Practical Recording Techniques : The Step-by-Step Approach to Professional Audio Recording

by Bartlett; Bartlett

• ISBN13: 9780240806853
• ISBN10: 0240806859
• Edition: 4th
• Format: Paperback
• Copyright: 2005-08-08
• Publisher: Elsevier Science

Summary

Practical Recording Techniques is a hands-on practical guide for all aspects of recording, ideal for beginning and intermediate recording engineers, producers, musicians and audio enthusiasts. Filled with tips and shortcuts, this book offers advice on equipping a home studio (both low-budget and advanced), with suggestions for set-up, acoustics, choosing monitor speakers, and preventing hum. This best-selling guide also tells how to judge recordings and improve them to produce maximum results. Two extensive glossaries clearly explain audio jargon and sound-quality descriptions. NEW material includes: * Extensive coverage of digital recording technology and techniques, including computer DAWs and optimizing them for best performance * Extra coverage of the basics, such as speed of sound, inverse square law, sound-wave interference, reflection and diffusion * Comprehensive look at all types of microphones, including live-vocal, digital and headworn mics * A detailed instrument frequency range chart Also new to this edition is an accompanying audio CD (Mac and PC compatible), which will enable you to actually hear the effects and techniques described in the book.

Table of Contents

Preface	xxv
Acknowledgments	xxvii
Music: Why You Record	1	(4)
Increasing Your Involvement in Music	2	(1)
Different Ways of Listening	2	(1)
Why Record?	3	(2)
The Recording Chain	5	(14)
Types of Recording	6	(8)
Live Stereo Recording	7	(1)
Live-Mix Recording	8	(1)
Separate Multitrack Recorder and Mixer	9	(2)
Stand-Alone DAW (Recorder-Mixer)	11	(1)
Computer DAW	11	(2)
MIDI Sequencing	13	(1)
Pros and Cons of Each Method	14	(2)
Editing/Mastering	16	(1)
Quality Levels of Recording Formats	16	(3)
Sound, Signals, and Studio Acoustics	19	(22)
Sound Wave Creation	19	(2)
Characteristics of Sound Waves	21	(5)
Amplitude	21	(1)
Frequency	21	(1)
Wavelength	22	(1)
Phase and Phase Shift	22	(1)
Phase Interference	23	(1)
Harmonics	24	(1)
Envelope	25	(1)
Behavior of Sound in Rooms	26	(4)
Echoes	26	(1)
Reverberation	27	(2)
Diffusion	29	(1)
Leakage	29	(1)
How to Tame Echoes, Reverb, and Leakage	30	(3)
Controlling Room Problems with Recording Techniques	30	(1)
Controlling Room Problems with Acoustic Treatments	30	(3)
Controlling Standing Waves	33	(1)
Making a Quieter Studio	33	(2)
Signal Characteristics of Audio Devices	35	(6)
Frequency Response	36	(2)
Noise	38	(1)
Distortion	38	(1)
Optimum Signal Level	38	(1)
Signal-to-Noise Ratio	38	(1)
Headroom	39	(2)
Equipping Your Studio	41	(32)
Low-Cost Recording Equipment	42	(6)
Microphone	42	(1)
Monitor System	43	(1)
Recording Device	43	(5)
Higher-Cost Recording Equipment	48	(3)
Mixer	49	(1)
Hard-Disk Recorder (HD Recorder)	49	(1)
Processors	50	(1)
