96-channel, In-line consoles, 54–55
A
Absolute delay, 253
Acoustic bass, 75
Acoustic compressors, 345
Acoustic energy, 309
Acoustic guitars, 124
Acoustic reverberation chambers, 272–276
Adjustable resistance, 190
Air conditioning, 301
Alternative signal paths, 376
A.M. (amplitude modulation) synthesizer, 214
Ambience, 147
Ambient pressure, 8
Ambient/room microphones, 354
intermodulation distortion, 95–96
Amplitude axis, 81
Amplitude curve, 141
Amplitude modulation (A.M.) synthesizer, 214
Amplitude signature, 145
Analog magnetic recording systems, 198–199
Analog multitrack recorders, 63
Analog noise gates, 178
Analog tape machines, 208
Analog tape saturation distortion, 225
Analog-to-digital converters, 140, 197–198
Artificial reverberation, 303
Asymmetric distortion, 95
Attack parameters, 135, 151, 171
Attack setting, 134, 151–161, 171
parameter interdependence, 157–159
program dependence, 159
Attack times, 151, 158–159, 176
Attack trajectories, 159
Audible coloration, 274
Audible comb filtering, 241
Audible frequency, 73
effect signatures, 84
level control, 83
panning, 83
stretching, 83
Audible spectrum, 154
Audio circuits, 191
Audio ear training, 29, 129–130
Audio faders, 191
Audio frequency range, 104
Audio lexicon, 103
Audio path, 136
Audio pulse, 295
Audio signal processor, 103
saving, 393
alternative signal paths, 376
automated composites, 378
everything automation, 379–381
alternative signal paths, 376
automated composites, 378
practice, 387
snapshot automation, 381
balance, 384
rides, 386
special effects, 386
tweaks, 386
Automated mute commands, 379
Auxiliary (aux) send, 57–62, 201, 377
Average amplitude, 7
B
Baker, Roy Thomas, 241
Band-based productions, 41
Bandwidths, 17, 66, 107, 108, 109
Bass guitars, 81, 195, 334–335
Bass Ratio (BR), 265–267, 283, 315
Bass ratio metric, 278
Bass ratio target value, 311
Beats per minute (bpm), 216
Bending waves, 280
Bit resolution, 192
Blumlein pair approach, 346
Boosts, 129
Boston Symphony Hall, 268, 278
Bottom curve, 72
Bpm (beats per minute), 216
BR (Bass Ratio), 265–267, 283, 315
Built-in equalizer, 62
Built-in software, 51
C
tuning by ear, 216
Call-and-response type, 225
Capacitors, 208
Cassette tapes, 34
Chambers, 311
Channel faders, 49, 53, 57, 59
Channel/monitor layouts, 49
Channel path, 48, 50, 52, 54, 66
Chord voicings, 82
Clarity, 125
Clavinet, 336
Cliché echo, 226
Clipping, 100
distortion, 168
Close microphones, 306, 344–346, 353
moving coil dynamic cardioid, 344–345
small diaphragm condenser, 345–346
Coincident (XY) cardioids approach, 346
Colocated signals, 83
Comb filters, 231–235, 236, 238, 285–290, 354
Complex wave, 232
Composites, automated, 378
Composition phase, 64
Compression, 5, 40, 54, 66, 131–166, 208, 333. See also Compressors
altering amplitude envelope, 145–147
ambience, 147
artifacts, 147
improving intelligibility and articulation, 142–143
increasing perceived loudness, 141–142
smoothing performance, 143–144
parameter interdependence, 157–159
program dependence, 159
identifying compressors, 164
imitation, 163
attack setting, 134
make-up gain, 135
ratio setting, 133
release setting, 134
threshold control, 132
subjectivity, 162
tube (valve) compressors, 137
voltage-controlled amplifier (VCA)
compressors, 138
Compressors
identifying, 164
tube (valve), 137
voltage-controlled amplifier (VCA), 138
Computer-based mixers, 380
Concertgebouw, Amsterdam, 268, 278, 296, 297
Condenser microphones, 346, 352
Console channel inputs, 118
Consoles. See Mixing consoles
Constructive interference, 227–231
Continuum-panning paradigm, 370
Contrasting reverbs, 316
Contrasting spatial qualities, 314
Control rooms, 48
Convolution, 291, 292, 297, 323
Convolution engine, 296
Convolution hardware/software, 323
Convolution reverberators
Copper wire, 190
Counterpoint, 82
Coupled springs, 276
Critical listening, 129
Cubic volume, 273
Cut buttons, 375
Cuts, automated mixing, 375–379
