Index 

96-channel, In-line consoles, 54–55

A

Absolute delay, 253

Absolute mode, 382–384

Accelerating delay, 251–254

Acoustic bass, 75

Acoustic compressors, 345

Acoustic energy, 309

Acoustic guitars, 124

″Acoustic″ piano, 368–369

Acoustic reverberation chambers, 272–276

Adjustable resistance, 190

Air, 3–4, 35–37, 226

Air conditioning, 301

All-pass filters, 286–290

Alternative signal paths, 376

A.M. (amplitude modulation) synthesizer, 214

Ambience, 147

Ambient pressure, 8

Ambient/room microphones, 354

Amplifiers, 90, 191

Amplitude, 7, 21, 33

altering envelope, 145–147

versus distance, 9–11

distortion of, 89–96

harmonic distortion, 91–95

intermodulation distortion, 95–96

versus frequency, 11–13

versus time, 4–9

frequency versus period, 8–9

notation, 6–8

Amplitude axis, 81

Amplitude curve, 141

Amplitude envelope, 184, 366

Amplitude modulation (A.M.) synthesizer, 214

Amplitude signature, 145

Analog delay, 207–208

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

Anticipated effects, 330–331

Articulation, 142–143

Artifacts, 147, 160–161

Artificial reverberation, 303

Asymmetric distortion, 95

Attack parameters, 135, 151, 171

Attack setting, 134, 151–161, 171

breathing, 160–161

definitions, 151–153

parameter interdependence, 157–159

program dependence, 159

pumping, 160–161

visualizing, 153–157

Attack times, 151, 158–159, 176

Attack trajectories, 159

Attenuation, 133, 134

Audible coloration, 274

Audible comb filtering, 241

Audible frequency, 73

Audible sound, 72–85

masking, 78–81

spectral masking, 78–80

temporal masking, 80–81

masking reduction, 81–85

effect signatures, 84

interaction, 84–85

level control, 83

panning, 83

spectral management, 82–83

stretching, 83

Audible spectrum, 154

Audio circuits, 191

Audio dynamic range, 33, 34

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

Augmentation, 264, 308

Automated mixing, 373–393

caveats, 391–393

experience, 391–392

saving, 393

temptations, 392–393

cuts, 375–379

alternative signal paths, 376

automated composites, 378

automated send, 376–377

MIDI equivalents, 377–378

printed mix moves, 378–379

everything automation, 379–381

faders, 375–379

alternative signal paths, 376

automated composites, 378

automated send, 376–377

MIDI equivalents, 377–378

printed mix moves, 378–379

mix modes, 381–384

read mode, 381–382

write mode, 381–382

mixing consoles, 386–391

practice, 387

user interface, 387–391

snapshot automation, 381

strategies, 384–386

balance, 384

cuts, 385–386

rides, 386

signal processing, 384–385

special effects, 386

tweaks, 386

unautomated mixing, 373–375

Automated mute commands, 379

Automated send, 209, 376–377

Autopanner, 185, 322

Auxiliary (aux) send, 57–62, 201, 377

postfader send, 61–62

prefader send, 60–61

Average amplitude, 7

B

Background vocals, 242, 338

Baker, Roy Thomas, 241

Balance, 193, 194–197, 384

Band-based productions, 41

Bandwidths, 17, 66, 107, 108, 109

Basic sessions, 40–42, 69

Bass, 76, 194, 195, 335

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

Breathing artifacts, 160–161

Built-in equalizer, 62

Built-in software, 51

Buzz, 120–121

C

Calculated delay, 216–222

musical delay time, 218–222

tuning by ear, 216

tuning by math, 216–217

Call-and-response type, 225

Capacitors, 208

Cassette tapes, 34

Center frequency, 108, 109

Chambers, 311

