Contents 

Acknowledgements

Introduction

Section 1:   Sound — Signals, Systems, and Sensation

Chapter 1:   Audio Waveform

1.1Medium

1.2Amplitude versus Time

1.2.1   Amplitude Confusions

1.2.2   Time Implications

1.3Amplitude versus Distance

1.4Amplitude versus Frequency

1.5Complex Waves

1.5.1   Square Waves

1.5.2   Sawtooth Waves

1.5.3   Triangle Waves

1.6Decibel

1.6.1   Logarithm

1.6.2   Ratios

1.6.3   References

1.6.4   Zero Decibels

1.6.5   Negative Decibels

1.7Dynamic Range

1.8Sound Misconceptions

1.8.1   Mistaking the Message for the Medium

1.8.2   Don′t Picture These Sketches

Chapter 2:   Signal Flow

2.1Types of Sessions

2.1.1   Basics

2.1.2   Overdubs

2.1.3   Mixdown

2.1.4   Live to Two

2.2Console Signal Flow

2.2.1   Channel Path

2.2.2   Monitor Path

2.2.3   Split Console

2.2.4   In-Line Console

2.3Outboard Signal Flow

2.3.1   Parallel and Serial Processing

2.3.2   Effects Send

2.3.3   Insert

2.4FX Decision Making

2.4.1   FX Procrastination

2.4.2   FX Assertion

2.4.3   FX Undo

2.4.4   FX Innovation

Chapter 3:   Perception

3.1Preconscious Listening

3.2Audible Sound

3.2.1   Masking

3.2.2   Masking Reduction

3.3Wishful Listening

Section 2:   Amplitude Effects

Chapter 4:   Distortion

4.1Distortion of Amplitude

4.1.1   Harmonic Distortion

4.1.2   Intermodulation Distortion

4.2Sources of Distortion

4.3Motivations for Distortion

4.4Distortion Dos and Don′ts

4.5Selected Discography

Chapter 5:   Equalization

5.1Spectral Modification

5.2Parameters for Spectral Modification

5.2.1   Frequency Select

5.2.2   Cut/Boost

5.2.3   Q

5.2.4   Multiband EQ

5.2.5   Take Away the Q

5.2.6   Take Away the Frequency

5.2.7   Take Away the Knobs

5.2.8   Some Knobs Are Switches

5.2.9   Shelving EQ

5.2.10 Filters

5.3Applications

5.3.1   Technique

5.3.2   Fix

5.3.3   Feature

5.3.4   Fit

5.3.5   Special Effects

5.3.6   Audio Ear Training

Chapter 6:   Compression and Limiting

6.1Parameters

6.1.1   Threshold

6.1.2   Ratio

6.1.3   Attack

6.1.4   Release

6.1.5   Make-Up Gain

6.1.6   User Interface

6.2Technologies

6.2.1   Tube Compressors

6.2.2   Optical Compressors

6.2.3   VCA Compressors

6.2.4   Digital Compressors

6.3Nominal Application: Dynamic Range Reduction

6.3.1   Prevent Overload

6.3.2   Overcome Noise

6.3.3   Increase Perceived Loudness

6.3.4   Improve Intelligibility and Articulation

6.3.5   Smooth Performance

6.4Advanced Applications

6.4.1   Altering Amplitude Envelope

6.4.2   Ambience and Artifacts

6.4.3   De-Essing

6.4.4   Distortion

6.5Advanced Studies — Attack and Release

6.5.1   Definitions

6.5.2   Visualizing Attack and Release

6.5.3   Parameter Interdependence

6.5.4   Program Dependence

6.5.5   Pumping and Breathing

6.6Learning Compression — Some Personal Advice

6.6.1   Unnaturally Difficult to Hear

6.6.2   Hype and Hyperbole

6.6.3   Imitation

6.6.4   Multiple Personalities

6.7Achieving Compression Success

6.8Selected Discography

Chapter 7:   Expansion and Gating

7.1Increasing Dynamic Range

7.2Parameters

7.2.1   Threshold

7.2.2   Slope

7.2.3   Attack

7.2.4   Release, Fade, or Decay

7.2.5   Hold

7.2.6   Range

7.3Applications

7.3.1   Expansion

7.3.2   Noise Gating