HD Recorder-Mixer with 16 to 32 Tracks	50	(1)
High-End Recording Software and Hardware	50	(1)
Equipment Details	51	(8)
Recorder	51	(1)
Mixer	52	(1)
Effects	53	(1)
Microphones	54	(1)
Phantom-Power Supply	54	(1)
Mic Preamp	54	(1)
Direct Box	55	(1)
Monitor System	55	(1)
Rack and Patch Bay	56	(1)
Miscellaneous Equipment	56	(1)
Blank Recording Media	56	(1)
MIDI Studio Equipment	57	(2)
Setting Up Your Studio	59	(10)
Cables	59	(1)
Equipment Connectors	60	(1)
Cable Connectors	61	(2)
Cable Types	63	(2)
Rack/Patch Bay	65	(1)
Equipment Connections	66	(3)
Acoustic Treatment	69	(1)
Hum Prevention	70	(2)
Reducing Radio Frequency Interference	72	(1)
Monitoring	73	(14)
Speaker Requirements	74	(1)
Nearfield™ Monitors	75	(2)
Powered (Active) Monitors	77	(1)
The Power Amplifier	77	(1)
Speaker Cables and Polarity	78	(1)
Control-Room Acoustics	78	(2)
Speaker Placement	80	(1)
Using the Monitors	81	(1)
Headphones	82	(1)
The Cue System	83	(2)
Conclusion	85	(2)
Microphones	87	(22)
Transducer Types	87	(4)
General Traits of Each Transducer Type	90	(1)
Polar Pattern	91	(3)
Traits of Various Polar Patterns	93	(1)
Frequency Response	94	(3)
Impedance (Z)	97	(1)
Maximum SPL	97	(1)
Sensitivity	97	(1)
Self-Noise	98	(1)
Signal-to-Noise Ratio	98	(1)
Polarity	99	(1)
Microphone Types	99	(4)
Large-Diaphragm Condenser Microphone	99	(1)
Small-Diaphragm Condenser Microphone	99	(1)
Dynamic Instrument Microphone	100	(1)
Live-Vocal Microphone	100	(1)
Ribbon Microphone	100	(1)
Boundary Microphone	100	(1)
Miniature Microphone	101	(1)
Stereo Microphone	102	(1)
Digital Microphone	103	(1)
Headworn Microphone	103	(1)
Microphone Selection	103	(2)
Mic Accessories	105	(3)
Pop Filter	105	(1)
Stands and Booms	105	(1)
Shock Mount	106	(1)
Cables and Connectors	106	(1)
Snake	107	(1)
Splitter	107	(1)
Summary	108	(1)
Microphone Technique Basics	109	(22)
Which Mic Should I Use?	109	(2)
How Many Mics?	111	(2)
How Close Should I Place the Mic?	113	(3)
Leakage	114	(1)
Don't Mike Too Close	115	(1)
Where Should I Place the Mic?	116	(1)
On-Surface Techniques	117	(2)
The Three-to-One Rule	119	(1)
Off-Axis Coloration	120	(1)
Stereo Mic Techniques	120	(9)
Goals of Stereo Miking	120	(1)
Types of Stereo Mic Techniques	121	(7)
Comparing the Four Techniques	128	(1)
Hardware	129	(1)
How to Test Imaging	129	(2)
Microphone Techniques	131	(40)
Electric Guitar	131	(4)
Miking the Amp	132	(1)
Recording Direct	133	(1)
Electric Guitar Effects	134	(1)
Electric Bass	135	(2)
Synthesizer, Drum Machine, and Electric Piano	137	(1)
Leslie Organ Speaker	137	(1)
Drum Set	138	(11)
Tuning	139	(1)
Damping and Noise Control	140	(1)
Drum Miking	140	(1)
Snare	140	(2)
Hi-Hat	142	(1)
Tom-Toms	142	(1)
Kick Drum	143	(1)
Cymbals	144	(1)
Room Mics	145	(1)
Boundary Mic Techniques	145	(1)
Recording with Two to Four Mics	145	(2)
Drum Recording Tips	147	(2)
Percussion	149	(1)
Acoustic Guitar	149	(2)
Singer/Guitarist	151	(1)
Grand Piano	151	(3)
Upright Piano	154	(1)
Acoustic Bass	155	(1)
Banjo	156	(1)
Mandolin, Dobro, Bouzouki, and Lap Dulcimer	157	(1)
