A/D - D/A converters (DAW) 120–1
AB/spaced (microphone) techniques 226, 231–2
abbreviations, scribble strip and 290–1
absorptive materials 177
acoustics 171–8; absorption 175–6; diffusion 174–5; reflections 173–4; transmission 171–2; variable 176–8
ADAT Lightpipe 49
AES/EBU digital cables 49
aggressive behaviour of musicians 258
amplifier platforms 177
amplitude based effects 115
analogue alignment 181
analogue audio cables/connectors 40–5; assembling/wiring 46–8; runs 46; shielding 46
arrangement/instrumentation 138–41
artificial double tracking (ADT) 283
artists see musicians
assistant engineers 16
audio file types 188
audio interface/soundcard 121
audio tool list 165
auto input mode 255
auto-backup (DAWs) 187
auto-panning 115
‘auto-wah’ effects 116
auxiliary busses feed to group busses (’EFX’) 91–2
auxiliary master section: mixing consoles 98
auxiliary sourcing, pre/post 91, 102
backup 296, 297; auto-backup (DAWs) 187
‘baffled’ near coincidence (microphone) techniques 231
balanced/unbalanced connections 46, 47, 48, 180
balancing: DI boxes 39
bandwidth: equalisers 61, 64, 65
bass drum: microphone choice and placement 213, 239; sub-bass oscillator 277; tuning/timbe 344 appendix; tunnels 178
bass guitar, 198, 323 appendix
bass stringed instruments 142, 195
bass traps 176
bassoon, 149, 203, 317 appendix
‘bell’ equalisers see peak equalisers; ‘sweep’ equalisers
bongos: microphone choice and placement 220
bouncing 256
boundary/pressure zone microphones 23, 28
brass instruments 155–8; microphone choice and placement 209–12
cabinet design and shape (loudspeakers) 127–8
cables and connectors 50–1; digital audio 49; see also analogue audio cables/connectors
channel line alignment 182
chorus modulated delay times 111
clarinet, 150, 204, 318 appendix
click tracks 186
clip-on microphones 35
coil-based tecnology see moving coil-based dynamic loudspeaker drivers; moving coil-based dynamic microphones
compositions 136–41; arrangement/instrumentation 138–41; forms 136–8
compression: and EQ: processing order 280; parallel 273–5; setting parameters 270–2; vs. gain riding 253–4
compressors/limiters 73–81, 246, 269–75
condenser microphones 22–3, 25–7; DC voltage (phantom power) 24; vs. moving coil-based dynamic microphones 36
confidence of musicians 257
congas: microphone choice and placement 221
connectors see analogue audio cables/connectors; cables and connectors
constant and non-constant bandwidth equalisers 61, 64
‘contact’ microphones 29
control room: microphone set-up procedure 194; monitoring 98; overdubbing in 255–6; set-up 244–7; standing waves in 174; and live room communication 98–9, 252–3, 254
crest factors and compression 270
cue mix: feed 91, 102; musicians 249–51
cut-off frequency: filter 55–6, 260, 261, 262; loudspeakers 125
cymbals: hi-hat 215, 344 appendix; microphone choice and placement 214–15
D-subminiature (D-sub) connectors 45
date planning/session schedule 166–7
DAW see digital audio workstation
DC voltage (phantom power) 24
de-essing 77
deadlines, progression charts and 296
Decca Trees (microphone technique) 232
decibels 185
decoupling, isolation and 172
delay: based effects 109–14, 281–2; comb-filtering remedy 224–5
destructive and non-destructive solos 93
DI (direct injection) boxes 37–40
digital alignment 181
digital audio cables/connectors 49
digital audio workstation (DAW) 120–3; backup and delivery 296; bouncing 256; comb-filtering remedy 225; ‘gated’ talkback 254; ‘hybrid’ alignment 183–4; labelling folders and files 187–8, 296; operators/editors 16; panning laws 266; parallel compression 274–5; ‘punching in’ 256; session file preparation 185–8
digital microphones 23
direct injection (DI) boxes 37–40
direct outputs: mixing consoles 96–7
distortion effects 116
djembe 222
doumbek 222
‘drive’, lack of 258
driver types (loudspeakers) 126–7
drums/drum kit: click track alternatives 186; creative ‘ducking’ 279; creative gating 277; mono overhead microphone 218; placement 189–90; replacing heads and tuning 343–4 appendix; sound-check 248; spot microphones 219; stereo microphone techniques 237–40; see also specific types
dynamic range processors/processing 73–85, 269–80; compressors/limiters 73–81, 246, 269–75; expanders/gates 82–5, 276–80; mixing consoles 92–3
EBU digital metering 247
echo see delay; reverberation
EDAC/ELCO connectors 45
effects processors/processing 109–18, 281–3; filter based 115–16; other 116–18; time-delayed 109–14; waveform distortion 116
electonic signals 164
electonic sources and MIDI signals 165
electret condenser microphones 22–3
electric bass 323 appendix
electric guitar 324 appendix
