Foreword |
|
xv | |
|
Acknowledgments |
|
xvii | |
Editor's Note |
|
xix | |
Introduction |
|
1 | (10) |
|
The Foundation of My Recording Method |
|
|
1 | (1) |
|
The Evolution of My Recording Process |
|
|
2 | (1) |
|
|
2 | (1) |
|
Popular Music Versus Pop Music |
|
|
3 | (8) |
|
|
4 | (1) |
|
Being an Effective Recording Engineer |
|
|
5 | (1) |
|
|
5 | (1) |
|
|
6 | (1) |
|
|
7 | (4) |
|
1 Fundamental Standards and Concepts |
|
|
11 | (12) |
|
Sonic Fantasy Versus Sonic Reality |
|
|
11 | (2) |
|
|
13 | (4) |
|
Theoretical Comparisons of Digital and Analog Recording |
|
|
14 | (2) |
|
The Growth and Development of Digital Technology |
|
|
16 | (1) |
|
Tape Versus Computer Hard Disk |
|
|
17 | (1) |
|
Punctuality and Dependability |
|
|
17 | (1) |
|
|
18 | (2) |
|
|
19 | (1) |
|
Frame of Reference for Beginners |
|
|
20 | (3) |
|
|
23 | (20) |
|
|
25 | (1) |
|
Bruel & Kjær (B&K) 4006 and 4011 |
|
|
26 | (1) |
|
|
27 | (2) |
|
|
29 | (1) |
|
|
30 | (1) |
|
|
30 | (1) |
|
|
31 | (1) |
|
|
31 | (1) |
|
|
32 | (1) |
|
|
32 | (1) |
|
|
33 | (2) |
|
The Significance and Meaning of the Different Colors of the Neumann Logo |
|
|
33 | (2) |
|
|
35 | (1) |
|
|
36 | (1) |
|
Royer R-121, R-122, and R-101 |
|
|
36 | (2) |
|
|
38 | (2) |
|
|
40 | (1) |
|
|
40 | (1) |
|
Other Important Microphones |
|
|
40 | (3) |
|
|
41 | (1) |
|
|
41 | (1) |
|
Altec Western Electric 639 |
|
|
42 | (1) |
|
|
43 | (12) |
|
|
45 | (1) |
|
|
46 | (2) |
|
|
48 | (2) |
|
|
50 | (1) |
|
|
51 | (1) |
|
Care of Ribbon Microphones |
|
|
52 | (3) |
|
4 MIC Technique Considerations |
|
|
55 | (24) |
|
|
56 | (2) |
|
|
57 | (1) |
|
Critical Distance (Dc) in Microphone Use |
|
|
58 | (3) |
|
Why Is Dc Important to Microphone Placement? |
|
|
58 | (1) |
|
|
58 | (3) |
|
Mic Placement Relative to Dc |
|
|
61 | (1) |
|
|
61 | (1) |
|
|
62 | (6) |
|
|
62 | (1) |
|
|
63 | (2) |
|
|
65 | (2) |
|
|
67 | (1) |
|
|
67 | (1) |
|
Common Stereo Miking Configurations |
|
|
68 | (5) |
|
|
70 | (1) |
|
|
70 | (2) |
|
Decca Tree on The Color Purple |
|
|
72 | (1) |
|
Carefully Design the Sound Field |
|
|
73 | (6) |
|
Vocal Recording Techniques with Michael Jackson |
|
|
74 | (2) |
|
Andrae Crouch Choir on Bad |
|
|
76 | (3) |
|
5 Other Tools I Use in My Work |
|
|
79 | (22) |
|
|
79 | (2) |
|
|
81 | (5) |
|
Setting Monitor Speaker Levels |
|
|
82 | (3) |
|
|
85 | (1) |
|
OSHA Sound Exposure Standards |
|
|
85 | (1) |
|
|
86 | (8) |
|
|
86 | (3) |
|
Effects: Slapback Echo, Delay, Reflections, and Reverberation |
|
|
89 | (1) |
|
|
90 | (1) |
|
|
91 | (1) |
|
Early Reflections: The Forgotten Factor |
|
|
92 | (2) |
|
|
94 | (7) |
|
A Suitable Recording Space |
|
|
94 | (2) |
|
|
96 | (1) |
|
|
97 | (1) |
|
Control Room Considerations |
|
|
98 | (1) |
|
|
99 | (2) |
|
6 Insights for the Tracking Engineer |
|
|
101 | (22) |
|
The Impact of Five Decades of Technology on Music |
|
|
101 | (1) |
|
|
102 | (1) |
|
|
103 | (3) |
|
Technical Insights, Creativity, and Reality |
|
|
106 | (1) |
|
The Acusonic Recording Process |
|
|
107 | (4) |
|
|
111 | (2) |
|
|
113 | (1) |
|
Succeeding as a Music Recording Engineer |
|
|
114 | (6) |
|
|
120 | (3) |
|
|
123 | (10) |
|
The Importance of Microphone Choice |
|
|
124 | (1) |
|
Monophonic Single-Microphone Technique |
|
|
124 | (1) |
|
Technical Aspects of Human Voice Recording |
|
|
125 | (3) |
|
Microphone Technique for Vocal Recording |
|
|
126 | (1) |
|
Choral and Vocal Group Recording |
|
|
127 | (1) |
|