Hammered Dulcimer	157	(1)
Fiddle (Violin)	157	(2)
String Section	159	(1)
String Quartet	160	(1)
Bluegrass Band and Old-Time String Band	160	(1)
Harp	160	(1)
Horns	161	(1)
Saxophone	161	(1)
Woodwinds	162	(2)
Harmonica, Accordion, and Bagpipe	164	(1)
Lead Vocal	164	(4)
Miking Distance	165	(1)
Breath Pops	166	(1)
Wide Dynamic Range	166	(1)
Sibilance	167	(1)
Reflections from the Music Stand and Ceiling	167	(1)
Vocal Effects	168	(1)
Background Vocals	168	(1)
Spoken Word	169	(1)
Choir and Orchestra	169	(1)
Summary	170	(1)
Digital Recording	171	(30)
Analog versus Digital	171	(1)
Digital Recording	172	(4)
Bit Depth	174	(1)
Sampling Rate	174	(1)
Data Rate and Storage Requirements	175	(1)
Digital Recording Level	175	(1)
The Clock	176	(1)
Digital Audio Signal Formats	176	(1)
Converting Signal Formats	177	(1)
Dither	177	(2)
Jitter	179	(1)
Digital Transfers or Copies	180	(1)
2-Track Digital Recorders	181	(17)
Portable Hard-Drive Recorder	182	(1)
The Digital Audio Workstation	183	(1)
CD Recordable	183	(4)
MiniDisc Recorder	187	(1)
Memory Recorder	188	(2)
Multitrack Digital Recorders	190	(1)
Modular Digital Multitrack	191	(1)
Hard-Disk (HD) Recorder	192	(1)
HD Recorder-Mixer	192	(3)
MiniDisc Recorder-Mixer	195	(1)
Pros and Cons of Four Multitrack Recording Systems	196	(2)
Backup	198	(3)
Effects and Signal Processors	201	(36)
Software Effects (Plug-Ins)	201	(1)
Equalizer	202	(9)
Types of EQ	203	(3)
How to Use EQ	206	(2)
When to Use EQ	208	(1)
Uses of EQ	209	(2)
Compressor	211	(5)
Using a Compressor	212	(1)
Compression Ratio or Slope	213	(1)
Threshold	213	(1)
Gain Reduction	213	(1)
Attack Time	214	(1)
Release Time	214	(1)
Output-Level Control	214	(1)
Connecting a Compressor	215	(1)
Suggested ``Ballpark'' Compressor Settings	215	(1)
Limiter	216	(1)
Noise Gate	217	(1)
Delay: Echo, Doubling, Chorus, and Flanging	218	(7)
Echo	218	(2)
Slap Echo	220	(1)
Repeating Echo	220	(1)
Doubling	220	(1)
Chorus	221	(1)
Stereo Chorus	221	(1)
Bass Chorus	221	(1)
Flanging	221	(1)
Reverberation	222	(3)
Preverb	225	(1)
Enhancer	226	(1)
Octave Divider	226	(1)
Harmonizer	226	(1)
Vocal Processor	226	(1)
Automatic Pitch Correction	227	(1)
Tube Processor	227	(1)
Rotary Speaker Simulator	227	(1)
Analog Tape Simulator	227	(1)
Spatial Processor	227	(1)
Microphone Modeler	228	(1)
Guitar Amplifier Modeler	228	(1)
De-Click, and De-Noise	228	(1)
Surround Sound	228	(1)
Multieffects Processor	228	(1)
Looking Back	229	(1)
Sound-Quality Glossary	230	(7)
Mixers and Mixing Consoles	237	(20)
Stages of Recording	237	(1)
Mixer Functions and Formats	238	(1)
Analog Mixer	239	(11)
Input Section	240	(7)
Output Section	247	(3)
Monitor Section	250	(1)
Monitor Select Buttons	250	(1)
Monitor Mix Controls and Connectors	250	(1)
SOLO	251	(1)
Additional Features in Large Mixing Consoles	251	(2)
Digital Mixer	253	(1)
Digital Mixer Features	254	(1)
Software Mixer	254	(1)
Controller Surface	255	(2)
Operating the Multitrack Recorder and Mixer	257	(26)
Session Preparation	258	(1)
