Capture great sound in the first place and spend less time "fixing it in the mix" with Ian Corbett’s Mic It! With this updated and expanded second edition, you’ll quickly understand essential audio concepts as they relate to microphones and mic techniques and learn how to apply them to your recording situation. Mic It! gives you the background to explore, discover, and design your own solutions, enabling you to record great source tracks that can be developed into anything from ultra-clean mixes to massive, organic soundscapes.Beginning with essential audio theory and a discussion of the desirable characteristics of "good sound", Mic It! covers microphones, mono and stereo mic techniques, the effect of the recording space or room, and large classical and jazz ensemble recording. This second edition also features new chapters on immersive audio, immersive recording concepts, drum tuning, and recording techniques for audio for video. Mic It! provides in-depth information on how different mic techniques can be used, modified, and fine-tuned to capture not only the best sound, but the best sound for the mix, as well as how to approach and set up the recording session, prepare for mixing, and avoid common recording and mixing mistakes.• Train your ears with practical audio examples on the companion website.• Develop and test your knowledge as you learn, with concise, applicable exercises and examples that cover the concepts presented.• Record the best sound possible in any situation with Mic It!Corbett’s expert advice ranges from vital knowledge no novice should be without, to advanced techniques that more experienced engineers can explore to benefit and vary the sound of their recordings. Whether you only ever buy one microphone, are equipping a studio on a budget, or have a vast selection of great mics to use, with Mic It! you’ll learn how to make the most of the tools you have.
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Capture great sound in the first place and spend less time "fixing it in the mix" with Ian Corbett’s Mic It! With this expanded second edition, you’ll understand essential audio concepts as they relate to microphones and mic techniques and learn how to apply them to your recording situation.
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Chapter 1: Audio Basics1.1 It’s Not Always About the Gear!1.2 What is Sound?1.3 The Decibel (dB)1.4 Power Relationships1.5 Decibel Scales1.6 Dynamic Range1.7 Signal-To-Noise Ratio1.8 Frequency vs Pitch1.9 Frequency Response1.10 Waveforms, Fundamentals, and Harmonics1.11 Wavelength, Velocity, Phase1.12 Amplitude Summation and Comb Filtering1.13 Human Hearing1.14 Signal Flow and Audio Level Standards1.15 Gain Structure and Recording Levels1.16 Analog Audio Connectors1.17 Digital Audio Connectors1.18 Digital Audio BasicsChapter 2: "Good Sound"2.1 Recognizing Good Sound2.2 Sound Reproduction Formats2.3 Monitoring Options – Loudspeakers, Headphones, and Earbuds2.4 Mono Compatibility2.5 Compressed Audio Formats2.6 Dynamic Range2.7 What About Distortion?2.8 What Is a Good Recording?2.9 Accuracy2.10 Non-Natural Sounds and Balances2.11 What Are the Elements of a Good Mix?2.12 Frequency Balance2.13 Clarity and Intelligibility2.14 The Stereo Image2.15 Focus and Amplitude Balance2.16 Processing and Effects2.17 Musical Arrangement and