Mic It!: Microphones, Microphone Techniques, and Their Impact on the Final Mix

Contents

• Chapter 1 : Audio Basics
• 1. 1 It's Not Always About the Gear!
• 1. 2 What is Sound?
• 1. 3 The Decibel (dB)
• 1. 4 Power Relationships
• 1. 5 Decibel Scales
• 1. 6 Dynamic Range
• 1. 7 Signal-To-Noise Ratio
• 1. 8 Frequency vs Pitch
• 1. 9 Frequency Response
• 1. 10 Waveforms, Fundamentals, and Harmonics
• 1. 11 Wavelength, Velocity, Phase
• 1. 12 Amplitude Summation and Comb Filtering
• 1. 13 Human Hearing
• 1. 14 Signal Flow and Audio Level Standards
• 1. 15 Gain Structure and Recording Levels
• 1. 16 Analog Audio Connectors
• 1. 17 Digital Audio Connectors
• 1. 18 Digital Audio Basics
• Chapter 2 : "Good Sound"
• 2. 1 Recognizing Good Sound
• 2. 2 Sound Reproduction Formats
• 2. 3 Monitoring Options - Loudspeakers, Headphones, and Earbuds
• 2. 4 Mono Compatibility
• 2. 5 Compressed Audio Formats
• 2. 6 Dynamic Range
• 2. 7 What About Distortion?
• 2. 8 What Is a Good Recording?
• 2. 9 Accuracy
• 2. 10 Non-Natural Sounds and Balances
• 2. 11 What Are the Elements of a Good Mix?
• 2. 12 Frequency Balance
• 2. 13 Clarity and Intelligibility
• 2. 14 The Stereo Image
• 2. 15 Focus and Amplitude Balance
• 2. 16 Processing and Effects
• 2. 17 Musical Arrangement and Song Structure
• 2. 18 Making a Great Record
• Chapter 3 : About Microphones,
• Part 1 ...
• 3. 1 The Microphone
• 3. 2 End Address or Side Address?
• 3. 3 Directionality and Pick-Up Patterns
• 3. 4 Dynamic Microphones
• 3. 5 Condenser (Capacitor) Microphones
• 3. 6 Single vs Dual Diaphragm Microphones
• 3. 7 Pressure and Pressure Gradient Transducers
• 3. 8 Ribbon Microphones
• 3. 9 Tube (Valve) Microphones
• 3. 10 Stereo Microphones
• 3. 11 Virtual Microphones
• 3. 12 Other Microphone Technologies
• Chapter 4 : About Microphones,
• Part 2 ...
• 4. 1 Phantom Power
• 4. 2 Proximity Effect
• 4. 3 Frequency Response
• 4. 4 Off-Axis Response
• 4. 5 Flat Microphones vs Vocal Microphones
• 4. 6 Low Frequency Response
• 4. 7 Low Cut Filters
• 4. 8 Low Frequency Instrument Microphones
• 4. 9 Sensitivity
• 4. 10 Self-Noise and Equivalent Noise Rating (ENR)
• 4. 11 Signal-to-Noise Ratio
• 4. 12 Pads
• 4. 13 Maximum SPL
• 4. 14 Dynamic Range
• 4. 15 Transient Response
• 4. 16 Pop Filters, Windscreens, and Dead Cats
• 4. 17 Shock Mounts
• 4. 18 Mic Preamps
• 4. 19 What Mic to Use?
• 4. 20 There's More to It Than Specifications!
• Chapter 5 : EQ Basics
• 5. 1 What Is EQ?
• 5. 2 Last Resort, and Creative Mix Tool
• 5. 3 Can You EQ Spill?
• 5. 4 EQ Filters
• 5. 5 Analog vs Digital EQ
• 5. 6 Additive vs Subtractive EQ
• 5. 7 The Fewer Filters the Better
• 5. 8 How Much to EQ?
• 5. 9 When to EQ?
