Practical recording techniques: [the step-by-step approach to professional audio recording]
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | Undetermined |
| Veröffentlicht: |
Amsterdam [u.a.]
Elsevier [u.a.]
2005
|
| Ausgabe: | 4. ed. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XXVII, 600 S. Ill. + CD-ROM |
| ISBN: | 0240806859 9780240806853 |
Internformat
MARC
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| 100 | 1 | |a Bartlett, Bruce |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Practical recording techniques |b [the step-by-step approach to professional audio recording] |c Bruce Bartlett ; Jenny Bartlett |
| 250 | |a 4. ed. | ||
| 264 | 1 | |a Amsterdam [u.a.] |b Elsevier [u.a.] |c 2005 | |
| 300 | |a XXVII, 600 S. |b Ill. + CD-ROM | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
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| 999 | |a oai:aleph.bib-bvb.de:BVB01-017244462 | ||
Datensatz im Suchindex
| _version_ | 1804138756821745664 |
|---|---|
| adam_text | TABLE OF CONTENTS
Preface xxv
Acknowledgments xxvii
A Music: Why You Record 1
Increasing Your Involvement in Music 2
Different Ways of Listening 2
Why Record? 3
2 The Recording Chain 5
Types of Recording 6
Live Stereo Recording 7
Live-Mix Recording 8
Separate Multitrack Recorder and Mixer 9
Stand-Alone DAW (Recorder-Mixer) 11
Computer DAW 11
MIDI Sequencing 13
Pros and Cons of Each Method 14
Editing/Mastering 16
Quality Levels of Recording Formats 16
vi Sound, Signals, and Studio Acoustics 19
Sound Wave Creation 19
Characteristics of Sound Waves 21
Amplitude 21
Frequency 21
Wavelength 22
Phase and Phase Shift 22
Phase Interference 23
vii
Practical Recording Techniques
Harmonics 24
Envelope 25
Behavior of Sound in Rooms 26
Echoes 26
Reverberation 27
Diffusion 29
Leakage 29
How to Tame Echoes, Reverb, and Leakage 30
Controlling Room Problems with Recording Techniques 30
Controlling Room Problems with Acoustic Treatments 30
Controlling Standing Waves 33
Making a Quieter Studio 33
Signal Characteristics of Audio Devices 35
Frequency Response 36
Noise 38
Distortion 38
Optimum Signal Level 38
Signal-to-Noise Ratio 38
Headroom 39
4t Equipping Your Studio 41
Low-Cost Recording Equipment 42
Microphone 42
Monitor System 43
Recording Device 43
Higher-Cost Recording Equipment 48
Mixer 49
Hard-Disk Recorder (HD Recorder) 49
Processors 50
HD Recorder-Mixer with 16 to 32 Tracks 50
High-End Recording Software and Hardware 50
Equipment Details 51
Recorder 51
Mixer 52
Effects 53
Microphones 54
Phantom-Power Supply 54
Mic Preamp 54
viii
Table of Contents
Direct Box 55
Monitor System 55
Rack and Patch Bay 56
Miscellaneous Equipment 56
Blank Recording Media 56
MIDI Studio Equipment 57
Setting Up Your Studio 59
Cables 59
Equipment Connectors 60
Cable Connectors 61
Cable Types 63
Rack/Patch Bay 65
Equipment Connections 66
Acoustic Treatment 69
Hum Prevention 70
Reducing Radio Frequency Interference 72
3 Monitoring 73
Speaker Requirements 74
Nearfield™ Monitors 75
Powered (Active) Monitors 77
The Power Amplifier 77
Speaker Cables and Polarity 78
Control-Room Acoustics 78
Speaker Placement 80
Using the Monitors 81
Headphones 82
The Cue System 83
Conclusion 85
O Microphones 87
Transducer Types 87
General Traits of Each Transducer Type 90
Polar Pattern 91
Traits of Various Polar Patterns 93
Frequency Response 94
Impedance (Z) 97
ix
Practical Recording Techniques
Maximum SPL 97
Sensitivity 97
Self-Noise 98
Signal-to-Noise Ratio 98
Polarity 99
Microphone Types 99
Large-Diaphragm Condenser Microphone 99
Small-Diaphragm Condenser Microphone 99
Dynamic Instrument Microphone 100
Live-Vocal Microphone 100
Ribbon Microphone 100
Boundary Microphone 100
Miniature Microphone 101
Stereo Microphone 102
