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The Recording, Mixing, and Mastering Reference Handbook

Karl Pedersen and Mark Grimshaw-Aagaard - Oxford University Press

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The Recording, Mixing, and Mastering Reference Handbook

Karl Pedersen and Mark Grimshaw-Aagaard - Oxford University Press

This resource provides an easy-to-read guide for music-making in the studio setting, from equipment fundamentals to recording and mixing almost any instrument. In six sections, lessons give a comprehensive introduction to microphone settings and techniques, audio processing and effects, controlling acoustics, and history lessons on songs recorded with a given technique. The second half of the handbook delves into background theory on microphones, EQ-filters, compressors, and acoustics to give the reader a general understanding of practical recording techniques before acquiring deeper comprehension of the tools and the recording processes. Lessons on recording methods gradually build in complexity and detail to keep readers engaged and challenged. Whether a university student in an audio recording course, a novice audio engineer who needs to build technique, or a busy professional who requires a quick refresh on specific techniques, you will find this is an excellent resource.

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11210629
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  • PART I The Instruments (practical recording and mix-techniques)
  • Chapter 1 The Voice
  • Acoustics and microphone settings Vocal psychology The Headphone Mix Tips Various vocal techniques The mix settings and effects Special uses of vocal microphones Harmony vocals as overdub Tips
  • Chapter 2 The Drum Kit
  • The Instrument and the acoustics Mic setup Mic technique: The individual drums in the kit Advanced mic setups Mix-settings and effects
  • Chapter 3 The Bass Guitar
  • The instrument Mic or DI? Or both? Virtual amps Mix-settings and effects Tips
  • Chapter 4 The Electric Guitar
  • The instrument Mic techniques Ambience and acoustics Layering guitars Virtual stacks & re-amping Mix-settings and effects Tips
  • Chapter 5 The Piano
  • The Instrument and the acoustics Always use condenser microphones Recording acoustic pianos in the studio Digital piano Live recording Mix-settings and effects
  • Chapter 6 The Acoustic Guitar
  • The Instrument Mic setup Mix-settings and effects
  • Chapter 7 The Recording of Some Less Common String Instruments
  • The mandolin The dobro The banjo The harp
  • Chapter 8 Percussion
  • Congas and bongos Cajon Claves Djembe and bodhran Tambourine and shakers Timbales Xylophone, marimba, vibraphone, and glockenspiel
  • Chapter 9 The Double Bass and the 'Cello
  • TheInstrument and the acoustics Mic setup Stereo setups Mix-settings and effects Tips
  • Chapter 10 The Violin and the Viola
  • The Instrument and the acoustics Mix-settings and Effects Tips
  • Chapter 11 Brass and Wind Instruments
  • Brass and saxophones The horn section The flute Tips
  • Chapter 12 Synthesizers and Electronic Keyboards
  • The instrument DI, mics, or MIDI Mix-settings and effects Tips
  • Chapter 13 The Leslie Speaker
  • Chapter 14 Live in the Studio
  • Isolation booths and screens Ghost Notes Tips
  • Chapter 15 Recording Choirs and Small Acoustic Ensembles
  • The acoustics Mic placement Spotmics Tips Choirs with accompaniment Mix and editing
  • PART II Microphone Techniques (principles/background theory)
  • Chapter 16 Microphones: Types and Specifications
  • The transducer types Reading mic specifications Comparing Mics
  • Chapter 17 Microphones: Polar Pattern
  • Cardioid Omni Figure-of-eight Multi-pattern microphones Shotgun microphones Mic techniques Omni v. cardioid: Choosing the right polar pattern Recording with omnis
  • Chapter 18 Stereo Recording
  • Spaced omni - The Decca tree - Baffled stereo Coincident stereo MS Stereo More stereo setups: ORTF, NOS stereo, & binaural
  • PART III Processors and Effects (principles and practice)
  • Chapter 19 EQ and Instruments
  • Sub bass (20-60 Hz) Bass (60-250 Hz) Low-mid (250 Hz to 2 kHz) Midrange (2-4 kHz) High-mid (4-6 kHz) High (6-20 kHz) The components of the EQ Common types of EQ EQ'ing different instruments - use your ears and your imagination Complement
  • Chapter 20 Harmonics and EQ
  • The Harmonic Series EQ'ing harmonics
  • Chapter 21 Compressor/Limiter and Expander/Gate
  • Compressor Gate and Expander
  • Chapter 22 History of the Reverb
  • Natural ambience Electronic reverbs EMT 140 Plate Reverb EMT 250 goes digital
  • Chapter 23 Tape Echo and Digital Delay
  • Tape echo Digital delay Calculating delay time Using delays Tips
  • Chapter 24 Ambience and Reverb
  • Digital reverbs in the studio The parameters of the digital reverb Insert or send Reverb-types How to use reverb Tips
  • Chapter 25 Convolution Reverb
  • Impulse response (IR) IR libraries Special FX How to create an IR Tips for recording an IR
  • Chapter 26 Modulation Effects
  • Flanging Chorus Phase shift The Haas Effect and doubling Tips
  • Chapter 27 Distortion and Tape Saturation
  • Enhancing sounds with distortion Tape saturation Distortion used as an effect Tips
  • Chapter 28 Varispeed and Pitch Processors
  • Pitch shift Pitch Correction Manipulating sound with pitch processors
  • PART IV Mixing and Mastering (principles and practice)
  • Chapter 29 The Mix
  • The basic mix Utilizing the stereo field EQ Depths and widths The sound stage Make the individual tracks on the mix sparkle - EQ revisited Stereo groups Compression Leave a little headroom to the mastering engineer
  • Chapter 30 Mastering
  • The mastering studio Mastering for CD Mastering for online streaming The creative process Mastering tools Mid-side processing Bit resolution Stem mastering
  • PART V Acoustics (principles)
  • Chapter 31 Phase and Comb Filtering
  • The Comb Filter Effect Multi-mic recording and phase Critical distances and frequencies How to avoid phase cancellation
  • Chapter 32 The Control Room and the Monitors
  • The control room and the monitors Principles for monitor placement The space and the monitors Fine tuning the acoustics
  • Chapter 33 The Recording Room
  • Tuning the acoustics The dimensions of the recording space Separation Diffusion Tips
  • PART VI Audio Standards, Plugs, and Connectors (principles)
  • Chapter 34 Levels and Meters
  • Levels Audio levels in the signal chain and how they are measured Meters The dB(A) scale
  • Chapter 35 Plugs and Connectors
  • Plugs Balanced connectors Unbalanced audio Tips Inserts Digital audio formats Synchronizing digital Word clock