Channel faders, 49, 53, 57, 59

Channel/monitor layouts, 49

Channel path, 48, 50, 52, 54, 66

Chord voicings, 82

Chorus, 243–244, 254, 335

Clarity, 125

Clavinet, 336

Cliché echo, 226

Clipping, 100

distortion, 168

hard, 92–94

soft, 94–95

Close microphones, 306, 344–346, 353

moving coil dynamic cardioid, 344–345

small diaphragm condenser, 345–346

snare tracks, 179, 355

techniques, 270, 272

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

achieving success, 164–165

applications, 139–150

altering amplitude envelope, 145–147

ambience, 147

artifacts, 147

de-essing, 147–149

distortion, 149–150

improving intelligibility and articulation, 142–143

increasing perceived loudness, 141–142

overcoming noise, 140–141

preventing overload, 139–149

smoothing performance, 143–144

attack and release, 151–161

breathing, 160–161

definitions, 151–153

parameter interdependence, 157–159

program dependence, 159

pumping, 160–161

visualizing, 153–157

difficulty hearing, 161–162

identifying compressors, 164

imitation, 163

parameters, 132–136

attack setting, 134

make-up gain, 135

ratio setting, 133

release setting, 134

threshold control, 132

user interface, 135–136

selected discography, 165–166

subjectivity, 162

technologies, 136–139

digital compressors, 138–139

optical compressors, 137–138

tube (valve) compressors, 137

voltage-controlled amplifier (VCA)

compressors, 138

Compressors

digital, 138–139

identifying, 164

optical, 137–138

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

Control voltage, 191, 390

Convolution, 291, 292, 297, 323

Convolution engine, 296

Convolution hardware/software, 323

Convolution reverberators

caveats, 298–303

defined, 291–295

parameters, 295–298

Copper wire, 190

Counterpoint, 82

Coupled springs, 276

Critical listening, 129

Cross fades, 201–202

Cubic volume, 273

Cue mixes, 59, 60

Cut/boost, 106–107

Cut buttons, 375

Cuts, automated mixing, 375–379

alternative signal paths, 376

automated composites, 378

automated send, 376–377

musical instrument digital interface (MIDI) equivalents, 377–378

printed mix moves, 378–379

Cycle-by-cycle reshaping, 335

Cymbals, 81, 195, 344

D

Daltrey, Roger, 223

Dashed curve, 78

DB. See Decibels

De-essing, 147–149

Decay control, 171–172

Decay slope, 156

Decaying reflections, 285

Decaying sounds, 177

Decca tree, 347

Decibels (dB), 21–33, 35, 73

equation for, 21

logarithm, 22–24

negative, 32–33

positive expression of, 32

ratios, 24–29

reference values, 29–31

zero, 32

Delay, 207–248

accelerating, 251–254

experimental sessions, 244–245

fixed, 250–251

long, 214–227

across entire groove, 226–227

calculated, 216–222

echoes, 222

emphasizing delays, 225–226

slapback echoes, 223–225

support from, 223

medium, 241–244

chorus, 243–244

double tracking, 241–243

selected discography, 246–248

short, 227–240

comb filters, 231–235

combinations, 238–239

flangers, 239–240

interference, 227–231

reflections, 235–237

signal flow, 208–214

features, 210

modulation, 210–214

source of, 207–208

Depth, 211, 212

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 compressors, 138–139

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

all-pass filters, 286–290

comb filters, 285–290

convolution reverberators, 291–303

caveats, 298–303

defined, 291–295

parameters, 295–298

infinite impulse response (IIR)