• 5. 10 Golden Rules of EQ
• Chapter 6 : Stereo Imaging
• 6. 1 The Stereo Soundstage
• 6. 2 How to Listen
• 6. 3 Phantom and Discrete Images
• 6. 4 Image Width
• 6. 5 Beyond the Loudspeakers
• 6. 6 Depth Concepts
• 6. 7 The Illusion of Height
• 6. 8 Static and Dynamic Panning
• 6. 9 Image Symmetry
• 6. 10 Use All of the Soundstage!
• 6. 11 Reality vs Recording
• Chapter 7 : Stereo Microphone Arrays
• 7. 1 Microphone Arrays
• 7. 2 XY Coincident Pair Techniques
• 7. 3 Blumlein Pair Technique
• 7. 4 Near-Coincident Pair Techniques
• 7. 5 Spaced Pair (AB) Techniques
• 7. 6 MS (Middle-Side) Techniques
• 7. 7 The Decca Tree
• 7. 8 Binaural and Baffle Techniques
• Chapter 8 : Immersive Audio
• 8. 1 Surround and Immersive Audio
• 8. 2 Channel Panning and Object Based Audio
• 8. 3 The New Challenges of Immersive Audio
• 8. 4 Channel Based Microphone Techniques
• 8. 5 Binaural Techniques
• 8. 6 Introducing Ambisonics...
• Chapter 9 : The Effect of Microphone Position
• 9. 1 Art and Science
• 9. 2 Distance and Tonal Qualities
• 9. 3 "Zoom Factor"
• 9. 4 Off-Axis Response
• 9. 5 Direct vs Reflected Sound
• 9. 6 Comb Filtering Problems
• 9. 7 Floor Reflections - the Good, the Bad, and Boundary Mics
• 9. 8 Stereo Arrays and Distance
• 9. 9 Spill - Enemy or Creative Tool?
• 9. 10 Mic Position Practicalities
• 9. 11 Multi-Miking
• 9. 12 Experimentation and Exploration
• 9. 13 Practical Tips to Help Set Mic Position
• Chapter 10 : The Recording Room
• 10. 1 Room Sound
• 10. 2 Live Rooms
• 10. 3 Dead Rooms
• 10. 4 Room Size
• 10. 5 Cubic Airspace
• 10. 6 Standing Waves and Resonant Frequencies
• 10. 7 Flutter Echo
• 10. 8 Microphone Directionality and Room Considerations
• 10. 9 Room Shape
• 10. 10 Absorption
• 10. 11 Diffusion
• 10. 12 The Purpose of the Room
• 10. 13 The Single Room Home Studio
• 10. 14 Acoustical "Home Remedies"
• 10. 15 Monitor Calibration Software?
• Chapter 11 : Recording Vocals
• 11. 1 Is it Really About the Mic?
• 11. 2 Getting "the" Performance
• 11. 3 Vocal Tracking Methods
• 11. 4 Miking Individuals
• 11. 5 Voice and Acoustic Guitar
• 11. 6 Small Vocal Groups
• 11. 7 Larger Contemporary Vocal Groups
• 11. 8 Gang Vocals
• 11. 9 Vocal Recording Tips
• 11. 10 Vocal EQ Frequencies
• Chapter 12 : Drum Miking
• 12. 1 What Kind of Sound Does the Project Call For?
• 12. 2 How Many Mics Do You Really Need?
• 12. 3 Kick Drums
• 12. 4 Snare Drums
• 12. 5 Hi-Hats
• 12. 6 Tom Toms
• 12. 7 Cymbals and Overheads
• 12. 8 Room Mics
• 12. 9 Rock Drums vs Acoustic Jazz Drums
• 12. 10 Drum EQ Frequencies
• Chapter 13 : Drum Tuning
• 13. 1 Why Learn to Tune Drums?
