p.240
absorption 132–4; coefficient 133
accounting classes 197
acoustic guitars, miking 86
acoustical qualities 136
acoustics 131–45; basic terms 132–4; dealing with 134–5; DIY projects 136–45; making a room sound better 136–7
additional instrumentation/percussion 124
AEA R84 mic 99
AES/EBU connectors 232
AKG C 12 mic 92
AKG C 414 mic 92
AKG C 451 B mic 93
AKG D 12 mic 87
AKG D 112 mic 88
alternate monitor switch 47
ambisonic mics 79
amplitude (volume) 2–4, 18, 21–2, 43
analog 13, 147, 148, 150–2, 157–8, 236; cons 151–2; pros 151
analog-to-digital (A/D) converters 59, 236
analog four- or eight-track all-in-one recorders 66–7
analog model of signal flow 61–3, 64, 67, 68
analyzing music recordings 24–5
angelic sound 33
Apogee Duet interface 59
application 54
asking questions 172
audio interfaces 59–61; recording with a laptop and interface 64–6
audio schools/colleges/universities 176–81
Audio Technica AT4050 mic 93
Audix D6 mic 88
Auto-Tune 115
auxiliary section 40, 41, 44–5
Avenson STO-2 mic 94
backing vocals 87
balanced lines 227
banana plugs 232
basic (rhythm) tracks 117, 122–3; correcting 123
beefy sound 33
Berliner, Emile 148
Beyer M 201 mic 89
Beyerdynamic M 160 mic 99
big sound 33
bit depth 15
bit rate 15
bite 34
Blumlein, Alan 148
body 34
boomy sound 34
boosting a frequency 28
breathy sound 34
brittle sound 34
business and accounting classes 197
capture-store-monitor model 61–3, 64, 67, 68
cardioid mics 78
Cascade Fat Head mic 100
CD/track text 129
Cher 115
chimey sound 34
chorus FX 112
chunky sound 34
clean up 125
cochlea 236
Coles 4038 mic 100
coloring the sound 80
compression 1, 104–7, 125, 128, 214–15, 236
computers 148, 153–8; choices 155–6; MIDI 148, 153–5; software 156–7
condenser microphones 75–6, 92–9
p.241
control surface 39, 49–51, 236
critical distance 82
crunchy sound 34
cutting a frequency 28
DB25 connectors 234
decay 11
deep sound 34
diffraction 134
diffuser 136, 138–9, 140; random diffuser 139–41
diffusion 134
digital 13, 14–16, 147, 148, 152–3, 157–8, 236; audio terms 14–15; cons 153; lossy vs lossless 15–16; pros 152–3
digital-to-analog (D/A) converters 59
digital audio connectors 232–5
digital audio workstation (DAW) 184, 236
digital consoles 187
digital four- or eight-track all-in-one recorders 66–7
DIN MIDI connectors 234
direct boxes 84
directional characteristics of mics 77–9
dirty sound 34
distant sound 34
doubler 112
doubling 124
drums: miking up drumsets 85; tuning 122
ducking 107
dull sound 34
duplication 236
dynamic range, controlling 104–7
dynamics 55
ear 17–26, 71–2; how it works 17–21; training tools and techniques 21–6
Earthworks TC30 mic 94
echo 111
edgy sound 34
Edison, Thomas 148
editing 125, 126, 129, 151, 152
education: audio schools/colleges/universities 176–81; value of 212–14
effects (FX) 103, 126, 127; choice of 108–9; creating sound effects 108–13
eight-track all-in-one recorder 66–7
ELCO/Edac connectors 231
Electrovoice RE20 Variable-D mic 89
equalization (EQ) 4, 22, 27–37, 126, 128, 214–15; effects 108, 110, 111; EQ section of mixing console 40, 41, 42–4; general EQ areas 30–1; points of interest 31–3; terminology 33–7
equipment: FAQs 202–10; maintenance and repair 194–5; sales 194
evaluation 54
FAQs 201–26; equipment 202–10; industry insights 216–26; skills 210–16
fat sound 35
fees 199; mastering 129; recording studio engineering 188–9; running live sound 186–7
FireWire connectors 234
fixed frequency knob 44
flanger 112
flash drive 66
Fletcher–Munson curve 3, 17, 236
flutter echo 236
four-track all-in-one recorder 66–7
freelancing 183
frequency 2, 4–6, 43; equalization see equalization (EQ); harmonics 2, 9–11; hearing frequencies 17–18, 19–20
frequency response of mics 79–81
fuzzy sound 35
gain structure 58
gates 107
getting a split off the board 67
getting started 216–21; see also internships
glassy sound 35
guitar amps, miking 86