reverberators, 284–285

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

compression/limiting, 165–166

delay, 246–248

distortion, 101–102

expansion/gating, 187–188

pitch shift, 260–262

reverberation (reverb), 324–325

snare drums, 356–358

volume, 203

Dissonant intervals, 99

Distance, versus amplitude, 9–11

Distortion, 89–102, 126, 149–150, 195, 336

amplitude, 89–96

harmonic distortion, 91–95

intermodulation distortion, 95–96

asymmetric, 95

devices for, 97

motivations, 97–98

selected discography, 101–102

sources, 96–97

threshold of, 92

Documentation, 374

Doppler effect, 257–258

Dotted eighth note, 321

Double tracking, 241–243

Downward expanders, 168

Driver-plate pick-up system, 281

Driver-spring pick-up system, 276

Drummers, 343

Drums

compressing tracks, 355

kick, 332–333

snare, 333–334

sounds, 123

Dry tracks, 270

Ducking, 183–184

Dull snare, 350

DVD-audio/video, 63

Dynamic microphones, 352

Dynamic range, 33–35, 119

increasing, 167–169

reduction, 139–144

improving intelligibility/articulation,

142–143

increasing perceived loudness,

141–142

overcoming noise, 140–141

preventing overload, 139–149

smoothing performance, 143–144

of vocal track, 337

Dynamic reverberant systems, 322–323

E

Ear training, 29

Echo density, 287

Echo send, 57–62, 209, 215

postfader send, 61–62

prefader send, 60–61

Echoes, 222–225

slapback, 223–225

support from, 223

Effect signatures, 84

Effects (FX), 63–70

anticipated, 330–331

assertion, 64–66

innovation, 67–70

practice, 67–68

restraint, 68–70

piano, 361–368

amplitude envelope, 366–368

image, 363–366

spectrum, 361–363

procrastination, 64

special, 127–129, 254–255, 331–332

start tape, 260

stop tape, 260

undo, 66–67

Effects send, 57–62

postfader send, 61–62

prefader send, 60–61

Eighth-note delay, 218

Electric guitars, 34, 83, 338

Electrical voltage, 190

Electroluminescent panel, 137

Electromagnetic radiation, 121

Emphasizing delays, 225–226

Ensemble, 309

Envelope following, 184–185

Envelope, snare drums, 351–353

attack, 352

decay, 352–353

Equal-tempered tuning, 26

Equalization (EQ), 103–130. See also

Equalizers

audio ear training, 129–130

enhancement, 123–125

filters, 114–116

fitting tracks together, 125–127

fixes, 118–123

buzz, 120–121

hum, 120–121

pops, 121–122

proximity, 122–123

rumble, 119–120

flexibility, 112–113

graphic, 111–112

multiband, 109

parametric, 106–116

cut/boost, 106–107

frequency select, 106

Q, 107–109

for piano, 361, 363

program, 111

semi-parametric, 109–111

shelving, 113–114

snare drums, 350–351

special effects, 127–129

spectral modification, 104–106

technique, 116–118

Equalizers

filters, 114–116

flexibility, 112–113

graphic, 111–112

multiband, 109

parametric, 106–116

cut/boost, 106–107

four-band, 109

frequency select, 106

Q, 107–109

semi-, 109–111

program, 111

shelving, 113–114

Even harmonics, 95

Everything automation, 379–381

Expander/gate, 173, 175, 183

Expansion, 167–188

applications, 173–187

ducking, 183–184

envelope following, 184–185

expansion, 174–175

gating, 178–179

keyed gating, 179–182

noise gating, 175–177

tremolo, 185–187

waveform editing, 177–178

increasing dynamic range, 167–169

parameters, 169–173

attack setting, 171

hold setting, 172–173

range setting, 173

release setting, 171–172

slope setting, 170–171

threshold control, 169–170

selected discography, 187–188

External hardware controllers, 391

Extreme reverb, 314–315

F

Fade control, 171–172

Fade-ins, 177

Fade-outs, 177, 203

Faders, 189–192

automated mixing, 375–379

alternative signal paths, 376

automated composites, 378

automated send, 376–377

musical instrument digital interface

(MIDI) equivalents, 377–378

printed mix moves, 378–379

digital, 192

moving, 388

software, 391

variable resistor, 189–191

voltage-controlled amplifier (VCA), 191–192, 389–390

Fast attack compression, 155

Fast release, 146

Fast-release