alternative signal paths, 376
automated composites, 378
musical instrument digital interface (MIDI) equivalents, 377–378
Cycle-by-cycle reshaping, 335
D
Daltrey, Roger, 223
Dashed curve, 78
DB. See Decibels
Decay slope, 156
Decaying reflections, 285
Decaying sounds, 177
Decca tree, 347
equation for, 21
positive expression of, 32
zero, 32
experimental sessions, 244–245
echoes, 222
support from, 223
features, 210
Destructive interference, 227–231
DI (direct injection) box, 42, 356
Diaphragm condensers, 347, 362
Digital audio recorders, 197
Digital audio workstation, 50, 200, 202, 329
Digital-based mixers, 380
Digital delays, 207, 210, 225, 253
Digital faders, 192
Digital multi-effects unit, 339
Digital multitrack recorders, 63
Digital overload, 198Digital piano, 369–371
Digital reverb, 284
convolution reverberators, 291–303
infinite impulse response (IIR)
Digital signal-processing, 254, 256, 284, 311
Digital volume controls, 192
Dimmers, 91
Direct injection (DI) box, 42, 356
Directional loudspeakers, 275
Directional microphones, 122, 349, 350
Discographies
reverberation (reverb), 324–325
volume, 203
Dissonant intervals, 99
Distance, versus amplitude, 9–11
Distortion, 89–102, 126, 149–150, 195, 336
intermodulation distortion, 95–96
asymmetric, 95
devices for, 97
threshold of, 92
Documentation, 374
Dotted eighth note, 321
Downward expanders, 168
Driver-plate pick-up system, 281
Driver-spring pick-up system, 276
Drummers, 343
Drums
compressing tracks, 355
sounds, 123
Dry tracks, 270
Dull snare, 350
DVD-audio/video, 63
Dynamic microphones, 352
improving intelligibility/articulation,
increasing perceived loudness,
smoothing performance, 143–144
of vocal track, 337
Dynamic reverberant systems, 322–323
E
Ear training, 29
Echo density, 287
support from, 223
Effect signatures, 84
procrastination, 64
special, 127–129, 254–255, 331–332
start tape, 260
stop tape, 260
Eighth-note delay, 218
Electrical voltage, 190
Electroluminescent panel, 137
Electromagnetic radiation, 121
Ensemble, 309
Envelope, snare drums, 351–353
attack, 352
Equal-tempered tuning, 26
Equalization (EQ), 103–130. See also
Equalizers
fitting tracks together, 125–127
multiband, 109
frequency select, 106
program, 111
spectral modification, 104–106
Equalizers
multiband, 109
four-band, 109
frequency select, 106
program, 111
Even harmonics, 95
Everything automation, 379–381
increasing dynamic range, 167–169
attack setting, 171
range setting, 173
External hardware controllers, 391
F
Fade-ins, 177
alternative signal paths, 376
automated composites, 378
musical instrument digital interface
digital, 192
moving, 388
software, 391
voltage-controlled amplifier (VCA), 191–192, 389–390
Fast attack compression, 155
Fast release, 146
Fast-release
compression, 147
Feedback loops, 39
FET (field effect transistor), 138
Field effect transistor (FET), 138
First-draft effects, 64
Fitting tracks together, 125–127
Fixing problematic notes, 256–257
Flange/comb filters, 331
Flat-frequency response, 105, 282, 286
Flow complexity, 47
Flutter echo, 285
Ford, Mary, 242
Four-band parametric equalizers, 109, 112
Frequency axis, 12, 72, 74, 81, 267
Frequency components, 96
Frequency contour, 233
Frequency-dependent constructive
interference, 346
Frequency-dependent decay, 266
Frequency-dependent destructive
interference, 346
Frequency-dependent reverb time, 311
Frequency (f), versus amplitude, 11–13
Frequency notch, 239
Frequency select parameter, 106, 109, 111
Frequency specific amplitude adjuster, 103
Frequency spectrum, 120
Frequency threshold, 73
Frets, 256
Full-range frequency response, 299
Fundamental frequency, 24
Fundamental pitches, 25
Fuzz boxes, 97
FX. See Effects
Gas particles, 36
Gated rooms, 355
gating through waveform editing, 177–178
increasing dynamic range, 167–169
attack setting, 171
range setting, 173
Generalized spatial sound, 305–306
Guitars
foot pedal, 336
H
Half note, 342
