 423
Connections	p. 424
Calibration	p. 425
Recording and Mixing Pop Music for Surround	p. 427
Panning	p. 427
Using the Center Speaker	p. 428
Using the LFE Channel	p. 429
Downmixing	p. 429
Surround-Sound Mic Techniques	p. 429
Soundfield 5.1 Microphone System	p. 430
Delos VR[superscript 2] Surround Miking Method	p. 430
NHK Method	p. 430
The KFM 360 Surround System	p. 431
Five-Channel Microphone Array with Binaural Head	p. 433
DMP Method	p. 434
Woszcyk Technique (PZM Wedge plus Opposite-Polarity, 180-Degree Coincident-Cardioid Surround Mics)	p. 434
Williams Five-Cardioid Mic Array	p. 436
Double MS Technique	p. 436
Surround Ambience Microphone (SAM) Array	p. 436
SPL Atmos 5.1/ASM 5 Surround Recording System	p. 437
The Holophone	p. 437
Stereo Pair plus Surround Pair	p. 438
Surround Media	p. 438
Compact Disc	p. 438
Digital Versatile Disc (DVD)	p. 439
Super Audio CD	p. 442
Encoding Surround for Release on Various Formats	p. 442
Surround Encoding for CD	p. 443
Surround Encoding for DVD-Video	p. 444
Surround Encoding for DVD-Audio	p. 444
Summary of Media Formats	p. 444
Encoding Hardware and Software for CD and DVD-Video	p. 444
DVD Premastering Formats	p. 445
Dolby Units for DVD Mastering	p. 446
Putting Your Music on the Web	p. 449
Streaming versus Downloading	p. 449
Data Compression	p. 450
Web-Related Audio Files	p. 450
What You Need	p. 452
How to Upload MP3 Files	p. 453
Putting Your Music on Your Web Site	p. 455
Putting MP3 Files on Your Site	p. 455
Putting RealAudio Files on Your Site	p. 456
Streaming Audio from a RealServer Site	p. 458
Sample Web Page	p. 462
Liquid Audio (www.liquidaudio.com)	p. 462
Music: Why You Record	p. 463
Increasing Your Involvement in Music	p. 464
Different Ways of Listening	p. 464
Two Different Production Styles	p. 465
Why Record?	p. 466
dB or Not dB	p. 467
Definitions	p. 467
Sound Pressure Level	p. 467
Signal Level	p. 468
dBm	p. 469
dBv or dBu	p. 470
dBV	p. 471
Change in Signal Level	p. 471
The VU Meter, Zero VU, and Peak Indicators	p. 472
Balanced versus Unbalanced Equipment Levels	p. 474
Interfacing Balanced and Unbalanced Equipment	p. 474
Microphone Sensitivity	p. 475
Introduction to SMPTE Time Code	p. 477
How the Time Code Works	p. 477
Time-Code Signal Details	p. 478
Drop-Frame Mode	p. 479
Setting Up a Time-Code System	p. 480
How to Use SMPTE Time Code	p. 482
Restriping Defective Code	p. 482
Audio-for-Video SMPTE Applications	p. 483
Synchronizing to Video	p. 483
The Audio-Tape Synchronization Procedure	p. 484
The Film/Video Soundtrack Program	p. 484
Digital Audio Editing	p. 485
Other Time-Code Applications	p. 486
Further Education	p. 489
Books	p. 489
Recording Magazines	p. 489
Pro Audio Magazines	p. 491
Consumer Audio Magazines	p. 492
Guides, Brochures, and Other Literature	p. 492
Guides to Recording Schools	p. 493
The Internet	p. 493
Recording Equipment Catalogs	p. 493
Impedance	p. 495
What is impedance?	p. 495
I'm connecting two audio devices. Is it important to match their impedances? What if I don't?	p. 495
How do I know what a microphone's impedance is?	p. 497
I'm connecting a mic to a mixer. Is impedance a consideration?	p. 497
How about speaker impedance?	p. 498
Should I consider impedance when I connect two line-level devices?	p. 498
Can I connect one source to two or more loads?	p. 498
Can I connect two or more sources to one input?	p. 499
Summary	p. 499
Impedance Technical Details	p. 499
Glossary	p. 501
Index	p. 543
Table of Contents provided by Syndetics. All Rights Reserved.