compression, 147

settings, 154–155

Feedback loops, 39

FET (field effect transistor), 138

Field effect transistor (FET), 138

Filters, 114–116, 120

First-draft effects, 64

Fitting tracks together, 125–127

Fixed delay, 210, 250–251

Fixing problematic notes, 256–257

Flange/comb filters, 331

Flangers, 239–240

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 domain, 80, 129

Frequency (f), versus amplitude, 11–13

Frequency notch, 239

Frequency ranges, 77, 82, 123

Frequency response, 104, 281

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

G

Gain, 106, 136, 169

Gas particles, 36

Gated reverb, 316–318

Gated rooms, 355

Gating, 167–188

applications, 173–187

ducking, 183–184

envelope following, 184–185

expansion, 174–175

gating through waveform editing, 177–178

keyed gating, 179–182

noise gating, 175–177

tremolo, 185–187

increasing dynamic range, 167–169

parameters, 169–173

attack setting, 171

hold setting, 172–173

range setting, 173

release setting, 171–172

slope setting, 170–171

threshold control, 169–170

selected discography, 187–188

Generalized spatial sound, 305–306

Graphic equalizers, 111–112

Guitar amps, 34, 356

Guitars

bass, 334–335

foot pedal, 336

lead, 338–339

rhythm, 335–336

H

Half note, 342

Handclaps, 291

Hard clipping, 92–94, 96

Hardware-based console, 51

Harmonic distortion, 91–95, 97, 101, 335

asymmetric distortion, 95

components, 99

hard clipping, 92–94

soft clipping, 94–95

Harmonic energy, 100

Harmonics, 15, 99

Headphone mixes, 44–45, 59

Headphones, 60

Headroom, 35

Hearing frequency response, 76

Hertz (Hz), 8, 26, 108, 249

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

Hold setting, 172–173

Horizontal axis, 6, 211

Horn arrangers, 376

Horsepower, 284

Hum, 120–121

Hybrid comb filters, 286–290

Hybrid sounds, 82

Hz (hertz), 8, 26, 108, 249

I

Iconic guitar solo sound, 101

IIR. See Infinite impulse response

Impulse response, 281, 291, 295, 296, 297, 299, 318

In-line consoles, 51–55

96-channel, 54–55

confusion, 52–54

monitor path versus channel path, 54

Incandescent bulb, 137

Inductors, 208

Infinite impulse response (IIR), 284–285, 304–305

digital reverbs, 302

reverberators, 284

Inherent noise, 33–34

Input/output levels, 210

Input/output modules, 200

Inputs, 51

Insert, 62–63

Insulators, 190

Intelligibility, improving, 142–143

Interference

constructive, 227–231

destructive, 227–231

Intermediate frequencies, 232

Intermodulation distortion, 95–96

Internal voltage rails, 91

Isobars, 9

Isolation, 270–271, 364

K

Keyboards, 26–27

Keyed gating, 179–182

Kick drums, 124, 195, 332–333, 349

Kick element, 194

Kick track, 334

Kilopascals (kPa), 5

Knobs, 192–193

KPa (kilopascals), 5

L

Large diaphragm cardioid condenser

microphones, 347–348

Late decay, 277

Late energy, 306

Lead guitars, 338–339

Leakage, 179, 270–271

LEDs (light-emitting diodes), 137, 190

Leslie cabinets, 185, 257–258

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

Limiting, 131–166

achieving success, 164–165

applications, 139–150

altering amplitude envelope, 145–147

ambience, 147

artifacts, 147

de-essing, 147–149

distortion, 149–150

improving intelligibility and articulation, 142–143

increasing perceived loudness, 141–142

overcoming noise, 140–141

preventing overload, 139–149

smoothing performance, 143–144

attack and release, 151–161

breathing, 160–161

definitions, 151–153

parameter interdependence, 157–159

program dependence, 159

pumping, 160–161

visualizing, 153–157

difficulty hearing, 161–162

identifying compressors, 164

imitation, 163

parameters, 132–136

attack setting, 134

make-up gain, 135

ratio setting, 133

release setting, 134

threshold control, 132

user interface, 135–136

selected discography, 165–166

subjectivity, 162

technologies, 136–139

digital compressors, 138–139

optical compressors, 137–138

tube (valve) compressors, 137

voltage-controlled amplifier (VCA)

