Metal Music Manual
Producing, Engineering, Mixing, and Mastering Contemporary Heavy Music
- Author: Mynett, Mark
Book
$98.75Printed on demand
Contents
- Acknowledgments
- Foreword
- Chapter 1: Introduction
- Audio
- Video Interviews
- Forum
- Chapter 2: Contemporary Metal Music
- Chapter 3: The Parameters of Heaviness
- Distortion
- Proximity
- Perceived Loudness
- The Distortion Paradox
- Sonic Weight
- Transients
- Spectral Dynamics and Transient Brightness
- Clarity
- Definition
- Intelligibility
- Performance Precision
- Pre-Production
- Chapter 4: Pre-Production
- Vision and Leadership
- Rehearsals
- The Budget
- Click Tracks
- In Practice
- Tempo Mapping
- Click Tones
- Guide Tracks
- Click-Free Tracking
- Live Guide Tracks without a Click
- Overdubs without a Click
- The Click Track Acid Test
- Chapter 5: Sound at Source
- Drums
- Drum Shells
- Shell Thickness, Diameter, Depth and Hardware
- Symmetry and Flatness
- Drumheads and Re-Heading
- Batter Heads
- Resonant Heads
- Re-Heading/Bedding-In
- Drum Tuning
- Kick Tuning
- Snare Tuning
- Toms Tuning
- Dampening
- Kick Dampening
- Snare and Toms Dampening
- Hats, Ride and Cymbals
- Bass and Guitar
- Down-Tuning
- Baritones/Longer Scale Lengths
- Guitar Overdrive Pedals
- Amp/Cab/Mic Simulation and Modelling
- Amplifiers
- Bass Amps
- Guitar Amps
- Loudspeakers and Loudspeaker Cabinets
- Engineering
- Chapter 6: Engineering Overview
- Isolation=Separation=Control
- Headroom
- Printed Compression
- Printed EQ
- Chapter 7: Drums
- Set Up
- Kick Drums
- Attack Mic
- Porthole Placement
- Low Frequency Capture
- Isolation Tunnels
- Double Kick Performance Solutions
- Kick Building
- Snare Top
- Snare Bottom
- Toms
- Batter Mic
- Double Miked Toms
- Concert Toms
- Metalwork
- Hats
- Ride
- Cymbals
- Spaced Pair
- Close Miked Cymbals
- Paired Cymbal Miking
- Room Mics and Controlled Cohesion
- Triggers
- Recording Drum Hits from the Kit used for Tracking
- Sample Creation
- Drum Edits and Quantization
- Gridding
- Phase
- Retention of Human Feel
- Micro-Editing
- Quantization-Based Tools
- Chapter 8: Guitars
- D.I.'s and Re-amping
- Speaker Selection
- Isolation Tactics
- Amp Volume
- Mic Selection
- Loudspeaker Frequency Radiation
- Mic Placement
- Proximity Effect
- Off-Axis Placement
- Double Miking
- Double Tracking (vs. Quad Tracking)
- Quad Tracking
- Tonal Variation
- Multi Amp/Cab Recording for Double-Tracked Guitars
- Mix Center Rhythm Thickener
- Chapter 9: Bass
- D.I.
- Dirty D.I.