Recording	258	(3)
Assign Inputs to Tracks	259	(1)
Set Recording Levels	259	(2)
Set EQ	261	(1)
Recording	261	(1)
Playback	261	(1)
Overdubbing	262	(1)
Punching-In	263	(1)
Composite Tracks	264	(1)
Getting More Tracks	265	(1)
Flying In	265	(1)
Drum Replacement	266	(1)
Mixdown	267	(9)
Set Up the Mixer and Recorders	267	(1)
Erase Unwanted Material	268	(1)
Panning	269	(1)
Compression	270	(1)
Set a Balance	270	(1)
Set EQ	271	(1)
Add Effects	272	(1)
Set Levels	272	(1)
Judging the Mix	273	(1)
Changes During the Mix	274	(1)
Record the Mix	275	(1)
Summary	276	(2)
Recording	277	(1)
Overdubbing	277	(1)
Mixdown	277	(1)
Automated Mixing	278	(5)
Types of Automation Systems	279	(1)
Snapshot versus Continuous Automation	280	(1)
Automated Mixing Procedure	280	(3)
Computer Recording	283	(34)
Basic Operation	284	(4)
Recording and Playback	284	(2)
Editing	286	(2)
Mixdown	288	(1)
The Computer	288	(1)
Audio Interfaces	289	(10)
Sound Card	290	(2)
I/O Breakout Box	292	(5)
Control Surface	297	(2)
Alesis FirePort	299	(1)
DSP Card	299	(1)
Analog Summing Amplifier	299	(1)
Recording Software	300	(12)
Features	301	(1)
Plug-Ins	302	(1)
Examples of DAW Software	303	(9)
Optimizing Your Computer for Digital Audio	312	(1)
Using a DAW	313	(4)
Connections	313	(1)
Maintaining Quality	314	(3)
Judging Sound Quality	317	(26)
Classical versus Popular Recording	317	(1)
Good Sound in a Pop-Music Recording	318	(7)
A Good Mix	319	(1)
Wide Range	320	(1)
Good Tonal Balance	320	(1)
Clean Sound	321	(1)
Clarity	321	(1)
Smoothness	322	(1)
Presence	322	(1)
Spaciousness	322	(1)
Sharp Transients	322	(1)
Tight Bass and Drums	322	(1)
Wide and Detailed Stereo Imaging	323	(1)
Wide but Controlled Dynamic Range	324	(1)
Interesting Sounds	324	(1)
Suitable Production	325	(1)
Good Sound in a Classical-Music Recording	325	(3)
Good Acoustics	325	(1)
A Natural Balance	326	(1)
Tonal Accuracy	326	(1)
Suitable Perspective	326	(1)
Accurate Imaging	326	(2)
Training Your Hearing	328	(1)
Troubleshooting Bad Sound	329	(14)
Bad Sound on All Recordings	330	(1)
Bad Sound on Playback Only	330	(1)
Bad Sound in a Pop-Music Recording Session	331	(7)
Bad Sound in a Classical-Music Recording	338	(5)
Session Procedures, Editing, Mastering, and CD Burning	343	(22)
Preproduction	344	(5)
Instrumentation	344	(1)
Recording Order	344	(1)
Track Assignments	345	(1)
Session Sheet	345	(1)
Production Schedule	346	(1)
Track Sheet	346	(1)
Microphone Input List	346	(3)
Instrument Layout Chart	349	(1)
Setting Up the Studio	349	(1)
Setting Up the Control Room	350	(1)
Session Overview	350	(1)
Recording	351	(1)
Overdubbing	352	(1)
Composite Tracks	352	(1)
Drum Overdubs	353	(1)
Overdubbing the Control Room	353	(1)
Breaking Down	353	(1)
Mixdown	354	(1)
Mastering	354	(6)
Burning a Reference CD	354	(2)
Sending Out Your CD for Mastering	356	(1)
Mastering Your Own Album	356	(4)
Transferring the Mastered Program to CD-R	360	(2)
Master Log	362	(3)
The MIDI Studio: Equipment and Recording Procedures	365	(32)
