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The Recording Engineer's Handbook 4th Edition


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English
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Category
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โœฆ Synopsis


Bobby Owsinski's The Recording Engineer's Handbookhas become a music industry standard, and this fully updated fourth edition once again offers the most comprehensive and up-to-date introduction to the art of audio recording.

Written with special emphasis on today's technology and the evolving marketplace, The Recording Engineer's Handbook Fourth Edition includes a complete overview of recording as it's done by most musicians and producers today in their home studios.

In the book's first section, you'll learn everything from how microphones work to specific techniques for recording drums, individual instruments, vocals and much more. In the second section you'll benefit from the wisdom and down-to-earth practical advice offered by a host recording professionals including all-time greats like Al Schmitt, Eddie Kramer, Frank Filipetti and many other others.

Topics covered include:

An overview of recording elements, including microphones, preamps, compressors and DAWs
Recording techniques and placement guidance for just about any musical instrument or vocal
Prepping and recording drums and percussion
Basic tracking and overdub advice and strategies, and stereo and immersive audio recording techniques
Interviews with some of the world's best hit-making engineers, and much more
Learn the art of recording with renowned author, teacher, producer and engineer Bobby Owsinski, and, in the interviews, explore the creative processes behind not only today's hits but the classic cuts we've enjoyed for years. See for yourself why The Recording Engineer's Handbook, Fourth Edition is the book that's a standard text in college courses all over the world.