electric instrument signals 164
electrostatic loudspeaker drivers 126–7
end of recording 297
engineers 16
equal loudness contours 313 appendix
equalisers/equalisation 55–72, 267–9; compression and gating: processing order 280; EQ ‘boxes’ analogy 267, 268; EQ section: mixing consoles 92; examples 69–72; filters 55–8; peak 61–5; ‘Q’ (quality) factor 66; semi- and fully-parametric 66, 67–8; shelving 58–60; ‘sweep’ 65
extra/standby microphones 224
fader riding: basic tracking 252; compressors and 74–5; gates and 82–3
fader section: mixing consoles 93–4
files and folders (DAWs) 187–8, 296
filter cut-off frequency 55–6, 260, 261, 262
filter slopes 55
filters/filtering 55–8, 260–3; comb-filtering 173, 224–5
flanger and chorus modulated delay times 111
french horn, 155, 209, 320 appendix
frequency see equalisers
fuzz effects 116
gain/gain structure 245–7; compressors and 75; gates and 83; riding vs. compression 253–4; and routing signals 339–40 appendix
‘gated talkback› 254
glockenspiel, 159, 321 appendix
Glynn Johns technique 239
grand piano 327 appendix; stereo microphone techniques 241–2
graphic equalisers 65; paragraphic equalisers 66
group busses; auxiliary busses feed to (‘EFX’) 91–2; cue mix creation 251
guitars 144, 197, 198, 322 appendix, 323 appendix, 324 appendix; Haas effect delay 282; and vocals: creative ‘ducking’ 279
Haas effect-based delays 281–2
hand drums: microphone choice and placement 220–2; see also tom-toms
hard drives 297
headphones 131; cue mix 249–50, 251; isolating 192, 193; ‘leakage’ 251, 252
hi-hat: microphone choice and placement 215; timbre 344 appendix
impedance: DI boxes 39
input monitoring mode 255
input/output modules/channel strips 90–6
input/output recall sheet 285
instrumentation/arrangement 138–41
instruments 141–62; placement 189–90
isolation: and decoupling 172; tunnels 178
jitter 122
labelling folders and files (DAWs) 187–8, 296
law of the first wavefront (Haas effect) 281–2
‘leakage’; headphones 251, 252; microphones 276
limiters 76; see also compressors/limiters
live performance venues 15
live room (studio): and control room communication 98–9, 252–3, 254; resonances (standing waves) in 174; set-up 189–243; see also recording studios
live sound technical riders vs. studio session plans 168
‘look ahead’ detection 76
low frequency oscillators (LFO) 110–11, 115–16
MADI protocol 49
marimba 243
master section: mixing consoles 97–9
matrix consoles 86
metering/meters 246–7; mixing consoles 98; multimeters 180
microphone techniques: compressors and 74; multiple 224, 249; stereo 226–43
‘microphone-based’ sound evaluation 192, 193
microphones: construction (physical considerations) 35–6; diaphragm size (output sensitivity/fidelity) 30; directionality (separation) 30–5; ‘leakage’, gates to eliminate 276; placement 191–225; preamplifiers 51–4, 91; selection criteria 17–36; set-up procedure 194; shared 91; signals 164; sound evaluation 191–3; transducer type (bias vs. fidelity) 18–29
middle and sides (M&S) microphone technique 228–9
MIDI signals 165
mix depth, time-based effects and 281
mixing, arrangement and 141
mixing consoles 86–102; functions and elements 86, 90–9; recall sheet 287; signal flow (block) diagrams 99–102; types 86–9
modulated delay effects 110–11
monitor pads 172
‘monitor’ vs. ’printed’ effects 117
monitoring management devices 132
monitoring modes: overdubbing 255
mono overhead microphone (drum kit) 218
moving coil-based dynamic loudspeaker drivers 126
moving coil-based dynamic microphones 18, 19–20; vs. condenser microphones 36
multimeter, use of 180
multitrack assigning: mixing consoles 96–7, 100
multitrack recorders 119; bouncing 256; filtering 260; monitor or reference mix 259; monitoring modes 255
musicians 15; comfort 190; cue mix 249–51; recording team and 135; sound-check 248; studio psychology 256–9
‘naked ear’ selection of stereo microphone techniques 233–4
‘naked ear’ sound evaluation 191–2, 193
‘Nashville Pair’ 240
natural echo/reverberation 111
near coincident (microphone) techniques 226, 229–31
‘near-clipping’ checks 52
negative influence/comb filtering 173, 224–5
noise floor testing: preamplifiers 52
objectivity, lack of 258
orchestral recordings, stereo microphone techniques and 234–5
‘overdrive’ effect 116
paragraphic equalisers 66
parallel outputs: DI boxes 37
parametric equalisers 66, 67–8
passive vs. active loudspeakers 128–30
patchbays/patchbay normalling 103–8
peak program meters (PPM) 247
peak/RMS detection 76
percussion instruments 159–60; beaters 326 appendix; microphone choice and placement 213–22; see also specific types
phantom power 24
