Mic It! : Microphones, Microphone Techniques, and Their Impact on the Final Mix

Cover
Half Title
Title Page
Copyright Page
Dedication
Table of Contents
About the Author
Acknowledgments
Chapter 1: Audio Basics
	1.1 It’s Not Always About the Gear!
	1.2 What is Sound?
	1.3 The Decibel (dB)
	1.4 Power Relationships
	1.5 Decibel Scales
	1.6 Dynamic Range
	1.7 Signal-to-Noise Ratio
	1.8 Frequency
	1.9 Frequency Response
	1.10 Waveforms, Fundamentals, and Harmonics
	1.11 Wavelength, Velocity, Phase
	1.12 Amplitude Summation
	1.13 Human Hearing
	1.14 Signal Flow and Audio Level Standards
	1.15 Gain Structure
	1.16 Analog Audio Connectors
	1.17 Digital Audio Connectors
	1.18 Digital Audio Basics
Chapter 2: “Good Sound”
	2.1 Recognizing Good Sound
	2.2 Sound Reproduction Formats
	2.3 Monitoring Options – Loudspeakers, Headphones, and Earbuds
	2.4 Compressed Audio Formats
	2.5 Dynamic Range
	2.6 What About Distortion?
	2.7 What is a Good Recording?
	2.8 Accuracy
	2.9 Non-Natural Sounds and Balances
	2.10 What are the Elements of a Good Mix?
	2.11 Frequency Balance
	2.12 Clarity and Intelligibility
	2.13 Musical Arrangement
	2.14 The Stereo Image
	2.15 Focus and Amplitude Balance
	2.16 Processing and Effects
	2.17 Song Structure and Arrangement
	2.18 Making a Great Record
Chapter 3: About Microphones…
	3.1 The Microphone
	3.2 End Address or Side Address?
	3.3 Directionality and Pick-Up Patterns
	3.4 Dynamic Microphones
	3.5 Condenser (Capacitor) Microphones
	3.6 Ribbon Microphones
	3.7 Tube (Valve) Microphones
	3.8 Other Microphone Technologies
	3.9 Phantom Power
	3.10 Proximity Effect
	3.11 Frequency Response
	3.12 Off-Axis Response
	3.13 Flat Microphones vs Vocal Microphones
	3.14 Low Frequency Response
	3.15 Low Frequency Instrument Microphones
	3.16 Sensitivity
	3.17 Self-Noise and Equivalent Noise Rating (ENR)
	3.18 Signal-to-Noise Ratio
	3.19 Maximum SPL
	3.20 Dynamic Range
	3.21 Transient Response
	3.22 Pop Filters, Windscreens, and Dead Cats
	3.23 Shock Mounts
	3.24 Mic Pre-Amps
	3.25 What Mic to Use?
	3.26 There’s More to it than Specifications!
Chapter 4: EQ Basics
	4.1 What is EQ?
	4.2 Last Resort, and Creative Mix Tool
	4.3 Can You EQ Spill?
	4.4 EQ Filters
	4.5 Analog vs Digital EQ
	4.6 Additive vs Subtractive EQ
	4.7 The Fewer Filters the Better
	4.8 How Much to EQ?
	4.9 When to EQ?
	4.10 Golden Rules of EQ
Chapter 5: Stereo Imaging
	5.1 The Stereo Soundstage
	5.2 Phantom and Discrete Images
	5.3 Image Width
	5.4 Beyond the Loudspeakers
	5.5 Depth Concepts
	5.6 The Illusion of Height
	5.7 Static and Dynamic Panning
	5.8 Image Symmetry
	5.9 Use All of the Soundstage!
	5.10 How to Listen
	5.11 Reality vs Recording
Chapter 6: Stereo Microphone Arrays
	6.1 Microphone Arrays
	6.2 XY Coincident Pair Techniques
	6.3 Blumlein Pair Technique
	6.4 Near-Coincident Pair Techniques
	6.5 Spaced Pair (AB) Techniques
	6.6 MS (Middle-Side) Techniques
	6.7 The Decca Tree
	6.8 Binaural and Baffle Techniques
Chapter 7: The Effect of Microphone Position
	7.1 Art and Science
	7.2 Distance and Tonal Qualities
	7.3 “Zoom Factor”