compressors, 138

Linear signal, 90

Listening

preconscious, 71–72

skill of, 118

wishful, 85

Live-to-two sessions, 46–47

Liveness, 306–308

Log, 32

Log function, 22–23

Logarithm, 21, 22–23, 31

Logarithmic frequency axis, 234

Long delay, 214–227

across entire groove, 226–227

calculated, 216–222

musical delay time, 218–222

tuning by ear, 216

tuning through math, 216–217

echoes, 222

emphasizing delays, 225–226

slapback echoes, 223–225

support from, 223

Long reverb, 330

Longitudinal waves, 36

Loud reflections, 235–236

Loudness, 27, 73, 76, 141–142

Loudspeakers, 263, 274, 313, 385

Low frequency, 74, 333

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

Manual mixing, 373–374

Masked state, 84

Masking, 78–81

overcoming, 313

contrast, 313–314

extreme reverb, 314–315

unmasking reverb, 316

reduction, 81–85

effect signatures, 84

interaction, 84–85

level control, 83

panning, 83

spectral management, 82–83

stretching, 83

spectral, 78–80

temporal, 80–81

Measurement equipment, 267

Media, 3–4, 35–37

Medium-attack, 352

Medium delay, 214, 241–244

chorus, 243–244

double tracking, 241–243

Medium release compression, 155–156

Micropascals (µPa), 5, 23, 33

Microphones

cables for, 105

close, 344–346

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

overhead, 346–349

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, 74, 127

Middle frequency loudness, 75

MIDI (Musical Instrument Digital Interface), 259

automation, 375

equivalents, 377–378

jacks, 359

Midrange-hogging instruments, 364

Milliseconds, 216

Milliwatt, 30

Mirror image cut, 67

Mix engineer, 386

Mix modes, 381–384

read mode, 381–382

write mode, 381–384

absolute mode, 382–384

relative mode, 382–384

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

automated, 373–393

caveats, 391–393

everything automation, 379–381

faders, 375–379

mix modes, 381–384

mixing consoles, 386–391

snapshot automation, 381

strategies, 384–386

basic approach, 329–339

anticipated effects, 330–331

bass guitars, 334–335

challenges, 330

kick drums, 332–333

lead guitars, 338–339

rhythm guitars, 335–336

rhythm sections, 336

snare drums, 333–334

special effects, 331–332

stereo mix, 339

vocals, 336–338

Mixing consoles, 386–391

channel path, 48

In-line, 51–55

96-channel, 54–55

confusion, 52–54

monitor path versus channel path,

54

monitor path, 48–49

practice, 387

sessions, 39–47

basic, 40–42

live to two, 46–47

mixdown, 45–46

overdub, 42–45

split, 49–51

user interface, 387–391

moving faders, 388

software faders, 391

voltage-controlled amplifier (VCA)

