| 书目名称 | Record, Mix and Master | | 副标题 | A Beginner’s Guide t | | 编辑 | Simon Duggal | | 视频video | http://file.papertrans.cn/825/824273/824273.mp4 | | 概述 | Provides a comprehensive guide to recording, mixing, and mastering music.Written by producer with album noms for Grammy and Brit awards, and 30 years’ experience working with renowned Artists.Includes | | 图书封面 |  | | 描述 | .This textbook is a practical guide to achieving professional-level audio productions using digital audio workstations. It contains 27 chapters divided into three sections, with specially devised diagrams and audio examples throughout. Aimed at students of all levels of experience and written in an easy-to-understand way, this book simplifies complex jargon, widening its appeal to non-academic creatives and is designed to accelerate the learning of professional audio processes and tools (software and hardware).The reader can work through the book from beginning to end or dip into a relevant section whenever required, enabling it to serve as both a step by step guide and an ongoing reference manual. The book is also a useful aid for lecturers and teachers of audio production, recording, mixing and mastering engineering.. | | 出版日期 | Textbook 2024 | | 关键词 | mixing music; recording music; audio engineering; music production; digital audio workstation | | 版次 | 1 | | doi | https://doi.org/10.1007/978-3-031-40067-4 | | isbn_softcover | 978-3-031-40066-7 | | isbn_ebook | 978-3-031-40067-4 | | copyright | The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl |
| 1 |
Front Matter |
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Abstract
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Abstract
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| 3 |
An Introduction to How Sound Works |
Simon Duggal |
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Abstract
Sound is the result of the energy that is created when air molecules are vibrated. When a speaker cone moves forwards and backwards, a person speaks, or a guitar string vibrates, it causes air molecules to move in sympathy, which in turn causes our eardrums to vibrate. The vibrations in our eardrums are transmitted through the middle ear bones to the inner ear, where they are converted into electrical signals that are interpreted by our brains as the sounds we hear.
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Speakers |
Simon Duggal |
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Abstract
Studio speakers, also referred to as monitors (not to be confused with your computer screen), are designed specifically for recording studios, film studios, home and project studios and other critical listening environments where accurately reproduced sound is crucial. They are designed to give an honest representation of what is going on in your audio material.
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Digital Audio Workstation |
Simon Duggal |
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Abstract
A digital audio workstation or DAW is software designed to enable multitrack audio and MIDI recording, editing and mixing on your computer..There are several DAWs available, and although they may operate slightly differently, they all have the same core functions and features. Whichever DAW you use, the recording, editing and mixing processes will be pretty much the same.
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Digital |
Simon Duggal |
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Abstract
When an analog audio signal is recorded into a digital audio workstation, it has to be converted into digital bits—a binary sequence of zeros and ones. This is done by the A/D converter in the audio interface. The incoming analog signal is sampled at precise and regular intervals, tens of thousands of times per second. This is known as the sample rate.
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Hardware |
Simon Duggal |
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Abstract
An audio interface is a hardware device that connects to your computer to give you much better sound quality and connection capabilities than the computer’s own sound card. An audio interface will allow you to connect professional microphones and instruments to your computer, and output high-quality sound to your studio speakers and headphones.
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| 8 |
Gain Staging |
Simon Duggal |
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Abstract
Every piece of analogue hardware—a preamp, an amplifier, a compressor or an equalizer, for example—has an ideal operating level at which its best sound is achieved, and at which it has a good signal-to-noise ratio. Gain staging refers to setting ideal input and output levels for each piece of equipment in an analog recording chain. For example, an analog chain could be a microphone going into a preamp, followed by a compressor and then into the line inputs of an audio interface. The preamp input gain would be set to achieve the desired sound which may be clean, driven, distorted or anything in between. Its output level would then be set so the compressor receives the right amount of gain for its input. The output gain of the compressor would then be set so that the input of the audio interface receives the correct amount of gain.
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Microphones |
Simon Duggal |
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Abstract
There are a few different types of microphones. Understanding the differences between them will help you to choose the right type for a particular purpose.
