Modern Recording Techniques: A Practical Guide to Modern Music Production (Audio Engineering Society Presents)

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
			Recording
			Setting a Session Tempo
			Changing Tempo
			Click Track
			Multitrack MIDI Recording
			Punching In and Out
			Step Time Entry
			Drum Pattern Entry
		MIDI to Audio
		Audio to MIDI
		Saving Your MIDI Files
		Again, We Can’t Stress This Enough …
		Documentation
		Editing
			Practical Editing Techniques
	Music Printing Programs
Chapter 10 The iOS in Music Production
	Audio Inside the iOS
		Core Audio on the iOS
		AudioBus
		Audio Units for the iOS
	Connecting the iOS to the Outside World
		Audio Connectivity
		MIDI Connectivity
	Recording Using iOS
		Handheld Recording Using iOS
		Mixing With IOS
		iDAWs
		Taking Control of Your DAW Using the iOS
	The iOS on stage
		iOS and the DJ
	iOS as a Musical Instrument
	The Ability to Accessorize
Chapter 11 Multimedia and the Web
	The Multimedia Environment
		The Computer
		Television and the Home Theater
		Delivery Media
		Networking
		The Web
		The Cloud
	Physical Media
		The CD
		The DVD
		Blu-ray
		The Flash Card and Memory USB Stick
		Media Delivery Formats
			Uncompressed Sound File Formats
			PCM Audio File Formats
			Direct Streaming Digital (DSD) Audio
			Compressed Codec SoundFile Formats
			Perceptual Coding
		Tagged Metadata
		MIDI
			Standard MIDI Files
			General MIDI
	Multimedia in the “Need for Speed” Era
		Streaming Audio over the Internet
	On a Final Note
Chapter 12 Synchronization
	Timecode
		Timecode Word
			Sync Information Data
			Timecode Frame Standards
			3:2 Pulldown Rate
		Timecode Within Digital Media Production
			Broadcast Wave File Format
		MIDI Timecode
			MIDI Timecode Messages
			SMPTE/MTC Conversion
	Timecode Production in the Analog Audio and Video Worlds
		LTC Refresh and Jam Sync
		Synchronization Using SMPTE Timecode
		SMPTE Offset Times
		Distribution of SMPTE Signals
			Timecode Levels
	Real-World Applications Using Timecode and MIDI Timecode
		Master/Slave Relationship
		Video’s Need for a Stable Timing Reference
		Video Workstation or Recorder
		Digital Audio Workstations
		Routing Timecode to and From Your Computer
		Analog Audio Recorders
	A Simple Caveat
		Keeping out of Trouble
Chapter 13 Amplifiers
	Amplification
		The Operational Amplifier
		Preamplifiers
		Equalizers
		Summing Amplifiers
		Distribution Amplifiers
	Power Amplifiers
		Power Amplifier Types
			Class A Amplifier
			Class B Amplifier
			Class AB Amplifier
			Class D Amplifier
Chapter 14 Power- and Ground-Related Issues
	Grounding Considerations
	Power Conditioning
		Multiple-Phase Power
		Balanced Power
	Hum, Radio Frequency (RF) and Electromagnetic Induction (EMI)
Chapter 15 Signal Processing
	The Wonderful World of Analog, Digital or Whatever
		The Whatever
		Analog
			Analog Recall
		Digital
	Plug-Ins
		Plug-In Control and Automation
	Signal Paths in Effects Processing
		Insert Routing
			External Control Over an Insert Effect’s Signal Path
		Send Routing
		Vive la Difference
		Sidechain Processing
		Parallel Processing
	Effects Processors
		Hardware and Plug-In Effects in Action
			Equalization
			Equalizer Types
			Applying Equalization
			EQ in Action!
		Sound-Shaping Effects Devices and Plug-Ins
			Dynamic Range
			Dynamic Range Processors
		Noise Reduction
			Digital Noise Reduction
			Adaptive Filtering
			Fast Fourier Transform
			Spectral Analysis Noise Reduction
			Snap, Crackle and Pop
	Time-Based Effects
		Delay
			Delay in Action: Less Than 15 ms
			Delay in Action: 15 to 35 ms
			Delay in Action: More Than 35 ms
		Reverb
			Reverb Types
		Psychoacoustic Enhancement
			Pitch Shifting
			Time and Pitch Changes
		Automatic Pitch Correction
		Multiple-Effects Devices
		Dynamic Effects Automation and Editing
Chapter 16 The Art and Technology of Monitoring
	Active Versus Passive Listening
		Tools for Listening
	Subjectivity in the Audio World
	Room, Speakers and Other Important Considerations
		A “Trusted” Space
		Monitor Speaker Types
			Far-Field Monitoring
			Near-Field Monitoring
			Small Speakers
			Headphones
			Earbuds
			In-Ear Monitoring
			Your Car
			Alternate Environments
		Spectral Reference
		Speaker Design
			Active Powered Versus Passive Speaker Design
			Speaker Polarity
	Monitoring
		Balancing Speaker Levels
	Monitor Volume
	Monitor Level Control
		Monitoring Configurations in the Studio
			1.0 Mono
			2.0 Stereo
			2 + 1 (Stereo + Sub)
Chapter 17 The Art and Technology of Recording
	The Fundamental Basics
		The “Good Rule”
		The Transducer
		A Good Attitude
		Active Versus Passive Listening
	The Recording Process
		Preparation
			The Power of Preparation
			What’s a Producer, and Do You Really Need One?