faders, 389–390

Modulating delay, 254

Modulation parameters, 214

Monitor fader, 49, 50, 53

Monitor mix, 59, 60

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

Muddiness, 123, 334

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

Musical waveforms, 34, 232

Musikvereinssaal, Vienna, 268, 278

Mute switches, 193

N

Narrow band, 123

Natural reverb, 304

Negative decibels, 32–33

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

gating, 175–177

overcoming, 140–141

Nonconvolution reverbs, 296

Nonflat-frequency response, 105

Nonlinear reverb, 320

Nonlinearities, 96

Notation system, 26

O

Octave, 24, 25–26, 27, 108

Octave band calculations, 287

Odd harmonics, 15, 95

Ohm′s Law, 31

Omnidirectional microphones, 122, 275

One-dimensional space, 276

One-half cycle frequencies, 229

Open reel tape machines, 225

Optical compressors, 137–138

Orchestra, 363

Oscillating waves, 8

Outboard equalizers, 118

Outboard signal flow, 55–63

effects send, 57–62

postfader send, 61–62

prefader send, 60–61

insert, 62–63

parallel processing, 55–57

serial processing, 55–57

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

Overload, preventing, 139–149

P

Pads, 362

Pan pots, 192–193

Panning, 83, 370

Parallel comb filters, 287

Parallel effects, 65

Parallel processing, 55–57

Parameter-determined gating, 173

Parameters, 165

Parametric equalizers, 106–116

cut/boost, 106–107

four-band, 109

frequency select, 106

Q, 107–109

semi-, 109–111

Particle movement, 35–37

Patch, 254

Patch bay, 62

Patch cables, 45, 386

Peak amplitude, 7, 15

Peak/dip contour, 113

Peak-to-peak amplitude, 7

Perception, 71–85

audible sound, 72–85

masking, 78–81

masking reduction, 81–85

preconscious listening, 71–72

wishful listening, 85

Percussion, 34

Permutations, 164

Phons, 73

Photovoltaic cell, 137–138

Pianos, 359–371

″acoustic,″ 368–369

defining, 360–361

digital, 369–371

effects, 361–368

amplitude envelope, 366–368

image, 363–366

spectrum, 361–363

overview, 359–360

Piccolo, 350

Pick-up transducer, 280

Pink noise, 265

Pitch, 24, 27, 251, 252

Pitch-correction tools, 256

Pitch recalculation, 249–250

Pitch shift, 249–262

applications, 254–260

big shifts, 258–259

chorus, 254

fixing problematic notes, 256–257

Leslie cabinets, 257–258

special effects, 254–255

start tape effects, 260

stop tape effects, 260

selected discography, 260–262

theory, 249–254

accelerating delay, 251–254

fixed delay, 250–251

pitch recalculation, 249–250

Pitch-shifted songs, 253

Pitch-shifted vocal, 258

Plate reverb, 280–284, 311

Plates, 307

Playback head, 224

Playback piano synthesizers, 369

Polarity, 20

Pop filter, 122

Pop vocals, 242

Pops, 121–122

Positive peak, 7

Positive voltages, 228

Postfader aux send, 208

Postfader effects send, 61

Postfader send, 61–62

Postmasking, 80

Potentiometers, 190

Pounds per square inch (PSI), 5

Power amplifiers, 91

Practice, 69

Pre/post switch, 60

Precision amplitude adjustments, 143

Preconscious listening, 71–72

Predelay, 267, 316

Prefader send, 60–61

Premasking, 80

Preproduction, 69

Presets, 135

Pressure, 37

Pressure waves, 3, 35, 95

Printed mix moves, 378–379

Processed sound, 56

Producers, 343

Production standards, 119

Program equalizers, 111

Proximity, 122–123, 350

PSI (pounds per square inch), 5

Psychoacoustics, 238

Pulse code modulation, 295

Pultec tube EQ, 303

Pumping artifacts, 160–161

Pure-tone sine wave, 8

Pure tones, 234

Q

Q parameter, 107–109

Quarter notes, 216, 217, 218, 321

R

Radio transmitters, 140

RAM (random access memory), 207

Range, 173, 183

Rarefaction, 5

Rate, 211, 212

Read mode, 381–382

