Home studio setup everything you need to know from equipment to acoustics
Whether you have a ton of equipment or just the basic gear this book offers an all you need to know to setting up, running and getting great sound from a project studio. In three parts Harris walks you thought Acoustics, Equipment and Recording Technique. From the basics of acoustic treatment to tec...
| Autor principal: | |
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| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Amsterdam ; Boston :
Focal Press/Elsever
c2009.
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| Edición: | 1st edition |
| Colección: | Mastering music.
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| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627272206719 |
Tabla de Contenidos:
- Cover; Title Page; Copyright Page; Table of Contents; INTRODUCTION; SECTION 1. ACOUSTICS; CHAPTER 1 Introduction to Acoustics; Fundamentals of Acoustics; How Sound Travels Through Air; Frequency and Amplitude; Delay and Reverberation; Common Acoustic Problems; Flutter and Comb Filtering; Room Modes; The Two Types of Acoustic Treatment; Control; Isolation; Control vs. Isolation; CHAPTER 2 Planning; Programming; Programming Questions; Function; Goals; Time and Money; Making the Most of Your Room; One Room or Two?; One Large Room; Desk and Speaker Orientation; Making Your Room Work
- CHAPTER 3 ConstructionBasic Construction Tips and Tricks; Bass Traps; Building a Bass Trap; Diffusion; Buying or Building Diffusers; The Problem with Foam; Alternatives to Foam; Building Additional Permeable Walls; Wall and Floor Construction; Panel or Membrane Absorber; Common Problems and Solutions; Room Modes; Equalization; Absorption; SECTION 2. EQUIPMENT; CHAPTER 4 Computers and Recording; Digital Audio Workstation (DAW); Software-Based DAW; Pro Tools vs. Everything Else; Mac vs. PC; The Legitimate Reasons to Choose; Computer Hardware; The Processor; The Motherboard; RAM
- USB and FirewireHard Drives; Video Cards; Optical Drives; Sound Cards and Audio Interfaces; PCI Slots; Plug-Ins; Stock vs. Third-Party Plug-Ins; Modeled vs. Digital; Native vs. DSP; MIDI Keyboards, Synthesizers, and Samplers; MIDI Controllers; Samplers; Synthesizers; Loop Players; CHAPTER 5 The Front End; Tradition; Microphones; Dynamic Mics; Ribbon Mics; Condenser Mics; Microphone Polar Patterns; Microphone Preamplifiers; Tubes vs. Transformers (Solid State); Outboard Equalizers and Compressors; Analog-to-Digital Conversion; Cables; Cable Materials; Cable Types
- CHAPTER 6 Control and MonitoringMixing Consoles; Mixing Consoles vs. Audio Interfaces; Analog vs. Digital Mixing Consoles; Mixing in the Box or in the Console; Audio Interface Mixer Functions; Control Surfaces; Studio Monitors; Accuracy, Power, and Fatigue; Active vs. Passive; Near, Mid-, and Far Field; Headphones; Open vs. Closed; CHAPTER 7 Putting It All Together; Connection Scenarios; Connection Scenario 1; Connection Scenario 2; Connection Scenario 3; Furniture, Décor, and Ergonomics; Setting a Vibe; Lava Lamps and Lighting; Displaying Art and Instruments; Creative Acoustics
- Furniture and DécorPurchasing Suggestions and Equipment Conclusions; SECTION 3. RECORDING TECHNIQUES; CHAPTER 8 Recording Techniques; Fundamentals; Transducers; Signal Processing; Analog Recording; Digital Recording; Bit Depth and Sample Rate; Digital Recording Levels; Tracking; MIDI; The Purpose of MIDI; MIDI Techniques; Other Uses of MIDI; Production Basics; Using a Click Track; Using Loops; Signal Flow and Routing; Inserts; Auxiliary Sends and Returns; Busses; CHAPTER 9 Tools; Microphones; Microphone Technique; Choice Considerations; Instrument Acoustics; Proximity Effect; Common Problems
- Stereo Micing