7.3.3   Gating Through Waveform Editing

7.3.4   Gating

7.3.5   Keyed Gating

7.3.6   Ducking

7.3.7   Envelope Following

7.3.8   Tremolo

7.4Selected Discography

Chapter 8:   Volume

8.1Volume Controls

8.1.1   Faders

8.1.2   Pan Pots

8.1.3   Mute Switches

8.2Volume Applications

8.2.1   Balance

8.2.2   Ideal Level

8.2.3   Ideal Faders

8.2.4   Automation

8.2.5   Cross Fades

8.2.6   Fade Out

8.3Selected Discography

Section 3:   Time Effects

Chapter 9:   Delay

9.1Source of Delay

9.2Signal Flow

9.2.1   Basic Features

9.2.2   Modulation

9.3Long Delay

9.3.1   Calculated Delay

9.3.2   Echo

9.3.3   Support

9.3.4   Slap

9.3.5   Emphasis

9.3.6   Groove

9.4Short Delay

9.4.1   Constructive and Destructive Interference

9.4.2   Comb Filter

9.4.3   Early Reflections

9.4.4   Inevitable Combinations

9.4.5   Flanger

9.5Medium Delay

9.5.1   Double Tracking

9.5.2   Chorus

9.6Experimental Sessions

9.6.1   Experimental #1

9.6.2   Experimental #2

9.7Summary

9.8Selected Discography

Chapter 10: Pitch Shift

10.1Theory

10.1.1   Pitch Recalculation

10.1.2   Fixed Delay

10.1.3   Accelerating Delay

10.2Applications

10.2.1   Side Effects

10.2.2   Special Effects

10.2.3   Surgical Effects

10.2.4   Obvious Effects

10.3Selected Discography

Chapter 11: Reverb

11.1Reverberation

11.1.1   Key Parameters

11.1.2   Reference Values

11.2The Need for Reverb Devices

11.2.1   Multitrack Production

11.2.2   Isolation

11.2.3   Creative Microphone Technique

11.3Sources of Reverb

11.3.1   Room Tracks

11.3.2   Acoustic Reverberation Chambers

11.3.3   Spring Reverb

11.3.4   Plate Reverb

11.3.5   Digital Reverb

11.4Reverb Techniques

11.4.1   Sound of a Space

11.4.2   Non-Spatial Applications

11.5Selected Discography

Section 4:   Applied Effects

Chapter 12: Basic Mix Approach

12.1Mix Challenge

12.2Global Effects

12.3Special Effects

12.4Kick Start

12.5Back Beat

12.6Get Down

12.7Chug On

12.8Key In

12.9Speak Up

12.10Go Solo

12.11Do It All

Chapter 13: Snare Drum FX

13.1Sound

13.1.1   Possibilities

13.1.2   Goals

13.2Recording

13.2.1   Close Microphones

13.2.2   Overhead Microphones

13.2.3   Room Microphones

13.3Signal Processing

13.3.1   Equalization

13.3.2   Envelope

13.3.3   Image

13.3.4   All of the Above

13.4Summary

13.5Selected Discography

Chapter 14: Piano

14.1Mother Instrument

14.2Defining the Piano

14.3Effects

14.3.1   Spectrum

14.3.2   Image

14.3.3   Envelope

14.4Outside the Box Behavior

14.4.1   ″Acoustic″ Piano

14.4.2   Digital Piano

14.5Summary

Chapter 15: Automated Mix

15.1Unautomated Mixing

15.2Automated Mixing

15.2.1   Faders and Cuts Automation

15.2.2   Everything Automation

15.2.3   Snapshot Automation

15.3Mix Modes

15.3.1   Write or Read

15.3.2   Write: Absolute or Relative

15.4Automation Strategies: Organizing the Infinite Options

15.4.1   Phase I: Balance

15.4.2   Phase II: Signal Processing

15.4.3   Phase III: Cuts

15.4.4   Phase IV: Rides

15.4.5   Phase V: Tweaks and Special Effects

15.5Playing the Instrument

15.5.1   Practice

15.5.2   User Interface

15.6Caveats

15.6.1   Master the Gear Before It Masters You

15.6.2   Resist Temptation

15.6.3   Save Often

15.7Summary

Bibliography

Index