Modern Recording Techniques A Practical Guide to Modern Music Production 10th Edition by David Miles Huber, Emiliano Caballero, Robert Runstein ISBN 9781000926750 1000926753

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ISBN 10: 1000926753
ISBN 13: 9781000926750
Author: David Miles Huber, Emiliano Caballero, Robert Runstein

Modern Recording Techniques A Practical Guide to Modern Music Production 10th Edition Table of contents:

CHAPTER 1 Introduction

The Professional Studio Environment

The Professional Recording Studio

The Control Room

The Project Studio

Making the Project Studio Pay for Itself

The Portable Studio

The iRevolution

The Retro Revolution

The Changing Faces of the Music Studio Business

Live/On-Location Recording: A Different Animal

Audio for Video and Film

Audio for Games

The DJ

The Times, They’ve Already Changed: Multimedia and the Web

Power to the People!

Whatever Works for You

The People Who Make It All Happen

The Artist

Studio Musicians and Arrangers

The Producer

The Engineer

Assistant Engineer

Maintenance Engineer

Mastering Engineer

Studio Management

Music Law

Women and Minorities in the Industry

Behind the Scenes

Career Development

Self-Motivation

Networking: “Showing Up Is Huge”

So, What Are Some Good Ways to Get Started?

A Word on Professionalism

In Conclusion

CHAPTER 2 Sound and Hearing

The Basics of Sound

Waveform Characteristics

Amplitude

Frequency

Frequency Response

Velocity

Wavelength

Reflection of Sound

Diffraction of Sound

Phase

Phase Shift

Harmonic Content

Envelope

Loudness Levels: The Decibel

Logarithmic Basics

The Decibel

Sound-Pressure Level

Voltage

Power

The “Simple” Heart of the Matter

The Ear

Threshold of Hearing

Threshold of Feeling

Threshold of Pain

Taking Care of Your Hearing

Psychoacoustics

Auditory Perception

Beats

Combination Tones

Masking

Perception of Direction

Perception of Space

Direct Sound

Early Reflections

Reverberation

CHAPTER 3 Studio Acoustics and Design

Studio Types

The Professional Recording Studio

The Audio-for-Visual and Media Production Environment

The Audio-for-Gaming Production Environment

The Project Studio

Primary Factors Governing Studio and Control Room Acoustics

Acoustic Isolation

Walls

Floors

Risers

Ceilings

Windows and Doors

ISO-Rooms and ISO-Booths

Acoustic Partitions

Noise Isolation Within the Control Room

Symmetry in Control-Room Design

Frequency Balance

Reflections

Absorption

High-Frequency Absorption

Low-Frequency Absorption

Flexible Surfaces

The Practical Side of Acoustics

Symmetry

25 /25/50

Speaker Placement

Room Reflections and Acoustic Reverberation

Acoustic Echo Chambers

CHAPTER 4 Microphones: Design and Application

Microphone Design

The Dynamic Microphone

The Ribbon Microphone

Further Developments in Ribbon Technology

The Condenser Microphone

Powering a Condenser Mic

External Power Supply

Phantom Power

The Electret-Condenser Microphone

Microphone Characteristics

Directional Response

Frequency Response

Transient Response

Output Characteristics

Sensitivity Rating

Equivalent Noise Rating

Overload Characteristics

Microphone Impedance

Balanced/Unbalanced Lines

Soldering, Baby!

