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Bruce Swedien Recording Method [Multiple-component retail product]

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  • Formāts: Multiple-component retail product, 334 pages, height x width x depth: 279x216x22 mm, weight: 989 g, Contains 1 Paperback / softback and 1 DVD-ROM
  • Sērija : Music Pro Guides
  • Izdošanas datums: 01-Aug-2013
  • Izdevniecība: Hal Leonard Corporation
  • ISBN-10: 1458411192
  • ISBN-13: 9781458411198
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  • Multiple-component retail product
  • Cena: 44,31 €
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  • Formāts: Multiple-component retail product, 334 pages, height x width x depth: 279x216x22 mm, weight: 989 g, Contains 1 Paperback / softback and 1 DVD-ROM
  • Sērija : Music Pro Guides
  • Izdošanas datums: 01-Aug-2013
  • Izdevniecība: Hal Leonard Corporation
  • ISBN-10: 1458411192
  • ISBN-13: 9781458411198
Citas grāmatas par šo tēmu:
(Music Pro Guide Books & DVDs). The Bruce Swedien Recording Method is an incredibly timely and timeless reference for anyone interested in capturing and mixing the best possible music recordings. From the Michael Jackson albums ( Off the Wall , Thriller , Bad , Dangerous , Invincible , and HIStory ), to many Quincy Jones hits ( The Dude , Back on the Block , Q's Jook Joint , and many more), to classic greats from Count Basie, Duke Ellington, the Brothers Johnson, and Natalie Cole, Bruce Swedien's impact on popular music has been undeniable. Engineers at all levels still use Swedien's recordings as a standard by which they judge the sonic validity of their own work. In The Bruce Swedien Recording Method , Swedien explains many of the techniques he has used to get award-winning drum, bass, guitar, keyboard, vocal, string, and brass sounds. On the accompanying DVD-ROM, he further reveals what he looks for in a recording and the steps he takes to imprint his characteristic world-class sonic signature on the music he mixes. Throughout this book, Swedien consistently pinpoints the most important considerations in the recording process, with such insights as: You don't listen to the equipment, you listen through the equipment... Nobody ever walked out of the studio whistling the console... The sound has to be so good to start with that it gives you goosebumps the list goes on and on!
Foreword xv
Quincy Jones
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)
Pop Music
2(1)
Popular Music Versus Pop Music
3(8)
Art and Music
4(1)
Being an Effective Recording Engineer
5(1)
Setting a Standard
5(1)
The Value of Mentoring
6(1)
Foundational Beliefs
7(4)
1 Fundamental Standards and Concepts
11(12)
Sonic Fantasy Versus Sonic Reality
11(2)
Digital or Analog?
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)
First Session in Chicago
18(2)
Space Exploration
19(1)
Frame of Reference for Beginners
20(3)
2 Microphones
23(20)
AKG C 414 XLII
25(1)
Bruel & Kjær (B&K) 4006 and 4011
26(1)
Kantola NU-47
27(2)
Neumann U 47
29(1)
Neumann U 48
30(1)
Neumann U 47 fet
30(1)
Neumann U 87
31(1)
Neumann M 49
31(1)
Neumann M 50
32(1)
Neumann M 149
32(1)
Neumann M 150
33(2)
The Significance and Meaning of the Different Colors of the Neumann Logo
33(2)
RCA 44BX
35(1)
RCA 77DX
36(1)
Royer R-121, R-122, and R-101
36(2)
Shure SM7
38(2)
Telefunken 251
40(1)
Telefunken U 47s
40(1)
Other Important Microphones
40(3)
Altec 21B
41(1)
Electro-Voice 666
41(1)
Altec Western Electric 639
42(1)
3 Ribbon Microphones
43(12)
Ribbon Characteristics
45(1)
Ribbon Applications
46(2)
Overshoot
48(2)
Ringing and Distortion
50(1)
Off-Axis Response
51(1)
Care of Ribbon Microphones
52(3)
4 MIC Technique Considerations
55(24)
Timbre
56(2)
Mic Technique
57(1)
Critical Distance (Dc) in Microphone Use
58(3)
Why Is Dc Important to Microphone Placement?
