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This is the 6th edition with a publication date of 8/6/2012.
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This hands-on, practical guide covers all aspects of recording, perfect for beginning and intermediate recording engineers, producers, musicians, and audio enthusiasts. Filled with tips and shortcuts, this book gives advice on equipping a home studio (both low-budget and advanced), suggestions for set-up, acoustics, choosing monitor speakers, and preventing hum. This best-selling guide also instructs how to judge recordings and improve them to produce maximum results. New in the sixth edition: * Complete update of digital media material, including updated equipment and microphone descriptions * Digital performers and computer DAWs *Additional material regarding ProTools ability to let owners choose other interfaces with their software * More information on how the hook-ups in a studio work, with more advice on setting up a home project studio, and expansion of location recording material * Further information on things like Auto-tune and multiband limiting, a useful plug-in round up * Further information on workflow, addressing issues like file formats, uploading & downloading of songs and materials, and use of a computer as a recording device * Expansion on Internet issues * Updated home studio setup information, including the workflow with Windows 7 and Mac OSX * Expansion of technicalities of MIDI, including data structure and controller codes * This popular bestseller covers the latest digital techniques for professional and home studios, and location recording * Features a dedicated website packed with audio clips to enhance the text * Includes a brand new chapter on computer recording procedures
Bruce Bartlett is a recording engineer, technical writer, audio journalist, and microphone engineer (www.bartlettmicsxom). He has written more than 1000 articles on audio topics for magazines including ProSoundWeb, EQ, Modern Recording, and the Journal of the Audio Engineering Society. He has also written a number of books including Recording Music on Location (Focal Press). A member of the Audio Engineering Society and Syn-Aud-Con, he holds a degree in physics and several patents on microphone design. He is also a musician and runs a commercial computer-based recording studio. Jenny Bartlett is a freelance technical writer.
Table of Contents
|Music: Why We Record||p. 1|
|The Recording Process||p. 5|
|Sound, Signals, and Studio Acoustics||p. 15|
|Equipping Your Studio||p. 35|
|Microphone Technique Basics||p. 95|
|Microphone Techniques||p. 115|
|Effects and Signal Processors||p. 151|
|Mixers and Mixing Consoles||p. 187|
|Mixer Operation||p. 205|
|Judging Sound Quality||p. 235|
|Digital Recording||p. 257|
|Computer Recording||p. 281|
|Session Procedures, Mastering, and CD Burning||p. 321|
|MIDI and Looping||p. 341|
|On-Location Recording of Popular Music||p. 363|
|On-Location Recording of Classical Music||p. 391|
|Web Audio and Online Collaboration||p. 405|
|Appendix A dB or Not dB||p. 419|
|Appendix B Optimizing Your Computer for Multitrack Recording||p. 429|
|Appendix C Impedance||p. 439|
|Appendix D Phantom Power Explained||p. 445|
|Appendix E Where To Learn More||p. 449|
|Audio Glossary||p. 455|
|Table of Contents provided by Ingram. All Rights Reserved.|