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List of Figures  

Figure 2.1Changes in pressure
Figure 2.2Wavelength
Figure 2.3Fundamental and overtone
Figure 2.4Complex waveform
Figure 2.5Resonant frequency
Figure 2.6Instruments within the audio spectrum
Figure 2.7SPL versus decibel
Figure 2.8Peak versus VU (volume unit) levels
Figure 3.1Baffles used for absorption
Figure 3.2Balanced and unbalanced
Figure 3.3Microphone frequency response charts
Figure 3.4The dynamic microphone
Figure 3.5The condenser microphone
Figure 3.6The ribbon microphone
Figure 3.7Cardioid pattern
Figure 3.8Omnidirectional pattern
Figure 3.9Figure-8/bipolar pattern
Figure 3.10(a) Super-cardioid and (b) hyper-cardioid patterns
Figure 3.11Three-to-one rule
Figure 3.12X/Y microphone setup
Figure 3.13Spaced pairs
Figure 3.14M/S (mid-side) pattern
Figure 3.15Decca tree miking
Figure 3.16Phase cancellation
Figure 3.17Minimizing phase cancellation
Figure 4.1Tuning a drum
Figure 4.2Microphones inside the kick drum
Figure 4.3Kick drum tunnel
Figure 4.4One-microphone setups
Figure 4.5Two-microphone setups
Figure 4.6Three-microphone setups
Figure 5.1Amplifier on riser
Figure 5.2Back-to-back direct boxes
Figure 5.3Close, semi-close, and distant
Figure 5.4Two-microphone setups
Figure 6.1One-microphone setups for acoustic instruments
Figure 6.2Two-microphone setups for acoustic instruments
Figure 6.3One-microphone setups for pianos
Figure 6.4Two-microphone setups for pianos
Figure 6.5Additional two-microphone setups for pianos
Figure 6.6The upright piano
Figure 6.7Horn placements
Figure 7.1Microphone placements
Figure 8.1A studio monitor
Figure 8.2Nearfield monitor placement
Figure 8.3The equalizer
Figure 8.4Q curves
Figure 8.5Frequencies to tones
Figure 8.6Minimizing frequency overlap
Figure 8.7Threshold
Figure 8.8Ratio
Figure 8.9Attack and release
Figure 8.10Noise gate
Figure 9.1Recording map
Figure 10.1Good chain
Figure 10.2Not-so-good chain
Figure 10.3Fletcher-Munson curves
Figure 10.4Opposite polarity speaker setup
Figure 12.1Reverb
Figure 12.2Delay
Figure 13.1Different counting systems
Figure 13.2Low bits versus high
Figure 13.3Anti-aliasing filter
Figure 13.4A to D (analog to digital) conversion
Figure 13.5Quantization
Figure 13.6Oversampling
Figure 13.7Rotating drum
Figure 13.8Pits and flats on a compact disc (CD)
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