MIDI-Studio Components	366	(6)
MIDI Recording Procedures	372	(22)
2-Track Recording of a Synthesizer Performance	372	(5)
Multitrack Recording of a Synthesizer Performance	377	(3)
Recording with a Keyboard Workstation	380	(3)
Recording with a Drum Machine and Synth	383	(4)
Recording with MIDI/Audio Recording Software	387	(4)
Loop-based Recording	391	(3)
``No Sound'' MIDI Troubleshooting	394	(1)
Summary	395	(2)
On-Location Recording of Popular Music	397	(32)
Two Mics Out Front	398	(2)
Equipment	398	(1)
Mic Placement	398	(1)
Recording	399	(1)
Recording from the Sound-Reinforcement Mixer	400	(1)
Drawbacks	400	(1)
Recording with a 4-tracker	401	(1)
Recording Off the FOH Mixer Aux Output	402	(2)
Feeding the FOH Mixer Insert Sends to a Multitrack Recorder	404	(2)
Connections	404	(1)
Monitor Mix	405	(1)
Setting Levels	405	(1)
Mixdown	405	(1)
Feeding the FOH Mixer's Insert Sends to a Recording Mixer	406	(1)
Splitting the Microphones	406	(1)
Multitrack Recording in a Van	407	(1)
Preparing for the Session	408	(5)
Preproduction Meeting	408	(1)
Site Survey	409	(1)
Mic List	410	(1)
Track Sheet	410	(2)
Block Diagram	412	(1)
Equipment List	412	(1)
Preparing for Easier Setup	413	(4)
Protective Cases	413	(1)
Mic Mounts	414	(1)
Snakes and Cables	415	(1)
Rack Wiring	415	(1)
Other Tips	416	(1)
At the Session: Setup	417	(4)
Power Distribution System	417	(1)
Power Source	418	(1)
Interconnecting Multiple Sound Systems	419	(2)
Connections	421	(1)
Running Cables	421	(1)
Recording-Console Setup	421	(1)
Mic Techniques	422	(3)
Electric Guitar Grounding	423	(1)
Audience Microphones	424	(1)
Setting Levels and Submixes	425	(1)
Recording	426	(1)
Teardown	427	(2)
On-Location Recording of Classical Music	429	(10)
Equipment	429	(3)
The 2-Track Recorder	430	(1)
Microphones	430	(1)
Monitors	431	(1)
Mic Cables	432	(1)
Mic Preamp or Mixer	432	(1)
Stereo Microphone Techniques	432	(1)
Preparing for the Session	433	(1)
Session Setup	434	(1)
Microphone Placement	435	(2)
Distance	435	(1)
Stereo-Spread Control	436	(1)
Soloist Pickup and Spot Microphones	437	(1)
Recording	437	(1)
Editing	438	(1)
Surround Sound: Techniques and Media	439	(34)
Surround Speaker Arrangement	440	(2)
Setting Up a Surround Monitoring System	442	(7)
Bass Management	443	(1)
Surround Mixing Equipment	444	(1)
Connections	445	(2)
Calibration	447	(2)
Recording and Mixing Pop Music for Surround	449	(2)
Panning	449	(1)
Using the Center Speaker	450	(1)
Using the LFE Channel	450	(1)
Downmixing	451	(1)
Surround Mix Delivery Format	451	(1)
Surround-Sound Mic Techniques	451	(11)
Soundfield 5.1 Microphone System	452	(1)
Delos VR2 Surround Miking Method	452	(1)
NHK Method	453	(1)
The KFM 360 Surround System	454	(1)
Five-Channel Microphone Array with Binaural Head	455	(2)
DMP Method	457	(1)
Woszcyk Technique (PZM Wedge plus Opposite-Polarity, 180-Degree Coincident-Cardioid Surround Mics)	458	(1)
Williams Five Cardioid Mic Array	459	(1)
Double MS Technique	459	(1)
Surround Ambience Microphone Array	460	(1)