Digital Microphone 103
Headworn Microphone 103
Microphone Selection 103
Mic Accessories 105
Pop Filter 105
Stands and Booms 105
Shock Mount 106
Cables and Connectors 106
Snake 107
Splitter 107
Summary 108
/ Microphone Technique Basics 109
Which Mic Should I Use? 109
How Many Mies? Ill
How Close Should I Place the Mic? 113
Leakage 114
Don t Mike Too Close 115
Where Should I Place the Mic? 116
On-Surface Techniques 117
The Three-to-One Rule 119
Off-Axis Coloration 120
Stereo Mic Techniques 120
Goals of Stereo Miking 120
Types of Stereo Mic Techniques 121
x
Table of Contents
Comparing the Four Techniques 128
Hardware 129
How to Test Imaging 129
O Microphone Techniques 131
Electric Guitar 131
Miking the Amp 132
Recording Direct 133
Electric Guitar Effects 134
Electric Bass 135
Synthesizer, Drum Machine, and Electric Piano 137
Leslie Organ Speaker 137
Drum Set 138
Tuning 139
Damping and Noise Control 140
Drum Miking 140
Snare 140
Hi-Hat 142
Tom-Toms 142
Kick Drum 143
Cymbals 144
Room Mies 145
Boundary Mic Techniques 145
Recording with Two to Four Mies 145
Drum Recording Tips 147
Percussion 149
Acoustic Guitar 149
Singer/Guitarist 151
Grand Piano 151
Upright Piano 154
Acoustic Bass 155
Banjo 156
Mandolin, Dobro, Bouzouki, and Lap Dulcimer 157
Hammered Dulcimer 157
Fiddle (Violin) 157
String Section 159
String Quartet 160
Bluegrass Band and Old-Time String Band 160
Harp 160
xi
Practical Recording Techniques
Horns 161
Saxophone 161
Woodwinds 162
Harmonica, Accordion, and Bagpipe 164
Lead Vocal 164
Miking Distance 165
Breath Pops 166
Wide Dynamic Range 166
Sibilance 167
Reflections from the Music Stand and Ceiling 167
Vocal Effects 168
Background Vocals 168
Spoken Word 169
Choir and Orchestra 169
Summary 170
9 Digital Recording 171
Analog versus Digital 171
Digital Recording 172
Bit Depth 174
Sampling Rate 174
Data Rate and Storage Requirements 175
Digital Recording Level 175
The Clock 176
Digital Audio Signal Formats 176
Converting Signal Formats 177
Dither 177
Jitter 179
Digital Transfers or Copies 180
2-Track Digital Recorders 181
Portable Hard-Drive Recorder 182
The Digital Audio Workstation 183
CD Recordable 183
MiniDisc Recorder 187
Memory Recorder 188
Multitrack Digital Recorders 190
Modular Digital Multitrack 191
Hard-Disk (HD) Recorder 192
xii
Table of Contents
HD Recorder-Mixer 192
MiniDisc Recorder-Mixer 195
Pros and Cons of Four Multitrack Recording Systems 196
Backup 198
_LU Effects and Signal Processors 201
Software Effects (Plug-Ins) 201
Equalizer 202
Types of EQ 203
How to Use EQ 206
When to Use EQ 208
Uses of EQ 209
Compressor 211
Using a Compressor 212
Compression Ratio or Slope 213
Threshold 213
Gain Reduction 213
Attack Time 214
Release Time 214
Output-Level Control 214
Connecting a Compressor 215
Suggested Ballpark Compressor Settings 215
Limiter 216
Noise Gate 217
Delay: Echo, Doubling, Chorus, and Flanging 218
Echo 218
Slap Echo 220
Repeating Echo 220
Doubling 220
Chorus 221
Stereo Chorus 221
Bass Chorus 221
Flanging 221
Reverberation 222
Preverb 225
Enhancer 226
Octave Divider 226
Harmonizer 226
xiii
Practical Recording Techniques
Vocal Processor 226
Automatic Pitch Correction 227
Tube Processor 227
Rotary Speaker Simulator 227
Analog Tape Simulator 227
Spatial Processor 227
Microphone Modeler 228
Guitar Amplifier Modeler 228
De-Click, and De-Noise 228
Surround Sound 228
Multieffects Processor 228
Looking Back 229
Sound-Quality Glossary 230
XX Mixers and Mixing Consoles 237
Stages of Recording 237
Mixer Functions and Formats 238
Analog Mixer 239
Input Section 240
Output Section 247
Monitor Section 250
Monitor Select Buttons 250
Monitor Mix Controls and Connectors 250
SOLO 251
Additional Features in Large Mixing Consoles 251
Digital Mixer 253