Song Structure2.18 Making a Great RecordChapter 3: About Microphones, Part 1…3.1 The Microphone3.2 End Address or Side Address?3.3 Directionality and Pick-Up Patterns3.4 Dynamic Microphones3.5 Condenser (Capacitor) Microphones3.6 Single vs Dual Diaphragm Microphones3.7 Pressure and Pressure Gradient Transducers3.8 Ribbon Microphones3.9 Tube (Valve) Microphones3.10 Stereo Microphones3.11 Virtual Microphones3.12 Other Microphone TechnologiesChapter 4: About Microphones, Part 2…4.1 Phantom Power4.2 Proximity Effect4.3 Frequency Response4.4 Off-Axis Response4.5 Flat Microphones vs Vocal Microphones4.6 Low Frequency Response4.7 Low Cut Filters4.8 Low Frequency Instrument Microphones4.9 Sensitivity4.10 Self-Noise and Equivalent Noise Rating (ENR)4.11 Signal-to-Noise Ratio4.12 Pads4.13 Maximum SPL4.14 Dynamic Range4.15 Transient Response4.16 Pop Filters, Windscreens, and Dead Cats4.17 Shock Mounts4.18 Mic Preamps4.19 What Mic to Use?4.20 There’s More to It Than Specifications!Chapter 5: EQ Basics5.1 What Is EQ?5.2 Last Resort, and Creative Mix Tool5.3 Can You EQ Spill?5.4 EQ Filters5.5 Analog vs Digital EQ5.6 Additive vs Subtractive EQ5.7 The Fewer Filters the Better5.8 How Much to EQ?5.9 When to EQ?5.10 Golden Rules of EQChapter 6: Stereo Imaging6.1 The Stereo Soundstage6.2 How to Listen6.3 Phantom and Discrete Images6.4 Image Width6.5 Beyond the Loudspeakers6.6 Depth Concepts6.7 The Illusion of Height6.8 Static and Dynamic Panning6.9 Image Symmetry6.10 Use All of the Soundstage!6.11 Reality vs RecordingChapter 7: Stereo Microphone Arrays7.1 Microphone Arrays7.2 XY Coincident Pair Techniques7.3 Blumlein Pair Technique7.4 Near-Coincident Pair Techniques7.5 Spaced Pair (AB) Techniques7.6 MS (Middle-Side) Techniques7.7 The Decca Tree7.8 Binaural and Baffle TechniquesChapter 8: Immersive Audio8.1 Surround and Immersive Audio8.2 Channel Panning and Object Based Audio8.3 The New Challenges of Immersive Audio8.4 Channel Based Microphone Techniques8.5 Binaural Techniques8.6 Introducing Ambisonics…Chapter 9: The Effect of Microphone Position9.1 Art and Science9.2 Distance and Tonal Qualities9.3 "Zoom Factor"9.4 Off-Axis Response9.5 Direct vs Reflected Sound9.6 Comb Filtering Problems9.7 Floor Reflections – the Good, the Bad, and Boundary Mics9.8 Stereo Arrays and Distance9.9 Spill – Enemy or Creative Tool?9.10 Mic Position Practicalities9.11 Multi-Miking9.12 Experimentation and Exploration9.13 Practical Tips to Help Set Mic PositionChapter 10: The Recording Room10.1 Room Sound10.2 Live Rooms10.3 Dead Rooms10.4 Room Size10.5 Cubic Airspace10.6 Standing Waves and Resonant Frequencies10.7 Flutter Echo10.8 Microphone Directionality and Room Considerations10.9 Room Shape10.10 Absorption10.11 Diffusion10.12 The Purpose of the Room10.13 The Single Room Home Studio10.14 Acoustical "Home Remedies"10.15 Monitor Calibration Software?Chapter 11: Recording Vocals11.1 Is it Really About the Mic?11.2 Getting "the" Performance11.3 Vocal Tracking Methods11.4 Miking Individuals11.5 Voice and Acoustic Guitar11.6 Small Vocal Groups11.7 Larger Contemporary Vocal Groups11.8 Gang Vocals11.9 Vocal Recording Tips11.10 Vocal EQ FrequenciesChapter 12: Drum Miking12.1 What Kind of Sound Does the Project Call For?12.2 How Many Mics Do You Really Need?12.3 Kick Drums12.4 Snare Drums12.5 Hi-Hats12.6 Tom Toms12.7 Cymbals and Overheads12.8 