Real-time analyzers (RTAs), 12

Realistic space, 305

Record head, 224

Record path, 48, 200

Recording, 341

Recording artists, 44–45

Recording budget, 70

Recording engineers, 68–69, 329

Reference values, 268–269

Reflected energy, 349

Reflection density, 281

Reflections, 235–237, 264, 267, 306

Regeneration control, 210

Regenerative reverb, 320–322

Relative mode, 382–384

Release adjustments, 159

Release parameters, 134, 135, 151, 171

Release setting, 134, 151–161, 171–172

breathing, 160–161

definitions, 151–153

parameter interdependence, 157–159

program dependence, 159

pumping, 160–161

visualizing, 153–157

Release times, 157, 177

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

needs for, 269–271

creative microphone technique, 271

isolation, 270–271

multitrack production, 269–270

parameters, 264–267

bass ratio (BR), 265–267

predelay, 267

reverb time (RT60), 265

reference values, 268–269

selected discography, 324–325

sources, 271–303

acoustic reverberation chambers, 272–276

digital, 284

plate, 280–284

room tracks, 272

spring, 276–280

techniques, 303–324

nonspatial applications, 310–324

spatial applications, 303–310

Reverse reverb, 318–320

Rhythm guitars, 335–336

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

Rumble, 119–120

S

Sabine, Wallace Clement, 272

Sabine′s equation, 273, 311

Safety backups, 393

Sawtooth waves, 17–20

Schroeder, Manfred, 285

Scratch tracks, 41

Semi-parametric equalizers, 109–111

Serial all-pass filters, 287–290

Serial processing, 55–57, 173

Servomotors, 389

Sessions, 39–47

basic, 40–42

live to two, 46–47

mixdown, 45–46

overdub, 42–45

Setup sheets, 42, 53

Shallow drums, 350–351

Shape, 211, 213

Sharp attacks, 367

Shelving equalizers, 113–114

Shelving filters, 115

Short decay time, 306

Short delay, 214, 227–240, 244

comb filters, 231–235

combinations, 238–239

flangers, 239–240

interference, 227–231

reflections, 235–237

Short reverb, 330, 355

Shorter delay, 332

Side chain input, 179, 184

Side chain signal, 148

Signal chain, 135

Signal flow, 39–70

console, 47–55

channel path, 48

in-line console, 51–55

monitor path, 48–49

split console, 49–51

delay, 208–214

features, 210

modulation, 210–214

effects (FX), 63–70

assertion, 64–66

innovation, 67–70

procrastination, 64

undo, 66–67

outboard, 55–63

effects send, 57–62

insert, 62–63

parallel processing, 55–57

serial processing, 55–57

sessions, 39–47

basic, 40–42

live to two, 46–47

mixdown, 45–46

overdub, 42–45

Signal processing, 62, 173

Signal-processing, 255

Signal processing, 316, 384–385

Signal-processing

devices, 55, 66, 332

effects, 210, 345

Signal-to-noise ratio, 35, 200

Sine wave frequency, 229

Sine wave input, 92–93, 95

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

Slap echo, 210, 223

Slapback echoes, 223–225

Sliders, 192–193

Slope setting, 170–171

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

Snare drums, 333–334, 341–358

recording, 344–349

close microphones, 344–346

overhead microphones, 346–349

room microphones, 349

selected discography, 356–358

signal processing, 349–356

combinations, 355–356

envelope, 351–353

equalization, 350–351

stereo image, 353–355

sound, 342–344

goals of use, 343–344

range, 342–343

Soft clipping, 94–95, 96, 199

Soft compression, 339

Software algorithms, 253

Software faders, 391

Solo guitar, 338–339

Sonic illusions, 307

Sonic isolation, 309

Sound energy, 312, 319, 342

Sound pressure level (SPL), 31, 72, 74, 77

Sound-reinforcement speakers, 274–275

Sound waves, 35

Source waveform, 99, 101

Spaced cardioids, 348

Spaced omnis, 346, 348

