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

Cover
Half Title
Title Page
Copyright Page
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 vs Pitch
	1.9 Frequency Response
	1.10 Waveforms, Fundamentals, and Harmonics
	1.11 Wavelength, Velocity, Phase
	1.12 Amplitude Summation and Comb Filtering
	1.13 Human Hearing
	1.14 Signal Flow and Audio Level Standards
	1.15 Gain Structure and Recording Levels
	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 Mono Compatibility
	2.5 Compressed Audio Formats
	2.6 Dynamic Range
	2.7 What About Distortion?
	2.8 What Is a Good Recording?
	2.9 Accuracy
	2.10 Non-Natural Sounds and Balances
	2.11 What Are the Elements of a Good Mix?
	2.12 Frequency Balance
	2.13 Clarity and Intelligibility
	2.14 The Stereo Image
	2.15 Focus and Amplitude Balance
	2.16 Processing and Effects
	2.17 Musical Arrangement and Song Structure
	2.18 Making a Great Record
Chapter 3 About Microphones, Part 1…
	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 Single vs Dual Diaphragm Microphones
	3.7 Pressure and Pressure Gradient Transducers
	3.8 Ribbon Microphones
	3.9 Tube (Valve) Microphones
	3.10 Stereo Microphones
	3.11 Virtual Microphones
	3.12 Other Microphone Technologies
Chapter 4 About Microphones, Part 2…
	4.1 Phantom Power
	4.2 Proximity Effect
	4.3 Frequency Response
	4.4 Off-Axis Response
	4.5 Flat Microphones vs Vocal Microphones
	4.6 Low Frequency Response
	4.7 Low Cut Filters
	4.8 Low Frequency Instrument Microphones
	4.9 Sensitivity
	4.10 Self-Noise and Equivalent Noise Rating (ENR)
	4.11 Signal-to-Noise Ratio
	4.12 Pads
	4.13 Maximum SPL
	4.14 Dynamic Range
	4.15 Transient Response
	4.16 Pop Filters, Windscreens, and Dead Cats
	4.17 Shock Mounts
	4.18 Mic Preamps
	4.19 What Mic to Use?
	4.20 There’s More to It Than Specifications!
Chapter 5 EQ Basics
	5.1 What Is EQ?
	5.2 Last Resort, and Creative Mix Tool
	5.3 Can You EQ Spill?
	5.4 EQ Filters
	5.5 Analog vs Digital EQ
	5.6 Additive vs Subtractive EQ
	5.7 The Fewer Filters the Better
	5.8 How Much to EQ?
	5.9 When to EQ?
	5.10 Golden Rules of EQ
Chapter 6 Stereo Imaging
	6.1 The Stereo Soundstage
	6.2 How to Listen
	6.3 Phantom and Discrete Images
	6.4 Image Width
	6.5 Beyond the Loudspeakers
	6.6 Depth Concepts
	6.7 The Illusion of Height
	6.8 Static and Dynamic Panning
	6.9 Image Symmetry
	6.10 Use All of the Soundstage!
	6.11 Reality vs Recording
Chapter 7 Stereo Microphone Arrays
	7.1 Microphone Arrays
	7.2 XY Coincident Pair Techniques
	7.3 Blumlein Pair Technique
	7.4 Near-Coincident Pair Techniques
	7.5 Spaced Pair (AB) Techniques
	7.6 MS (Middle-Side) Techniques
	7.7 The Decca Tree
	7.8 Binaural and Baffle Techniques
Chapter 8 Immersive Audio
	8.1 Surround and Immersive Audio
	8.2 Channel Panning and Object Based Audio
	8.3 The New Challenges of Immersive Audio
	8.4 Channel Based Microphone Techniques
	8.5 Binaural Techniques
	8.6 Introducing Ambisonics…
Chapter 9 The Effect of Microphone Position
	9.1 Art and Science
	9.2 Distance and Tonal Qualities
	9.3 “Zoom Factor”
