Modern Recording Techniques:9780240806259:Huber; Runstein:eCampus.com

As the most popular and authoritative guide to recording available, Modern Recording Techniques provides everything you need to master the tools and day-to-day practice of music recording and production. The sixth edition has been expanded to cover the latest digital audio technology and features a new section on surround sound. For those who are just starting out or are looking for their next job in the industry, this edition also provides essential advice on career options and networking.

David Miles Huber's approachable writing style, coupled with over 500 technical diagrams, screen shots and product illustrations, makes this an essential resource which you will want to refer to again and again.

* Learn from the resource that is used by more students, musicians and audio engineers than any other in the industry.
*International bestseller providing tips and techniques for getting the best results from both project and professional recording studios.
* The biggest edition yet - it is packed with new material, including surround sound and digital technology, as well as the latest career advice
* The companion website, www.modrec.com, provides even more resources and information.

Acknowledgements

xvii

About the Authors

xix

Trademarks

Introduction

(32)

The Recording Studio

(3)

The Control Room

(2)

The Project Studio

(1)

The Portable Studio

(2)

Whatever Works for You

(1)

Making the Project Studio Pay for Itself

(1)

Live/On-Location Recording: A Different Animal

(1)

Audio for Video and Film

(2)

Multimedia

(1)

The Web

(1)

The People Who Make It All Happen

(6)

The Artist

(1)

Studio Musicians and Arrangers

(1)

The Producer

(1)

The Engineer

(1)

Assistant Engineer

(1)

Maintenance Engineer

(1)

Mastering

(1)

The DJ

(1)

Studio Management

(1)

Music Law

(1)

Women in the Industry

(1)

Behind the Scenes

(2)

Career Development

(1)

The Recording Process

(9)

Preparation

(1)

Recording

(2)

Overdubbing

(1)

Mixing Down

(1)

Mastering

(1)

Product Manufacture

(1)

The Transducer

(4)

Sound and Hearing

(34)

The Basics of Sound

(2)

Waveform Characteristics

(16)

Amplitude

(1)

Frequency

(1)

Velocity

(1)

Wavelength

(3)

Phase

(3)

Phase Shift

(1)

Harmonic Content

(3)

Envelope

(3)

Loudness Levels: The Decibel (dB)

(5)

Logarithmic Basics

(1)

The dB

(2)

The Simple Heart of the Matter

(1)

The Ear

(2)

Threshold of Hearing

(1)

Threshold of Feeling

(1)

Threshold of Pain

(1)

Taking Care of Your Hearing

(1)

Psycho-acoustics

(1)

Auditory Perception

(4)

Beats

(1)

Combination Tones

(1)

Masking

(1)

Perception of Direction

(2)

Perception of Space

(2)

Direct Sound

(1)

Early Reflections

(1)

Reverberation

(1)

Doubling

(1)

Studio Acoustics and Design

(48)

Studio Types

(5)

The Professional Music Studio

(1)

The Audio-for-Visual Production Environment

(1)

The Project Studio

(2)

The Portable Studio

(1)

Primary Factors Governing Studio and Control Room Acoustics

(1)

Acoustic Isolation

(3)

Walls

(2)

Floors

(2)

Risers

(1)

Ceilings

(2)

Windows and Doors

(1)

Iso-Rooms and Iso-Booths

(3)

Noise Isolation within the Control Room

(1)

Partitions

(1)

Symmetry in Control Room Design

(4)

Frequency Balance

(12)

Reflections

(3)

Absorption

(3)

High-Frequency Absorption

100

(1)

Low-Frequency Absorption

101

(4)

Reverberation

105

(3)

Acoustic Echo Chambers

108

(1)

Power- and Ground-Related Issues

109

(4)

Grounding Guidelines

109

(2)

Balanced Power

111

(1)

Power Conditioning

112

(1)

A Few Helpful Hints

113

(2)

Microphones: Design and Application

115

(72)

The Microphone: An Introduction

115

(1)

Microphone Design

116

(6)

The Dynamic Microphone

116

(1)

The Ribbon Microphone

117

(2)

The Condenser Microphone

119

(3)

Microphone Characteristics

122

(11)

Directional Response

123

(3)

Frequency Response

126

(2)

Transient Response

128

(1)

Output Characteristics

129

(4)

Microphone Preamps

133

(2)

Phantom Power

135

(1)

Microphone Techniques

135

(1)

Pickup Characteristics as a Function of Working Distance

136

(7)

Distant Microphone Placement

136

(2)

Close Microphone Placement

138

(4)

Accent Microphone Placement

142

(1)

Ambient Microphone Placement

143

(1)

Stereo Miking Techniques

143

(4)

Spaced Pair

144

(1)

X/Y

144

(1)