Spasmotic Research X-17 compressor, 67

Spatial sound

generalized, 305–306

spatial adjustments, 306

close microphone compensation,

306

ensemble, 309

liveness, 306–308

width, 308

specific, 304–305

unreal, 309–310

Spatial variables, 309

Special effects, 331–332

automated mixing, 386

equalization (EQ), 127–129

pitch shift, 254–255

Specific spatial sound, 304–305

Spectral footprint, 121

Spectral imperfections, 275

Spectral location, 239

Spectral management, 82–83

Spectral masking, 78–80, 100

Spectral modification, 104–106

filters, 114–116

flexibility, 112–113

graphic equalizers, 111–112

multiband equalizers, 109

parametric equalizers, 106–116

cut/boost, 106–107

frequency select, 106

Q, 107–109

program equalizers, 111

semi-parametric equalizers, 109–111

shelving equalizers, 113–114

Spectral modifier, 103

Spectral ranges, 125

Spectrally-rich signals, 96

Speed, 211

Spinning system, 257

SPL (sound pressure level), 31, 72, 74, 77

Split consoles, 49–51, 54

Spreader, 254, 330, 331, 337

Spring reverb, 276–280, 311

Square waves, 15–17, 93

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

Stereophonic image, 353, 363

Stop tape effects, 260

Stretching, 83

String pads, 202

String patches, 259

Strings, 362

Studio innovations, 70

Studio reverb, 268, 304

Studio tremolo effects, 185

Studios, 39

Surround sound, 63, 308

″Sweepable″ EQ, 110

Synth pads, 145

Synth patches, 360, 362

Synth/sample playback units, 371

Synthesis

dynamic reverberant systems, 322–323

gated reverb, 316–318

regenerative reverb, 320–322

reverse reverb, 318–320

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

Temporal masking, 80–81, 316

Temporary effects, 64

Tenor, 108

Texture, 312–313

Thermal drafts, 301

Three-dimensional space, 303–304

Threshold control, 132, 169–170

Timbre, 239, 309, 310–312

Time-reversed waveform, 318

Time, versus amplitude, 4–9

frequency (f) versus period (T), 8–9

notation, 6–8

Times two (X2) label, 226

Tone, 118, 341

Track sheets, 53

Tracking, 51, 269

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

Tuning, 216–217

Turbo-auto-pan-flangewah-distortion, 40

Tweeters, 198

U

Unautomated mixing, 373–375

Uncompressed sine wave, 149–150

Universal Audio, 138

Unmasking reverb, 316

Unmute/mute gesture, 215

Unreal spatial sound, 309–310

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

Vertical axis, 6, 211

Vibrato, 84, 256

Video postproduction, 304

Vintage guitars, 143

Visual cues, 85

Vocals, 336–338

overdub, 53

pitch, 60

Voiceovers, 142, 183

Voltage, 31

Voltage-controlled amplifier (VCA) compressors, 138

Voltage-controlled amplifier (VCA) faders, 191–192, 389–390

Volts, 33

Volume, 189–203

applications, 194–203

automation, 200–201

balance, 194–197

creative decisions, 200

cross fades, 201–202

fade outs, 203

ideal level, 197–199

controls, 189–193

faders, 189–192

mute switches, 193

pan pots, 192–193

selected discography, 203

Vowels, 124

VU meters, 8

W

Wah-wah pedals, 356, 378

Wah-wah piano, 127

Watts, 29, 30

Waveform, 3–37

air, 3–4, 35–37

amplitude

versus distance, 9–11

versus frequency (f), 11–13

versus time, 4–9

decibels (dB), 21–33

logarithm, 22–24

negative decibels, 32–33

ratios, 24–29

reference values, 29–31

zero decibels, 32

dynamic range, 33–35

editing, gating through, 177–178

waves, 13–20

sawtooth, 17–20

square, 15–17

triangle, 20

waves, 13–20

sawtooth, 17–20

square, 15–17

triangle, 20

Width, 308

Windscreen, 122

Wishful listening, 85

Woofers, 257

Write mode, 381–384

absolute mode, 382–384

relative mode, 382–384

X

X2 (times two) label, 226

Z

Zero amplitude, 228