Microphone Preamps

Modeled Condenser Mic Systems

Microphone Techniques

Other Microphone Pickup Issues

Low-Frequency Rumble

Proximity Effect

Popping

Off-Axis Pickup

Pickup Characteristics as a Function of Working Distance

Close Microphone Placement

Leakage

Recording Direct

Distant Microphone Placement

Room Microphone Placement

Room Pickup in the Studio

The Boundary Effect

“Reamping It” in the Mix

Accent Microphone Placement

Stereo and Immersive Mic Techniques

Spaced Pair

X/Y

M/S

Decca Tree

Surround Miking Techniques

Ambient/Room Surround Mics

Immersive Decca Tree

Ambisonic Pickup

Microphone Placement Techniques

Brass Instruments

Trumpet

Trombone

Tuba

French Horn

Guitar

Acoustic Guitar

Miking Near the Sound Hole

Room and Surround Guitar Miking

Nylon or Spanish Guitar

The Electric Guitar

Miking the Guitar Amp

Recording Direct

The Electric Bass Guitar

Keyboard Instruments

Grand Piano

Separation

Upright Piano

Electronic Keyboard Instruments

Percussion

Drum Set

Miking the Drum Set

Kick Drum

Snare Drum

Overheads

Rack Toms

Floor Tom

Hi-Hat

Tuned Percussion Instruments

Congas and Hand Drums

Xylophone, Vibraphone and Marimba

Stringed Instruments

Violin and Viola

Cello

Double Bass

Voice

Mic Tools for the Voice

Woodwind Instruments

Clarinet

Flute

Saxophone

Harmonica

Microphone Selection

Shure SM57

Telefunken M81

AKG D112

Royer Labs R-121

Beyerdynamic M-160

AEA A440

Audio-Technica AT5045

AKG C214

Neumann TLM102

Warm Audio WA-47

Telefunken U47, C12 and ELA M251E

CHAPTER 5 The Analog Tape Recorder

To Commit or Not to Commit It to Tape?

The Medium of Magnetic Recording

The Professional Analog ATR

The Tape Transport

The Magnetic Tape Head

Equalization

Bias Current

Monitoring Modes

Tape, Tape Speed and Head Configurations

Print-Through

Analog Tape Noise

Cleanliness

Degaussing

Editing Magnetic Tape

Backup and Archive Strategies

Backing up Your Analog Project

Tape Restoration

Archive Strategies

Tape Availability

Tape Emulation Plug-Ins

CHAPTER 6 Digital Audio Technology

The Language of Digital

Digital Basics

Sampling

Quantization

The Devil’s in the Details

The Nyquist Theorem

Oversampling

Signal-to-Error Ratio

Dither

Fixed- versus Floating-Point Processing

The Digital Recording/Reproduction Process

The Recording Process

The Playback Process

Sound File Basics

Sound File Bit Depths

Sound File Sample Rates

Professional Sound File Formats

Regarding Digital Audio Levels

Digital Audio Transmission

AES/EBU

S/PDIF

SCMS

MADI

ADAT Lightpipe

TDIF

AES 67

Signal Distribution

What Is Jitter?

Wordclock

CHAPTER 7 The Digital Audio Workstation

Integration Now – Integration Forever!

DAW Hardware

The Desktop Computer

The Laptop Computer

System Interconnectivity

USB

Thunderbolt

FireWire

Audio over Ethernet

The Audio Interface

Audio Driver Protocols

Latency

Need Additional I/O?

DAW Controllers

Hardware Controllers

Instrument Controllers

Touch Controllers

Large-Scale Controllers

Sound File Formats

Sound File Sample and Bit Rates

Sound File Interchange and Compatibility Between DAWs

DAW Software

Sound Recording and Editing

Fixing Sound with a Sonic Scalpel

Comping

MIDI Sequencing and Scoring

Support for Video and Picture Sync

Real-Time, On-Screen Mixing

DSP Effects

DSP Plug-Ins

Accelerator Processing Systems

Fun With Effects

Equalization

Dynamics

Delay

Pitch and Time Change

ReWire

Mixdown and Effects Automation

Exporting a Final Mixdown to File

Power to the Processor … Uhhh, People!

Get a Computer That’s Powerful Enough

Make Sure You Have Enough Fast Memory

Keep Your Production Media Separate

Update Your Drivers … With Caution!

Read Your Manuals

Going (at Least) Dual Monitor

Keeping Your Computer Quiet

Backup, Archive and Networking Strategies

Computer Networking

Session Documentation

Documenting Within the DAW

Make Documentation Directories

Accessories and Accessorizing

Protect Your Investment

Protect Your Hardware

Protect Your Body

CHAPTER 8 Groove Tools and Techniques

The Basics

Pitch-Shift Algorithms

Warping

Beat Slicing

Audio to MIDI

Groove Hardware

Groove Software

Looping Your DAW

Loop-based Audio Software

ReWire

Groove and Loop-Based Plug-Ins

Drum and Drum Loop Plug-Ins

Pulling Loops into a DAW Session

iOS Groove Apps

Groove Controllers

DJ Software

Obtaining Loop Files from the Great Digital Wellspring

CHAPTER 9 MIDI and Electronic Music Technology

The Power of MIDI

MIDI Production Environments

What Is MIDI?