	7.4 Off-Axis Response
	7.5 Direct vs Reflected Sound
	7.6 Floor Reflections – the Good, the Bad, and Boundary Mics
	7.7 Distance and Stereo Arrays
	7.8 Spill – Enemy or Creative Tool?
	7.9 Why Minor Changes in Mic Position Change the Sound So Much
	7.10 Experimentation and Exploration
	7.11 Practical Tips to Help Set Mic Position
Chapter 8: The Recording Room
	8.1 Room Sound
	8.2 Live Rooms
	8.3 Dead Rooms
	8.4 Room Size
	8.5 Cubic Airspace
	8.6 Standing Waves and Resonant Frequencies
	8.7 Flutter Echo
	8.8 Microphone Directionality and Room Considerations
	8.9 Room Shape
	8.10 Absorption
	8.11 Diffusion
	8.12 The Purpose of the Room
	8.13 Acoustical “Home Remedies”
Chapter 9: Recording Vocals
	9.1 Is it Really About the Mic?
	9.2 Getting the Performance
	9.3 Vocal Tracking Methods
	9.4 Miking Individuals
	9.5 Voice and Acoustic Guitar
	9.6 Small Vocal Groups
	9.7 Larger Contemporary Vocal Groups
	9.8 Gang Vocals
	9.9 Vocal Processing Tips
	9.10 Vocal EQ Frequencies
Chapter 10: Drum Miking
	10.1 What Kind of Sound Does the Project Call for?
	10.2 How Many Mics Do You Really Need?
	10.3 Kick Drums
	10.4 Snare Drums
	10.5 Hi-Hats
	10.6 Tom Toms
	10.7 Cymbals and Overheads
	10.8 Room Mics
	10.9 Rock Drums vs Acoustic Jazz Drums
	10.10 Drum EQ Frequencies
Chapter 11: Guitars, Basses, and Keyboards
	11.1 The Role of the Rhythm Section Instruments
	11.2 Electric Guitar
	11.3 Electric Bass, and DI Boxes
	11.4 Acoustic (Upright) Bass
	11.5 Acoustic Guitar
	11.6 The Grand Piano
	11.7 The Upright Piano
	11.8 Electric Keyboards and Synthesizers
	11.9 Leslie Speakers and the Hammond Organ
	11.10 Accordions
	11.11 EQ Frequencies
Chapter 12: Strings, Winds, Brass, and Percussion
	12.1 Orchestral String Instruments
	12.2 Horn Section Instruments
	12.3 Other Wind and String Instruments
	12.4 Percussion Instruments
	12.5 EQ Frequencies
Chapter 13: Beyond the Basics
	13.1 “Ear Candy”
	13.2 Fixing Dull or Small Sounding Tracks
	13.3 Multi-Miking = Closer Miking
	13.4 Distance Mics – Guitar and Bass Cabinets
	13.5 Comb Filtering – Problems
	13.6 Comb Filtering – Creative Tool
	13.7 Double Tracking
	13.8 Room Mics
Chapter 14: Setting Up the Studio
	14.1 The Three or Seven Ps
	14.2 Bands – Small Room Recording
	14.3 Bands – Large Room Recording
	14.4 Iso-Rooms and Multi-Room Studios
	14.5 Gobos and Sound Barriers
	14.6 Drum Rooms
	14.7 String Sections
	14.8 Horn Sections
Chapter 15: Miking Large Ensembles
	15.1 Orchestras and Large Instrumental Ensembles
	15.2 Main Arrays
	15.3 Outriggers
	15.4 Woodwind Mics
	15.5 Natural Reverb and Room Acoustics
	15.6 Audience Mics
	15.7 Spot Mics
	15.8 To Time Align or Not to Time Align?
	15.9 Artificial Reverb
	15.10 The Hollywood Sound
	15.11 Large Choirs
	15.12 Jazz Big Bands – Concert Seating
	15.13 Jazz Big Bands – Studio Isolation Seating
Chapter 16: Putting it All Together
	16.1 The Pre-Mix
	16.2 The Monitor/Headphone Mix
	16.3 Click Tracks
	16.4 Knowing the Song
	16.5 Don’t Give Everything Away at Once
	16.6 Loudspeakers or Headphones? Again…
	16.7 Recording for the Mix
	16.8 Correct Problems Early (But Know When to Let Them Go)
	16.9 “Polishing a Turd”
	16.10 Exploration and Experimentation
Chapter 17: Tips from the Professionals…
	17.1 To Conclude…
	17.2 Lenise Bent
	17.3 David V. R. Bowles
	17.4 Kerry-Anne Kubisa
	17.5 Wes Maebe
	17.6 Matt Ross-Spang
	17.7 Mark Rubel
Index