piano see grand piano
‘pick-ups’ (acoustic) 29
Piezo loudspeaker drivers 126
Piezo microphones 29
planning: changes in recording parts 257; session 166–8
polarity inversion: drum kit stereo microphone technique 238
polarity problems: sound-check 249
power supply and distribution 179–80
pre/post auxiliary sourcing 91, 102
pressure zone/boundary microphones 23, 28
printed ribbon-based (regulated phase) microphones 19, 22
‘printed’ vs. ‘monitor’ effects 117
production/progress chart 291–4; song-based 294–7
programmers 16
‘punching in’ 256
‘Q’ (quality) factor: equalisers 66
RCA/‘phono’ connectors 43
reamping and sound-check 249
recording environments 13–15; equipment requirements 164–6; ‘recce’ 163; size 163
recording studios 13–14; acoustics 171–8; equipment alignment 181–5; instrument placement 189–90; power supply and distribution 179–80; see also control room; digital audio workstation (DAW); live room (studio)
recording team 15–17; and musicians 135
‘red light fever’ 257
referencing/reference tuning, 252, 305 appendix
reflective surfaces 178
rental of equipment 166
‘residential’/temporary recording spaces 14
resonances (standing waves) in live room 174
reverberation 109–10; delay and reverb units 112; mixing consoles 98; natural echo/reverberation 111; reverb plug-ins 114
ribbon-based dynamic loudspeaker drivers 126
ribbon-based dynamic microphones 18, 21
ring modulation 115
routing matrices: mixing consoles 94–7
routing signals, setting gain structure and 339–40 appendix
‘rumble’: and mixing 263; pass filters and 58
runners/‘tea boys’ 16
S/PIF (Sony/Phillips digital interface) connectors 49
safety issues: phantom power 24; sound evaluation 192; voltage measurement 179
sample and tick-based time scales 186–7
saxophones 328 appendix; alto 147, 201; baritone 148, 202; soprano 153, 207; tenor 154, 208
scribble strip and abbreviations 290–1
session file templates 187
session notes 288; and track sheets 284–8
shared microphone/line input preamplifiers 91
shielded cables 46
signal expansion 84
signal path chart (sound-check) 167–8
singer cue mixes 250
slating the recorder (DAWs) 188
snare drums 329 appendix; gated reverb 277; microphone choice and placement 216, 239; tuning/timbe 344 appendix
software applications (DAW) 122
soldering skill 46
solo facilities: mixing consoles 93–4
soloing equalised elements 267, 269
song-based production/progress chart 294–7
sound-check 248–9; levels and panning during 266; planning 167–8
soundcard/audio interface 121
speaker decoupling 172
speakon connectors 44
specification (‘spec’) sheets 123, 125–6
spot microphones (drum kit) 219
standard operating levels 185
standby/extra microphones 224
standing waves (resonances) in live room 173–4
stereo microphone techniques 226–43
stereophonic zoom 235
stringed instruments 142–6; microphone choice and placement 195–200
surge-protection supply devices 179
‘sweep’ equalisers 65
symmetrical and non-symmetrical equalisers 61, 62–3
take information 284
‘talkback’: cue mix 250; ‘gated’ 254; section: mixing consoles 98; sound-check 248; tracking 252
tape operators 16
TDIF (Transcam digital interface) connectors 49
‘tea boys’/runners 16
temporary/‘residential’ recording spaces 14
tick-based time scales, sample and 186–7
time-based effects and mix depth 281
time-delayed based effects 109–14
time-stretching 186
tom-toms 330 appendix; microphone choice and placement 217; tuning/timbre 344 appendix
tone generator: mixing consoles 98
TOSLINK connectors 49
total harmonic distortion (THD) 126
track sheets 286; and session notes 284–8
tracking 251–4; basic 252–3; compression during 246
transducers see microphones
transmission (recording studios) 171–2
tremolo units and parameters 115
trombone, 156, 210, 331 appendix
trumpet, 157, 211, 332 appendix
tuning and overdubbing 255
two-track recorders/recording 119–20; continuous 252; direct 253; routing
DAW return signal 101
‘upper headroom’ checks 52
valve/tube DI boxes 40
valve/tube microphones 23
variable impedance: preamplifiers 52
vibraphone, 160, 243, 334 appendix
violin, 146, 200, 335 appendix
visual aids see production/progress chart
vocoder effect 116
voice/vocals: artificial double tracking (ADT) 283; creative ‘ducking’ 279; female 161; male 162; microphone choice and placement 223; ‘thickening’ (Haas effect) 282
volume unit (VU) meters 247
wah-wah effect 116
waveform distortion effects 116
‘wet’ and ‘dry’ signals 109, 117, 248, 283
woodwind instruments 147–54; microphone choice and placement 201–8
XLR connectors/cables 43–4, 50–1
XY/coincidence (microphone) techniques 226, 227–9
xylophone 243