What MIDI Isn’t

System Interconnections

The MIDI Cable

MIDI Phantom Power

Wireless MIDI

MIDI Jacks

MIDI Echo

Typical Configurations

The Daisy Chain

The Multiport Network

MIDI 1.0 and 2.0

Exploring the MIDI 1.0 Spec

The MIDI 1.0 Message

MIDI Channels

MIDI Modes

Channel Voice Messages

Explanation of Controller ID Parameters

System Messages

Exploring the MIDI 2.0 Spec

Introduction to MIDI 2.0

The Three Bs

Bidirectional Communication

Backwards Compatibility

Both Protocols

Higher Resolution for Velocity and Control Messages

Tighter Timing

Sixteen Channels Become 256

Built-in Support for “Per-Note” Events

MIDI 2.0 Meets VST 3

MIDI Capability Inquiry (MIDI-CI)

The Three Ps

Profile Configuration

Property Exchange

Protocol Negotiation

The Universal MIDI Packet

Message Types

Groups

Jitter Reduction Timestamps

MIDI 1.0 Protocol Inside the Universal MIDI Packet

MIDI 2.0 Protocol Messages

Expanded Resolution and Expanded Capabilities

MIDI 2.0 Program Change Message

The Future of MIDI 2.0

MIDI and the Computer

Connecting to the Peripheral World

The MIDI Interface

Electronic Instruments

Inside the Toys

Instrument and Systems Plug-Ins

Keyboards

The Synth

Samplers

Sample Libraries and DIY Sampling

The MIDI Keyboard Controller

The Drum Machine

MIDI Drum Controllers

Drum Replacement

Sequencing

Integrated Hardware Sequencers

Software Sequencers

Basic Introduction to Sequencing

Recording

Setting a Session Tempo

Changing Tempo

Click Track

Multitrack MIDI Recording

Punching In and Out

Step Time Entry

Drum Pattern Entry

MIDI to Audio

Audio to MIDI

Saving Your MIDI Files

Again, We Can’t Stress This Enough …

Documentation

Editing

Practical Editing Techniques

Transposition

Quantization

Humanizing

Slipping in Time

Editing Controller Values

Playback

Mixing a Sequence

Music Printing Programs

CHAPTER 10 The iOS in Music Production

Audio Inside the iOS

Core Audio on the iOS

AudioBus

Audio Units for the iOS

Connecting the iOS to the Outside World

Audio Connectivity

MIDI Connectivity

Recording Using iOS

Handheld Recording Using iOS

Mixing With IOS

iDAWs

Taking Control of Your DAW Using the iOS

The iOS on stage

iOS and the DJ

iOS as a Musical Instrument

The Ability to Accessorize

CHAPTER 11 Multimedia and the Web

The Multimedia Environment

The Computer

Television and the Home Theater

Delivery Media

Networking

The Web

The Cloud

Physical Media

The CD

The DVD

Blu-ray

The Flash Card and Memory USB Stick

Media Delivery Formats

Uncompressed Sound File Formats

PCM Audio File Formats

Direct Streaming Digital (DSD) Audio

Compressed Codec SoundFile Formats

Perceptual Coding

MP3

MP4

WMA

AAC

FLAC

Tagged Metadata

MIDI

Standard MIDI Files

General MIDI

Multimedia in the “Need for Speed” Era

Streaming Audio over the Internet

On a Final Note

CHAPTER 12 Synchronization

Timecode

Timecode Word

Sync Information Data

Timecode Frame Standards

3:2 Pulldown Rate

Timecode Within Digital Media Production

Broadcast Wave File Format

MIDI Timecode

MIDI Timecode Messages

SMPTE/MTC Conversion

Timecode Production in the Analog Audio and Video Worlds

LTC Refresh and Jam Sync

Synchronization Using SMPTE Timecode

SMPTE Offset Times

Distribution of SMPTE Signals

Timecode Levels

Real-World Applications Using Timecode and MIDI Timecode

Master/Slave Relationship

Video’s Need for a Stable Timing Reference

Video Workstation or Recorder

Digital Audio Workstations

Routing Timecode to and From Your Computer

Analog Audio Recorders

