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The prices of recording equipment continue to drop dramatically, giving musicians and sound engineers increasing opportunities to make quality-level recordings. The Ultimate Guide to Music Recording takes a unique approach to this growing market, giving readers two books in one: a concise, tutorial audio engineering text in Part One, and then a ¿cut to the chase¿, how to record any instrument fast guide in Part Two. By carefully cross-referencing these sections, industry vet Shea has created the ultimate recording resource: a textbook where you can see immediately how basic principles are utilized in the studio, and a ¿how-to¿ guide that comes complete with all the background technical material one could need ¿ particularly when things don¿t turn out as planned. Covering the basics of studio recording technology, recording techniques for every major class of instrument, and a masterclass on mixing, this is the most complete guide to music recording ever written.
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Table of Contents

PREFACEINTRODUCTIONChapter 1: The BasicsWhy the Big Mystery About Decibels?Basic ElectronicsSeries and Parallel InterconnectionsAlternating CurrentPassive Electronic ComponentsActive Electronic ComponentsImpedance ExplainedAudio Recording MetersAudio Gain Stages and the Weak LinkExamples of the Charting of Gain StagesA Side Trip for More BackgroundBack to Examples of the Charting of Gain StagesChapter 2: The TourThe Studio TourInput Selector SwitchSendsAuxiliary ReturnsEqualizersDynamics ProcessorsStop the Presses!Time Delay ProcessingReverberation ExplainedOther EffectsMulti-Effects ProcessorsThe Control Room Monitor SystemMonitoring Systems Part IIChapter 3: MicrophonesMicrophone TypesMicrophone CharacteristicsPolar PatternsChapter 4: The Recording Process (The Job)A Basic SessionINDEX

About the Author

Mike Shea has been a leader in music recording for over 20 years. Staff Engineer at the Hit Factory in New York City in the mid-eighties when it was the leading, state-of-the-art recording facility in the world, he has built (and recorded in) numerous studios around the country. A writer for Pro Sound News, International Musician, Recording World, and The Record, he is former Technical Editor of Recording World. He teaches audio engineering at the Institute of Audio Research and lives in New York City.

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