hard disk 66
hard knee 106
hard sound 35
harmonizer 113
headphones 122, 123, 123–4, 127
headroom 13
hearing 17–26; ear training tools and techniques 21–6
hearing loss 19
high-cut or low-pass filter (LPF) 29, 30, 236
p.242
high (treble) frequencies 5–6, 17–18, 32–3
high-frequency (HF) roll-off 108, 110
high-pass (or low-cut) filter (HPS) 29, 30, 74, 237
history of audio 147–58; computers 148, 153–8; history of recording 148–9; innovators and pioneers 149–50; pros and cons of analog 150–2; pros and cons of digital 152–3
hollow sound 35
hot sound 35
huge sound 35
hypercardioid mics 78
in the box 237
indexing information 129
input 108, 109, 110, 237; level 58; number of inputs 61; type of input channels 61
instruments 130, 189; frequency ranges 4, 5; selecting 119
internships 130, 169–81, 188; audio schools/colleges/universities 176–81; correct approach 174; hours involved 172; incorrect approach 175; rolling a mic cable 175; value of 170–1; what is involved 171–3
ips (inches per second) 237
isolation issues 120
jobs 183–200, 221–2; assistant engineer 188, 190; audio for games 191–2; equipment maintenance and repair 194–5; fees see fees; hip-hop or EDM producer 193; home studio 183–4, 195–7; live DJ 193–4; live sound engineer 184–7; mastering engineer 190; music and equipment sales 194; post-production 191; producer 188, 192–3; radio production engineer 192; recording studio engineer 188–90; taking a business or accounting class 197; tips for success 198–9
laptop computers 156; with audio interface 64–6
large-diaphragm condensers (LDCs) 75–6
Lauten Audio LA-320 mic 95
leakage (bleed-over) 73
Lear, Bill 148
levels 121, 127; equal 128; setting 58
line/mic switch 40, 41, 42, 63
linear frequency response 79–81
listening 17–26, 128; ear training tools and techniques 21–6
live sound engineering 167, 184–7
loose sound 35
low-cut (or high-pass) filter (HPF) 29, 30, 74, 237
low (bass) frequencies 5, 6, 17–18, 31
low-frequency oscillator (LFO) 112, 237
low-pass (or high-cut) filter (LPF) 29, 30, 236
LPs 148
MADI protocol 233
main (monitor) volume 47
maintenance and repair jobs 194–5
masking 237
master auxiliary section 47
master copies 129
master fader 47
master solo 47
master tapes 147
mastering engineer 190
Mbox 237
mellow sound 35
mic/line switch 40, 41, 42, 63
microphones 71–101; basic terminology 72–5; condenser 75–6, 92–9; directional characteristics 77–9; dynamic 75, 87–91; FAQs 202–3, 205–8; frequency response 79–81; guide and uses 87–101; placement 68, 69, 81–7; recording sessions 120, 121; ribbon 76, 99–101; rolling a mic cable 175; transducer types 75–6
midrange frequencies 5, 6, 17–18, 32
Mini connectors 230
mixing 53–6, 117, 125–8; knowing when it is complete 215–16; skill development 55–6, 210–12
mixing console 39–56; main features 39–49; other functions 51–3
Mojave Audio MA-200 mic 95
monitoring: analog model of signal flow 61–3, 64, 67, 68; monitor section of mixing console 40, 41, 45–6; on several systems 51–2, 127
monitors (speakers) 51–2, 62, 63, 71–2, 124
mono 237
p.243
Moog synthesizer 148
motherboard 156
MP3 149
muffled sound 35
multiple takes 123
multi-track recording 66–7, 148, 150
music retail 194
Musical Instrument Digital Interface (MIDI) 148, 153–5
mutes 127
nasal sound 35
nearfield monitors 51
networking 198
Neumann TLM 103 mic 96
Neumann U 87 mic 96
non-linear frequency response 79–81
normalization 15
Nyquist Theorem 14
Octopus 150
on axis 77
Open Sound Control (OSC) 155
optical/TOSLINK connectors 233
oscilloscope 237
output 110, 237; number of outputs 61
overdrive (distortion) 113
pan/panning 22, 23, 40, 41, 126, 237
patience 163
Peluso Microphone Lab 22 251 mic 97
people skills 55–6, 159–68; body language 165–6; communication skills 163–4; insecure artists 162–3; meeting people to record 167–8; opinions 162, 173; patience 163; questions before recording a band or artist 130, 189–90; scheduling, time management and organizational skills 166–7; song structure 164–5; vibe 161; word of mouth 159–60, 168, 171