Handclaps, 291
Hardware-based console, 51
Harmonic distortion, 91–95, 97, 101, 335
asymmetric distortion, 95
components, 99
Harmonic energy, 100
Headphones, 60
Headroom, 35
Hearing frequency response, 76
High-frequency attenuation, 226
High-frequency energy, 198, 311
High-frequency EQ boost, 337
High-frequency reverb time, 266
High-frequency shimmer, 76
High-frequency sine waves, 72
High-frequency sound energy, 347
High-frequency sparkle, 104
High-pass filter, 114, 121, 122, 362
High-ratio compression, 352
High-resolution multitasking, 60
High-transmission-loss sound barriers, 271
Hold parameter, 172
Horn arrangers, 376
Horsepower, 284
Hybrid sounds, 82
I
Iconic guitar solo sound, 101
IIR. See Infinite impulse response
Impulse response, 281, 291, 295, 296, 297, 299, 318
monitor path versus channel path, 54
Incandescent bulb, 137
Inductors, 208
Infinite impulse response (IIR), 284–285, 304–305
digital reverbs, 302
reverberators, 284
Input/output levels, 210
Input/output modules, 200
Inputs, 51
Insulators, 190
Intelligibility, improving, 142–143
Interference
Intermediate frequencies, 232
Intermodulation distortion, 95–96
Internal voltage rails, 91
Isobars, 9
K
Kick drums, 124, 195, 332–333, 349
Kick element, 194
Kick track, 334
Kilopascals (kPa), 5
KPa (kilopascals), 5
L
Large diaphragm cardioid condenser
Late decay, 277
Late energy, 306
LEDs (light-emitting diodes), 137, 190
Level control, 83
Level detector circuit, 136, 137, 169
LFE (low frequency effects), 63
LFO (low frequency oscillator), 185, 214, 370
Light-emitting diodes (LEDs), 137, 190
altering amplitude envelope, 145–147
ambience, 147
artifacts, 147
improving intelligibility and articulation, 142–143
increasing perceived loudness, 141–142
smoothing performance, 143–144
parameter interdependence, 157–159
program dependence, 159
identifying compressors, 164
imitation, 163
attack setting, 134
make-up gain, 135
ratio setting, 133
release setting, 134
threshold control, 132
subjectivity, 162
tube (valve) compressors, 137
voltage-controlled amplifier (VCA)
compressors, 138
Linear signal, 90
Listening
skill of, 118
wishful, 85
Log, 32
Logarithmic frequency axis, 234
tuning by ear, 216
echoes, 222
support from, 223
Long reverb, 330
Longitudinal waves, 36
Loudspeakers, 263, 274, 313, 385
Low frequency effects (LFE), 63
Low-frequency energy, 118
Low-frequency loudness, 75
Low-frequency noise, 122
Low frequency oscillator (LFO), 185, 214, 370
Low-frequency reverb time, 266
Low-frequency roll-off filters, 118
Low-frequency sine waves, 72
Low-frequency thunder, 76
Low-pass filters, 114, 179, 226, 287
Low shelf cut, 362
Low-threshold, 352
Lower octave reverb time, 266
M
Machine-controlled pan pots, 322
Magic dust, 55
Mahler symphony, 269
Main reverb, 377
Make-up gain, 135
Masked state, 84
overcoming, 313
unmasking reverb, 316
effect signatures, 84
level control, 83
panning, 83
stretching, 83
Measurement equipment, 267
Medium-attack, 352
Medium release compression, 155–156
Microphones
cables for, 105
moving coil dynamic cardioid, 344–345
small diaphragm condenser, 345–346
close compensation, 306
creative technique, 271
large diaphragm cardioid condenser, 347–348
moving coil dynamic cardioid, 344–345
directional, 349
large diaphragm cardioid condenser, 347–348
preamplifiers for, 118, 197, 299
in reverb chamber, 274
room, 349
small diaphragm condensers, 345–346
Mid-frequency presence peak, 347
Mid-frequency reverb time, 266, 287
Mid-frequency texture, 76
Mid-side (MS) approach, 346
Middle frequency loudness, 75
MIDI (Musical Instrument Digital Interface), 259
automation, 375
jacks, 359
Midrange-hogging instruments, 364
Milliseconds, 216
Milliwatt, 30
Mirror image cut, 67
Mix engineer, 386
Mix parameters, 391
Mix path, 48
Mixdown sessions, 45–46, 64, 271, 392
Mixer automation system, 215
Mixing, 194, 391–392. See also Mixing
consoles
everything automation, 379–381
snapshot automation, 381
