Index

acoustic foam 14–15, 21–24, 33, 38, 261

acoustic guitars 75

figure-of-eight microphones 138–139

improving DI’d guitar 144–146

microphones 136–138

mixing 231

optimum mic position 139–142

recording environment 135–136

stereo recording 142–144

undersaddle piezo-based pickup/preamp 133–134

acoustic piano 75

acoustic screens 61–62, 70

acoustic treatment 20, 24, 27, 33, 38, 261

active loudspeaker (or monitor) 45, 261

air EQ 124, 223, 224

air-conditioning 92

amp/amplifier 261

miking a guitar amp 150–151

modelling preamps 148–150

re-amping 163

remote 162–163

types 154

analogue 45, 111–112, 239, 261

arming 261

audio interface 45, 106, 108, 126, 137, 156, 163, 205, 261–262

automatic tuning 225–227

automation 185, 199, 210, 223, 225, 240–241, 262

auxiliary sends 204–206, 262

back electret 116–117, 158, 263

balanced/unbalanced cables 99–103, 262–263

barrier mat (or sheet rock, dead-sheet) 34–35, 90

bass guitar 166–169, 170, 227–228

bass problems 9–10, 48

bass response 10, 12, 39, 48, 49–50, 167, 247, 263

bass tip-up see proximity effect

bass traps 32, 48, 263

broadband 32–34

foam 33

loft insulation 33–34

mattresses/sofas 33

mineral wool 33

soft-furnishings 37

stud partition/dry-walls 37

windows/doors 37

bit rate 263

see also sample rate

Blumlein array 263–264

boom 56, 176, 264

boundary 43, 122, 264

bracketing 221–223

buffer 73, 126, 156, 264

bussing 201–204

cabinet 1, 3, 45, 46, 47, 73, 148, 151, 152, 227, 264

cabinet resonance 264

cable screens 103–105

cables/connections 183

balanced/unbalanced 99–103, 262–263

cable screens 103–105

case study 97–99

cleaning 114

cold/hot signal wire 101–102

disconnecting 96–97

examples 93–97

gain structure 107–110

impedance 101, 110–111

on the level 111–112

speaker cables 113–114

summary 114–115

unbalanced to balanced

interfacing 105–106

capacitor 75, 110, 116–118, 122, 136–137, 158–159, 177, 182, 183–184, 264

capsule 117, 123, 124, 264

CD-burning 256–259

CD-R 239, 256

ceilings 90, 120

channel fader 128

Clapton, Eric 150

click track 265

clipping 40, 107–108, 132, 157, 200, 236–237, 249, 253, 265

clocking 265

clothes closet 63–65, 73

coincident 142, 143, 179, 265

colouration 5, 62, 63, 71, 75, 265

coloured sound 3–5

comfort reverb 126–128

communication with musicians 72

comping 266

compression 252–253

parallel 254–255

compressor 131, 186, 209, 266

cone 42, 46, 47, 160, 161, 167, 223, 266

corner traps 32–34, 121

CPU 266

crossover 266

crossover frequency 266

CRT (cathode ray tube) 166

D-A converter 200, 250

daisy chain 266–267

DAT machine 239

DAW (Digital Audio Workstation) 72, 73, 108, 127, 144, 179, 196–197, 201–204, 237, 267

dB (deciBel) 267

dead zone 59

Decca tree 267

decoupler (or isolator) 14, 83, 87, 91, 267

delay 268

DI box 74–75, 145, 146, 166, 169, 227–228, 268

diaphragm 75, 116, 122, 123, 136–138, 160, 167, 183–184, 268

digital 268

digital-modelling 148–150

distortion 236–237

dome 268

doors 84, 86–87

double-lapped screen 268

drive unit/driver 269

drums 71, 171–173

close miking 182–184

damping 173

divide and conquer 189–190

isolated from floor 91

kick drum 176–178

loops 191–192

maintaining 171

mic positioning 178–182

overheads 179

pre-mixing and panning 186–187

replacement 190–191

room environment 171–172

sampled 187

snares 175–176

summary 192

tracking 185–186

tuning the kit 173–174

dummy loads 153

duvets 62, 70, 73, 119–121

dynamic 268

dynamic processors 250–252

editing 240–241, 255–256

electric guitar 148

amplifier types 154

bass guitar 166–169

case study 152, 157–158

dummy loads/speaker emulation 153

hiss and hum 163–164, 166

microphones 157

miking a guitar amp 150–151

mixing 229–231

model behaviour 148–150

noise-reducing modifications 164–165

power soak units 151–152

re-amping 163

reality check 169–170

remote amping 162–163

software emulations 154–157

sound styles 158–162

electromagnetic interference 101

EQ 124, 125, 126, 144–145, 166, 183, 211, 220–223, 224, 237, 246, 248–250

equaliser 141, 144, 220, 224, 269

equivalent input noise 269

faders 128, 210

Fender, Leo 148, 150

FET (Field Effect Transistor) 269

fidelity 269

filter 63, 96, 121, 124, 139, 187, 221, 223, 224, 228, 230, 231, 236–237, 248, 269

