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The E-mail Address es field is required. Please enter recipient e-mail address es. The E-mail Address es you entered is are not in a valid format. Please re-enter recipient e-mail address es. You may send this item to up to five recipients. Genres: Entertainment. When the first edition of this book was written back in , the recording world was a different place. There were still quite a few real commercial studios available to record in, the old studio structure of master and apprentice engineer was still in place, and record labels were still where you wanted to be if you were an artist.
Absolutely every record's sound reflects deliberate choices in how it was recorded; you have to make those choices one way or another, and your choice will change the sound from the way it would sound if you'd made a different choice. While I rated this highly, I can only recommend it if you're interested in the nitty-gritty of the topic. It's quite good, but a general-interest book it is not. This book is focused on microphone technique and how to smoothly and efficiently run a recording session.
As such, it's fairly light on technical background, only superficially explaining the operating principles of the major microphone types. Its discussion of stereo and surround techniques is also quite basic. This information is rounded out with some advice on how to conduct a recording session and a long section of mildly interesting interviews with some well-known recording engineers.
Shaun Davidson. Great book. Both great. Expected to like that one better due to it being more dense and containing slightly more theory and method, but ended up liking both for different reasons.
This book is more of a short overview of recording gear and methods, and then moves toward a Cookbook approach. This is useful; the sheer number of per-instrument ideas will keep you experimenting for quite awhile. Very useful as an idea-generator when you want to try something new. Is proximity effect an issue?
If close-miking, will the bass buildup from proximity be too much? If so, consider an omni. Try the following in this order:. I use the mics for EQ. Secrets Of Mic Placement Quickly finding a mics optimum position is perhaps the single most useful talent an engineer can have.
Bruce Sweiden says mics are the voodoo magic of recording. Steve Albini says every mic has some place where it will sound best. Sometimes the search resembles questing for the Holy Grail. You should always trust your ears and begin by listening to the musician in your studio, find a sweet spot and then begin your microphone placement there. EQ is the last thing you should touch. I have a tendency to think that if you start tweaking EQs too soon then you going to miss some obvious things, so the first thing I do is get the session sounding great flat.
The best mic position cannot be predicted, it must be found. Move around the player or sound source until you find a spot that sounds best.
To place a cardioid microphone, cup your hand behind your ear and listen. For a stereo pair, cup hands behind both ears. Before you start swapping gear, know that the three most important factors in getting the sound you want are mic position, mic position and mic position.
So my microphone techniques are still the same as they were 30 years ago. Repeat as much as necessary. Preparing for the Session One of the keys to a successful basic tracking session is the preparation made beforehand, but before you can prepare for the recording you need some essential information first. Determining the above before the musicians hit the studio can go a long way to a quick and easy setup and an efficient session.
Getting the info the day before the session is usually sufficient. Setting Up a Talkback Mic One of the things that engineers, producers and musicians all hate during a tracking date is when they find it difficult to communicate with one another.
Sometimes a second talkback mic is also added in a large studio. Figure Regardless of how many mics you use, the talkback mic will make communication between the control room and the studio a lot easier, and keep the musicians a lot happier as a result.
TIP : Make sure to mute the talkback mic when the band is playing. My mentor there was a guy named Bob Auger who was an absolute genius. We used to go out on the road with the Pye Mobile recording 90 piece symphony orchestras on a 3 track Ampex machine.
The conductor would draw out from orchestra what was necessary so if you got the mic placement correct and you got the conductor to help you, then you would theoretically get a great recording.
I learned a lot from that situation. So there was a wide range of Pop and Classical stuff that I got to witness and be a part of. This was all three track in the beginning and then it evolved into four track. It was a very basic, very primitive two track studio. Keith was a monster at doing large sessions. Many times the instruments that were left lying around from the orchestral sessions wound up getting used on the Rock sessions later at night.
Having been trained as a Classical musician, then getting into Jazz, then into Rock, I had this very wide range of taste in music that was very eclectic.
So when anything weird came into the studio, I was the guy they picked. That must have influenced your philosophy about recording. In regards to mic techniques, what I adapted was this Classical idea of recording; i. Generally the basic philosophy of getting the mics up in the air and getting some room sound and some air around the instrument was what we used.
In fact, on some of the Hendrix stuff I used a D30 on the bass drum which I still think is a really great bass drum mic.
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