58(1)
Estimating Dc
58(3)
Mic Placement Relative to Dc
61(1)
Linearity
61(1)
Directionality
62(6)
The Polar Graph
62(1)
Omnidirectional
63(2)
Cardioid
65(2)
Hypercardioid
67(1)
Bidirectional
67(1)
Common Stereo Miking Configurations
68(5)
True Stereo
70(1)
Stereo Miking
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)
Consoles
79(2)
Monitors
81(5)
Setting Monitor Speaker Levels
82(3)
Hearing Health
85(1)
OSHA Sound Exposure Standards
85(1)
Processors
86(8)
Compression and Limiting
86(3)
Effects: Slapback Echo, Delay, Reflections, and Reverberation
89(1)
Perception of Space
90(1)
Reverberation
91(1)
Early Reflections: The Forgotten Factor
92(2)
Acoustic Support
94(7)
A Suitable Recording Space
94(2)
Ideal Studio Dimensions
96(1)
Materials
97(1)
Control Room Considerations
98(1)
StudioTraps
99(2)
6 Insights for the Tracking Engineer
101(22)
The Impact of Five Decades of Technology on Music
101(1)
Painting with Sound
102(1)
Transients
103(3)
Technical Insights, Creativity, and Reality
106(1)
The Acusonic Recording Process
107(4)
The Recording Revolution
111(2)
Philosophy of Tracking
113(1)
Succeeding as a Music Recording Engineer
114(6)
It's About the Music
120(3)
7 Recording Vocals
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)
Five Singers
131(1)
Recording Vocal Duets
132(1)
8 Recording Instruments
133(46)
Secondary Pickup
133(1)
Drums
134(12)
Kick Drum
136(3)
Snare Drum
139(1)
Toms
140(1)
Overheads
141(2)
The Mu-Metal Isolator
143(1)
Room Mics
144(1)
Experimenting with Mic Placement
144(2)
Percussion
146(2)
Bass Guitar
148(6)
Compression on the Bass
151(1)
Miking the Bass Cabinet
151(2)
Kick and Bass Together
153(1)
Acoustic Guitar
154(3)
Electric Guitar
157(2)
Piano and Keyboards
159(3)
Brass
162(6)
Traditional Horn Recording
162(1)
Close-Miking Horns
162(2)
Jazz and Big Band Horns
164(1)
French Horns
165(3)
Strings
168(5)
Recording String Quartet in a Hall
168(5)
Orchestra
173(6)
The Decca Tree
174(2)
Orchestration
176(3)
9 About Bruce
179(52)
Ed Cherney
179(7)
Matt Forger
186(5)
Bernie Grundman
191(4)
John Klett
195(9)
Ramsees Mechan
204(4)
Art Noxon
208(5)
Brad Sundberg
213(7)
Bea Swedien
220(3)
John Van Nest
223(8)
10 Mixing
231(34)
Starting the Mix
232(2)
Mixing is Like Arranging
234(1)
The First Thing
235(6)
Discovering Your Sonic Personality
236(1)
Mix Colors
237(1)
Listening to Music
238(1)
Judging Balance
238(2)
Establishing Your Sonic Signature
240(1)
Less Is More!
241(1)
The Console Matters
242(1)
VCAs
243(1)
Meters
243(1)
Technical Issues
244(1)
Starting the Mix
245(1)
Mixing Drums
246(1)
Mixing Vocals
246(3)
Reverb Choices
247(2)
Solo Buttons
249(1)
Mute Buttons
250(1)
Courage
250(1)
Leakage (Secondary Pickup)
251(1)
De-essers and Presets
252(1)
Setting Up the Stereo Field
253(4)
Defining Stereophonic Sound
253(2)
The Haas Effect
255(1)
The Haas Effect's Relationship to Natural Environments
256(1)
Using Frequency Response to Simulate Depth
257(1)
Using Effects
257(3)
Blending Large Ensembles
258(1)
Routing the Effects
258(1)
Reverberation from the Lavatory
259(1)
Recommendations for Young Talent
260(3)
When the Mix Is Done
263(2)
11 Recording Studios, Studio Design, and Rooms
265(10)
Rooms
265(4)
Timbre
265(4)
Binaural Hearing
269(3)
Sonic Personality
270(1)
Psychoacoustics
270(1)
Stereo Mic Placement
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)
The Highest Standards
276(1)
Michael Jackson: Thriller
277(6)
Finishing Thriller
279(2)
Vincent Price on Thriller
281(2)
Sonic Illusion with Kick Drum
283(1)
Joe Williams with Count Basie: Consistent Benchmark
283(4)
Jennifer Lopez
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)
Studio Profile
305(1)
Studio A
306(4)
Studio B
310(4)
Jennifer Lopez Session at Angel Studios, London, February 9, 2006
314(1)
APPENDIX B Discography
315(10)
Technical Credits
315(5)
Production Credits
320(2)
Remix Credits
322(1)
Writing and Arrangement Credits
323(1)
Instrument and Performance Credits
323(1)
Vocalist Credit
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)
ASCAP Awards
326(1)
TEC Awards
326(1)
APPENDIX D About the DVD-ROM
327(2)
Index 329