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    Practical Recording Techniques: The Step-by-step Approach to Professional Audio Recording (Paperback) By (author) Bruce Bartlett, By (author) Jenny Bartlett

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    DescriptionThis hands-on, practical guide covers all aspects of recording, perfect for beginning and intermediate recording engineers, producers, musicians, and audio enthusiasts. Filled with tips and shortcuts, this book gives advice on equipping a home studio (both low-budget and advanced), suggestions for set-up, acoustics, choosing monitor speakers, and preventing hum. This best-selling guide also instructs how to judge recordings and improve them to produce maximum results. New in the sixth edition: * Complete update of digital media material, including updated equipment and microphone descriptions * Digital performers and computer DAWs *Additional material regarding ProTools ability to let owners choose other interfaces with their software * More information on how the hook-ups in a studio work, with more advice on setting up a home project studio, and expansion of location recording material * Further information on things like Auto-tune and multiband limiting, a useful plug-in round up * Further information on workflow, addressing issues like file formats, uploading & downloading of songs and materials, and use of a computer as a recording device * Expansion on Internet issues * Updated home studio setup information, including the workflow with Windows 7 and Mac OSX * Expansion of technicalities of MIDI, including data structure and controller codes Companion website can be found at http://www.taylorandfrancis.com/cw/bartlett-9780240821535/.

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    Practical Recording Techniques
    The Step-by-step Approach to Professional Audio Recording
    Authors and contributors
    By (author) Bruce Bartlett, By (author) Jenny Bartlett
    Physical properties
    Format: Paperback
    Number of pages: 528
    Width: 188 mm
    Height: 234 mm
    Thickness: 28 mm
    Weight: 862 g
    ISBN 13: 9780240821535
    ISBN 10: 024082153X