filter frequency 269

Fingerprint EQ 144

FireWire 269–270

flanking transmission 91

flash drive 270

see also solid-state drive

flutter echo 30, 270

frequency response 3–5, 270

gain structure 40–42, 107–110

general MIDI/GM 270

ground loop/ground loop hum 95–96, 270–271

groups 206–207

GUI (graphical user interface) 271

hard disk drive 271

headroom 74, 107–110, 112, 132, 149, 186, 271

high-range (high, highs) 271

hiss and hum 163–164, 166

hub 271

Hz/kHz 271

impedance 110–111, 271–272

input impedance 111, 272

insert points 217, 254, 272

Internet audio 259–260

isolator 272

keyboards, real/virtual 73–75

kick drum 176–178

latency 154–156, 272

lay length 272

LCD 166

Led Zeppelin 150

level adjustments 231–234

lighting 166

limiter 232–233, 250–251, 273

limp-mass absorbers 34–36

loop 95–96, 270–271, 273

lossy materials 81, 83, 90

loudness 273

loudspeaker (monitor or speaker)

active/passive 44–46

bass problems 9–10

frequency response 3–5

phasing 42–43

placement 1–2, 11–12

positioning/angle 10–13, 39, 46–48

stands 13–15, 91

suitable 44–46

low-range (low, lows) 273

M-S (mid-side) 275

magnetic shielding 273

Match EQ 144

Marshall stacks 148

mastering

compression 252

development of 242–244

dynamics 250–252

editing tasks 255

EQ 248–250

evaluation 246–247

final checks 256–257

gently does it 252–253

home vs pro 245–246

Internet audio 259–260

parallel compression 254–255

process 247–248

maximum SPL 273

metering 108, 244, 273

microphones (mics) 273

analogue 111

capacitor 117, 136–137

cardioid pattern 119, 137

choosing 125–126, 157

close/distant 71, 72, 124, 161–162, 182–184

combinations 158–159

dynamic 75

figure-of-eight 138–139

hi-hat 183–184

kick mic position 177–178

miking a guitar amp 150–151

omni-pattern 137–138

optimum position 139–142, 178–180, 182

overhead 71

power soak units 151–152

powering 117–119

presence peak 126

ribbon 137, 159–160, 177, 279

shaping sound via position 160–162

small-diaphragm capacitor 75

talkback 72, 282

three-mic technique 182

tube 117

mid-range (mid, mids) 273

Mid-Side 143

MIDI 73, 147, 187, 192, 273–274

mineral wool 24–26, 33, 58, 274

mirror points 53–56, 274

mix bus 74

mixer 274

mixing 193–195

acoustic guitars 231

art of 208–209

automatic tuning 225–227

auxiliary sends 204–206

bass guitar 227–228

buses and sends 201–204

case study 214–215, 220–221, 229, 237–238

combining mix automation with advanced editing 240–241

distortion 236–237

electric guitars 229–231

EQ bracketing 221–223

EQ presets 214–215

EQ to separate 220–221

getting started 196–197

grouping the VCA way 207–208

initial balance 201

judging the balance 231–234

keep it clean 195

medium 239

noise gate 234–236

panning 215–217

perspective 218–220

plug-in presets 212–214

polishing and shaving 209

preliminary housekeeping 197–198

problem solving 234

reverb space 217

sends and groups 206–207

simply the wrong sound 237

track ‘cleaning’ 199–201

vocal levelling 209–212

vocal reverbs 225

vocals 223–225

mixing console 45, 111

modal distribution 274

modelling 134, 144, 148–150, 274

modes (room) 274

monitor 274

see also loudspeaker (monitor or speaker)

