Mic It! : Microphones, Microphone Techniques, and Their Impact on the Final Mix (Hardcover, 2 ed)

Chapter 1: Audio Basics 1.1 It’s Not Always About the Gear! 1.2 What is Sound? 1.3 The Decibel (dB) 1.4 Power Relationships 1.5 Decibel Scales 1.6 Dynamic Range 1.7 Signal-to-Noise Ratio 1.8 Frequency vs Pitch 1.9 Frequency Response 1.10 Waveforms, Fundamentals, and Harmonics 1.11 Wavelength, Velocity, Phase 1.12 Amplitude Summation and Comb Filtering 1.13 Human Hearing 1.14 Signal Flow and Audio Level Standards 1.15 Gain Structure 1.16 Analog Audio Connectors 1.17 Digital Audio Connectors 1.18 Digital Audio Basics Chapter 2: "Good Sound" 2.1 Recognizing Good Sound 2.2 Sound Reproduction Formats 2.3 Monitoring Options ? Loudspeakers, Headphones, and Earbuds 2.4 Mono Compatibility 2.5 Compressed Audio Formats 2.6 Dynamic Range 2.7 What About Distortion? 2.8 What Is a Good Recording? 2.9 Accuracy 2.10 Non-Natural Sounds and Balances 2.11 What Are the Elements of a Good Mix? 2.12 Frequency Balance 2.13 Clarity and Intelligibility 2.14 The Stereo Image 2.15 Focus and Amplitude Balance 2.16 Processing and Effects 2.17 Musical Arrangement and Song Structure 2.18 Making a Great Record Chapter 3: About Microphones, Part 1… 3.1 The Microphone 3.2 End Address or Side Address? 3.3 Directionality and Pick-Up Patterns 3.4 Dynamic Microphones 3.5 Condenser (Capacitor) Microphones 3.6 Single vs Dual Diaphragm Microphones 3.7 Pressure and Pressure Gradient Transducers 3.8 Ribbon Microphones 3.9 Tube (Valve) Microphones 3.10 Stereo Microphones 3.11 Virtual Microphones 3.12 Other Microphone Technologies Chapter 4: About Microphones, Part 2… 4.1 Phantom Power 4.2 Proximity Effect 4.3 Frequency Response 4.4 Off-Axis Response 4.5 Flat Microphones vs Vocal Microphones 4.6 Low Frequency Response 4.7 Low Cut Filters 4.8 Low Frequency Instrument Microphones 4.9 Sensitivity 4.10 Self-Noise and Equivalent Noise Rating (ENR) 4.11 Signal-to-Noise Ratio 4.12 Pads 4.13 Maximum SPL 4.14 Dynamic Range 4.15 Transient Response 4.16 Pop Filters, Windscreens, and Dead Cats 4.17 Shock Mounts 4.18 Mic Preamps 4.19 What Mic to Use? 4.20 There’s More to It Than Specifications! Chapter 5: EQ Basics 5.1 What Is EQ? 5.2 Last Resort, and Creative Mix Tool 5.3 Can You EQ Spill? 5.4 EQ Filters 5.5 Analog vs Digital EQ 5.6 Additive vs Subtractive EQ 5.7 The Fewer Filters the Better 5.8 How Much to EQ? 5.9 When to EQ? 5.10 Golden Rules of EQ Chapter 6: Stereo Imaging 6.1 The Stereo Soundstage 6.2 How to Listen 6.3 Phantom and Discrete Images 6.4 Image Width 6.5 Beyond the Loudspeakers 6.6 Depth Concepts 6.7 The Illusion of Height 6.8 Static and Dynamic Panning 6.9 Image Symmetry 6.10 Use All of the Soundstage! 6.11 Reality vs Recording Chapter 7: Stereo Microphone Arrays 7.1 Microphone Arrays 7.2 XY Coincident Pair Techniques 7.3 Blumlein Pair Technique 7.4 Near-Coincident Pair Techniques 7.5 Spaced Pair (AB) Techniques 7.6 MS (Middle-Side) Techniques 7.7 The Decca Tree 7.8 Binaural and Baffle Techniques Chapter 8: Immersive Audio 8.1 Surround and Immersive Audio 8.2 Channel Panning and Object Based Audio 8.3 The New Challenges of Immersive Audio 8.4 Channel Based Microphone Techniques 8.5 Binaural Techniques 8.6 Introducing Ambisonics… Chapter 9: The Effect of Microphone Position 9.1 Art and Science 9.2 Distance and Tonal Qualities 9.3 "Zoom Factor" 9.4 Off-Axis Response 9.5 Direct vs Reflected Sound 9.6 Comb Filtering Problems 9.7 Floor Reflections ? the Good, the Bad, and Boundary Mics 9.8 Stereo Arrays and Distance 9.9 Spill ? Enemy or Creative Tool? 9.10 Mic Position Practicalities 9.11 Multi-Miking 9.12 