p.240

Index

3D reference ball 21–3

500 series modules 113–14

absorption 132–4; coefficient 133

accent miking 82, 83

accounting classes 197

acoustic energy 71–2

acoustic guitars, miking 86

acoustical qualities 136

acoustical treatment 135–45

acoustics 131–45; basic terms 132–4; dealing with 134–5; DIY projects 136–45; making a room sound better 136–7

ADAT 149, 184

additional instrumentation/percussion 124

adjectives for sound 33–7

AEA R84 mic 99

AES/EBU connectors 232

AKG C 12 mic 92

AKG C 414 mic 92

AKG C 451 B mic 93

AKG D 12 mic 87

AKG D 112 mic 88

all-in-one recorders 66–7

alternate monitor switch 47

ambient miking 82, 83

ambisonic mics 79

amplitude (volume) 2–4, 18, 21–2, 43

analog 13, 147, 148, 150–2, 157–8, 236; cons 151–2; pros 151

analog connectors 229–32

analog-to-digital (A/D) converters 59, 236

analog four- or eight-track all-in-one recorders 66–7

analog model of signal flow 61–3, 64, 67, 68

analyzing music recordings 24–5

angelic sound 33

Apogee Duet interface 59

Apollo Twin interface 59, 60

application 54

asking questions 172

assistant engineer 188, 190

attack 11–12, 105, 106

audio interfaces 59–61; recording with a laptop and interface 64–6

audio schools/colleges/universities 176–81

Audio Technica AT4050 mic 93

Audix D6 mic 88

Auricula Helices 25–6

automation 126, 127

Auto-Tune 115

auxiliary section 40, 41, 44–5

Avenson STO-2 mic 94

Avid C/24 49, 51

backing vocals 87

balance 54, 125, 126

balanced lines 227

banana plugs 232

basic (rhythm) tracks 117, 122–3; correcting 123

bass range 5, 6, 17–18, 31

bass traps 136, 142–4

basses, miking up 85–6

beefy sound 33

Behringer X-Touch 49, 50

Berliner, Emile 148

Beyer M 201 mic 89

Beyerdynamic M 160 mic 99

bi-directional mics 78, 79

big sound 33

bit depth 15

bit rate 15

bite 34

Blumlein, Alan 148

body 34

body language 165–6

boomy sound 34

boosting a frequency 28

breathy sound 34

bridges 164–5

brittle sound 34

broadband absorber 141–2, 143

budget 130, 189

bus(es) 40, 41, 46–7

business and accounting classes 197

bypass 105, 107, 108, 109

capture-store-monitor model 61–3, 64, 67, 68

cardioid mics 78

carpet 131, 132

Cascade Fat Head mic 100

cassettes 66, 149

CD/track text 129

CDs (compact discs) 13, 149

channel strip 39–42

Cher 115

chimey sound 34

chorus FX 112

choruses 164–5

chunky sound 34

clean up 125

click 122, 236

close miking 82, 83, 85

cochlea 236

Coles 4038 mic 100

colleges 176–81

coloring the sound 80

comb filter 113, 236

communication skills 163–4

compact discs (CDs) 13, 149

compression 1, 104–7, 125, 128, 214–15, 236

compressors 203–4

computers 148, 153–8; choices 155–6; MIDI 148, 153–5; software 156–7

condenser microphones 75–6, 92–9

connector types 60, 229–35

contacts, making 167–8

p.241

control surface 39, 49–51, 236

critical distance 82

crunchy sound 34

cutting a frequency 28

dB pad 74, 75

DB25 connectors 234

dBFS 48–9, 58, 127, 228, 236

decay 11

decay time 108, 109

decibels 3–4, 228

deep sound 34

de-esser 32, 236

delay 110–11

depth 34, 112

describing sound 33–7

diffraction 134

diffuser 136, 138–9, 140; random diffuser 139–41

diffusion 134

digital 13, 14–16, 147, 148, 152–3, 157–8, 236; audio terms 14–15; cons 153; lossy vs lossless 15–16; pros 152–3