monitor controller 274

monitoring 1

artist 129–130

checking bass problems 9–10, 48

do’s and don’ts 60

frequency response 3–5

magic triangle 13

perfect symmetry rule 12–13

placement of speakers 1–2, 11–12

pointing down long room dimension 10

practical solutions 39–59

room modes 5–7

room reflections 16–17

shape/size of room 7–9

stands 13–15

mono 275

moving coil 137, 159, 275

MTC (MIDI time code) 275

multi-timbrality 275

mutual angle 275

near field 275–276

near-coincident 275

noise gate 234–236

NOS 276

off/on-axis 3–4, 256

ohm 276

optimisation (of computer) 276

Orange Book 256

ORTF 143, 276

output impedance 111, 276

output sensitivity 276

overdubbing 129, 277

OVU 108

panning 215–217, 218

passive loudspeaker or monitor 42, 44–45, 46, 113, 277

patch 277

PCI (peripheral component interconnect) card 277

PFL (Pre Fade Listen) 108

phantom power 16, 117–118, 277

phono plug (RCA-phono) 277

pitch bend 277

plug-in 148–150, 170, 179, 237, 277–278

power 278

preset 212–214

polar pattern 3, 278

polyphony 278

pop shield 123–124, 223, 278

post-fade 205–206

power amplifier 278

power soaks 152

powered loudspeaker (or monitor) 278

pre-amp 133–134, 278

pre-fade 204–205

presets 157

project studio 13, 59, 61, 69, 77, 84, 93–94, 102, 114, 133, 137, 151, 178, 193, 237, 278

proximity effect (or bass tip-up) 124, 137, 138, 139, 159, 278

PZM (Pressure Zone Microphones) 180, 182

quantisation 279

rack mount 279

RAM 279

recording space

acoustics 61–63

different rooms/spaces 72–73

instruments 69–70

keyboards (real/virtual) 73–75

reflections/resonances 71

vocal booths 63–69

Red Book 257–258

reflection 279

reflective areas 180

angled wall panels 31

CDs as reflectors 28, 31, 55

floors 71

mirror analogy 31

non-parallel walls/shaped ceilings 31–32

resonances 71

resonant modes 5–7

reverb 186–187, 217, 225, 279

reverb decay 279

ribbon 137, 159–160, 177, 279

right-brain activity 197

room

modes 274

rear walls 57–60

reflections 16–17

shape/size 7–9

sound resonances 5–7, 20

symmetry 11–12

width/length effect 10

S/PDIF 103, 281

sample 280

sample rate 256, 280

see also bit rate

sampler 18, 61, 220, 280

satellite (speaker) 279

scattering 30–32

self noise 279

sends 204–207

sensitivity 41, 157, 280

sequencer 280

shockmount 280

sine wave test sequence 18–19, 48

SMPTE TimeCode 280

snare drum 175–176, 182

software emulations 154–157

solid-state drive 280

see also flash drive

sound

isolation 77–78, 92

speed of transmission 79–80

vibrational energy 78

wavefront 79

sound absorbers 20

acoustic foam 22–24

bass traps 32–33

carpet 27–28

commercial products 38

corner traps 32–34

curved 120

decay time 20, 29

diffusing/reflecting sound 30–32

duvets 62, 70, 119–121

egg box myth 30

expanded polystyrene panels 29

free bass absorption 37

limp-mass 34–36

mineral wool 24–26, 58

mirror points 53–56

open-plan-office dividing screens 29–30

porous 20–21

positioning 52–56

role 52

studio sofa (bed, mattress) 33, 56, 179

sound card 280

sound leaking 77

ceilings 90

complaints 83

doors 84, 86–87

floors 88–90

masked by daytime noise 85, 86–87

vibration-borne sound 90–91

walls 79–84

windows 84, 85–86

soundproofing 77–78, 280

spaced array 281

speaker 281

see also loudspeaker (monitor or speaker)

speaker cables 113–114

speaker emulation 153

‘The Spherical Bermuda Triangle of Death’ 8

SPL (sound pressure level) 281

SRA (stereo recording angle) 281

standing waves 5

Stratocaster guitar 148

studio vibe 128

subwoofer 281

2.1 system 49–50

calibration 51–52

level, phase, cut-off frequency 51

positioning 50

surround 282

sweet spot 71

synthesis 282

synthesiser 222, 282

talkback 72, 282

tape op 196

target sound 144

templates 128

track cleaning 199–201

TRS (tip-ring-sleeve) 105, 282

TS (tip-sleeve) 106

tub combo 73

tube see valve

tuned traps 32

tweeter 13, 14, 16, 46, 47, 247, 282

USB (Universal Serial Bus) 282

valve 117, 282

vibrato 283

vocal booths 121

clothes closet example 64–65

size 63–64

sound absorption 63–64

treatment 65–67, 69 vocal recording 116–117

artist monitoring 129–131

backing vocals 224–225

boxy-sounding 118

case study 122

comfort reverb 126–128

directionality 119–121

mic choices 125–126

mic powering 117–119

position 122–124

processing prior to recording 131–132

studio ‘vibe’ 128

summary 132

VU meter 108

W (watt) 283

walls

adding mass 80–81

air gap 80, 82–83

cavity wall 80

dry wall/studding 84

lossy layers 81, 83

plasterboard-on-studding 82, 83

silicone rubber/mastic 82–83

vibrational energy 80

WAV 256

way (as in 2-way or 3-way) 283

windows 84, 85–86

X-Y 143, 179, 283

XLR 64, 102, 105, 106, 283