Spider Microphone Array	460	(1)
The Holophone H2-PRO Surround Mic	461	(1)
Mike Sokol's FLuRB Array	461	(1)
Stereo Pair plus Surround Pair	461	(1)
Surround Media	462	(5)
Compact Disc	462	(1)
DVD	463	(3)
Super Audio CD	466	(1)
Encoding Surround for Release on Various Formats	467	(4)
Surround Encoding for CD	467	(1)
Surround Encoding for DVD-Video	468	(1)
Surround Encoding for DVD-Audio	468	(1)
Summary of Media Formats	469	(1)
Encoding Hardware and Software for CD and DVD-Video	469	(2)
DVD Pre-Mastering Formats	471	(1)
Dolby Units for DVD Mastering	472	(1)
Putting Your Music on the Web	473	(16)
Streaming versus Downloading	473	(1)
Data Compression	474	(1)
Web-Related Audio Files	475	(1)
What You Need	476	(2)
How to Upload Compressed Audio Files	478	(2)
Putting Your Music on Your Web Site	480	(8)
Putting MP3 or WMA Files on Your Site	480	(2)
Putting RealAudio Files on Your Site	482	(2)
Examples of Web-page Song Links	484	(1)
Streaming Audio from a RealServer Site	484	(4)
Liquid Audio	488	(1)
A db or not dB	489	(10)
Definitions	489	(1)
Sound Pressure Level	490	(1)
Signal Level	490	(4)
dBm	491	(1)
dBv or dBu	492	(1)
dBV	492	(1)
Change in Signal Level	493	(1)
The VU Meter, Zero VU, and Peak Indicators	494	(1)
Balanced versus Unbalanced Equipment Levels	495	(1)
Interfacing Balanced and Unbalanced Equipment	496	(1)
Microphone Sensitivity	496	(3)
B Optimizing Your Computer for Digital Audio	499	(10)
Speeding Up Your Hard Drive	500	(2)
Increasing Processing Speed	502	(2)
Preventing Interruptions	504	(2)
Setting the Buffer Size	506	(1)
Other Tips	506	(2)
Optimizing MacIntosh for Audio	508	(1)
C Introduction to SMPTE Time Code	509	(12)
How the Time Code Works	509	(1)
Time-Code Signal Details	510	(2)
Drop-Frame Mode	510	(2)
Setting Up a Time-Code System	512	(2)
How to Use SMPTE Time Code	514	(1)
Restriping Defective Code	515	(1)
Audio-for-Video SMPTE Applications	515	(4)
Synchronizing to Video	516	(1)
The Audio-Tape Synchronization Procedure	516	(1)
Using SMPTE with a Digital Audio Workstation	517	(2)
Other Time-Code Applications	519	(2)
D Further Education	521	(6)
Books and Videos	521	(1)
The Library	521	(1)
Pro Audio Books	521	(1)
Music Books Plus	521	(1)
Focal Press	522	(1)
Amazon.com	522	(1)
Recording Magazines	522	(1)
Pro Audio Magazines	522	(1)
Consumer Audio Magazines	523	(1)
Guides, Brochures, and Other Literature	523	(1)
Guides to Recording Schools	523	(1)
The Internet	524	(1)
Recording Equipment Catalogs	525	(1)
Experience	525	(2)
E Impedance	527	(6)
What Is Impedance?	527	(1)
I'm Connecting Two Audio Devices. Is It Important to Match Their Impedances? What If I Don't?	527	(2)
What About Microphone Impedance?	529	(1)
I'm Connecting a Mic to a Mixer. Is Impedance a Consideration?	529	(1)
Should I Consider Impedance When I Connect Two Line-Level Devices?	530	(1)
Can I Connect One Source to Two or More Loads?	530	(1)
Can I Connect Two or More Sources to One Input?	530	(1)
Summary	531	(2)
Glossary	533	(50)
Index	583