Digital Mixer Features 254
Software Mixer 254
Controller Surface 255
X.Z Operating the Multitrack Recorder and
Mixer 257
Session Preparation 258
Recording 258
Assign Inputs to Tracks 259
Set Recording Levels 259
SetEQ 261
Recording 261
xiv
Table of Contents
Playback 261
Overdubbing 262
Punching-In 263
Composite Tracks 264
Getting More Tracks 265
Flying In 265
Drum Replacement 266
Mixdown 267
Set Up the Mixer and Recorders 267
Erase Unwanted Material 268
Panning 269
Compression 270
Set a Balance 270
Set EQ 271
Add Effects 272
Set Levels 272
Judging the Mix 273
Changes During the Mix 274
Record the Mix 275
Summary 276
Recording 277
Overdubbing 277
Mixdown 277
Automated Mixing 278
Types of Automation Systems 279
Snapshot versus Continuous Automation 280
Automated Mixing Procedure 280
13 Computer Recording 283
Basic Operation 284
Recording and Playback 284
Editing 286
Mixdown 288
The Computer 288
Audio Interfaces 289
Sound Card 290
I/O Breakout Box 292
Control Surface 297
Alesis FirePort 299
XV
Practical Recording Techniques
DSP Card 299
Analog Summing Amplifier 299
Recording Software 300
Features 301
Plug-Ins 302
Examples of DAW Software 303
Optimizing Your Computer for Digital Audio 312
Using a DAW 313
Connections 313
Maintaining Quality 314
14 Judging Sound Quality 317
Classical versus Popular Recording 317
Good Sound in a Pop-Music Recording 318
A Good Mix 319
Wide Range 320
Good Tonal Balance 320
Clean Sound 321
Clarity 321
Smoothness 322
Presence 322
Spaciousness 322
Sharp Transients 322
Tight Bass and Drums 322
Wide and Detailed Stereo Imaging 323
Wide but Controlled Dynamic Range 324
Interesting Sounds 324
Suitable Production 325
Good Sound in a Classical-Music Recording 325
Good Acoustics 325
A Natural Balance 326
Tonal Accuracy 326
Suitable Perspective 326
Accurate Imaging 326
Training Your Hearing 328
Troubleshooting Bad Sound 329
Bad Sound on All Recordings 330
Bad Sound on Playback Only 330
xvi
Table of Contents
Bad Sound in a Pop-Music Recording Session 331
Bad Sound in a Classical-Music Recording 338
JL D Session Procedures, Editing, Mastering,
and CD Burning 343
Preproduction 344
Instrumentation 344
Recording Order 344
Track Assignments 345
Session Sheet 345
Production Schedule 346
Track Sheet 346
Microphone Input List 346
Instrument Layout Chart 349
Setting Up the Studio 349
Setting Up the Control Room 350
Session Overview 350
Recording 351
Overdubbing 352
Composite Tracks 352
Drum Overdubs 353
Overdubbing the Control Room 353
Breaking Down 353
Mixdown 354
Mastering 354
Burning a Reference CD 354
Sending Out Your CD for Mastering 356
Mastering Your Own Album 356
Transferring the Mastered Program to CD-R 360
Master Log 362
AD The MIDI Studio: Equipment and Recording
Procedures 365
MIDI-Studio Components 366
MIDI Recording Procedures 372
2-Track Recording of a Synthesizer Performance 372
xvii
Practical Recording Techniques
Multitrack Recording of a Synthesizer Performance 377
Recording with a Keyboard Workstation 380
Recording with a Drum Machine and Synth 383
Recording with MIDI/Audio Recording Software 387
Loop-based Recording 391
No Sound MIDI Troubleshooting 394
Summary 395
A / On-Location Recording of Popular Music 397
Two Mies Out Front 398
Equipment 398
Mic Placement 398
Recording 399
Recording from the Sound-Reinforcement Mixer 400
Drawbacks 400
Recording with a 4-tracker 401
Recording Off the FOH Mixer Aux Output 402
Feeding the FOH Mixer Insert Sends to a Multitrack Recorder 404
Connections 404
Monitor Mix 405
Setting Levels 405
Mixdown 405
Feeding the FOH Mixer s Insert Sends to a Recording Mixer 406
Splitting the Microphones 406
Multitrack Recording in a Van 407
Preparing for the Session 408
Preproduction Meeting 408
Site Survey 409
Mic List 410
