cena 263,95 zł.
nuty.pl
|
Gibson Bill
The AudioPro Home Recording Course, Volume 2
Domowy kurs rejestracji dźwięku, nagrywania, cz. 2 The AudioPro Home Recording Course, Volume 2
Publikacja jest drugą częścią cyklu książek dotyczących nauki tworzenia własnego studia muzycznego. Obecna część jest przeznaczona dla osób z podstawową znajomością pojęć technicznych. Poszczególne lekcje zawierają liczne ilustracje, a także przykłady muzyczne na dołączonych do książki płytach CD. Autor - Let Bill Gibson - przekazuje informacje, których potrzebujesz, aby udoskonalić rejestracje dźwięków za pomocą domowego sprzętu nagrywającego. Całość w języku angielskim.
The AudioPro Home Recording Course was created to familiarise musicians with the fundamentals of studio recording using explanations and examples that are easy to understand. The text is complemented by hundreds of illustrations and two CDs containing information and audio examples. Volume two covers: impedance and wiring (high impedance vs. low impedance, terminology, balanced vs. unbalanced); bass guitar (electric/synth, recording, mic techniques, EQ); harmonics/overtones/partials; vocals (recording, mic techniques, effects, EQ); acoustic piano and rhodes (recording, mic techniques, signal processing, sampled sounds, EQ); recording synthesisers (recording, combining textures, EQ, brass); the total recording session (instruments, preparing the recorder, media selection, time code); panning and stereo imaging; mixdown to master product (mixdown machine, tape choice, theories and concepts, setup procedure; building the mix; preparing master for duplication).
Spis treści: Introduction Chapter 1 - Impedance and Wiring Basic Terminology Compatibility Between Hi Z and Lo Z Balanced vs. Unbalanced Basic Terminology Unbalanced Guitar Cables Balanced Cables Conclusion Chapter 2 - Bass Guitar Electric Bass Condition of the Bass Direct Box / Direct In (DI) The Bass Level Instrument Differences Musical Style Recording Levels for Bass Mic Techniques Compressing the Bass Equalization Panning Reverb Synth Bass Plugging the Synth Bass In Miking the Synth Bass Performance of the Synth Bass Part Bass Range and EQ Compressing the Synth Bass Recording Level for the Synth Bass Panning Synth Bass Effect and the Synth Bass Acoustic Bass Close - Miking the String Bass Conclusion Chapter 3 - Harmonics / Overtones / Partials The Difference Between Harmonics, Overtones and Partials Conclusion Chapter 4 - Vocals Mic Techniques Placement Distance Small Room vs. Large Room Moving - Coil / Ribbon Condenser Effects Stylistic Considerations Wind Screen Repairing a Problem Plosive Electronic Plovive Repair The Proximity Effect Bass Roll-off The Pad Different Sounds of Different Pickup Patterns Positioning the Microphone Compressor / Limiter / Gate / Expander Dynamic Range Compression Sibilance The De-esser Equalization Recording Environment Physical Aids Intonation Headphones Punch In / Punch Out Perseverance Panning Common Vocal Effects Delay Slapback The Electronic Double The Electronic Triple Regeneration Reverb Predelay Exciter Chorus / Flanger / Phase Shifter Backing Vocals Conclusion Chapter 5 - Acoustic Piano and Rhodes Grand Piano The Basics Mic Choice and Technique Stereo or Mono Instrument Maintenance Setting the Mood Processing Pano Sounds No Two Pianos Sound Identical Recording Levels Equalizer the Piano Compressing the Piano Exciting the Piano Reverberation Miking the Vertical Piano Sampled Piano Sounds Rhodes - type Sounds Rhodes Effects Equalizing the Rhodes Conclusion Chapter 6 - Recording Synthesizers Recording Synths: Strings, Pads, Bell-like Sounds, Brass and Effects Live in vs. Mic in Through DI Line In DI Can Color the Sound Adversely String and Pads Layering Equalizing Pads Dynamic Processing the Synth Reverb Combining Textures Exciter Chorus, Flanger, Phase Shifter Panning Delay Bell - like Sounds Equalizing the Bell - like Sounds Panning Bell - like Sounds Compression Reverb Chorus / Flanger / Phase Shifter Brass Mic Technique Levels Brass Samples Brass Equalization Panning Reverb Exciter Chorus / Flanger / Phase Shifter Delay Special Effects Conclusion Chapter 7 - Panning and Stereo Imaging Speaker Position and Choice Mic Techniques The Head Assignment 3:1 Principle Panning Reverberation Space in a Space Combining Wet and Dry Delay Panning Chorus/ Flanger / Phase Shifter Monitors and Your Stereo Image Conclusion Chapter 8 - The Total Recording Session Planning Tracks Envision the Final Products Instrument Tuning Strings Getting the Recorder Ready Cleaning and Demagnetizing Demagnetizing the Analog Tape Machine Cleaning the Analog Recorder Tones on the Analog Recorder Tones on the Digital Recorder Media Selection Magnetic Tape / Video Tape Recordable CDs / Hard Drives Tape Storage Is a Critical Condiseration Time Code Striping SMPTE Getting the Sequencer to Follow SMPTE Tightening the Arrangement Contents of Arrangement Reference Lead Vocal Backing Vocals Bounce to Track One Electric Guitar to Track Four Punch-Ins Acoustic Guitar to Track Five Final Vocal to Track Three Lead Guitar to Track Six Conclusion Chapter 9 - Mixdown to Master to Product Mixdown Machine Basic Proceudre for Alignment (Mixdown and Multitrack) Playback Alignment Record EQ Reference Tones Reference Tone Starting the Mix / Zeroing the Board Tape Choice Outboard Gear to Have on Hand Tape Speed Automation Multiple Sets of Monitors Comparison to Other Projects The Spherical Approach to Panning and Positioning in the Mix EQ: The Cumulative Effect Mixing Theories and Building Concepts Mix Approach The Arrangement Characteristics of a Good Mix Strong and Solid, But Controlled, Lows Mids Distributed Evenly Among Various Instruments Strong, Smooth Highs That Are Easy to Listen To Balance Depth Width Momentum Consistency Sounds Good in Stereo and Mono Approaches to Mixing That I've Found Ineffective Signs of an Amateur Musical Recording Basic Setup Procedure Once You Select and Prepare the Multitrack and Mixdown Machines Arranging During Mixdown Multiple Mixes Mix Versions Building the Mix Kick Drum / Bass Guitar Pan the Cymbals for a Natural Sound Live Toms Drum Machine Toms Drum Set Overhands (Live) Bass Lead Vocal Compression Expander Vocal EQ Exciter Simple Delay Add Backing Vocals Comping Keyboards and Rhythm Guitars Filling in the Holes With the Guitar or Keys Lead Parts Solos Mix Levels Fades Preparing the Mixed Master for Duplication Editing Mastering Different Mixes Conclusion GLossary Index
|