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The Recording, Mixing, and Mastering Reference Handbook
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Table of Contents

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

About the Author

Karl Pedersen owns and manages Blue Apple Lyd-design studios and Canta*Libris publishing house. In addition to having written several books on audio and sound, he also teaches music and sound technology and is a performing musician. Mark Grimshaw-Aagaard is Obel Professor of Music at Aalborg University, Denmark. He has published widely across subjects as diverse as sound, biofeedback in computer games, virtuality, the Uncanny Valley, and IT systems, and also writes free, open source software for virtual research environments (WIKINDX).

Reviews

"Pedersen and Grimshaw-Aagaard have created an updated, contemporary desk reference for anyone interested in understanding the recording process, from tracking through preparation for distribution, in a taut, concise volume that is as detailed as it is accessible." --Seth Cluett, Computer Music Center, Columbia University "Great organization! The information provided in this book is concise and to the point while also offering a good amount of background information covering many techniques and nuances of music recording. It is a great resource for novice and professional engineers and producers alike. If you are involved in the recording of music in any capacity, you should have this book within reach." --Socrates Garcia, Associate Professor of Music and Director of Music Technology, University of Northern Colorado

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