The Recording Engineer's Handbook, 4th Edition
Bobby Owsinski's The Recording Engineer's Handbook has become a music industry standard, and this fully updated fourth edition once again offers the most comprehensive and up-to-date introduction to the art of audio recording.
Written with special emphasis on today's technology and the evolving marketplace, The Recording Engineer's Handbook Fourth Edition includes a complete overview of recording as it's done by most musicians and producers today in their home studios.
In the book's first section, you'll learn everything from how microphones work to specific techniques for recording drums, individual instruments, vocals and much more. In the second section you'll benefit from the wisdom and down-to-earth practical advice offered by a host recording professionals including all-time greats like Al Schmitt, Eddie Kramer, Frank Filipetti and many other others.
Topics covered include:
- An overview of recording elements, including microphones, preamps, compressors and DAWs
- Recording techniques and placement guidance for just about any musical instrument or vocal
- Prepping and recording drums and percussion
- Basic tracking and overdub advice and strategies, and stereo and immersive audio recording techniques
- Interviews with some of the world's best hit-making engineers, and much more
Learn the art of recording with renowned author, teacher, producer and engineer Bobby Owsinski, and, in the interviews, explore the creative processes behind not only today's hits but the classic cuts we've enjoyed for years. See for yourself why The Recording Engineer's Handbook, Fourth Edition is the book that's a standard text in college courses all over the world.
Table of Contents:
Introduction Chapter 1: How Microphones Work The Dynamic Microphone How It Works The Ribbon Microphone A Short History of Ribbon Microphones The Condenser Microphone The Electret Condenser Condenser Mic Fallacies Condenser Mic Operational Hints Microphone Specifications Sensitivity Overload Characteristics Frequency Response Noise Directional Response Specialty Microphones Shotgun Microphones Lavaliere Microphones PZM Microphones Wireless Microphones Stereo Microphones Parabolic Microphones Microphone Accessories Pop Filters Wind Screens Shock Mounts Chapter 2: Common Microphones The Classic Microphones New Versions of the Classics The New Classics Inexpensive Microphones Quality Control's the Thing You Can Never Be Sure of the Sound The Weakness Some Good Choices Meet Microphone Designer David Bock Chapter 3: Basic Recording Equipment The Microphone Preamplifier Why a Separate Mic Amp? Vintage Mic Pres Modern Mic Pres Mic Amp Setup Direct Injection Advantages of Direct Injection Direct Box Types Direct Box Setup Amplifier Emulators Compressor/Limiters Primary Controls Types of Compressors Limiting Typical Compressor/Limiters Compressor/Limiter Setup Chapter 4: DAW Recording Computer Recording The Computer Audio Interface Latency Firewire versus USB versus Thunderbolt Sample Rate Bit Depth Setting the Recording Level Headroom Gain-Staging Troubleshooting Chapter 5: Microphone Placement Fundamentals The Formula for Getting Good Sounds The Fundamental Choices Choosing the Best Place in the Room Choosing the Right Mic Finding the Optimum Placement How to Find the Sweet Spot General Placement Techniques Avoiding Phase Cancellation Electronic Phase Cancellation Acoustic Phase Cancellation Chapter 6: Basic Stereo Techniques General Types of Stereo Miking Coincident Pair X/Y M-S Blumlein Array The Stereo Mic Spaced Pair The Decca Tree Near-Coincident Pair - ORFT Baffled-Omni Pair Chapter 7: Preparing The Drum Kit For Recording The Keys To A Great Sounding Drum Kit Drum Prep Checklist Chapter 8: Recording The Drums Before You Begin General Considerations Minimal Mic Setups Single Mic Setup Two Mic Setup Three Mic Setup Four Mic Setup Miking The Drums Individually Miking the Kick Miking the Snare Miking the High-hat Miking the Toms The Overhead Mics The Room Mics Distinctive Drum Sounds The '60s Beatles Sound The '70s Drum Sound The Reggae Drum Sound Chapter 9: Miking Individual Instrument Accordion Audience Bagpipes Banjo Bass (Acoustic or Upright) Bass (Electric) Bassoon Bongos Bouzouki Brass Choir Clarinet Claves Conga Cowbell Crowd Didjeridu Djembe Dobro Dulcimer Fiddle Flute Guitar (Acoustic) Guitar (Electric) Guitar (Nylon or Gut String) Glockenspiel Gong Hand Claps Harmonica Harp Indian Instruments Koto Leslie Speaker Mandolin Marimba Mouth Harp Piano (Grand) Piano (Upright) Piccolo Recorder Saxophone Shaker Steel Drums Stick String Section Synthesizer Tambourine Timbale Timpani Triangle Vocals (Background) Vocals (Solo) Voice Overs Whistling Chapter 10: Recording Basic Tracks Preparing for the Session Setting Up a Talkback Mic Headphones and the Cue Mix The Click Track The Tracking Session Where to Place the Players in the room How Long Should It Take? Recording Without Headphones Leakage A Couple of Non-Essentials The Assistant Engineer Chapter 11: Recording Overdubs Overdub Setup Recording in the Control Room Setting up the Overdub in the Studio Overdubbing Individual Instrument Getting the Most from a Vocalist Electric Keyboards Overdubs Electric Guitar Overdubs Acoustic Guitar Overdubs Chapter 12: Immersive Audio Miking Techniques Multi-Miking in Surround Drum Surround Miking Surround Microphones Glossary
©2017, Paperback, 330 pages