Modern recording techniques a practical guide to modern music production
"Modern Recording Techniques is the bestselling, authoritative guide to sound and music recording. Whether you're just starting out or are looking to improve your skills, this book provides an in-depth guide to the art and technologies of music production and is a must-have reference for a...
| Otros Autores: | , , |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
New York, NY :
Routledge
[2024]
|
| Edición: | Tenth edition |
| Colección: | Audio Engineering Society Presents Series
|
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009843322406719 |
Tabla de Contenidos:
- Cover
- Half Title
- Series Page
- Title Page
- Copyright Page
- Table of Contents
- Acknowledgments
- Chapter 1 Introduction
- The Professional Studio Environment
- The Professional Recording Studio
- The Control Room
- The Project Studio
- Making the Project Studio Pay for Itself
- The Portable Studio
- The iRevolution
- The Retro Revolution
- The Changing Faces of the Music Studio Business
- Live/On-Location Recording: A Different Animal
- Audio for Video and Film
- Audio for Games
- The DJ
- The Times, They've Already Changed: Multimedia and the Web
- Power to the People!
- Whatever Works for You
- The People Who Make It All Happen
- The Artist
- Studio Musicians and Arrangers
- The Producer
- The Engineer
- Assistant Engineer
- Maintenance Engineer
- Mastering Engineer
- Studio Management
- Music Law
- Women and Minorities in the Industry
- Behind the Scenes
- Career Development
- Self-Motivation
- Networking: "Showing Up Is Huge"
- So, What Are Some Good Ways to Get Started?
- A Word on Professionalism
- In Conclusion
- Chapter 2 Sound and Hearing
- The Basics of Sound
- Waveform Characteristics
- Amplitude
- Frequency
- Frequency Response
- Velocity
- Wavelength
- Reflection of Sound
- Diffraction of Sound
- Phase
- Harmonic Content
- Envelope
- Loudness Levels: The Decibel
- Logarithmic Basics
- The Decibel
- Sound-Pressure Level
- Voltage
- Power
- The "Simple" Heart of the Matter
- The Ear
- Threshold of Hearing
- Threshold of Feeling
- Threshold of Pain
- Taking Care of Your Hearing
- Psychoacoustics
- Auditory Perception
- Beats
- Combination Tones
- Masking
- Perception of Direction
- Perception of Space
- Direct Sound
- Early Reflections
- Reverberation
- Chapter 3 Studio Acoustics and Design
- Studio Types
- The Professional Recording Studio.
- The Audio-for-Visual and Media Production Environment
- The Audio-for-Gaming Production Environment
- The Project Studio
- Primary Factors Governing Studio and Control Room Acoustics
- Acoustic Isolation
- Walls
- Floors
- Risers
- Ceilings
- Windows and Doors
- ISO-Rooms and ISO-Booths
- Acoustic Partitions
- Noise Isolation Within the Control Room
- Symmetry in Control-Room Design
- Frequency Balance
- Reflections
- Absorption
- High-Frequency Absorption
- Low-Frequency Absorption
- Flexible Surfaces
- The Practical Side of Acoustics
- Symmetry
- 25/25/50
- Speaker Placement
- Room Reflections and Acoustic Reverberation
- Acoustic Echo Chambers
- Chapter 4 Microphones: Design and Application
- Microphone Design
- The Dynamic Microphone
- The Ribbon Microphone
- Further Developments in Ribbon Technology
- The Condenser Microphone
- Powering a Condenser Mic
- External Power Supply
- Phantom Power
- The Electret-Condenser Microphone
- Microphone Characteristics
- Directional Response
- Frequency Response
- Transient Response
- Output Characteristics
- Sensitivity Rating
- Equivalent Noise Rating
- Overload Characteristics
- Microphone Impedance
- Balanced/Unbalanced Lines
- Soldering, Baby!
- Microphone Preamps
- Modeled Condenser Mic Systems
- Microphone Techniques
- Other Microphone Pickup Issues
- Low-Frequency Rumble
- Proximity Effect
- Popping
- Off-Axis Pickup
- Pickup Characteristics as a Function of Working Distance
- Close Microphone Placement
- Leakage
- Recording Direct
- Distant Microphone Placement
- Room Microphone Placement
- Room Pickup in the Studio
- The Boundary Effect
- "Reamping It" in the Mix
- Accent Microphone Placement
- Stereo and Immersive Mic Techniques
- Spaced Pair
- X/Y
- M/S
- Decca Tree
- Surround Miking Techniques
- Ambient/Room Surround Mics.
- Immersive Decca Tree
- Ambisonic Pickup
- Microphone Placement Techniques
- Brass Instruments
- Trumpet
- Trombone
- Tuba
- French Horn
- Guitar
- Acoustic Guitar
- Miking Near the Sound Hole
- Room and Surround Guitar Miking
- Nylon or Spanish Guitar
- The Electric Guitar
- Miking the Guitar Amp
- Recording Direct
- The Electric Bass Guitar
- Keyboard Instruments
- Grand Piano
- Upright Piano
- Electronic Keyboard Instruments
- Percussion
- Drum Set
- Miking the Drum Set
- Kick Drum
- Snare Drum
- Overheads
- Rack Toms
- Floor Tom
- Hi-Hat
- Tuned Percussion Instruments
- Congas and Hand Drums
- Xylophone, Vibraphone and Marimba
- Stringed Instruments
- Violin and Viola
- Cello
- Double Bass
- Voice
- Mic Tools for the Voice
- Woodwind Instruments
- Clarinet
- Flute
- Saxophone
- Harmonica
- Microphone Selection
- Shure SM57
- Telefunken M81
- AKG D112
- Royer Labs R-121
- Beyerdynamic M-160
- AEA A440
- Audio-Technica AT5045
- AKG C214
- Neumann TLM102
- Warm Audio WA-47
- Telefunken U47, C12 and ELA M251E
- Chapter 5 The Analog Tape Recorder
- To Commit or Not to Commit It to Tape?