Track Sheet 410
Block Diagram 412
Equipment List 412
Preparing for Easier Setup 413
Protective Cases 413
Mic Mounts 414
Snakes and Cables 415
Rack Wiring 415
Other Tips 416
At the Session: Setup 417
xviii
Table of Contents
Power Distribution System 417
Power Source 418
Interconnecting Multiple Sound Systems 419
Connections 421
Running Cables 421
Recording-Console Setup 421
Mic Techniques 422
Electric Guitar Grounding 423
Audience Microphones 424
Setting Levels and Submixes 425
Recording 426
Teardown 427
-Lo On-Location Recording of Classical
Music 429
Equipment 429
The 2-Track Recorder 430
Microphones 430
Monitors 431
Mic Cables 432
Mic Preamp or Mixer 432
Stereo Microphone Techniques 432
Preparing for the Session 433
Session Setup 434
Microphone Placement 435
Distance 435
Stereo-Spread Control 436
Soloist Pickup and Spot Microphones 437
Recording 437
Editing 438
±9 Surround Sound: Techniques and Media 439
Surround Speaker Arrangement 440
Setting Up a Surround Monitoring System 442
Bass Management 443
Surround Mixing Equipment 444
Connections 445
Calibration 447
xix
Practical Recording Techniques
Recording and Mixing Pop Music for Surround 449
Panning 449
Using the Center Speaker 450
Using the LFE Channel 450
Downmixing 451
Surround Mix Delivery Format 451
Surround-Sound Mic Techniques 451
Soundfield 5.1 Microphone System 452
Delos VR2 Surround Miking Method 452
NHK Method 453
The KFM 360 Surround System 454
Five-Channel Microphone Array with Binaural Head 455
DMP Method 457
Woszcyk Technique (PZM Wedge plus Opposite-Polarity,
180-Degree Coincident-Cardioid Surround Mies) 458
Williams Five Cardioid Mic Array 459
Double MS Technique 459
Surround Ambience Microphone Array 460
Spider Microphone Array 460
The Holophone H2-PRO Surround Mic 461
Mike Sokol s FLuRB Array 461
Stereo Pair plus Surround Pair 461
Surround Media 462
Compact Disc 462
DVD 463
Super Audio CD 466
Encoding Surround for Release on Various Formats 467
Surround Encoding for CD 467
Surround Encoding for DVD-Video 468
Surround Encoding for DVD-Audio 468
Summary of Media Formats 469
Encoding Hardware and Software for CD and
DVD-Video 469
DVD Pre-Mastering Formats 471
Dolby Units for DVD Mastering 472
20 Putting Your Music on the Web 473
Streaming versus Downloading 473
Data Compression 474
XX
Table of Contents
Web-Related Audio Files 475
What You Need 476
How to Upload Compressed Audio Files 478
Putting Your Music on Your Web Site 480
Putting MP3 or WMA Files on Your Site 480
Putting RealAudio Files on Your Site 482
Examples of Web-page Song Links 484
Streaming Audio from a RealServer Site 484
Liquid Audio 488
A db or not dB 489
Definitions 489
Sound Pressure Level 490
Signal Level 490
dBm 491
dBv or dBu 492
dBV 492
Change in Signal Level 493
The VU Meter, Zero VU, and Peak Indicators 494
Balanced versus Unbalanced Equipment Levels 495
Interfacing Balanced and Unbalanced Equipment 496
Microphone Sensitivity 496
O Optimizing Your Computer for Digital
Audio 499
Speeding Up Your Hard Drive 500
Increasing Processing Speed 502
Preventing Interruptions 504
Setting the Buffer Size 506
Other Tips 506
Optimizing Macintosh for Audio 508
C Introduction to SMPTE Time Code 509
How the Time Code Works 509
Time-Code Signal Details 510
Drop-Frame Mode 510
xxi
Practical Recording Techniques
Setting Up a Time-Code System 512
How to Use SMPTE Time Code 514
Restriping Defective Code 515
Audio-for-Video SMPTE Applications 515
Synchronizing to Video 516
The Audio-Tape Synchronization Procedure 516
Using SMPTE with a Digital Audio Workstation 517
Other Time-Code Applications 519
D Further Education 521
Books and Videos 521
The Library 521
Pro Audio Books 521
Music Books Plus 521
Focal Press 522
Amazon.com 522
Recording Magazines 522