digital-to-analog (D/A) converters 59

digital audio connectors 232–5

digital audio workstation (DAW) 184, 236

digital consoles 187

digital four- or eight-track all-in-one recorders 66–7

DIN MIDI connectors 234

direct boxes 84

direct path 20–1, 81–2

directional characteristics of mics 77–9

dirty sound 34

distant (room) miking 82, 83

distant sound 34

distortion 12, 113, 236

DJs, live 193–4

doubler 112

doubling 124

Dowd, Tom 147, 150

drums: miking up drumsets 85; tuning 122

dry sound 25, 34

ducking 107

dull sound 34

duplication 236

dynamic microphones 75, 87–91

dynamic range, controlling 104–7

dynamics 55

ear 17–26, 71–2; how it works 17–21; training tools and techniques 21–6

early reflections 20–1, 81–2

earplugs 18–19

Earthworks TC30 mic 94

echo 111

edgy sound 34

Edison, Thomas 148

editing 125, 126, 129, 151, 152

EDM 167; producer of 193

education: audio schools/colleges/universities 176–81; value of 212–14

effects (FX) 103, 126, 127; choice of 108–9; creating sound effects 108–13

eight-track all-in-one recorder 66–7

ELCO/Edac connectors 231

electrical energy 71–2

Electrovoice RE20 Variable-D mic 89

emotion 55, 56

envelope 2, 11–12

equalization (EQ) 4, 22, 27–37, 126, 128, 214–15; effects 108, 110, 111; EQ section of mixing console 40, 41, 42–4; general EQ areas 30–1; points of interest 31–3; terminology 33–7

equipment: FAQs 202–10; maintenance and repair 194–5; sales 194

evaluation 54

even harmonics 10–11

expectations 130, 189–90

experience 198, 199

faders 40, 41, 45–6

FAQs 201–26; equipment 202–10; industry insights 216–26; skills 210–16

fat sound 35

feedback 110, 111, 236

fees 199; mastering 129; recording studio engineering 188–9; running live sound 186–7

Figure 8 mics 78, 79

file compression 15–16

file size 15, 16

FireWire connectors 234

fixed frequency knob 44

flanger 112

flanging 112–13

flash drive 66

Fletcher–Munson curve 3, 17, 236

flutter echo 236

four-track all-in-one recorder 66–7

freelancing 183

frequency 2, 4–6, 43; equalization see equalization (EQ); harmonics 2, 9–11; hearing frequencies 17–18, 19–20

frequency pyramid 23, 24

frequency response of mics 79–81

fundamental frequency 9–10

future of recording 224–6

fuzzy sound 35

gain reduction (GR) 105, 106

gain structure 58

games, audio for 191–2

gates 107

genre 54–5, 107

getting a split off the board 67

getting started 216–21; see also internships

glassy sound 35

go-betweens (gobos) 137–8

guitar amps, miking 86

Haas effect 20, 236

hard disk 66

hard knee 106

hard sound 35

harmonics 2, 9–11

harmonizer 113

headphones 122, 123, 123–4, 127

headroom 13

hearing 17–26; ear training tools and techniques 21–6

hearing loss 19

high-cut or low-pass filter (LPF) 29, 30, 236

p.242

high (treble) frequencies 5–6, 17–18, 32–3

high-frequency (HF) roll-off 108, 110

high-mid frequencies 6, 32

high-pass (or low-cut) filter (HPS) 29, 30, 74, 237

hip-hop 167; producer of 193

history of audio 147–58; computers 148, 153–8; history of recording 148–9; innovators and pioneers 149–50; pros and cons of analog 150–2; pros and cons of digital 152–3

hollow sound 35

home studios 183–4, 195–7

hot sound 35

huge sound 35

hypercardioid mics 78

in-line consoles 45, 237

in the box 237

indexing information 129

industry insights 216–26

input 108, 109, 110, 237; level 58; number of inputs 61; type of input channels 61

insecurity of artists 162–3

instruments 130, 189; frequency ranges 4, 5; selecting 119

internships 130, 169–81, 188; audio schools/colleges/universities 176–81; correct approach 174; hours involved 172; incorrect approach 175; rolling a mic cable 175; value of 170–1; what is involved 171–3

ips (inches per second) 237

isolation issues 120

ISRC codes 129, 237

jitter 59, 237

jobs 183–200, 221–2; assistant engineer 188, 190; audio for games 191–2; equipment maintenance and repair 194–5; fees see fees; hip-hop or EDM producer 193; home studio 183–4, 195–7; live DJ 193–4; live sound engineer 184–7; mastering engineer 190; music and equipment sales 194; post-production 191; producer 188, 192–3; radio production engineer 192; recording studio engineer 188–90; taking a business or accounting class 197; tips for success 198–9

