Recording, Mixing, and Mastering Reference Handbook
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Recording, Mixing, and Mastering Reference Handbook
Grimshaw-Aagaard, Mark (Obel Professor of Music, Aalborg University); Pedersen, Karl (Lecturer in Recording & Audio Technology, Aalborg University)
Oxford University Press Inc
01/2019
328
Mole
Inglês
9780190686642
15 a 20 dias
The Recording, Mixing, and Mastering Reference Handbook provides an easy-to-read guide for music-making in the studio setting, from equipment fundamentals to recording and mixing almost any instrument.
About the Companion Website Introduction 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 The Instrument 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 The Instrument * Mic setup * Mix-settings and effects 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 * Spot mics * 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 * Complementary EQ and contrasting frequency ranges * The graphic EQ * Tips 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
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The Recording, Mixing, and Mastering Reference Handbook provides an easy-to-read guide for music-making in the studio setting, from equipment fundamentals to recording and mixing almost any instrument.
About the Companion Website Introduction 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 The Instrument 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 The Instrument * Mic setup * Mix-settings and effects 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 * Spot mics * 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 * Complementary EQ and contrasting frequency ranges * The graphic EQ * Tips 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
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