    Nielsen BookScan Product Class 3: T1.7
    BIC E4L: MUS
    B&T Book Type: NF
    Libri: I-MU
    Ingram Subject Code: MU
    B&T Merchandise Category: TXT
    B&T Modifier: Region of Publication: 01
    B&T Modifier: Subject Development: 20
    B&T General Subject: 710
    B&T Approval Code: A08850000
    BIC subject category V2: AVX
    B&T Approval Code: A08150000
    LC subject heading:
    DC22: 621.389/3, 621.3893
    BISAC V2.8: TEC001000
    LC subject heading:
    Warengruppen-Systematik des deutschen Buchhandels: 15990
    LC subject heading:
    BISAC V2.8: MUS032000
    LC subject heading:
    DC23: 621.3893
    LC classification: TK7881.6 .B367 2013
    Ingram Theme: ASPT/SCITAS
    Thema V1.0: TTA, AVX
    6, Revised
    Edition statement
    6th Revised edition
    Taylor & Francis Ltd
    Imprint name
    Focal Press
    Publication date
    12 September 2012
    Publication City/Country
    Review quote
    Praise for the 5e: "...packed with well-illustrated graphics and pictures and gives extensive guidance on everything from studio and location recording techniques through to publishing your sounds on the web."-- James Eade, Lighting and Sound International
    Table of contents
    Preface Acknowledgements 1 Music: Why We Record Increasing Your Involvement in Music Different Ways of Listening Why Record? 2 The Recording Process Types of Recording Pros and Cons of Each Method Recording the Mixes 3 Sound, Signals, and Studio Acoustics Sound Wave Creation Characteristics of Sound Waves Behavior of Sound in Rooms How to Tame Echoes and Reverb Making a Quieter Studio Signal Characteristics of Audio Devices 4 Equipping Your Studio Equipment Setting Up Your Studio Hum Prevention Reducing Radio Frequency Interference 5 Monitoring Speaker Requirements Nearfield[tm] Monitors Powered (Active) Monitors The Power Amplifier Speaker Cables and Polarity Control-Room Acoustics Speaker Placement Using the Monitors Headphones The Cue System Conclusion 6 Microphones Transducer Types Polar Pattern Frequency Response Impedance (Z) Maximum SPL Sensitivity Self-Noise Signal-to-Noise Ratio Polarity Microphone Types Microphone Selection Mic Accessories Summary 7 Microphone-Technique Basics Which Mic Should I Use? How Many Mics? How Close Should I Place the Mic? Where Should I Place the Mic? On-Surface Techniques The Three-to-One Rule Off-Axis Coloration Stereo Mic Techniques 8 Microphone Techniques Electric Guitar Electric Bass Synthesizer, Drum Machine, and Electric Piano Leslie Organ Speaker Drum Set Percussion Acoustic Guitar Singer/Guitarist Grand Piano Upright Piano Acoustic Bass Banjo Mandolin, Dobro, Bouzouki, and Lap Dulcimer Hammered Dulcimer Fiddle (Violin) String Section String Quartet Bluegrass Band and Old-Time String Band Harp Horns Saxophone Woodwinds Harmonica, Accordion, and Bagpipe Lead Vocal Background Vocals Spoken Word Choir and Orchestra Summary 9 Effects and Signal Processors Software Effects (Plug-Ins) Equalizer Compressor Limiter Noise Gate Delay--Echo, Doubling, Chorus, and Flanging Reverberation Preverb Enhancer Octave Divider Harmonizer Vocal Processor Pitch Correction Tube Processor Rotary Speaker Simulator Analog Tape Simulator Spatial Processor Microphone Modeler Guitar Amplifier Modeler Distortion De-Click and De-Noise Surround Sound Multi-effects Processor Looking Back Sound-Quality Glossary 10 Mixers and Mixing Consoles Stages of Recording Mixer Functions and Formats Analog Mixer Digital Mixer Software Mixer Control Surface 11 Mixer Operation Session Preparation Recording Playback Overdubbing Punching-In Composite Tracks Getting More Tracks Drum Replacement Mixdown Summary Automated Mixing Lo-Fi Recording: How to Trash Your Tracks 12 Judging Sound Quality Classical versus Popular Recording Good Sound in a Pop-Music Recording Good Sound in a Classical-Music Recording Training Your Hearing Troubleshooting Bad Sound 13 Digital Recording Analog versus Digital Digital Recording The Clock Digital Audio Signal Formats Dither Jitter Digital Transfers or Copies 2-Track Digital Recorders Multitrack Digital Recorders Backup 14 Computer Recording Basic Operation The Computer Audio Interfaces DSP Card Analog Summing Amplifier Recording Software Optimizing Your Computer for Multitrack Recording Using a DAW Audio for Video 15 Session Procedures, Mastering, and CD Burning Preproduction Setting Up the Studio Setting Up the Control Room Session Overview Recording Overdubbing Breaking Down Mixdown Mastering Transferring the Mastered Program to CD-R Master Log Copyrights and Royalties 16 MIDI and Looping MIDI Components Recording Music Made by Soft Synths "No sound" MIDI Troubleshooting Recording with a Keyboard Workstation Recording with a Drum Machine and Synth Using Effects Loop-Based Recording Summary 17 On-Location Recording of Popular Music Record Off the Board Record with Mics and a Portable Digital Recorder Record with a 4-Tracker Connect the PA Mixer Insert Sends to a Recording Mixer Splitting the Mic Signals Multitrack Recording in a Truck Preparing for the SessionPreparing for Easier Setup At the Session: Setup Mic Techniques Sound Check and Recording Teardown 18 On-Location Recording of Classical Music Equipment Selecting a Venue Session Setup Microphone Placement Setting Levels Recording a Concert Editing 19 Web Audio and Online Collaboration Streaming versus Downloading Data Compression Web-Related Audio Files What You Need How to Upload Compressed Audio Files Putting Your Music On Your Website Collaborating by Sharing Files Finding Studio Musicians, Producers and Engineers A dB or Not dB Definitions Sound Pressure Level Signal Level The VU Meter, Zero VU, and Peak Indicators Balanced versus Unbalanced Equipment Interfacing Balanced and Unbalanced Equipment Microphone Sensitivity B Optimizing Your Computer for Multitrack Recording Speeding Up Your Hard Drive Increasing Processing Speed Preventing Interruptions Setting the Buffer Size Minimizing Latency Other Tips Windows Vista and Windows 7 Optimizing MacIntosh for Multitrack Recording C Impedance What is Impedance? I'm connecting two audio devices. Is it important to match their impedances? What if I don't? What about microphone impedance? I'm connecting a mic to a mixer. Is impedance a consideration? Should I consider impedance when I connect two line-level devices? Can I connect one source to two or more loads? Can I connect two or more sources to one input? Summary D Phantom Power Explained Definition Using a Stand-Alone Supply Cautions for Use DC Bias E Where to Learn More Books and Videos Recording Magazines Pro Audio Magazines Consumer Audio Magazines Guides, Brochures, and Other Literature Guides to Recording Schools The Internet Recording Equipment Catalogs Experience Starting a Career as a Recording Engineer Glossary