		Going Into the Studio
			Setting Up
			A Word About Isolation
		Recording
			A Deeper Understanding of a Console’s or DAW’s Recording Path
			Equalization
			Dynamics Section
			Monitor Section
			Channel Fader
			Output Section
			Patch Bay
			Metering
			Digital Console and DAW Mixer/Controller Technology
			OK, Back to the Task of Recording
			Additional Thoughts
			Fixing It in the Mix
			A Word on Levels
			Session Documentation
			Monitoring the Mix
			Latency
		Overdubbing
			Options in Overdubbing
		Reamping It!
Chapter 18 The Art and Technology of Mixing
	The Art of Mixing
		Ear Training
			Active Listening
		Preparation
			Preparing for the Mix
	The Technology of Mixing
		Understanding the Underlying Concept of “the Mixing Surface”
		The Mixer/Console Signal Path
			Channel Input
			Insert Points
			Send Points
			Automation
			Grouping
			Panning
			Channel Fader
			Gain Levels
			Channel Name
		Gain Structure, Baby!
	Mixing and Balancing Basics
		Main Output Mix Bus
	Some Final Words
		Getting Too Close to the Mix
		Quality Control (QC)
		Wherever You May Be, There You Are
Chapter 19 The Art and Technology of Mastering
	What Is Mastering?
		Help a Project to Sound “Right”
		Help Match the Levels and Overall Character Within a Project
		Help With Overall Levels
		Help With the Concept of Song Ordering
		Help With the Concept of Song Timing
	To Master or Not to Master – Was That the Question?
	Mastering the Details of a Project
		“Pre”paration
		Providing Stems
		Providing a Reference Track
		To Be There, or Not to Be There
	Common Tools of the Trade
		Sound File Volume
		Sound File Resolution
		Dither
		Relative Volumes
		EQ
		Dynamics
		Compression in Mastering
		Limiting in Mastering
		Multiband Dynamic Processing in Mastering
		Loudness Units Full Scale
		Mid/Side Processing
	To Master or Not to Master Yourself – That’s the Next Question!
		The Zen of Self Self-Mastering?
		Desert Island Mixes
	Two-Step or One-Step (Integrated) Mastering Option
	Understanding the Signal Chain
		Mastering Plug-Ins
	Mastering for the Internet
	On a Final Note
Chapter 20 Immersive Audio
	Immersive Audio: Past to the Present
		Stereo Comes to Television
		Theaters Hit Home
		Today’s Immersive Audio Experience
	Immersive Layouts
		The LFE
		Bass Management in a Surround System
		Speaker Placement and Setup
			5.0 Surround Minus an LFE
			7.1 Speaker Placement
			Adding Height Speakers
			Immersive Soundbars
		Surround Channel Layouts and Assignments
	The Immersive Audio Interface
		Speaker Level Calibration
		Speaker Time Calibration
		Monitoring in 5.1, 5.1.4, 7.1.4 and Beyond
	The Basic Formats for Understanding Immersive Audio
		Binaural Immersive Audio
		Ambisonic Immersive Audio
		Immersive Headphone Monitoring
		Dolby Atmos
			The Basics
	Mixing in Surround
	Reissuing Back Catalog Material
Chapter 21 Media Distribution and Manufacturing
	Product Distribution
		Build Your Own Website
		Uploading to Stardom
		Streaming
		Download Sites
		Internet Radio
	Money for Nothin’ and the Chicks …
		The Moral Question
		Royalties and Other Business Issues
		Do You Need a Music Lawyer?
		Do You Need a Label?
		Ownership of the Masters
		Registering Your Work
			Form SR
			Form PA
		Collecting the $$$
		Cryptocurrency
	Product Manufacture
		The CD
		DVD and Blu-ray Burning
		Optical Disc Handling and Care
		Vinyl
			Disc Cutting
			Disc-Cutting Lathe
			Cutting Head
			Pitch Control
			Vinyl Disc Plating and Pressing
	Further Reading
Chapter 22 It’s All About the Journey
	Wherever You May Be … There You Are!
	Showing Up Is Huge!
	Being Yourself!
	The Various “Doors” of Life
	Out of This Experience, DMH Learned a Few Things …
	Creating Your Own Reality
	Personal and Professional Stumbling Blocks
	Reinventing Yourself
	Perception as It Deals With the Art of Hearing
	When Is Too Much Gear Simply Too Much?
	The Bank Works for You, You Don’t Work for the Bank
	It Does Takes Time
	Happy Trails
	You, Your Art and Your Well-Being
Index