A Simple Caveat

Keeping out of Trouble

CHAPTER 13 Amplifiers

Amplification

The Operational Amplifier

Preamplifiers

Equalizers

Summing Amplifiers

Distribution Amplifiers

Power Amplifiers

Power Amplifier Types

Class A Amplifier

Class B Amplifier

Class AB Amplifier

Class D Amplifier

CHAPTER 14 Power- and Ground-Related Issues

Grounding Considerations

Power Conditioning

Multiple-Phase Power

Balanced Power

Hum, Radio Frequency (RF) and Electromagnetic Induction (EMI)

CHAPTER 15 Signal Processing

The Wonderful World of Analog, Digital or Whatever

The Whatever

Analog

Analog Recall

Digital

Plug-Ins

Plug-In Control and Automation

Signal Paths in Effects Processing

Insert Routing

External Control Over an Insert Effect’s Signal Path

Send Routing

Vive la Difference

Sidechain Processing

Parallel Processing

Effects Processors

Hardware and Plug-In Effects in Action

Equalization

Peaking Filters

Shelving Filters

High-Pass and Low-Pass Filters

Equalizer Types

Applying Equalization

EQ in Action!

Sound-Shaping Effects Devices and Plug-Ins

Dynamic Range

Dynamic Range Processors

Compression

Multiband Compression

Limiting

Expansion

The Noise Gate

Noise Reduction

Digital Noise Reduction

Adaptive Filtering

Fast Fourier Transform

Spectral Analysis Noise Reduction

Snap, Crackle and Pop

Time-Based Effects

Delay

Delay in Action: Less Than 15 ms

Delay in Action: 15 to 35 ms

Delay in Action: More Than 35 ms

Reverb

Reverb Types

Psychoacoustic Enhancement

Pitch Shifting

Time and Pitch Changes

Automatic Pitch Correction

Multiple-Effects Devices

Dynamic Effects Automation and Editing

CHAPTER 16 The Art and Technology of Monitoring

Active Versus Passive Listening

Tools for Listening

Subjectivity in the Audio World

Room, Speakers and Other Important Considerations

A “Trusted” Space

Monitor Speaker Types

Far-Field Monitoring

Near-Field Monitoring

Small Speakers

Headphones

Headphone and Monitor Environment Simulation Plug-ins

Earbuds

In-Ear Monitoring

Your Car

Alternate Environments

Spectral Reference

Speaker Design

Active Powered Versus Passive Speaker Design

Speaker Polarity

Monitoring

Balancing Speaker Levels

Monitor Volume

Monitor Level Control

Monitoring Configurations in the Studio

1.0 Mono

2.0 Stereo

2 + 1 (Stereo + Sub)

CHAPTER 17 The Art and Technology of Recording

The Fundamental Basics

The “Good Rule”

The Transducer

A Good Attitude

Active Versus Passive Listening

The Recording Process

Preparation

The Power of Preparation

What’s a Producer, and Do You Really Need One?

Going Into the Studio

Setting Up

A Word About Isolation

Recording

A Deeper Understanding of a Console’s or DAW’s Recording Path

Gain Level Optimization

Channel Input (Preamp)

Insert Point for a Hardware Console/Mixer

Virtual DAW Insert Point

Auxiliary Send Section

Virtual DAW Send

Equalization

Dynamics Section

Monitor Section

In-Line Monitoring

Direct Insert Monitoring

Separate Monitor Section

Channel Fader

Output Section

Channel Assignment

Grouping

Main Output Mix Bus

Main Monitor Level Section

Patch Bay

Metering

The Finer Points of Metering

The VU Meter

The Average/Peak Meter

Digital Console and DAW Mixer/Controller Technology

The Virtual Input Strip

The DAW Software Mixer Surface

OK, Back to the Task of Recording

Additional Thoughts

Fixing It in the Mix

A Word on Levels

Session Documentation

Monitoring the Mix

Latency

Working in a Combined Recording/Mix Space

Overdubbing

Options in Overdubbing

To Punch or Not to Punch

Reamping It!