- The Medium of Magnetic Recording
- The Professional Analog ATR
- The Tape Transport
- The Magnetic Tape Head
- Equalization
- Bias Current
- Monitoring Modes
- Tape, Tape Speed and Head Configurations
- Print-Through
- Analog Tape Noise
- Cleanliness
- Degaussing
- Editing Magnetic Tape
- Backup and Archive Strategies
- Backing up Your Analog Project
- Tape Restoration
- Archive Strategies
- Tape Availability
- Tape Emulation Plug-Ins
- Chapter 6 Digital Audio Technology
- The Language of Digital
- Digital Basics
- Sampling
- Quantization
- The Devil's in the Details
- The Nyquist Theorem
- Oversampling
- Signal-to-Error Ratio
- Dither
- Fixed- versus Floating-Point Processing.
- The Digital Recording/Reproduction Process
- The Recording Process
- The Playback Process
- Sound File Basics
- Sound File Bit Depths
- Sound File Sample Rates
- Professional Sound File Formats
- Regarding Digital Audio Levels
- Digital Audio Transmission
- AES/EBU
- S/PDIF
- SCMS
- MADI
- ADAT Lightpipe
- TDIF
- AES 67
- Signal Distribution
- What Is Jitter?
- Wordclock
- Chapter 7 The Digital Audio Workstation
- Integration Now - Integration Forever!
- DAW Hardware
- The Desktop Computer
- The Laptop Computer
- System Interconnectivity
- USB
- Thunderbolt
- FireWire
- Audio over Ethernet
- The Audio Interface
- Audio Driver Protocols
- Latency
- Need Additional I/O?
- DAW Controllers
- Hardware Controllers
- Instrument Controllers
- Touch Controllers
- Large-Scale Controllers
- Sound File Formats
- Sound File Sample and Bit Rates
- Sound File Interchange and Compatibility Between DAWs
- DAW Software
- Sound Recording and Editing
- Fixing Sound with a Sonic Scalpel
- Comping
- MIDI Sequencing and Scoring
- Support for Video and Picture Sync
- Real-Time, On-Screen Mixing
- DSP Effects
- DSP Plug-Ins
- Accelerator Processing Systems
- Fun With Effects
- Equalization
- Dynamics
- Delay
- Pitch and Time Change
- ReWire
- Mixdown and Effects Automation
- Exporting a Final Mixdown to File
- Power to the Processor … Uhhh, People!
- Get a Computer That's Powerful Enough
- Make Sure You Have Enough Fast Memory
- Keep Your Production Media Separate
- Update Your Drivers … With Caution!
- Read Your Manuals
- Going (at Least) Dual Monitor
- Keeping Your Computer Quiet
- Backup, Archive and Networking Strategies
- Computer Networking
- Session Documentation
- Documenting Within the DAW
- Make Documentation Directories
- Accessories and Accessorizing
- Protect Your Investment.
- Protect Your Hardware
- Protect Your Body
- Chapter 8 Groove Tools and Techniques
- The Basics
- Pitch-Shift Algorithms
- Warping
- Beat Slicing
- Audio to MIDI
- Groove Hardware
- Groove Software
- Looping Your DAW
- Loop-based Audio Software
- ReWire
- Groove and Loop-Based Plug-Ins
- Drum and Drum Loop Plug-Ins
- Pulling Loops into a DAW Session
- iOS Groove Apps
- Groove Controllers
- DJ Software
- Obtaining Loop Files from the Great Digital Wellspring
- Chapter 9 MIDI and Electronic Music Technology
- The Power of MIDI
- MIDI Production Environments
- What Is MIDI?
- What MIDI Isn't
- System Interconnections
- The MIDI Cable
- MIDI Phantom Power
- Wireless MIDI
- MIDI Jacks
- MIDI Echo
- Typical Configurations
- The Daisy Chain
- The Multiport Network
- MIDI 1.0 and 2.0
- Exploring the MIDI 1.0 Spec
- The MIDI 1.0 Message
- MIDI Channels
- MIDI Modes
- Channel Voice Messages
- Explanation of Controller ID Parameters
- System Messages
- Exploring the MIDI 2.0 Spec
- Introduction to MIDI 2.0
- The Three Bs
- Higher Resolution for Velocity and Control Messages
- Tighter Timing
- Sixteen Channels Become 256
- Built-in Support for "Per-Note" Events
- MIDI 2.0 Meets VST 3
- MIDI Capability Inquiry (MIDI-CI)
- The Three Ps
- The Universal MIDI Packet
- Groups
- MIDI 1.0 Protocol Inside the Universal MIDI Packet
- MIDI 2.0 Protocol Messages
- Expanded Resolution and Expanded Capabilities
- MIDI 2.0 Program Change Message
- The Future of MIDI 2.0
- MIDI and the Computer
- Connecting to the Peripheral World
- The MIDI Interface
- Electronic Instruments
- Inside the Toys
- Instrument and Systems Plug-Ins
- Keyboards
- The MIDI Keyboard Controller
- The Drum Machine
- MIDI Drum Controllers
- Drum Replacement
- Sequencing
- Integrated Hardware Sequencers
- Software Sequencers.
- Basic Introduction to Sequencing.