M/S

145

(1)

Decca Tree

146

(1)

Surround Miking Techniques

147

(1)

Ambient Surround Mics

148

(1)

Surround Decca Tree

148

(1)

Recording Direct

148

(3)

Microphone Placement Techniques

151

(1)

Brass Instruments

152

(2)

Trumpet

152

(1)

Trombone

153

(1)

Tuba

153

(1)

French Horn

154

(1)

Guitar

154

(3)

Acoustic Guitar

154

(1)

Miking Near the Sound Hole

154

(1)

Surround Guitar Miking

155

(1)

The Electric Guitar

155

(1)

Miking the Guitar Amp

156

(1)

Recording Direct

156

(1)

The Electric Bass Guitar

157

(1)

Keyboard Instruments

157

(4)

Grand Piano

158

(1)

Separation

159

(1)

Upright Piano

159

(1)

Electronic Keyboard Instruments

160

(1)

Percussion

161

(7)

Drum Set

162

(1)

Miking the Drum Set

162

(1)

Kick Drum

163

(2)

Snare Drum

165

(1)

Overheads

165

(1)

Rack-Toms

166

(1)

Floor-Tom

167

(1)

Hi-Hat

167

(1)

Tuned Percussion Instruments

168

(1)

Congas and Hand Drums

168

(1)

Xylophone, Vibraphone, and Marimba

169

(1)

Stringed Instruments

169

(1)

Violin and Viola

169

(1)

Cello

170

(1)

Double Bass

170

(1)

Voice

170

(1)

Woodwind Instruments

171

(4)

Clarinet

172

(1)

Flute

172

(1)

Saxophone

173

(1)

Harmonica

173

(2)

Microphone Selection

175

(12)

Shure SM-57

175

(1)

Audix D2

176

(1)

The Ball

176

(1)

AKG D112

177

(1)

Beyerdynamic M-160

178

(1)

Royer Labs R-121

179

(1)

AEA R84

180

(1)

Neumann KM 180 Series

180

(1)

AKG C3000B

181

(1)

Marshal MXL 2001

182

(1)

Neumann Solution-D Digital Mic

183

(1)

Studio Projects LSD2 Stereo Mic

184

(3)

The Analog Tape Recorder

187

(28)

To 2-Inch or Not To 2-Inch?

188

(1)

Magnetic Recording and Its Media

189

(1)

The Professional Analog ATR

190

(1)

The Tape Transport

190

(4)

The Magnetic Tape Head

194

(3)

Equalization

197

(1)

Bias Current

197

(2)

Recording Channels and Monitoring Modes

199

(1)

The Remote Control Unit and Autolocator

200

(1)

To Punch or Not To Punch

201

(1)

MIDI Machine Control

202

(1)

Tape, Tape Speed, and Head Configurations

203

(1)

Print-Through

204

(2)

Cleanliness

206

(1)

Degaussing

206

(1)

Head Alignment

206

(2)

Electronic Calibration

208

(4)

Playback Alignment

210

(1)

Record Alignment

210

(2)

Backup and Archive Strategies

212

(3)

Backing Up Your Project

212

(1)

Archive Strategies

213

(2)

Digital Audio Technology

215

(84)

The Basics of Digital Audio

216

(10)

Sampling

217

(2)

The Nyquist Theorem

219

(4)

Oversampling

223

(1)

Quantization

223

(1)

Signal-to-Error Ratio

224

(1)

Dither

225

(1)

The Digital Recording/Reproduction Process

226

(12)

The Recording Process

227

(2)

The Reproduction Process

229

(1)

Digital Audio Transmission

229

(5)

Signal Distribution

234

(4)

Digital Audio Recording Systems

238

(10)

The Fixed-Head Digital Audio Recorder

239

(2)

The Rotating-Head Digital Audio Recorder

241

(7)

MiniDiscs

248

(1)

Hard-Disk Recording

249

(50)

Advantages of Hard-Disk Recording

249

(1)

Hard-Disk Multitrack Recorders

250

(1)

Hard-Disk and Flash Memory Portable Studios

250

(1)

The Digital Audio Workstation

251

(48)

MIDI and Electronic Music Technology

299

(48)

MIDI Production Environments

300

(2)

What's a MIDI?