challenges, 330
rhythm sections, 336
stereo mix, 339
channel path, 48
monitor path versus channel path,
practice, 387
moving faders, 388
software faders, 391
voltage-controlled amplifier (VCA)
Modulating delay, 254
Modulation parameters, 214
Monitor path, 48–49, 50, 52, 54, 66, 200
Mono signal, 331
Moving coil dynamic cardioid microphones, 344–345
Moving faders, 388
MS (mid-side) approach, 346
Mud-range, 123
Multi-effects processors, 55
Multiband equalizers, 109, 113
Multiple vocal tracks, 242
Multitap delays, 243
Multitrack arrangements, 313
Multitrack production, 197, 241, 269–270
Musical delay time, 216, 218–222
Musical dynamics, 141
Musical Instrument Digital Interface. See
MIDI
Musical pitch-labeling scheme, 26
Musikvereinssaal, Vienna, 268, 278
Mute switches, 193
N
Narrow band, 123
Natural reverb, 304
Negative excursions, 9
Negative peak, 7
Negative sine wave, 17
Negative voltages, 228
Net piano tone, 76
Net wave, 20
Neumann U47/U87, 348
Noise
Nonconvolution reverbs, 296
Nonflat-frequency response, 105
Nonlinear reverb, 320
Nonlinearities, 96
Notation system, 26
O
Octave band calculations, 287
Ohm′s Law, 31
Omnidirectional microphones, 122, 275
One-dimensional space, 276
One-half cycle frequencies, 229
Open reel tape machines, 225
Orchestra, 363
Oscillating waves, 8
Outboard equalizers, 118
Output voltages, 31
Overcompressing, 162
Overdubbing, 41, 42–45, 65, 66, 69, 194, 196, 269, 272, 313, 341
Overhead microphones, 346–349, 353–354
directional, 349
timbral benefits of cardioids, 347–348
P
Pads, 362
Parallel comb filters, 287
Parallel effects, 65
Parameter-determined gating, 173
Parameters, 165
Parametric equalizers, 106–116
four-band, 109
frequency select, 106
Patch, 254
Patch bay, 62
Peak/dip contour, 113
Peak-to-peak amplitude, 7
wishful listening, 85
Percussion, 34
Permutations, 164
Phons, 73
Piccolo, 350
Pick-up transducer, 280
Pink noise, 265
Pitch-correction tools, 256
chorus, 254
fixing problematic notes, 256–257
start tape effects, 260
stop tape effects, 260
Pitch-shifted songs, 253
Pitch-shifted vocal, 258
Plates, 307
Playback head, 224
Playback piano synthesizers, 369
Polarity, 20
Pop filter, 122
Pop vocals, 242
Positive peak, 7
Positive voltages, 228
Postfader aux send, 208
Postfader effects send, 61
Postmasking, 80
Potentiometers, 190
Pounds per square inch (PSI), 5
Power amplifiers, 91
Practice, 69
Pre/post switch, 60
Precision amplitude adjustments, 143
Premasking, 80
Preproduction, 69
Presets, 135
Pressure, 37
Processed sound, 56
Producers, 343
Production standards, 119
Program equalizers, 111
PSI (pounds per square inch), 5
Psychoacoustics, 238
Pulse code modulation, 295
Pultec tube EQ, 303
Pure-tone sine wave, 8
Pure tones, 234
Q
Quarter notes, 216, 217, 218, 321
R
Radio transmitters, 140
RAM (random access memory), 207
Rarefaction, 5
Real-time analyzers (RTAs), 12
Realistic space, 305
Record head, 224
Recording, 341
Recording budget, 70
Recording engineers, 68–69, 329
Reflected energy, 349
Reflection density, 281
Reflections, 235–237, 264, 267, 306
Regeneration control, 210
Release adjustments, 159
Release parameters, 134, 135, 151, 171
Release setting, 134, 151–161, 171–172
parameter interdependence, 157–159
program dependence, 159
Release trajectories, 159
Repro mode, 224
Resonance, 280
Resonant filters, 369
Response lyrics, 338
Reverb-based synthesis, 322
Reverb-generating signal processors, 268
Reverb processor, 55
Reverb signal processing, 316
Reverb time (RT60), 265, 273, 289
Reverberant decay, 267
Reverberation (reverb), 263–325
creative microphone technique, 271
multitrack production, 269–270
predelay, 267
reverb time (RT60), 265
acoustic reverberation chambers, 272–276
digital, 284
room tracks, 272
nonspatial applications, 310–324
Rhythm sections, 336
Rides, 386
RMS (root mean square), 8
Room acoustics, 238, 272, 315, 316
Room microphones, 349
Room tracks, 179, 181, 271, 272
Root mean square (RMS), 8