phone connectors 229
pickup pattern selector 75
placement of microphones 68, 69, 81–7
pop filters 74
post-production 191
pots 237
pre and post fader 40, 41, 44, 45
preamp 40, 41, 42, 58, 73, 237
processing speed 156
producer 188, 192–3, 237; of hip-hop or EDM 193
promotion work 171
protocol 237
purpose of a recording 130, 189–90
questions, asking 172
quiet space for computer/tape machine 137, 144
rack-mounted audio interfaces 61
radio production engineer 192
RAM 156
rarefaction 1
RCA 44 mic 100
RCA (phono) connectors 230
recording sessions 117–30; basic or rhythm tracks 117, 122–3; mastering 117, 128–9; mixing 117, 125–8; overdubs 117, 123–5; preproduction 117–20; questions for bands/artists 130; rough mixes 117, 125; setup 117, 120–2; stages of recording 117–29
recording studio engineer 188–90
Red Book 237
replication 237
resumé 173
reverberation (reverb) 20–1, 21–2, 81–2, 108–10
reverse/flip return 40, 41, 42
rhythm (basic) tracks 117, 122–3; correcting 123
ringy sound 35
Røde NT5 mic 97
rolling a mic cable 175
room modes (standing waves) 134–5
Royer R-122 mic 101
sales 194
Samson CO3U mic 97
sawtooth waveforms 12
SE Electronics Voodoo VR1 mic 101
Sel-Sync-Octopus 150
self-employment 183
Sennheiser Ambeo VR mic 79
Sennheiser E 609 mic 89
p.244
Sennheiser MD 421 mic 90
seven-inch singles 148
shelving EQ 44
shimmering sound 35
shiny sound 35
shock mounts 74
Shure Beta 52A mic 90
Shure Beta 57A mic 90
Shure KSM27 mic 98
Shure KSM44 mic 98
Shure SM7B mic 91
Shure SM57 mic 91
Shure SM58 mic 91
side address 78
signal flow 45–6, 57–69; analog model 61–3, 64, 67, 68; applying 64–9; four- and eight-track all-in-one recorders 66–7; laptop with audio interface 64–6; live performance recording 67–9
signal processors 103–15; 500 series 113–14; controlling dynamic range 104–7; creating sound effects 108–13; plug-ins vs hardware 114–15
signal-to-noise ratio (S/N) 12
sine waveforms 2, 4, 7, 9, 12, 237
sizzly sound 35
slap 35
slapback echo 111
Slate Raven control surface 49, 50
small business and accounting classes 197
small-diaphragm condensers (SDCs) 75–6
‘small hall’ effect 108
smooth sound 36
soft knee 106
soft sound 36
software 208–9; compatibility 60; options 156–7; running live sound 187
solos 124
songs: order of 129; quality 56; selecting 119; structure 119, 164–5
sound 1–12; adjectives for describing 33–7; categories 20–1, 81–2; characteristics of 2–12
sound effects see effects (FX)
soundproofing 135
space between tracks 129
spaced pair stereo miking 84
S/PDIF connectors 232
speakers (monitors) 51–2, 62, 63, 71–2, 124
Speakon connectors 232
speed 112
square waveforms 12
stereo 238; miking 68, 69, 83–4; recording 148, 150
storing sound (analog model) 61–3, 64, 67, 68
Studio Projects CS5 mic 98
subcardioid mics 79
subs (sub frequencies) 31
subtractive equalization 29–30, 126
supercardioid mics 78
sweep 112
sweet spot 52
take 238
talent 56
TDIF connectors 233
ten-inch records 148
Texas audio schools/colleges/universities 177–8
thick sound 36
thin sound 36
Thunderbolt connectors 235
tight sound 36
time information 129
tinny sound 36
tiny sound 36
top address 78
top/side miking technique 85
transducers 17, 71–2; types of microphone 75–6
transient response 73
treble (high) frequencies 5–6, 17–18, 32–3
triangle waveforms 12
tubby sound 36
Tuchel connectors 231
tune 122
United States audio schools/colleges/universities 177–80
unity gain 58
UREI 1176LN compressor 149
USB connectors 233
vibe 161
visualization 54
vocals 124, 126–7, 144; backing vocals 87; good vocal mics 205–7; miking 86
volume (amplitude) 2–4, 18, 21–2, 43
warm sound 36
word of mouth 159–60, 168, 171
working hours 172
Wunder Audio CM7 FET mic 99
XLR connectors 230
XY stereo miking technique 68, 69, 84