	9.4 Off-Axis Response
	9.5 Direct vs Reflected Sound
	9.6 Comb Filtering Problems
	9.7 Floor Reflections – the Good, the Bad, and Boundary Mics
	9.8 Stereo Arrays and Distance
	9.9 Spill – Enemy or Creative Tool?
	9.10 Mic Position Practicalities
	9.11 Multi-Miking
	9.12 Experimentation and Exploration
	9.13 Practical Tips to Help Set Mic Position
Chapter 10 The Recording Room
	10.1 Room Sound
	10.2 Live Rooms
	10.3 Dead Rooms
	10.4 Room Size
	10.5 Cubic Airspace
	10.6 Standing Waves and Resonant Frequencies
	10.7 Flutter Echo
	10.8 Microphone Directionality and Room Considerations
	10.9 Room Shape
	10.10 Absorption
	10.11 Diffusion
	10.12 The Purpose of the Room
	10.13 The Single Room Home Studio
	10.14 Acoustical “Home Remedies”
	10.15 Monitor Calibration Software?
Chapter 11 Recording Vocals
	11.1 Is it Really About the Mic?
	11.2 Getting “the” Performance
	11.3 Vocal Tracking Methods
	11.4 Miking Individuals
	11.5 Voice and Acoustic Guitar
	11.6 Small Vocal Groups
	11.7 Larger Contemporary Vocal Groups
	11.8 Gang Vocals
	11.9 Vocal Recording Tips
	11.10 Vocal EQ Frequencies
Chapter 12 Drum Miking
	12.1 What Kind of Sound Does the Project Call For?
	12.2 How Many Mics Do You Really Need?
	12.3 Kick Drums
	12.4 Snare Drums
	12.5 Hi-Hats
	12.6 Tom Toms
	12.7 Cymbals and Overheads
	12.8 Room Mics
	12.9 Rock Drums vs Acoustic Jazz Drums
	12.10 Drum EQ Frequencies
Chapter 13 Drum Tuning
	13.1 Why Learn to Tune Drums?
	13.2 Fundamental vs Lug Frequencies
	13.3 Drums and Tuning Concepts
	13.4 Kick Drum Tuning
	13.5 Snare Drum Tuning
	13.6 Tom Tom Tuning
	13.7 Fixing Rings and Resonances
	13.8 Tuning Devices and Apps
Chapter 14 Guitars, Basses, and Keyboards
	14.1 The Role of the Rhythm Section
	14.2 Electric Guitar
	14.3 Creative Comb Filtering
	14.4 Direct Boxes
	14.5 Reamping
	14.6 Amp and Pedal Simulation
	14.7 Electric Bass
	14.8 More on Guitar and Bass Cabs
	14.9 Acoustic (Upright) Bass
	14.10 Acoustic Guitar
	14.11 Grand Piano
	14.12 Upright Piano
	14.13 Electric Keyboards and Synthesizers
	14.14 Leslie Speakers and the Hammond Organ
	14.15 Accordions
	14.16 EQ Frequencies
Chapter 15 Strings, Winds, Brass, and Percussion
	15.1 Orchestral String Instruments
	15.2 Horn Section Instruments
	15.3 Other Wind and String Instruments
	15.4 Percussion Instruments
	15.5 EQ Frequencies
Chapter 16 Setting Up the Studio
	16.1 The Three or Seven P’s
	16.2 Bands – Small Room Recording
	16.3 Bands – Large Room Recording
	16.4 Iso-Rooms and Multi-Room Studios
	16.5 Gobos and Sound Barriers
	16.6 Drum Rooms and Drum Screens
	16.7 String Sections
	16.8 Horn Sections
Chapter 17 Miking Large Ensembles
	17.1 Orchestras and Large Instrumental Ensembles
	17.2 Main Arrays
	17.3 Outriggers
	17.4 Woodwind Mics
	17.5 Natural Reverb and Room Acoustics
	17.6 Audience Mics
	17.7 Spot Mics
	17.8 To Time Align or Not to Time Align?
	17.9 Artificial Reverb
	17.10 The Hollywood Sound
	17.11 Large Choirs
	17.12 Jazz Big Bands – Concert Seating
	17.13 Jazz Big Bands – Studio Isolation Seating
Chapter 18 Putting It All Together
	18.1 Recording for the Mix
	18.2 Ear Candy
	18.3 Pre-Production
	18.4 The Pre-Mix
	18.5 The Headphone Mix
	18.6 Click Tracks
	18.7 Knowing the Song
	18.8 Don’t Give Everything Away at Once
	18.9 Correct Problems Early (But Know When to Let Them Go)
	18.10 Fixing Dull or Small Sounding Tracks
	18.11 “Polishing a Turd”
	18.12 Exploration and Experimentation
Chapter 19 Audio for Video
	19.1 Why Audio for Video?
	19.2 Types of Audio
	19.3 Recording Systems
	19.4 Synchronization
	19.5 Shotgun Microphones
	19.6 Blimps
	19.7 Boompoles and Pistol Grips
	19.8 Lavalier Microphones
	19.9 Voice-Overs and Dialog Replacement
	19.10 Isolation and Restoration Software
	19.11 Sound Effect Recording
Chapter 20 Tips From the Professionals…
	20.1 To Conclude…
	20.2 Lenise Bent
	20.3 David V. R. Bowles
	20.4 Joel Hamilton
	20.5 Kerry-Anne Kubisa
	20.6 Wes “Wesonator” Maebe
	20.7 Matt Ross-Spang
	20.8 Mark Rubel
	20.9 Catherine Vericolli
	20.10 Paul “Willie Green” Womack
Index