The Recording, Mixing, and Mastering Reference Handbook

Contents

• About the Companion Website
• Introduction
• PART I The Instruments (practical recording and mix-techniques)
• Chapter 1 The Voice
• Acoustics and microphone settings DT Vocal psychology DT The Headphone Mix DT Tips DT Various vocal techniques DT The mix settings and effects DT Special uses of vocal microphones DT Harmony vocals as overdub DT Tips
• Chapter 2 The Drum Kit
• The Instrument and the acoustics DT Mic setup DT Mic technique: The individual drums in the kit DT Advanced mic setups DT Mix-settings and effects
• Chapter 3 The Bass Guitar
• The instrument DT Mic or DI? DT Or both? DT Virtual amps DT Mix-settings and effects DT Tips
• Chapter 4 The Electric Guitar
• The instrument DT Mic techniques DT Ambience and acoustics DT Layering guitars DT Virtual stacks & re-amping DT Mix-settings and effects DT Tips
• Chapter 5 The Piano
• The Instrument and the acoustics DT Always use condenser microphones DT Recording acoustic pianos in the studio DT Digital piano DT Live recording DT Mix-settings and effects
• Chapter 6 The Acoustic Guitar
• The Instrument DT Mic setup DT Mix-settings and effects
• Chapter 7 The Recording of Some Less Common String Instruments
• The mandolin DT The dobro DT The banjo DT The harp
• Chapter 8 Percussion
• Congas and bongos DT Cajon DT Claves DT Djembe and bodhran DT Tambourine and shakers DT Timbales DT Xylophone, marimba, vibraphone, and glockenspiel
• Chapter 9 The Double Bass and the 'Cello
• The Instrument and the acoustics DT Mic setup DT Stereo setups DT Mix-settings and effects DT Tips
• Chapter 10 The Violin and the Viola
• The Instrument and the acoustics DT Mix-settings and Effects DT Tips
• Chapter 11 Brass and Wind Instruments
• Brass and saxophones DT The horn section DT The flute DT Tips
• Chapter 12 Synthesizers and Electronic Keyboards
• The instrument DT DI, mics, or MIDI DT Mix-settings and effects DT Tips
• Chapter 13 The Leslie Speaker
• The Instrument DT Mic setup DT Mix-settings and effects
• Chapter 14 Live in the Studio
• Isolation booths and screens DT Ghost Notes DT Tips
• Chapter 15 Recording Choirs and Small Acoustic Ensembles
• The acoustics DT Mic placement DT Spot mics DT Tips DT Choirs with accompaniment DT Mix and editing
• PART II Microphone Techniques (principles/background theory)
• Chapter 16 Microphones: Types and Specifications
• The transducer types DT Reading mic specifications DT Comparing Mics
• Chapter 17 Microphones: Polar Pattern
• Cardioid DT Omni DT Figure-of-eight DT Multi-pattern microphones DT Shotgun microphones DT Mic techniques DT Omni v. cardioid: Choosing the right polar pattern DT Recording with omnis
• Chapter 18 Stereo Recording
• Spaced omni - The Decca tree - Baffled stereo DT Coincident stereo DT MS Stereo DT More stereo setups: ORTF, NOS stereo, & binaural DT
• PART III Processors and Effects (principles and practice)
• Chapter 19 EQ and Instruments
• Sub bass (20-60 Hz) DT Bass (60-250 Hz) DT Low-mid (250 Hz to 2 kHz) DT Midrange (2-4 kHz) DT High-mid (4-6 kHz) DT High (6-20 kHz) DT The components of the EQ DT Common types of EQ DT EQ'ing different instruments - use your ears and your imagination DT C
• Chapter 20 Harmonics and EQ
• The Harmonic Series DT EQ'ing harmonics
• Chapter 21 Compressor/Limiter and Expander/Gate
• Compressor DT Gate and Expander
• Chapter 22 History of the Reverb
• Natural ambience DT Electronic reverbs DT EMT 140 Plate Reverb DT EMT 250 goes digital
• Chapter 23 Tape Echo and Digital Delay
• Tape echo DT Digital delay DT Calculating delay time DT Using delays DT Tips
• Chapter 24 Ambience and Reverb
• Digital reverbs in the studio DT The parameters of the digital reverb DT Insert or send DT Reverb-types DT How to use reverb DT Tips
• Chapter 25 Convolution Reverb
• Impulse response (IR) DT IR libraries DT Special FX DT How to create an IR DT Tips for recording an IR
• Chapter 26 Modulation Effects
• Flanging DT Chorus DT Phase shift DT The Haas Effect and doubling DT Tips
• Chapter 27 Distortion and Tape Saturation
• Enhancing sounds with distortion DT Tape saturation DT Distortion used as an effect DT Tips
• Chapter 28 Varispeed and Pitch Processors
• Pitch shift DT Pitch Correction DT Manipulating sound with pitch processors
• PART IV Mixing and Mastering (principles and practice)
• Chapter 29 The Mix
• The basic mix DT Utilizing the stereo field DT EQ DT Depths and widths DT The sound stage DT Make the individual tracks on the mix sparkle - EQ revisited DT Stereo groups DT Compression DT Leave a little headroom to the mastering engineer
• Chapter 30 Mastering
• The mastering studio DT Mastering for CD DT Mastering for online streaming DT The creative process DT Mastering tools DT Mid-side processing DT Bit resolution DT Stem mastering
• PART V Acoustics (principles)
• Chapter 31 Phase and Comb Filtering
• The Comb Filter Effect DT Multi-mic recording and phase DT Critical distances and frequencies DT How to avoid phase cancellation
• Chapter 32 The Control Room and the Monitors
• The control room and the monitors DT Principles for monitor placement DT The space and the monitors DT Fine tuning the acoustics
• Chapter 33 The Recording Room
• Tuning the acoustics DT The dimensions of the recording space DT Separation DT Diffusion DT Tips
• PART VI Audio Standards, Plugs, and Connectors (principles)
• Chapter 34 Levels and Meters
• Levels DT Audio levels in the signal chain and how they are measured DT Meters DT The dB(A) scale
• Chapter 35 Plugs and Connectors
• Plugs DT Balanced connectors DT Unbalanced audio DT Tips DT Inserts DT Digital audio formats DT Synchronizing digital DT Word clock