• 13. 2 Fundamental vs Lug Frequencies
• 13. 3 Drums and Tuning Concepts
• 13. 4 Kick Drum Tuning
• 13. 5 Snare Drum Tuning
• 13. 6 Tom Tom Tuning
• 13. 7 Fixing Rings and Resonances
• 13. 8 Tuning Devices and Apps
• Chapter 14 : Guitars, Basses, and Keyboards
• 14. 1 The Role of the Rhythm
• Section 14 .2 Electric Guitar
• 14. 3 Creative Comb Filtering
• 14. 4 Direct Boxes
• 14. 5 Reamping
• 14. 6 Amp and Pedal Simulation
• 14. 7 Electric Bass
• 14. 8 More on Guitar and Bass Cabs
• 14. 9 Acoustic (Upright) Bass
• 14. 10 Acoustic Guitar
• 14. 11 Grand Piano
• 14. 12 Upright Piano
• 14. 13 Electric Keyboards and Synthesizers
• 14. 14 Leslie Speakers and the Hammond Organ
• 14. 15 Accordions
• 14. 16 EQ Frequencies
• Chapter 15 : Strings, Winds, Brass, and Percussion
• 15. 1 Orchestral String Instruments
• 15. 2 Horn
• Section I nstruments
• 15. 3 Other Wind and String Instruments
• 15. 4 Percussion Instruments
• 15. 5 EQ Frequencies
• Chapter 16 : Setting Up the Studio
• 16. 1 The Three or Seven P's
• 16. 2 Bands - Small Room Recording
• 16. 3 Bands - Large Room Recording
• 16. 4 Iso-Rooms and Multi-Room Studios
• 16. 5 Gobos and Sound Barriers
• 16. 6 Drum Rooms and Drum Screens
• 16. 7 String Sections
• 16. 8 Horn Sections
• Chapter 17 : Miking Large Ensembles
• 17. 1 Orchestras and Large Instrumental Ensembles
• 17. 2 Main Arrays
• 17. 3 Outriggers
• 17. 4 Woodwind Mics
• 17. 5 Natural Reverb and Room Acoustics
• 17. 6 Audience Mics
• 17. 7 Spot Mics
• 17. 8 To Time Align or Not to Time Align?
• 17. 9 Artificial Reverb
• 17. 10 The Hollywood Sound
• 17. 11 Large Choirs
• 17. 12 Jazz Big Bands - Concert Seating
• 17. 13 Jazz Big Bands - Studio Isolation Seating
• Chapter 18 : Putting It All Together
• 18. 1 Recording for the Mix
• 18. 2 Ear Candy
• 18. 3 Pre-Production
• 18. 4 The Pre-Mix
• 18. 5 The Headphone Mix
• 18. 6 Click Tracks
• 18. 7 Knowing the Song
• 18. 8 Don't Give Everything Away at Once
• 18. 9 Correct Problems Early (But Know When to Let Them Go)
• 18. 10 Fixing Dull or Small Sounding Tracks
• 18. 11 "Polishing a Turd"
• 18. 12 Exploration and Experimentation
• Chapter 19 : Audio for Video
• 19. 1 Why Audio for Video?
• 19. 2 Types of Audio
• 19. 3 Recording Systems
• 19. 4 Synchronization
• 19. 5 Shotgun Microphones
• 19. 6 Blimps
• 19. 7 Boompoles and Pistol Grips
• 19. 8 Lavalier Microphones
• 19. 9 Voice-Overs and Dialog Replacement
• 19. 10 Isolation and Restoration Software
• 19. 11 Sound Effect Recording
• Chapter 20 : Tips From the Professionals...
• 20. 1 To Conclude...
• 20. 2 Lenise Bent
• 20. 3 David V. R. Bowles
• 20. 4 Joel Hamilton
• 20. 5 Kerry-Anne Kubisa
• 20. 6 Wes "Wesonator" Maebe
• 20. 7 Matt Ross-Spang
• 20. 8 Mark Rubel
• 20. 9 Catherine Vericolli
• 20. 10 Paul "Willie Green" Womack