Rough mix, 51
RT60 (reverb time), 265, 273, 289
RTAs (real-time analyzers), 12
S
Sabine, Wallace Clement, 272
Safety backups, 393
Schroeder, Manfred, 285
Scratch tracks, 41
Semi-parametric equalizers, 109–111
Serial all-pass filters, 287–290
Servomotors, 389
Sharp attacks, 367
Shelving filters, 115
Short decay time, 306
Short delay, 214, 227–240, 244
Shorter delay, 332
Side chain signal, 148
Signal chain, 135
channel path, 48
features, 210
procrastination, 64
Signal-processing, 255
Signal processing, 316, 384–385
Signal-processing
Signal-to-noise ratio, 35, 200
Sine wave frequency, 229
Sine wave oscillators, 104
Sine wave patch, 104
Sine wave stability, 234
Sine waves, 10–11, 13–15, 34, 149, 229, 249
Single input, 89
Single mono room track, 272
Single output, 89
Sinusoids, 105
Slap delay, 339
Slow attack settings, 153
Slow release settings, 153, 158
SM57 microphone, 345
Small diaphragm condenser microphones, 345–346
Small drums, 351
Snapshot automation, 381
Snapshot systems, 381
room microphones, 349
Soft compression, 339
Software algorithms, 253
Software faders, 391
Sonic illusions, 307
Sonic isolation, 309
Sound pressure level (SPL), 31, 72, 74, 77
Sound-reinforcement speakers, 274–275
Sound waves, 35
Spaced cardioids, 348
Spasmotic Research X-17 compressor, 67
Spatial sound
spatial adjustments, 306
close microphone compensation,
ensemble, 309
width, 308
Spatial variables, 309
automated mixing, 386
Specific spatial sound, 304–305
Spectral footprint, 121
Spectral imperfections, 275
Spectral location, 239
Spectral modification, 104–106
multiband equalizers, 109
parametric equalizers, 106–116
frequency select, 106
program equalizers, 111
semi-parametric equalizers, 109–111
Spectral modifier, 103
Spectral ranges, 125
Spectrally-rich signals, 96
Speed, 211
Spinning system, 257
SPL (sound pressure level), 31, 72, 74, 77
Squared-off waveform, 198
Start tape effects, 260
Static impulse response, 302
Static microphone, 143
Steady-state signals, 202
Stereo, 128
Stereo ambient microphone techniques, 356
Stereo compressor, 317
Stereo gating, 179
Stop tape effects, 260
Stretching, 83
String pads, 202
String patches, 259
Strings, 362
Studio innovations, 70
Studio tremolo effects, 185
Studios, 39
″Sweepable″ EQ, 110
Synth pads, 145
Synth/sample playback units, 371
Synthesis
dynamic reverberant systems, 322–323
Synthesized ambience, 355
Synthesized piano patches, 369
Synthesizers, 104
T
Tape compression, 199
Tape delay, 224
Tape/monitor switch, 225
Tape recorders, 140
Tape slap, 225
Tempo, 217
Temporary effects, 64
Tenor, 108
Thermal drafts, 301
Three-dimensional space, 303–304
Threshold control, 132, 169–170
Time-reversed waveform, 318
frequency (f) versus period (T), 8–9
Times two (X2) label, 226
Track sheets, 53
Transistors, 138
Transient onsets, 176
Transverse waves, 36
Tremolo, 84, 101, 185–187, 378
Triangle waves, 20
True audio faders, 191
Tube amps, 97
Tube (valve) compressors, 137
Turbo-auto-pan-flangewah-distortion, 40
Tweeters, 198
U
Uncompressed sine wave, 149–150
Universal Audio, 138
Unmasking reverb, 316
Unmute/mute gesture, 215
Upward expanders, 168
Urei, 138
User-defined ratios, 151
V
Valve (tube) compressors, 137
Variable resistor faders, 189–191
VCA (voltage-controlled amplifier) compressors, 138
VCA (voltage-controlled amplifier) faders, 191–192, 389–390
Verse reverb, 377
Video postproduction, 304
Vintage guitars, 143
Visual cues, 85
overdub, 53
pitch, 60
Voltage, 31
Voltage-controlled amplifier (VCA) compressors, 138
Voltage-controlled amplifier (VCA) faders, 191–192, 389–390
Volts, 33
creative decisions, 200
fade outs, 203
mute switches, 193
selected discography, 203
Vowels, 124
VU meters, 8
W
Wah-wah piano, 127
amplitude
zero decibels, 32
editing, gating through, 177–178
triangle, 20
triangle, 20
Width, 308
Windscreen, 122
Wishful listening, 85
Woofers, 257
X
X2 (times two) label, 226
Z
Zero amplitude, 228