CHAPTER 18 The Art and Technology of Mixing

The Art of Mixing

Ear Training

Active Listening

Preparation

Preparing for the Mix

The Technology of Mixing

Understanding the Underlying Concept of “the Mixing Surface”

The Mixer/Console Signal Path

Channel Input

Insert Points

Send Points

Automation

Write Mode

Read Mode

Drawn (Rubber Band) Automation

Grouping

Panning

Channel Fader

Gain Levels

Channel Name

Gain Structure, Baby!

Mixing and Balancing Basics

Main Output Mix Bus

Some Final Words

Getting Too Close to the Mix

Quality Control (QC)

Wherever You May Be, There You Are

CHAPTER 19 The Art and Technology of Mastering

What Is Mastering?

Help a Project to Sound “Right”

Help Match the Levels and Overall Character Within a Project

Help With Overall Levels

Help With the Concept of Song Ordering

Help With the Concept of Song Timing

To Master or Not to Master – Was That the Question?

Mastering the Details of a Project

“Pre”paration

Providing Stems

Providing a Reference Track

To Be There, or Not to Be There

Common Tools of the Trade

Sound File Volume

Sound File Resolution

Dither

Relative Volumes

EQ

Dynamics

Compression in Mastering

Limiting in Mastering

Multiband Dynamic Processing in Mastering

Loudness Units Full Scale

Mid/Side Processing

To Master or Not to Master Yourself – That’s the Next Question!

The Zen of Self Self-Mastering?

Desert Island Mixes

Two-Step or One-Step (Integrated) Mastering Option

Understanding the Signal Chain

Mastering Plug-Ins

Mastering for the Internet

On a Final Note

CHAPTER 20 Immersive Audio

Immersive Audio: Past to the Present

Stereo Comes to Television

Theaters Hit Home

Today’s Immersive Audio Experience

Immersive Layouts

The LFE

Bass Management in a Surround System

Speaker Placement and Setup

5.0 Surround Minus an LFE

7.1 Speaker Placement

Adding Height Speakers

Immersive Soundbars

Surround Channel Layouts and Assignments

The Immersive Audio Interface

Speaker Level Calibration

Speaker Time Calibration

Monitoring in 5.1, 5.1.4, 7.1.4 and Beyond

The Basic Formats for Understanding Immersive Audio

Binaural Immersive Audio

Ambisonic Immersive Audio

Immersive Headphone Monitoring

Dolby Atmos

The Basics

ADM Authoring Tool

Renderer Tool

Atmos Levels

Mixing in Surround

Reissuing Back Catalog Material

CHAPTER 21 Media Distribution and Manufacturing

Product Distribution

Build Your Own Website

Uploading to Stardom

Streaming

Download Sites

Internet Radio

Money for Nothin’ and the Chicks …

The Moral Question

Royalties and Other Business Issues

Do You Need a Music Lawyer?

Do You Need a Label?

Ownership of the Masters

Registering Your Work

Form SR

Form PA

Collecting the $$$

Cryptocurrency

Product Manufacture

The CD

DVD and Blu-ray Burning

Optical Disc Handling and Care

Vinyl

Disc Cutting

Disc-Cutting Lathe

Cutting Head

Pitch Control

Vinyl Disc Plating and Pressing

Further Reading

CHAPTER 22 It’s All About the Journey

Wherever You May Be … There You Are!

Showing Up Is Huge!

Being Yourself!

The Various “Doors” of Life

Out of This Experience, DMH Learned a Few Things …

Creating Your Own Reality

Personal and Professional Stumbling Blocks

Reinventing Yourself

Perception as It Deals With the Art of Hearing

When Is Too Much Gear Simply Too Much?

The Bank Works for You, You Don’t Work for the Bank

It Does Takes Time

Happy Trails

You, Your Art and Your Well-Being

INDEX

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David Miles Huber,Emiliano Caballero,Robert Runstein,Modern Recording Techniques,Modern Music Production