Choosing a Microphone for Solo Vocals |
|
|
128 | (5) |
|
Supportive Stacking the Lead Vocal |
|
|
130 | (1) |
|
|
131 | (1) |
|
|
132 | (1) |
|
|
133 | (46) |
|
|
133 | (1) |
|
|
134 | (12) |
|
|
136 | (3) |
|
|
139 | (1) |
|
|
140 | (1) |
|
|
141 | (2) |
|
|
143 | (1) |
|
|
144 | (1) |
|
Experimenting with Mic Placement |
|
|
144 | (2) |
|
|
146 | (2) |
|
|
148 | (6) |
|
|
151 | (1) |
|
|
151 | (2) |
|
|
153 | (1) |
|
|
154 | (3) |
|
|
157 | (2) |
|
|
159 | (3) |
|
|
162 | (6) |
|
Traditional Horn Recording |
|
|
162 | (1) |
|
|
162 | (2) |
|
|
164 | (1) |
|
|
165 | (3) |
|
|
168 | (5) |
|
Recording String Quartet in a Hall |
|
|
168 | (5) |
|
|
173 | (6) |
|
|
174 | (2) |
|
|
176 | (3) |
|
|
179 | (52) |
|
|
179 | (7) |
|
|
186 | (5) |
|
|
191 | (4) |
|
|
195 | (9) |
|
|
204 | (4) |
|
|
208 | (5) |
|
|
213 | (7) |
|
|
220 | (3) |
|
|
223 | (8) |
|
|
231 | (34) |
|
|
232 | (2) |
|
|
234 | (1) |
|
|
235 | (6) |
|
Discovering Your Sonic Personality |
|
|
236 | (1) |
|
|
237 | (1) |
|
|
238 | (1) |
|
|
238 | (2) |
|
Establishing Your Sonic Signature |
|
|
240 | (1) |
|
|
241 | (1) |
|
|
242 | (1) |
|
|
243 | (1) |
|
|
243 | (1) |
|
|
244 | (1) |
|
|
245 | (1) |
|
|
246 | (1) |
|
|
246 | (3) |
|
|
247 | (2) |
|
|
249 | (1) |
|
|
250 | (1) |
|
|
250 | (1) |
|
Leakage (Secondary Pickup) |
|
|
251 | (1) |
|
|
252 | (1) |
|
Setting Up the Stereo Field |
|
|
253 | (4) |
|
Defining Stereophonic Sound |
|
|
253 | (2) |
|
|
255 | (1) |
|
The Haas Effect's Relationship to Natural Environments |
|
|
256 | (1) |
|
Using Frequency Response to Simulate Depth |
|
|
257 | (1) |
|
|
257 | (3) |
|
|
258 | (1) |
|
|
258 | (1) |
|
Reverberation from the Lavatory |
|
|
259 | (1) |
|
Recommendations for Young Talent |
|
|
260 | (3) |
|
|
263 | (2) |
|
11 Recording Studios, Studio Design, and Rooms |
|
|
265 | (10) |
|
|
265 | (4) |
|
|
265 | (4) |
|
|
269 | (3) |
|
|
270 | (1) |
|
|
270 | (1) |
|
|
271 | (1) |
|
Developing Your Own Sonic Personality |
|
|
272 | (1) |
|
Acoustical Support as It Relates to Music |
|
|
272 | (3) |
|
West Viking Studios, Ocala |
|
|
273 | (2) |
|
12 Michael, Joe Williams, and J-LO |
|
|
275 | (16) |
|
Michael Jackson: Off the Wall |
|
|
275 | (2) |
|
|
276 | (1) |
|
Michael Jackson: Thriller |
|
|
277 | (6) |
|
|
279 | (2) |
|
Vincent Price on Thriller |
|
|
281 | (2) |
|
Sonic Illusion with Kick Drum |
|
|
283 | (1) |
|
Joe Williams with Count Basie: Consistent Benchmark |
|
|
283 | (4) |
|
|
287 | (4) |
|
13 At the Console with Bruce |
|
|
291 | (10) |
|
APPENDIX A More than One for the Road |
|
|
301 | (14) |
|
Equipment for Jennifer Lopez Project: To Sony Music Recording Studios in New York |
|
|
301 | (1) |
|
Equipment for Jennifer Lopez Project: To Cove City Studios |
|
|
302 | (1) |
|
Equipment from Westviking Farm, Ocala, Florida |
|
|
303 | (2) |
|
Cove City Sound Studios Inc. |
|
|
305 | (9) |
|
|
305 | (1) |
|
|
306 | (4) |
|
|
310 | (4) |
|
Jennifer Lopez Session at Angel Studios, London, February 9, 2006 |
|
|
314 | (1) |
|
|
315 | (10) |
|
|
315 | (5) |
|
|
320 | (2) |
|
|
322 | (1) |
|
Writing and Arrangement Credits |
|
|
323 | (1) |
|
Instrument and Performance Credits |
|
|
323 | (1) |
|
|
324 | (1) |
|
Conducting and Leading Credit |
|
|
324 | (1) |
|
Acting, Literary, and Spoken Credit |
|
|
324 | (1) |
|
APPENDIX C Honors and Awards |
|
|
325 | (2) |
|
Grammy Nominations and Awards |
|
|
325 | (1) |
|
|
326 | (1) |
|
|
326 | (1) |
|
APPENDIX D About the DVD-ROM |
|
|
327 | (2) |
Index |
|
329 | |