labeling 65, 121

laptop computers 156; with audio interface 64–6

large-diaphragm condensers (LDCs) 75–6

Lauten Audio LA-320 mic 95

leakage (bleed-over) 73

Lear, Bill 148

levels 121, 127; equal 128; setting 58

limiting 106, 125

line/mic switch 40, 41, 42, 63

linear frequency response 79–81

link 105, 107

listening 17–26, 128; ear training tools and techniques 21–6

live DJs 193–4

live recordings 67–9, 119

live sound engineering 167, 184–7

loose sound 35

lossless files 15–16

lossy files 15–16, 153

low-cut (or high-pass) filter (HPF) 29, 30, 74, 237

low (bass) frequencies 5, 6, 17–18, 31

low-frequency oscillator (LFO) 112, 237

low-mid frequencies 6, 32

low-pass (or high-cut) filter (LPF) 29, 30, 236

LPs 148

machine room 137, 144

Mac vs PC 156, 209–10

MADI protocol 233

main (monitor) volume 47

maintenance and repair jobs 194–5

makeup gain 105, 106

masking 237

master auxiliary section 47

master copies 129

master fader 47

master section 47–8

master solo 47

master tapes 147

mastering 117, 128–9

mastering engineer 190

materials 131–2, 133–4, 136

Mbox 237

mellow sound 35

meters 48–9

mic/line switch 40, 41, 42, 63

microphones 71–101; basic terminology 72–5; condenser 75–6, 92–9; directional characteristics 77–9; dynamic 75, 87–91; FAQs 202–3, 205–8; frequency response 79–81; guide and uses 87–101; placement 68, 69, 81–7; recording sessions 120, 121; ribbon 76, 99–101; rolling a mic cable 175; transducer types 75–6

midfield monitors 51, 237

MIDI 148, 153–5

mid-mid frequencies 6, 32

midrange frequencies 5, 6, 17–18, 32

Mini connectors 230

mix 108, 109, 110, 111, 237

mixing 53–6, 117, 125–8; knowing when it is complete 215–16; skill development 55–6, 210–12

mixing console 39–56; main features 39–49; other functions 51–3

modulation 111–12

Mojave Audio MA-200 mic 95

money 222–4; see also fees

monitoring: analog model of signal flow 61–3, 64, 67, 68; monitor section of mixing console 40, 41, 45–6; on several systems 51–2, 127

monitors (speakers) 51–2, 62, 63, 71–2, 124

mono 237

p.243

mono button 8, 47

Moog synthesizer 148

motherboard 156

MP3 149

muffled sound 35

multiple takes 123

multi-track recording 66–7, 148, 150

music retail 194

Musical Instrument Digital Interface (MIDI) 148, 153–5

mute function 40, 41

mutes 127

nasal sound 35

nearfield monitors 51

networking 198

Neumann TLM 103 mic 96

Neumann U 87 mic 96

noise 12–13

non-linear frequency response 79–81

normalization 15

Nyquist Theorem 14

Octopus 150

odd harmonics 10–11

omnidirectional mics 78, 79

on axis 77

Open Sound Control (OSC) 155

opinions 162, 173

optical/TOSLINK connectors 233

organizational skills 166–7

oscilloscope 237

output 110, 237; number of outputs 61

output/makeup gain 105, 106

overdrive (distortion) 113

overdubbs 117, 123–5

pan/panning 22, 23, 40, 41, 126, 237

parametric EQ 29, 43

patchbay 52–3, 63

patience 163

Paul, Les 147, 148, 150

PC vs Mac 156, 209–10

peak frequency 28–9

peak meters 48–9

Peluso Microphone Lab 22 251 mic 97

people skills 55–6, 159–68; body language 165–6; communication skills 163–4; insecure artists 162–3; meeting people to record 167–8; opinions 162, 173; patience 163; questions before recording a band or artist 130, 189–90; scheduling, time management and organizational skills 166–7; song structure 164–5; vibe 161; word of mouth 159–60, 168, 171

phantom power 40, 41, 42, 75

phase 2, 6–8

phase flip 40, 41, 42

phaser 112–13

phone connectors 229

pickup pattern selector 75

pickup patterns 77–9

placement of microphones 68, 69, 81–7

plug-ins 114–15

pop filters 74

post-production 191

pots 237

pre and post fader 40, 41, 44, 45

preamp 40, 41, 42, 58, 73, 237

predelay 108, 109

preproduction 117–20

Pro Tools 149, 157

processing speed 156

producer 188, 192–3, 237; of hip-hop or EDM 193

promotion work 171

protocol 237

proximity effect 79–80

punch-in/punch-out 164, 237

purpose of a recording 130, 189–90

Putnam, Bill 147, 149–50

quantization 15, 59, 237

questions, asking 172

quiet space for computer/tape machine 137, 144

rack-mounted audio interfaces 61

radio production engineer 192

RAM 156

random diffuser 139–41

rappers 167; producer of 193

rarefaction 1

ratio 105, 106

RCA 44 mic 100

RCA (phono) connectors 230

recording sessions 117–30; basic or rhythm tracks 117, 122–3; mastering 117, 128–9; mixing 117, 125–8; overdubs 117, 123–5; preproduction 117–20; questions for bands/artists 130; rough mixes 117, 125; setup 117, 120–2; stages of recording 117–29

