Song List:
Why a Separate Mic Amp?
Microphone Preamp Controls
Gain, Level, Trim
Metering
Input Pad, Pad, Attenuation
Phase Switch
High-Pass Filter / Low-Cut Filter
Phantom Power, 48V
Instrument Input, Hi-Z, DI
Setting Up the Mic Preamp
Exercise Pod: Setting Up the Mic Preamp
Compressors/Limiters
Compressor Controls
Ratio
Threshold
Attack and Release
Gain, Make-up Gain, Output
Gain Reduction Meter
Bypass
Limiting
Compressor/Limiter Setup
Equalizers
EQ Parameters
A Description of the Audio Bands
Frequency Band
DESCRIPTION
Consequences
Equalizer Setup
Subtractive Equalization
DAW Recording
Getting Sound into the Computer
The Computer Interface
Latency
CHAPTER 4: RECORDING BASICS
The Signal Path
Choosing a Preamp
Setting the Recording Level
Headroom
Exercise Pod: Setting the Recording Levels
Gain Staging
Exercise Pod: Proper Gain Staging
DI Setup
If It's Distorting
Compression Basics
Using the Compressor
Exercise Pod: Setting Up the Compressor
How Much Compression Do I Need?
Equalization Basics
Using the Equalizer
Exercise Pod: Checking the Drum Phase
Getting the Overall Drum Sound
Panning the Drums
Tweaking the Drum Sound
Using the EQ During Drum Tracking
Exercise Pod: Tweaking the Drum Sound
Using the Compressor/Limiter During Drum Tracking
The Recording Drummer
CHAPTER 7: RECORDING GUITAR AND BASS
Electric Guitar Recording
Miking the Amplifier
Exercise Pod: Recording the Electric Guitar
Recording the Guitar Direct
Acoustic Guitar Recording
Recording Preparation
Exercise Pod: Recording the Acoustic Guitar
Electric Bass Recording
Recording the Acoustic Bass
CHAPTER 8: VOCAL MIKING TECHNIQUES
Recording Lead Vocals
The Scratch Vocal
Finding the Right Placement in the Room
Vocals in the Control Room
Lead Vocal Mic Placement
Exercise Pod: Recording the Lead Vocal
You've Got to Hear Yourself
Getting the Best from a Singer
Vocal Doubling
Recording Background Vocals
Background Vocal Mic Placement
Exercise Pod: Recording Background Vocals
Placement in the Room
CHAPTER 9: RECORDING ACOUSTIC INSTRUMENTS
Exercise Pod: Finding the Right Placement in the Room
Acoustic Instrument Mic Placement
Exercise Pod: Recording Acoustic Instruments
The Acoustic Piano
Horns
Solo Sax
Solo Brass Instruments
Horn Sections
Solo String Instruments
Percussion
Recording Drum Percussion
Recording Hand-Held Percussion
Other Acoustic Instruments
CHAPTER 10: RECORDING ELECTRONIC INSTRUMENTS
Recording Electronic Keyboards
Fake Stereo
Recording Acoustic Instruments with Pickups
Using Compression
The Acoustic Preamp/DI
Combined with an Amp
CHAPTER 11: RECORDING IN STEREO
The X/Y Configuration
Exercise Pod: Recording in Stereo
The ORTF Configuration
Stereo Accessories
The Spaced Pair
Using a Stereo Mic
CHAPTER 12: THE RECORDING SESSION
The Basic Track
Setup
Where to Place the Players in the Room
The Talkback Mic
Leakage
The Headphone Mix
Setting Up the Headphone Mix
Exercise Pod: Basic Tracks
Personal Headphone Mixes
Recording Without Headphones
The Click Track
Making the Click Cut Through the Mix
Don't Forget to Record a Tuning Note
Don't Forget to Record a Count-Off
Overdubs
Recording in the Control Room
Exercise Pod: Overdubs
Use the Big Part of the Studio
CHAPTER 13: THE ROUGH MIX
The Quick Effects Setup
Building the Mix
The Drums
Setting the Levels
Exercise Pod: Balancing the Drums
Checking the Drum Phase
Assigning the Drums to a Group or Subgroup
The Bass
Exercise Pod: Balancing the Bass and Drums
The Vocals
Exercise Pod: Balancing the Lead and Background Vocals
Background Vocals
Guitars
Exercise Pod: Balancing Guitars
KEYBOARDS
Exercise Pod: Balancing the Keyboards
Loops
Exercise Pod: Balancing Loops
CHAPTER 14: THE FINAL RECORDING
Glossary
Bibliography
Index
Preface
Welcome to the Audio Recording Basic Training
CHAPTER 1: MONITORING
The Listening Environment
Determining the Listening Position
Standing Waves
Acoustic Quick Fixes
Exercise Pod: Improving the Listening Environment
Basic Monitor Setup
Exercise Pod: Speaker Placement
How to Listen
Basic Listening Technique
Exercise Pod: What to Listen For
How Loud (or Soft) Should I Listen?
CHAPTER 2: THE MICROPHONE
Microphone Types
The Dynamic Microphone
Dynamic Microphone Characteristics
Typical Dynamic Microphone Applications
Dynamic Microphone Examples
The Ribbon Microphone
Ribbon Microphone Characteristics
Typical Ribbon Microphone Applications
Ribbon Microphone Examples
The Condenser Microphone
Condenser Microphone Characteristics
Typical Condenser Microphone Applications
Condenser Microphone Examples
Microphone Directional Response
Omnidirectional
Cardioid
Hyper-Cardioid
Figure Eight
Proximity Effect
Microphone Controls
High-Pass or Rolloff Filter
-10 or -20dB Pad
Pattern Selector
Microphone Accessories
Pop Filters
Shock Mounts
Exercise Pod: The Microphone
Direct Boxes
Direct Box Types
Amplifier Emulators
CHAPTER 3: BASIC RECORDING GEAR
The Microphone Preamplifier
Exercise Pod: Using the Equalizer
The Magic High-Pass Filter
Exercise Pod: Using the High-Pass Filter
The Principles of Equalization
CHAPTER 5: MICROPHONE PLACEMENT BASICS
Microphone Technique 101
Choosing the Best Place in the Room
Exercise Pod: Microphone Placement 101
Choosing the Right Mic
The Secret to Mic Placement
Phase Cancellation: The Sound Destroyer
Acoustic Phase Cancellation
The 3 to 1 Principle
Electronic Phase Cancellation Audio Recording Basic Training
Checking Phase
Exercise Pod: Checking Phase
Checking Phase by Listening
CHAPTER 6: RECORDING THE DRUMS
The Keys to a Great Sounding Drum Kit
The Tuning Technique
Exercise Pod: Tuning the Drums
Tuning Tips and Tricks
Snare Tuning Tips
Kick Drum Tuning Tips
Tom Tuning Tips
Cymbals Tips
Miking the Individual Drums
Miking the Bass Drum
Exercise Pod: Miking the Individual Drums
The Subkick Mic
Miking the Snare Drum
Snare Drum Bottom Head Miking
Miking the High-Hat
Miking the Toms
Miking the Cymbals
Overhead Position Two
Miking the Room
Sound Check
Individual Drum Sound Check
Exercise Pod: Drum Sound Check
