Table of Contents

About the Companion Website
Introduction

PART I The Instruments (practical recording and mix-techniques)
Chapter 1 The Voice
Acoustics and microphone settings · Vocal psychology · The Headphone Mix · Tips · Various vocal techniques · The mix settings and effects · Special uses of vocal microphones · Harmony vocals as overdub · Tips

Chapter 2 The Drum Kit
The Instrument and the acoustics · Mic setup · Mic technique: The individual drums in the kit · Advanced mic setups · Mix-settings and effects

Chapter 3 The Bass Guitar
The instrument · Mic or DI? · Or both? · Virtual amps · Mix-settings and effects · Tips

Chapter 4 The Electric Guitar
The instrument · Mic techniques · Ambience and acoustics · Layering guitars · Virtual stacks & re-amping · Mix-settings and effects · Tips

Chapter 5 The Piano
The Instrument and the acoustics · Always use condenser microphones · Recording acoustic pianos in the studio · Digital piano · Live recording · Mix-settings and effects

Chapter 6 The Acoustic Guitar
The Instrument · Mic setup · Mix-settings and effects

Chapter 7 The Recording of Some Less Common String Instruments
The mandolin · The dobro · The banjo · The harp

Chapter 8 Percussion
Congas and bongos · Cajon · Claves · Djembe and bodhran · Tambourine and shakers · Timbales · Xylophone, marimba, vibraphone, and glockenspiel

Chapter 9 The Double Bass and the 'Cello
The Instrument and the acoustics · Mic setup · Stereo setups · Mix-settings and effects · Tips

Chapter 10 The Violin and the Viola
The Instrument and the acoustics · Mix-settings and Effects · Tips

Chapter 11 Brass and Wind Instruments
Brass and saxophones · The horn section · The flute · Tips

Chapter 12 Synthesizers and Electronic Keyboards
The instrument · DI, mics, or MIDI · Mix-settings and effects · Tips

Chapter 13 The Leslie Speaker
The Instrument · Mic setup · Mix-settings and effects

Chapter 14 Live in the Studio
Isolation booths and screens · Ghost Notes · Tips

Chapter 15 Recording Choirs and Small Acoustic Ensembles
The acoustics · Mic placement · Spot mics · Tips · Choirs with accompaniment · Mix and editing

PART II Microphone Techniques (principles/background theory)
Chapter 16 Microphones: Types and Specifications
The transducer types · Reading mic specifications · Comparing Mics

Chapter 17 Microphones: Polar Pattern
Cardioid · Omni · Figure-of-eight · Multi-pattern microphones · Shotgun microphones · Mic techniques · Omni v. cardioid: Choosing the right polar pattern · Recording with omnis

Chapter 18 Stereo Recording
Spaced omni - The Decca tree - Baffled stereo · Coincident stereo · MS Stereo · More stereo setups: ORTF, NOS stereo, & binaural ·

PART III Processors and Effects (principles and practice)
Chapter 19 EQ and Instruments
Sub bass (20-60 Hz) · Bass (60-250 Hz) · Low-mid (250 Hz to 2 kHz) · Midrange (2-4 kHz) · High-mid (4-6 kHz) · High (6-20 kHz) · The components of the EQ · Common types of EQ · EQ'ing different instruments - use your ears and your imagination · Complementary EQ and contrasting frequency ranges · The graphic EQ · Tips

Chapter 20 Harmonics and EQ
The Harmonic Series · EQ'ing harmonics

Chapter 21 Compressor/Limiter and Expander/Gate
Compressor · Gate and Expander

Chapter 22 History of the Reverb
Natural ambience · Electronic reverbs · EMT 140 Plate Reverb · EMT 250 goes digital

Chapter 23 Tape Echo and Digital Delay
Tape echo · Digital delay · Calculating delay time · Using delays · Tips

Chapter 24 Ambience and Reverb
Digital reverbs in the studio · The parameters of the digital reverb · Insert or send · Reverb-types · How to use reverb · Tips

Chapter 25 Convolution Reverb
Impulse response (IR) · IR libraries · Special FX · How to create an IR · Tips for recording an IR

Chapter 26 Modulation Effects
Flanging · Chorus · Phase shift · The Haas Effect and doubling · Tips

Chapter 27 Distortion and Tape Saturation
Enhancing sounds with distortion · Tape saturation · Distortion used as an effect · Tips

Chapter 28 Varispeed and Pitch Processors
Pitch shift · Pitch Correction · Manipulating sound with pitch processors

PART IV Mixing and Mastering (principles and practice)
Chapter 29 The Mix
The basic mix · Utilizing the stereo field · EQ · Depths and widths · The sound stage · Make the individual tracks on the mix sparkle - EQ revisited · Stereo groups · Compression · Leave a little headroom to the mastering engineer

Chapter 30 Mastering
The mastering studio · Mastering for CD · Mastering for online streaming · The creative process · Mastering tools · Mid-side processing · Bit resolution · Stem mastering

PART V Acoustics (principles)
Chapter 31 Phase and Comb Filtering
The Comb Filter Effect · Multi-mic recording and phase · Critical distances and frequencies · How to avoid phase cancellation

Chapter 32 The Control Room and the Monitors
The control room and the monitors · Principles for monitor placement · The space and the monitors · Fine tuning the acoustics

Chapter 33 The Recording Room
Tuning the acoustics · The dimensions of the recording space · Separation · Diffusion · Tips

PART VI Audio Standards, Plugs, and Connectors (principles)
Chapter 34 Levels and Meters
Levels · Audio levels in the signal chain and how they are measured · Meters · The dB(A) scale

Chapter 35 Plugs and Connectors
Plugs · Balanced connectors · Unbalanced audio · Tips · Inserts · Digital audio formats · Synchronizing digital · Word clock

About the Author

Karl Pedersen owns and manages Blue Apple Lyd-design studios and Canta·Libris publishing house. In addition to having written several books on audio and sound, he also teaches music and sound technology and is a performing musician.

Mark Grimshaw-Aagaard is Obel Professor of Music at Aalborg University, Denmark. He has published widely across subjects as diverse as sound, biofeedback in computer games, virtuality, the Uncanny Valley, and IT systems, and also writes free, open source software for virtual research environments (WIKINDX).

Reviews

"Pedersen and Grimshaw-Aagaard have created an updated, contemporary desk reference for anyone interested in understanding the recording process, from tracking through preparation for distribution, in a taut, concise volume that is as detailed as it is accessible." --Seth Cluett, Computer Music Center, Columbia University
"Great organization! The information provided in this book is concise and to the point while also offering a good amount of background information covering many techniques and nuances of music recording. It is a great resource for novice and professional engineers and producers alike. If you are involved in the recording of music in any capacity, you should have this book within reach." --Sócrates García, Associate Professor of Music and Director
of Music Technology, University of Northern Colorado