recording studio engineer 188–90

Red Book 237

reflection 132, 133

rehearsals 118, 119

release 11–12, 105, 106

repeat/feedback 110, 111

replication 237

resumé 173

reverberation (reverb) 20–1, 21–2, 81–2, 108–10

reverse/flip return 40, 41, 42

rhythm (basic) tracks 117, 122–3; correcting 123

ribbon microphones 76, 99–101

ringy sound 35

Røde NT5 mic 97

rolling a mic cable 175

room (distant) miking 82, 83

room modes (standing waves) 134–5

rough mixes 117, 125

Royer R-122 mic 101

rpm 148, 237

Rubens’ Tube 8, 9

running live sound 167, 184–7

sales 194

sample (sampling) rate 14, 15

Samson CO3U mic 97

sawtooth waveforms 12

scheduling 166–7

schools 176–81

scratch track 122–3

SE Electronics Voodoo VR1 mic 101

Sel-Sync-Octopus 150

selective hearing 23–4

self-employment 183

Sennheiser Ambeo VR mic 79

Sennheiser E 609 mic 89

p.244

Sennheiser MD 421 mic 90

setup 117, 120–2

seven-inch singles 148

shelving EQ 44

shimmering sound 35

shiny sound 35

shock mounts 74

Shure Beta 52A mic 90

Shure Beta 57A mic 90

Shure KSM27 mic 98

Shure KSM44 mic 98

Shure SM7B mic 91

Shure SM57 mic 91

Shure SM58 mic 91

sibilance 32, 237

side address 78

side chain 105, 107

signal flow 45–6, 57–69; analog model 61–3, 64, 67, 68; applying 64–9; four- and eight-track all-in-one recorders 66–7; laptop with audio interface 64–6; live performance recording 67–9

signal processors 103–15; 500 series 113–14; controlling dynamic range 104–7; creating sound effects 108–13; plug-ins vs hardware 114–15

signal-to-noise ratio (S/N) 12

sine waveforms 2, 4, 7, 9, 12, 237

sizzly sound 35

skills 210–16

slap 35

slapback echo 111

Slate Raven control surface 49, 50

slope (Q) 28–9, 43

small business and accounting classes 197

small-diaphragm condensers (SDCs) 75–6

‘small hall’ effect 108

small sound 35–6

smooth sound 36

soft knee 106

soft sound 36

software 208–9; compatibility 60; options 156–7; running live sound 187

solo 40, 41, 42

solos 124

songs: order of 129; quality 56; selecting 119; structure 119, 164–5

sound 1–12; adjectives for describing 33–7; categories 20–1, 81–2; characteristics of 2–12

sound effects see effects (FX)

soundproofing 135

space between tracks 129

spaced pair stereo miking 84

S/PDIF connectors 232

speakers (monitors) 51–2, 62, 63, 71–2, 124

Speakon connectors 232

speed 112

split consoles 45–6, 238

square waveforms 12

standing waves 134–5, 238

stems 167, 238

stereo 238; miking 68, 69, 83–4; recording 148, 150

storing sound (analog model) 61–3, 64, 67, 68

Studio Projects CS5 mic 98

subcardioid mics 79

subs (sub frequencies) 31

subtractive equalization 29–30, 126

supercardioid mics 78

surfaces 131–2

sustain 11–12

sweep 112

sweet spot 52

synthesis 148, 238

take 238

talent 56

talkback button 47, 48

talkback mic 47, 48

TDIF connectors 233

tempo 119, 122

ten-inch records 148

Texas audio schools/colleges/universities 177–8

thick sound 36

thin sound 36

threshold 105, 106

Thunderbolt connectors 235

tight sound 36

time-based effects 110–13

time information 129

time management 166–7

time/tap 110–11

tinny sound 36

tiny sound 36

tone 128, 151, 153

top address 78

top/side miking technique 85

touring 186–7

transducers 17, 71–2; types of microphone 75–6

transient response 73

transients 72, 151, 152

transistors 148–9

treble (high) frequencies 5–6, 17–18, 32–3

triangle waveforms 12

tubby sound 36

Tuchel connectors 231

tune 122

tweeters 51, 238

two-track recorder 66, 67

United States audio schools/colleges/universities 177–80

unity gain 58

Universal Recording 149–50

universities 176–81

UREI 1176LN compressor 149

USB connectors 233

velocity 2, 8

verses 164–5

vibe 161

visualization 54

vocals 124, 126–7, 144; backing vocals 87; good vocal mics 205–7; miking 86

volume (amplitude) 2–4, 18, 21–2, 43

VU meters 48–9

warm sound 36

waveforms 2, 4, 7, 9, 12

wavelength 2, 8–9

wet sound 25, 36

woofers 51, 238

word of mouth 159–60, 168, 171

working hours 172

Wunder Audio CM7 FET mic 99

XLR connectors 230

XY stereo miking technique 68, 69, 84