- (Series) Amp/Cab Distortion
- Amp/Cab/Mic
- Isolation, Speaker Selection & Master Volume
- Mic Selection
- Mic Placement
- Double Miking
- Phase Alignment
- Emulation
- Layers
- (Parallel) Reinforcement Distortion
- Chapter 10: Vocals
- Scheduling
- Coaching, Communication and Comping
- Engineering
- Polar Patterns and Gang Vocals
- Handheld Vocal Recording
- Vocal Compression
- Monitoring
- Headphone-less Vocal Recording
- Recording Further Instruments
- Mixing
- Chapter 11: Edits, Polarity and Phase Alignment, Samples and Gates
- Edits
- Mix Groups
- Polarity and Phase Alignment
- Drums
- Phase Alignment
- Bass
- Guitars
- Waveform Edits
- Multing
- Drum Samples - Overview
- Drum Sample Selection
- Drum Samples Libraries vs. Samples Created from the Kit used for Tracking
- Kick Sample Selection
- Snare Sample Selection
- Tom Sample Selection
- Sample Implementation
- Kick
- Snare
- Toms
- Isolation vs. Cohesion
- Gating
- Kick and Snare Gating
- Keyed Gating
- Toms: Gating vs. Automation vs. Waveform Edits
- Chapter 12. Balance and Stereo Width
- Mix Group Component Balance
- Mix Balance
- Panning and Stereo Width
- Mix Center
- Sides
- Monitoring and Room Acoustics
- Monitoring Level
- Headphone Monitoring
- Chapter 13: Compression
- Signal Chain Order
- Compression Parameters
- Timbral Coloration and Transient Design
- Drum Compression
- Signal Stability
- Punch
- Transient Design
- Attack Settings
- Release, Threshold, Ratio
- Make-Up Gain
- Hats, Ride, and Cymbal Compression
- Room Mic Compression
- Parallel Compression
- Drum Bus Compression
- Bass Compression
- Reinforcement Distortion
- Series Bass Compression
- Signal Bracketing
- Parallel Bass Compression
- Bass Automation
- Keyed Compression
- Rhythm Guitar Compression
- Palm Muted 'Chug-Thump'
- Lead Guitar Compression
- Vocal Compression
- Parallel Vocal Compression
- Sibilance and De-Essing
- Limiting
- Chapter 14: EQ
- Parametric EQ
- High Pass Filters
- Sweep EQ
- Corrective and Surgical EQ
- Instrument EQ
- Drums
- Kick Drum
- Optimized Kick HPF Cut Settings
- Kick Weight
- Low-Mids - Broad Corrective EQ
- Attack/Click
- Frequency Bracketing
- Snare Top/Snare Samples
- The Baxandall Curve
- Intelligent EQ
- Snare Bottom
- Toms
- Context and Interdependence
- Metalwork
- Room Mics
- Low Pass Filters
- Spectral Masking
- Distributed Creative and Corrective EQ
- Anti-Masking in Mono
- Bass
- The Missing Fundamental
- Low-End
- Low-Mids
- High-Mids
- Additional Layers
- Bass Reinforcement Distortion
- Frequency Bracketing
- Channel EQ / Group EQ
- Rhythm Guitar EQ
- HPF and Low Frequency Emphasis (Cabinet Thump/Sonic Weight)
- Mids
- Big Mono vs. Panoramic Width
- Low highs - Mid Highs
- Mirrored EQ
- Dynamic EQ
- Vocals
- HPF and Lows to Low Mids
- Mids
- Highs
- Chapter 15: Effects Processing and Automation
- Reverb
- Reverb Decay and Pre-Delay Times
- Drums
- Decay vs. Level
- Snare Reverb - Aux Sends
- Guitars and Bass
- Vocals
- Processing the Reverb Return Paths
- EQ
- (Reverb Return) Transient Design, Compression, Tape Emulation and Pitch Shifting
- Reverse Reverb, Special Effects and Automation
- Delay
- Processing the Delay Return Paths
- Pitch Thickening Width Enhancement
- Distortion
- Parallel Snare Distortion
- Megaphone and AM Radio Effect
- Sine Wave or White Noise Reinforcement
- Analogue and Tape Emulation
- Mix Referencing
- Automation
- Chapter 16: Master Buss Processing
- Master Buss Compression
- Master Buss EQ
- Master Buss Limiting
- Summing
- Mastering
- Chapter 17: Mastering
- DIY and the 'Four Es' of Mastering
- Signal Chain
- Mastering EQ
- High Pass Filters and Low End Control
- Low-Mids and Mids
- Low-End Foundation
- Upper Mids and High Frequencies
- Stereo EQ vs. Mid/Side EQ
- Low-end Localization
- Reverb
- Unified Mastering - Bridging the Divide
- Compression
- Broadband Compression vs. Multiband Compression
- Broadband Compression
- Mid/Side Compression
- Side Chain Filtering
- Multiband Compression
- Two Band
- Three-Band
- Four-Band
- Multiband Parameters
- Low Band
- Mid Band
- High Band
- Mid/Side Multiband Compression
- Parallel/Upward Compression
- Harmonic Enhancement
- Stereo Width Enhancement
- Stem Mastering
- Soft Clipping
- Limiting
- Automation
- Fades
- Mastered Output Peak Levels - CD
- Chapter 18: Loudness Normalization
- Loudness Metering and Mastering Practice
- A Final Word
- Index