Room Mics12.9 Rock Drums vs Acoustic Jazz Drums12.10 Drum EQ FrequenciesChapter 13: Drum Tuning13.1 Why Learn to Tune Drums?13.2 Fundamental vs Lug Frequencies13.3 Drums and Tuning Concepts13.4 Kick Drum Tuning13.5 Snare Drum Tuning13.6 Tom Tom Tuning13.7 Fixing Rings and Resonances13.8 Tuning Devices and AppsChapter 14: Guitars, Basses, and Keyboards14.1 The Role of the Rhythm Section14.2 Electric Guitar14.3 Creative Comb Filtering14.4 Direct Boxes14.5 Reamping14.6 Amp and Pedal Simulation14.7 Electric Bass14.8 More on Guitar and Bass Cabs14.9 Acoustic (Upright) Bass14.10 Acoustic Guitar14.11 Grand Piano14.12 Upright Piano14.13 Electric Keyboards and Synthesizers14.14 Leslie Speakers and the Hammond Organ14.15 Accordions14.16 EQ FrequenciesChapter 15: Strings, Winds, Brass, and Percussion15.1 Orchestral String Instruments15.2 Horn Section Instruments15.3 Other Wind and String Instruments15.4 Percussion Instruments15.5 EQ FrequenciesChapter 16: Setting Up the Studio16.1 The Three or Seven P’s16.2 Bands – Small Room Recording16.3 Bands – Large Room Recording16.4 Iso-Rooms and Multi-Room Studios16.5 Gobos and Sound Barriers16.6 Drum Rooms and Drum Screens16.7 String Sections16.8 Horn SectionsChapter 17: Miking Large Ensembles17.1 Orchestras and Large Instrumental Ensembles17.2 Main Arrays17.3 Outriggers17.4 Woodwind Mics17.5 Natural Reverb and Room Acoustics17.6 Audience Mics17.7 Spot Mics17.8 To Time Align or Not to Time Align?17.9 Artificial Reverb17.10 The Hollywood Sound17.11 Large Choirs17.12 Jazz Big Bands – Concert Seating17.13 Jazz Big Bands – Studio Isolation SeatingChapter 18: Putting It All Together18.1 Recording for the Mix18.2 Ear Candy18.3 Pre-Production18.4 The Pre-Mix18.5 The Headphone Mix18.6 Click Tracks18.7 Knowing the Song18.8 Don’t Give Everything Away at Once18.9 Correct Problems Early (But Know When to Let Them Go)18.10 Fixing Dull or Small Sounding Tracks18.11 "Polishing a Turd"18.12 Exploration and ExperimentationChapter 19: Audio for Video19.1 Why Audio for Video?19.2 Types of Audio19.3 Recording Systems19.4 Synchronization19.5 Shotgun Microphones19.6 Blimps19.7 Boompoles and Pistol Grips19.8 Lavalier Microphones19.9 Voice-Overs and Dialog Replacement19.10 Isolation and Restoration Software19.11 Sound Effect RecordingChapter 20: Tips From the Professionals…20.1 To Conclude…20.2 Lenise Bent20.3 David V. R. Bowles20.4 Joel Hamilton20.5 Kerry-Anne Kubisa20.6 Wes "Wesonator" Maebe20.7 Matt Ross-Spang20.8 Mark Rubel20.9 Catherine Vericolli20.10 Paul "Willie Green" Womack
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Produktdetaljer
ISBN
9780367470449
Publisert
2020-12-30
Utgave
2. utgave
Utgiver
Vendor
Routledge
Vekt
970 gr
Høyde
254 mm
Bredde
178 mm
Aldersnivå
G, U, P, 01, 05, 06
Språk
Product language
Engelsk
Format
Product format
Innbundet
Antall sider
424
Forfatter
Om bidragsyterne
Ian Corbett is the Coordinator of Audio Engineering at Kansas City Kansas Community College. He also owns and operates off-beat-open-hats LLC recording and sound reinforcement. He is a frequent presenter at conferences and universities around the world, and currently a regional Vice-President of the Audio Engineering Society. He has experience in a wide variety of audio fields, including location recording, sound reinforcement, studio recording, theatre, television and radio.