302

(1)

System Interconnections

303

(4)

MIDI Cable and Port Connections

303

(3)

USB and FireWire Connections

306

(1)

mLAN Network Connections

307

(1)

The MIDI Message

307

(1)

MIDI Channels

308

(1)

Channel Messages

309

(2)

System Messages

311

(1)

System-Exclusive Messages

311

(3)

MIDI Machine Control

314

(1)

The MIDI Interface

315

(1)

The Multiport Interface

316

(1)

Electronic Musical Instruments

317

(27)

Inside the Toys

317

(2)

Keyboards

319

(11)

Percussion

330

(2)

Performance Controllers

332

(3)

MIDI Guitars

335

(1)

Sequencers

335

(9)

Mixing in the MIDI Environment

344

(3)

Console Automation via MIDI

345

(1)

Effects Automation in MIDI Production

345

(2)

Multimedia and the Web

347

(24)

The Multimedia Environment

348

(1)

Delivery Media

349

(3)

The CD

349

(1)

The DVD

350

(1)

The Web

351

(1)

Delivery Formats

352

(19)

Digital Audio

352

(6)

MIDI

358

(3)

Graphics

361

(1)

Desktop Video

362

(2)

Multimedia and the Web in the ``Need for Speed'' Era

364

(5)

On a Final Note

369

(2)

Synchronization

371

(20)

Synchronization between Transports

372

(14)

Time Code

372

(6)

Synchronization Using SMPTE Time Code

378

(3)

MIDI-Based Synchronization

381

(3)

Proprietary Synchronization Systems for Modular Digital Multitrack Recorders

384

(1)

Digital Audio's Need for a Stable Timing Reference

385

(1)

Video's Need for a Stable Timing Reference

385

(1)

Real-World Sync Applications for Using Time Code and MIDI Time Code

386

(4)

Master/Slave Relationship

386

(3)

Routing Time Code to and from Your Computer

389

(1)

Keeping Out of Trouble

390

(1)

Amplifiers

391

(10)

Amplification

391

(3)

The Operational Amplifier

394

(1)

Preamplifiers

395

(1)

Equalizers

395

(1)

Summing Amplifiers

396

(1)

Isolation Amplifiers

396

(1)

Distribution Amplifiers

397

(1)

Impedance Amplifiers

397

(1)

Power Amplifiers

397

(2)

Voltage- and Digitally-Controlled Amplifiers

399

(2)

The Audio Production Console

401

(38)

Recording

402

(3)

Monitoring

404

(1)

Overdubbing

405

(1)

Mixdown

406

(1)

The Professional Analog Console

406

(19)

Channel Input

408

(2)

Auxiliary Send Section

410

(1)

Equalization

411

(1)

Insert Point

411

(1)

Dynamics Section

412

(2)

Monitor Section

414

(3)

Output Fader

417

(1)

Output Bus

418

(3)

Monitor Level Section

421

(1)

Patch Bay

421

(2)

Metering

423

(1)

Gain Level Optimization

424

(1)

Digital Console Technology

425

(5)

Digital Hardware Consoles

425

(4)

DAW Software Mixers and Controllers

429

(1)

Console Automation

430

(9)

Console Automation in Action

431

(2)

Grouping

433

(1)

Automation Modes of Operation

433

(3)

Other Automation Options

436

(1)

MIDI-Based Automation

437

(1)

The Art of Mixing

438

(1)

Signal Processing

439

(46)

The Wonderful World of Analog, Digital, or Whatever

439

(2)

Plug-Ins

441

(1)

Inline vs. Side-Chain Processing

441

(3)

Inline Routing

442

(1)

Side-Chain Routing

443

(1)

Equalization

444

(11)

Peaking Filters

445

(2)

Shelving Filters

447

(1)

High-Pass and Low-Pass Filters

448

(1)

Equalizer Types

449

(2)

Applying Equalization

451

(4)

Dynamic Range

455

(14)

Metering

455

(4)

Dynamic Range Processors

459

(10)

Time-Based Effects

469

(10)

Delay

470

(3)

Reverb

473

(2)

Pitch- and Time-Shift-Related Effects

475

(1)

Pitch Shifting

476

(3)

Psycho-Acoustic Enhancement

479

(1)

Multiple-Effects Devices

479

(2)

Dynamic Effects Automation and Editing via MIDI

481

(2)

Dynamic Effects Automation within a DAW/Sequencer Environment

483

(2)

Noise Reduction

485

(12)

Analog Noise Reduction

486

(1)

Do It Yourself Tutorial: Analog Tape Modulation and Asperity Noise

487

(6)

The Compansion Process

487

(1)

The dbx Noise-Reduction System

488

(1)

The Dolby Noise-Reduction System

489

(2)

Single-Ended Noise-Reduction Process

491

(1)

Noise Gates

491

(1)

Digital Noise Reduction

492

(1)

Fast Fourier Transform

492

(1)

Do It Yourself Tutorial: FFT-Based Noise Reduction

493

(4)

Digital Single-Ended Noise-Reduction Systems

494

(1)

De-clicking and De-popping

495

(1)

Dither

495

(2)

Monitoring

497

(24)

Speaker and Room Considerations

497

(3)

Speaker Design

500

(4)