Experimentation and Exploration 9.13 Practical Tips to Help Set Mic Position Chapter 10: The Recording Room 10.1 Room Sound 10.2 Live Rooms 10.3 Dead Rooms 10.4 Room Size 10.5 Cubic Airspace 10.6 Standing Waves and Resonant Frequencies 10.7 Flutter Echo 10.8 Microphone Directionality and Room Considerations 10.9 Room Shape 10.10 Absorption 10.11 Diffusion 10.12 The Purpose of the Room 10.13 The Single Room Home Studio 10.14 Acoustical "Home Remedies" 10.15 Monitor Calibration Software? Chapter 11: Recording Vocals 11.1 Is it Really About the Mic? 11.2 Getting "the" Performance 11.3 Vocal Tracking Methods 11.4 Miking Individuals 11.5 Voice and Acoustic Guitar 11.6 Small Vocal Groups 11.7 Larger Contemporary Vocal Groups 11.8 Gang Vocals 11.9 Vocal Recording Tips 11.10 Vocal EQ Frequencies Chapter 12: Drum Miking 12.1 What Kind of Sound Does the Project Call For? 12.2 How Many Mics Do You Really Need? 12.3 Kick Drums 12.4 Snare Drums 12.5 Hi-Hats 12.6 Tom Toms 12.7 Cymbals and Overheads 12.8 Room Mics 12.9 Rock Drums vs Acoustic Jazz Drums 12.10 Drum EQ Frequencies Chapter 13: Drum Tuning 13.1 Why Learn to Tune Drums? 13.2 Fundamental vs Lug Frequencies 13.3 Drums and Tuning Concepts 13.4 Kick Drum Tuning 13.5 Snare Drum Tuning 13.6 Tom Tom Tuning 13.7 Fixing Rings and Resonances 13.8 Tuning Devices and Apps Chapter 14: Guitars, Basses, and Keyboards 14.1 The Role of the Rhythm Section 14.2 Electric Guitar 14.3 Creative Comb Filtering 14.4 Direct Boxes 14.5 Reamping 14.6 Amp and Pedal Simulation 14.7 Electric Bass 14.8 More on Guitar and Bass Cabs 14.9 Acoustic (Upright) Bass 14.10 Acoustic Guitar 14.11 Grand Piano 14.12 Upright Piano 14.13 Electric Keyboards and Synthesizers 14.14 Leslie Speakers and the Hammond Organ 14.15 Accordions 14.16 EQ Frequencies Chapter 15: Strings, Winds, Brass, and Percussion 15.1 Orchestral String Instruments 15.2 Horn Section Instruments 15.3 Other Wind and String Instruments 15.4 Percussion Instruments 15.5 EQ Frequencies Chapter 16: Setting Up the Studio 16.1 The Three or Seven P’s 16.2 Bands ? Small Room Recording 16.3 Bands ? Large Room Recording 16.4 Iso-Rooms and Multi-Room Studios 16.5 Gobos and Sound Barriers 16.6 Drum Rooms and Drum Screens 16.7 String Sections 16.8 Horn Sections Chapter 17: Miking Large Ensembles 17.1 Orchestras and Large Instrumental Ensembles 17.2 Main Arrays 17.3 Outriggers 17.4 Woodwind Mics 17.5 Natural Reverb and Room Acoustics 17.6 Audience Mics 17.7 Spot Mics 17.8 To Time Align or Not to Time Align? 17.9 Artificial Reverb 17.10 The Hollywood Sound 17.11 Large Choirs 17.12 Jazz Big Bands ? Concert Seating 17.13 Jazz Big Bands ? Studio Isolation Seating Chapter 18: Putting It All Together 18.1 Recording for the Mix 18.2 Ear Candy 18.3 Pre-Production 18.4 The Pre-Mix 18.5 The Headphone Mix 18.6 Click Tracks 18.7 Knowing the Song 18.8 Don’t Give Everything Away at Once 18.9 Correct Problems Early (But Know When to Let Them Go) 18.10 Fixing Dull or Small Sounding Tracks 18.11 "Polishing a Turd" 18.12 Exploration and Experimentation Chapter 19: Audio for Video 19.1 Why Audio for Video? 19.2 Types of Audio 19.3 Recording Systems 19.4 Synchronization 19.5 Shotgun Microphones 19.6 Blimps 19.7 Boompoles and Pistol Grips 19.8 Lavalier Mics 19.9 Voice-Overs and Dialog Replacement 19.10 Isolation and Restoration Software 19.11 Sound Effect Recording Chapter 20: Tips From the Professionals… 20.1 To Conclude… 20.2 Lenise Bent 20.3 David V. R. Bowles 20.4 Joel Hamilton 20.5 Kerry-Anne Kubisa 20.6 Wes "Wesonator" Maebe 20.7 Matt Ross-Spang 20.8 Mark Rubel 20.9 Catherine Vericolli 20.10 Paul "Willie Green" Womack