โœฆ Table of Contents


Introduction
Meet The Engineers
How Microphones Work
The Dynamic Microphone
How It Works
Table 1.1: Dynamic Microphone Advantages And Disadvantages
The Ribbon Microphone
Table 1.2: Ribbon Microphone Advantages And Disadvantages
A Short History Of Ribbon Microphones
The Condenser Microphone
The Electret Condenser
Table 1.4: Condenser Microphone Advantages And Disadvantages
Condenser Microphone Fallacies
Condenser Microphone Operational Hints
Phantom Power
Microphone Specifications
Sensitivity
Table 1.4: Microphone Sensitivity Chart
Overload Characteristics
Frequency Response
Free-Field or Diffuse-Field
Noise
Directional Response
Omni-Directional
Figure Of Eight
Cardioid
Hyper-Cardioid Microphones
Specialty Microphones
Shotgun Microphones
Lavaliere Microphones
PZM Microphones
Wireless Microphones
Stereo Microphones
Parabolic Microphones
Binaural Microphones
Microphone Accessories
Pop Filters
Windscreens
Shock Mounts
Common Microphones
Classic Microphones
RCA 44 Ribbon Microphone
RCA 77 Unidirectional Ribbons
Neumann U 47
Neumann U 47 FET
Neumann U 67
Neumann M 49/50
Neumann KM 84 Series
Neumann KM 54/56
Neumann U 87
AKG D 12/112
AKG C 12/Telefunken ELA M 250/251
AKG C451
AKG 414 Series
Sony C-37A
Schoeps M 221B
STC/Coles 4038
Shure SM57
Sennheiser MD 421
Sennheiser MD 441
Beyer M 160
Electro-Voice RE20
New Versions Of The Classics
Audio Engineering Associates
Bock Audio Designs (Formerly Soundelux)
Mojave Audio
Pearlman Microphones
Peluso Microphone Lab
Telefunken Elektroakustik
Wunder Audio
Modeling Microphones
The New Classics
Audio-Technica AT4050/4033
Heil Sound PR 40
Royer R-121
Shure Beta 52A
Shure SM81
Yamaha SKRM-100 Subkick
Inexpensive Microphones
Quality Controlโ€™s The Thing
You Can Never Be Sure Of The Sound
The Weakness
Some Good Choices
Behringer B-1
Cascade FAT HEAD
MXL MCA SP1/2001
Octava MK-012
Rร˜DE NT1-A
sE Electronics sE2200a
Studio Projects C1
ADK A-51 Mk 5.1
Building Your Own
Meet Microphone Designer David Bock
Basic Recording Equipment
The Microphone Preamplifier
Why A Separate Mic Amp?
Vintage Mic Pres
Neve 1073/1081
API 312/512
Telefunken V72/V76
Modern Mic Pres
Great River
Vintech
Daking
Universal Audio
Hardy
Millennia Media HV-3C
Grace
500 Series Racks
Building Your Own
Mic Amp Setup
Primary Controls
Setup Method
Direct Injection
Advantages Of Direct Injection
Direct-Box Types
Direct-Box Setup
Amplifier Emulators
Compressor/Limiters
Primary Controls
Types Of Compressors
Limiting
Typical Compressor/Limiters
Teletronix LA-2A
United Audio LA-3A
UREI LA-4
UREI 1176
Compressor/Limiter Setup
DAW Recording
Computer Recording
The Computer Audio Interface
Latency
FireWire Versus USB Versus Thunderbolt
Table 4.1: Interface Speeds
Sample Rate
Table 4.2: Typical Sample Rates
Bit Depth
Setting The Recording Level
Headroom
Gain-Staging
Troubleshooting
Microphone Placement Fundamentals
The Formula For Getting Good Sounds
The Fundamental Choices
Choosing The Best Place In The Room
Choosing The Right Mic
Finding The Optimum Placement
How To Find The โ€œSweet Spotโ€
General Placement Techniques
Avoiding Phase Cancellation
Electronic Phase Cancellation
Checking The Polarity
Acoustic Phase Cancellation
The 3-to-1 Principle
Checking The Phase By Listening
Checking Phase With A Phase Meter
Checking Phase With An Oscilloscope Plug-In
Basic Stereo Techniques
General Types Of Stereo Miking
Coincident Pair
X/Y
M-S
M-S Decoding
Blumlein Array
The Stereo Microphone
Spaced Pair
The Decca Tree
Near-Coincident Pair
ORTF
NOS
Baffled-Omni Pair
Preparing The Drum Kit For Recording
The Keys To A Great-Sounding Drum Kit
Drum Construction
Drum Heads
Table 7.1: Drum Head Selection
The Drum Tuning Technique
Tuning Between The Top And Bottom Heads
Tuning Between Drums
Tuning Tips
Cymbals
Interview With โ€œThe Drum Doctorโ€ Ross Garfield
Drum-Prep Checklist
Recording Drums
Before You Begin
General Considerations
Minimal Mic Setups
Single Mic Setup
Two Mic Setup
Three Mic Setup
Four Mic Setup
Miking The Drums Individually
Miking The Kick
Considerations
Placement
The Kick Tunnel
Considerations
Placement
The Subkick
Miking The Snare
Considerations
Placement
Brushes
Miking The Hi-Hat
Considerations
Placement
Miking The Toms
Considerations
Placement