Crossover Networks

501

(3)

Powered vs. Passive Speaker Design

504

(1)

Speaker Polarity

504

(2)

Monitoring

506

(6)

Monitor Volume

507

(1)

Monitoring Configurations

507

(3)

Monitor Level Control

510

(1)

Spectral Reference

511

(1)

Monitor Speaker Types

512

(6)

Farfield Monitoring

513

(1)

Nearfield Monitoring

514

(3)

Small Speakers

517

(1)

Headphones

517

(1)

Your Car

518

(1)

Monitoring in the Studio

518

(3)

Headphones in the Studio

518

(2)

Speakers in the Studio

520

(1)

Surround Sound

521

(20)

Surround Sound: Past to the Present

522

(2)

Stereo Comes to Television

523

(1)

Theaters Hit Home

523

(1)

Surround in the Not-Too-Distant Future

524

(1)

Monitoring in 5.1 Surround

524

(2)

5.1 Speaker Placement

525

(1)

Practical Placement

526

(1)

Active/Passive Monitors in Surround

527

(1)

Surround Interfacing

528

(1)

Surround Formats

529

(10)

Dolby Pro Logic

530

(3)

3D Sound

533

(1)

SRS

533

(1)

Dolby Digital (AC3)

534

(1)

DVD-Audio

535

(1)

DTS

536

(1)

WMA9

537

(2)

MP3 Surround

539

(1)

Mixing in Surround

539

(1)

Virtual Surround Mixers

539

(1)

Mixing Philosophies

540

(1)

Re-issuing Back Catalog Material

540

(1)

Mastering

541

(12)

The Mastering Process

542

(10)

To Master or Not to Master---Was That the Question?

543

(1)

Mastering the Details of a Project

544

(6)

The Digital Audio Editor in the Mastering Process

550

(2)

CD/DVD---A Mastering and Burning Software

552

(1)

On a Final Note

552

(1)

Product Manufacture

553

(26)

Choosing the Right Facility and Manufacturer

554

(1)

CD Manufacturing

555

(1)

The Process

556

(4)

CD Burning

560

(3)

Rolling Your Own

563

(1)

Burning Speeds

564

(1)

CD Labeling

564

(2)

CD and DVD Handling and Care

566

(1)

DVD Burning

567

(1)

Cassette Duplication

568

(3)

Real-Time Duplication

568

(1)

In-Cassette High-Speed Duplication

569

(1)

High-Speed Duplication

570

(1)

Vinyl Disc Manufacture

571

(1)

Disc Cutting

571

(1)

Disc-Cutting Lathe

572

(3)

Cutting Head

573

(1)

Pitch Control

574

(1)

Recording Discs

575

(1)

The Mastering Process

575

(1)

Vinyl Disc Plating and Pressing

576

(1)

Producing for the Web

576

(3)

Studio Session Procedures

579

(24)

Preparation

579

(5)

What's a Producer and When Do you Need One?

580

(1)

Long Before Going into the Studio

581

(1)

Before Going Into the Studio

582

(2)

Setting Up

584

(7)

Electric and Electronic Instruments

587

(1)

Drums

588

(1)

The Final Check

589

(2)

Recording

591

(1)

Overdubbing

592

(4)

Punching-In

593

(2)

Bouncing Tracks

595

(1)

Mixdown

596

(1)

Sequence Editing

597

(1)

Mastering

598

(2)

Digital Sequence Editing

598

(1)

Analog Sequence Editing

599

(1)

Marketing and Sales

600

(1)

A Final Word on Professionalism

601

(2)

Yesterday, Today, and Tomorrow

603

(10)

Yesterday

604

(4)

Today

608

(1)

Is and 0s

608

(1)

The WWW

609

(1)

Tomorrow

609

(2)

Happy Trails

611

(2)

Appendix A

613

(8)

DSP Basics

613

(4)

Addition

613

(1)

Multiplication

614

(1)

Delay

615

(2)

Do It Yourself Tutorial: Digital Delay

617

(1)

Echo and Reverberation

617

(2)

The Real World of DSP Design

619

(2)

Appendix B: Tax Tips for Musicians

621

(8)

A Business Of Your Own

621

(4)

``But, Dude, I Gotta Eat.''

622

(1)

Write-Offs

622

(1)

Gear Lust = Tax Savings

623

(1)

Home Sweet Home

624

(1)

Self-Employment Tax

624

(1)

Health Insurance

625

(1)

Eat, Drink, And Be Merry

625

(1)

Vehicular Deductions

625

(1)

Feed The Nest Egg And Save, Too

625

(1)

EOY Tax Tips

626

(1)

Get Help From The IRS

626

(1)

Final Word

626

(1)

Author Bio

626

(3)

Index

629