Pro Audio Magazines 522
Consumer Audio Magazines 523
Guides, Brochures, and Other Literature 523
Guides to Recording Schools 523
The Internet 524
Recording Equipment Catalogs 525
Experience 525
fc Impedance 527
What Is Impedance? 527
I m Connecting Two Audio Devices. Is It Important to Match Their
Impedances? What If I Don t? 527
What About Microphone Impedance? 529
I m Connecting a Mic to a Mixer. Is Impedance a Consideration? 529
Should I Consider Impedance When I Connect Two Line-Level
Devices? 530
Can I Connect One Source to Two or More Loads? 530
Can I Connect Two or More Sources to One Input? 530
Summary 531
xxii
Table of Contents
Glossary 533
Index 583
xxiii
|
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| ctrlnum | (OCoLC)915688739 (DE-599)BVBBV023648117 |
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| edition | 4. ed. |
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| id | DE-604.BV023648117 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T21:33:15Z |
| institution | BVB |
| isbn | 0240806859 9780240806853 |
| language | Undetermined |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-017244462 |
| oclc_num | 915688739 |
| open_access_boolean | |
| owner | DE-523 DE-Po75 |
| owner_facet | DE-523 DE-Po75 |
| physical | XXVII, 600 S. Ill. + CD-ROM |
| publishDate | 2005 |
| publishDateSearch | 2005 |
| publishDateSort | 2005 |
| publisher | Elsevier [u.a.] |
| record_format | marc |
| spelling | Bartlett, Bruce Verfasser aut Practical recording techniques [the step-by-step approach to professional audio recording] Bruce Bartlett ; Jenny Bartlett 4. ed. Amsterdam [u.a.] Elsevier [u.a.] 2005 XXVII, 600 S. Ill. + CD-ROM txt rdacontent n rdamedia nc rdacarrier Schallaufzeichnung (DE-588)4052020-1 gnd rswk-swf Audiotechnik (DE-588)4140445-2 gnd rswk-swf Audiotechnik (DE-588)4140445-2 s Schallaufzeichnung (DE-588)4052020-1 s DE-604 Bartlett, Jenny Verfasser aut HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017244462&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Bartlett, Bruce Bartlett, Jenny Practical recording techniques [the step-by-step approach to professional audio recording] Schallaufzeichnung (DE-588)4052020-1 gnd Audiotechnik (DE-588)4140445-2 gnd |
| subject_GND | (DE-588)4052020-1 (DE-588)4140445-2 |
| title | Practical recording techniques [the step-by-step approach to professional audio recording] |
| title_auth | Practical recording techniques [the step-by-step approach to professional audio recording] |
| title_exact_search | Practical recording techniques [the step-by-step approach to professional audio recording] |
| title_full | Practical recording techniques [the step-by-step approach to professional audio recording] Bruce Bartlett ; Jenny Bartlett |
| title_fullStr | Practical recording techniques [the step-by-step approach to professional audio recording] Bruce Bartlett ; Jenny Bartlett |
| title_full_unstemmed | Practical recording techniques [the step-by-step approach to professional audio recording] Bruce Bartlett ; Jenny Bartlett |
| title_short | Practical recording techniques |
| title_sort | practical recording techniques the step by step approach to professional audio recording |
| title_sub | [the step-by-step approach to professional audio recording] |
| topic | Schallaufzeichnung (DE-588)4052020-1 gnd Audiotechnik (DE-588)4140445-2 gnd |
| topic_facet | Schallaufzeichnung Audiotechnik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017244462&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT bartlettbruce practicalrecordingtechniquesthestepbystepapproachtoprofessionalaudiorecording AT bartlettjenny practicalrecordingtechniquesthestepbystepapproachtoprofessionalaudiorecording |