Mic It!: Microphones, Microphone Techniques, and Their Impact on the Final Mix
- Author: Corbett, Ian
Book
$56.50Contents
- 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 and Recording Levels
- 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 I nstruments
- 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 Microphones
- 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