The Overhead Mics
Considerations
Placement
The Room Mics
Considerations
Placement
Distinctive Drum Sounds
The โ€™60s Beatles Sound
Considerations
Placement
The โ€™70s Drum Sound
Considerations
Placement
The Reggae Drum Sound
Miking Individual Instruments
Accordion
Considerations
Placement
Audience
Considerations
Placement
Bagpipes
Considerations
Placement
Banjo
Considerations
Placement
Bass (Acoustic String Or Upright)
Considerations
Placement
Bass (Electric)
Considerations
Placement
Bassoon
Considerations
Placement
Bongos
Considerations
Placement
Bouzouki
Considerations
Placement
Brass
Considerations
Placement
Trumpet
Trombone
Tuba
French Horn
Choir
Considerations
Placement
Clarinet
Considerations
Placement
Claves
Considerations
Placement
Claps
Conga
Considerations
Placement
Cowbell
Considerations
Placement
Crowd
Didgeridoo
Considerations
Placement
Djembe
Considerations
Placement
Dobro (Resonator Guitar)
Considerations
Placement
Dulcimer
Considerations
Placement
Ensemble (Vocal, Saxophone, or Other)
Fiddle
Considerations
Placement
Flute
Considerations
Placement
French Horn
Guitar (Acoustic)
Considerations
Placement
Guitar (Electric)
Considerations
Placement
Guitar (Nylon or Gut String)
Considerations
Placement
Glockenspiel (also known as Glock or Orchestral Bells)
Considerations
Placement
Gong
Considerations
Placement
Hand Claps
Considerations
Placement
Harmonica (Blues Harp)
Considerations
Placement
Harp
Considerations
Placement
Indian Instruments
Considerations
Placement
Sitar
Tabla
Tambura
Koto
Considerations
Placement
Leslie Speaker
Considerations
Placement
Mandolin
Considerations
Placement
Marimba (Also See Vibes)
Considerations
Placement
Mouth Harp (Also Called Jewโ€™s Harp or Jaw Harp)
Considerations
Placement
Piano (Grand)
Considerations
Placement
Piano (Upright)
Placement
Piccolo
Considerations
Placement
Recorder
Considerations
Placement
Saxophone
Considerations
Placement
Shaker
Considerations
Placement
Steel Drums (Also Known As Steel Pans Or Pan Drums)
Considerations
Placement
Stick (Chapman Stick)
Considerations
Placement
String Section
Considerations
Placement
Synthesizer (Or Any Kind Of Electric Keyboard)
Considerations
Placement
Tambourine
Considerations
Placement
Timbale
Considerations
Placement
Timpani (Also Known as Kettle Drum)
Considerations
Placement
Triangle
Considerations
Placement
Trombone
Trumpet
Tuba
Vibes (Or Vibraphone)
Considerations
Placement
Vocals (Background)
Considerations
Placement
Vocals (Solo)
Considerations
To Eliminate Pops, Lip Smacks, and Breath Blasts
The Hanging Microphone
Placement
Voice-Overs
Considerations
Placement
Whistling
Placement
Recording Basic Tracks
Preparing For The Session
Setting Up A Talkback Mic
The Importance Of Communication
Headphones And The Cue Mix
Personal Headphone Mixes
The Click Track
Making The Click Cut Through The Mix
Preventing Click Bleed
When A Click Wonโ€™t Work
The Tracking Session
Where To Place The Players in the Room
How Long Should It Take?
Recording Without Headphones
Leakage
A Couple Of Non-Essentials
Recording A Tuning Reference
Recording A Count-Off
The Assistant Engineer
Recording Overdubs
Overdub Setup
Recording In The Control Room
Setting Up The Overdub In The Studio
Overdubbing Individual Instruments
Getting The Most From A Vocalist
Electric Keyboard Overdubs
Electric Guitar Overdubs
Tone Controls
Instrument Variety
Amp Variety
Going Direct
Using An Amplifier Emulator
Acoustic Guitar Overdubs
Acoustic Guitar Recording Preparation
Instrument Variety
Going Direct
Processing During Recording
Immersive Audio Miking Techniques
Binaural Recording
Multi-Miking For Immersive Audio
OCT Surround
IRT Cross
Hamasaki Square
Double M-S
Miking Drums In Surround
Surround Technique #1
Surround Technique #2
Surround Technique #3
The Halo
Surround Microphones
The Holophone
The Schoeps KFM 360
SoundField MKV Microphone And Model 451 Decoder
B-Format
Sennheiser AMBEO 3D VR Microphone
Chuck Ainlay
Steve Albini
Michael Bishop
Bruce Botnick
Ed Cherney
Wyn Davis
Frank Filipetti
Eddie Kramer
Mark Linett
Mack
Al Schmitt
Glossary
About Bobby Owsinski
Bobby Owsinski Bibliography
Bobby Owsinski Lynda.com Video Courses
Bobby Owsinskiโ€™s Online Connections


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