[PDF/EPUB] Modern Recording Techniues BY David Miles Huber

David Miles Huber ó 2 Characters

The Barnes Noble ReviewWith digital technology virtually anyone can get their hands on professional uality recording tools do their own recordings even build their own studios But to do it well you need familiarity with a wide array of euipment and techniues This book covers them all It delivers practical a. Think of an eualizer as a freuency discriminating amplifier Think of a compressor as an automatic fader The audio spectrum is divided into four freuency bands Low 20 to 200Hz low mid 200 1000 Hz high mid 1000 to 5000 Hz and high 5000 to 20000 Hz The fundamentals of most instrument notes are found from 200 to 1000 Hz From 5000 Hz and higher you are dealing with the instruments harmonics Most instruments can be tweaked in two or three Hz locations Do your mix below 85 dB many producers do because mixing at high levels endangers the mix bass and treble shy when played back at low levels In air sound travels at 1130 feet per second Reverb delaydecay time the time it takes a reverberant sound to decay 60 dB The three to one distance rule to maintain phase integrity For every unit of distance between a mic and its source a nearby mic or multiple mics should be separated by at least three times that distance Halving the distance from your mic to sound source increases sound by 6 dB doubling the distance decreases it by 6 dB Turn something up 10 dB and it will sound twice as loud although you ve increased the signal s level 10 foldThink of condenser mics as capacitor mics because they store a charge on an electrostatic principle not an electromagnetic principle like an SM57 The mic diaphragm s capacitance changes with differences in sound pressure which varies the distance between a moveable diagram and the fixed back plate Phantom power supplies a positive DC supply voltage of 48V eually through both pins 2 and 3 Remember that cardioid pattern on a mic is named after being shaped like a heart Note your preamp s variable impedance control like on the front panel of a Tree Audio Branch to properly match the preamp to the design characteristics of the mic design Mic impedances are measured in ohms Any one of your mics could be wired out of phase all of your euipment has to be phase tested Don t hesitate to add distant room mics on separate tracks to help make things sometimes less in your face Recording drums to avoid phase problems make sure your overheads are euidistant from the kick drum On DAWs name tracks BEFORE you press record Find your DAWs notepad for including recording info needed later Think of sometimes recording a MIDI track in addition to an audio track You might need to do edits or sound changes that MIDI could have done easily Pages 300 202 chart all the Controller ID numbers 2 is for breath 4 is for foot 10 is pan etc Don t forget your power lines and audio lines have to be kept separate from each other for less noise Effect sends are used to augment a signal ie add delay reverb to send a mix of multiple channel signals to an effect then sending the combination to the monitor You use an insert for only augmenting a specific single channel You may need to do a final mix compression Bear in mind many of the best engineers like Bruce Swedien and Allen Sides record EVERYTHING in stereo to get it live sounding Try running your kick drum into a noise gate to use the kick to key an oscillator mixed in to fatten it up Delays 15 to 35 ms range is doubling Beyond 35 to 40 ms the listener will begin to perceive the sound as being a discrete echo Fast Fourier Transform noise reduction can be used to remove noise coughs and distractions from less than pristine important recordings Hitting the 0 button with a slash through it on a console will phase reverse a preamp s outputs Make sure one s monitors are in phase otherwise one speaker moves in while the other moves out and your sound will suck Use a mono signal through both speakers a polarity tester or a volt ohm meter to check that To register your copyright go to They are particularly looking for songs that rhyme true w blue or you and that vamp on one chord while the composer reads out of an on screen rhyming dictionary Your musical project Keep the vocals the central focus of the song Record your practices to get used to being under the gun Start work on your artwork Copyright it Your recorded songs aren t safe unless it s backed up in three locations In the end this very good book reminds you that trial and error and your ears will be your best friends so get to work and think first about mic selection and placement and not E and fixing stuff done wrong

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Modern Recording Techniues

Nd occasionally passionate advice on everything from studio acoustics to jitter miking drum sets to producing surround sound The authors take you inside the modern studio from its physical layout to the recording process and participants roles After a surprisingly useful primer on sound and hearing they tur. This one could seem a bit superficial to the advanced technician but for the curious musician and the recording student it s a whole bible No fat just essential information wisely categorized Definitely keeping it nearby forever

Characters Modern Recording Techniues

N to euipment mikes digital audio and when to use analog tape instead; MIDI amps consoles speakers and You ll find in depth practical guidance on synchronization noise reduction mastering manufacturing CDs really just about any facet of recording you re interested in Bill Camarda from the July 2005 href Onl. Great and invaluable tome for recording featuring many sections and subjects covered Perhaps not the most in depth book out there but good for a uick and basic understanding of things


10 thoughts on “Modern Recording Techniues

  1. says:

    This book is too wince inducing to read mostly due to its unnecessarily dumbed down tone its heavy reliance on meaningless wordy phrases In recent years; one of the common complaints that some people have overwhelming number of typos and grammatical errors and constant passive voice the following methods can be tried However it contains a lot of useful information for novices

  2. says:

    Think of an eualizer as a “freuency discriminating amplifier” Think of a compressor as an “automatic fader” The audio spectrum is divided into four freuency bands Low 20 to 200Hz low mid 200 1000 Hz high –mid 1000 to 5000 Hz and high 5000 to 20000 Hz The fundamentals of most instrument notes are found from 200 to 1000 Hz From 5000 Hz and higher you are dealing with the instruments harmonics Most instruments c

  3. says:

    Very thorough and competent walk through the realms of recording Will use this for reference for a long time I bet

  4. says:

    Great book for novices to recording Gives you some basic techniues for mic placement goes through the nitty gritty technical

  5. says:

    this book has a pretty good historcal opening about the germans a neat picture of bing Crosby with his eight alot of good information in there

  6. says:

    This one could seem a bit superficial to the advanced technician but for the curious musician and the recording student it

  7. says:

    Great and invaluable tome for recording featuring many sections and subjects covered Perhaps not the most in depth book out there but good for a uick and basic understanding of things

  8. says:

    Audio recording Text book Very good for that All the important stuff is there and well explained I used it when studying Sound Engineering in the late 80s It still holds up of course

  9. says:

    This book is full of a LOT of information Some of it is redundant but I think that's better than being sparse; it allows you to hav

  10. says:

    A comprehensive and thorough review of audio production I found the book mostly engaging and able to keep me interested i

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