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Phase |
Simon Duggal |
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Abstract
When recording with more than one microphone, a couple of mics on an acoustic guitar, or several microphones on a drum kit, for example, it’s important to be aware of potential phase issues..Signals entering the preamp can become out of phase when the sound captured by one microphone is overlapped with a delayed signal of the same sound captured by another microphone which is further away from the source. The signal from the second microphone arrives at the input of the preamp slightly later than that of the first microphone. This causes peaks and dips in the frequency response, resulting in comb filtering—a hollow and unnatural sound. Phase issues are most noticeable on low frequencies. A signal that’s out of phase will sound thinner than when it is in phase.
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Room Acoustics |
Simon Duggal |
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Abstract
In critical listening environments, it is imperative that you get a truthful representation of your audio material through the speakers..Sound reflecting off the walls, ceiling, floor and furniture arriving at the listening spot within approximately 20 milliseconds of the direct sound from the speakers, can cause interference with what you hear. Peaks and dips are created in the frequency response as a result of the reflected sound interfering with the sound from the speakers. This is known as speaker boundary interference response (SBIR).
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| 12 |
Recording Tips |
Simon Duggal |
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Abstract
When recording anything with a microphone, it’s a good idea to leave plenty of headroom to allow for those unexpected loud sounds. For example, if a singer gets too close to the microphone or momentarily sings louder than expected, that extra headroom will prevent the input signal from clipping. 6 dB of headroom should be enough.
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Abstract
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| 14 |
Equalisers |
Simon Duggal |
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Abstract
Equalisers give you control over the tone of a sound. They are much like the bass and treble controls on your Hi-Fi except they cover a much wider frequency range, usually from around 20 Hz up to 40 kHz depending on which equaliser you use..They can be used to subtly improve a sound, for example, by making a dull sound a little brighter, a harsh sound a little softer or a weak sound heavier, or to change the character of a sound in order to make it work differently or fit better within a recording. For example, if you want to give a clean vocal recording a telephonic effect, you will need to reduce the loudness of frequencies that are not present when listening through a telephone receiver. Or, if you want to make the vocal stand out in the mix, you may need to boost frequencies that give voices more definition or presence.
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| 15 |
Dynamics |
Simon Duggal |
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Abstract
Compressors are used to obtain a more consistent level by reducing loud parts of the audio material without squashing the peaks, thereby decreasing the difference between the quietest and loudest parts of the signal..When used correctly, compressors can make instruments and voices sound solid, tight and more powerful by compacting the energy contained within the sound. On static sounds such as programmed drums, for example, a compressor can be used to change the envelope—the attack, decay, sustain and release of the sound.
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Effects |
Simon Duggal |
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Abstract
Reverb is created when multiple, fast, complex echoes are merged together. The resulting sound is a type of ambience that the listener hears as one effect..In recording and mixing scenarios, reverb is used to recreate the natural ambiences of different rooms and spaces without having to physically record in those spaces. Reverbs can also be used to deliberately create weird, unnatural and crazy spaces. Some reverbs are created using digital algorithms whilst convolution reverbs use impulse responses—samples of actual physical spaces.
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Subgroups |
Simon Duggal |
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Abstract
There are times when you need to route the outputs of several channels simultaneously to the input of another channel..A subgroup is simply an auxiliary channel that is configured to allow the outputs of other channels to be routed to its inputs. Much like how all of your channels end up going into one stereo master channel.
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Monitoring in Mono |
Simon Duggal |
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Abstract
The human brain finds it difficult to pinpoint the location of lower frequencies. Lower frequencies are omnidirectional—they travel in all directions—whereas higher frequencies travel directly towards the ear (see Chap. .: An Introduction to How Sound Works—Sound Dispersion). For this reason, it is common practice to mix lower frequency elements such as kick drums and bass guitar to the centre mono part of the stereo field.
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Mid/Side Processing |
Simon Duggal |
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Abstract
A stereo audio file has two channels, left and right. When these channels play through left and right speakers at an equal level, a phantom centre between the two speakers is created. The phantom centre contains identical information that is present in both the left and right channels—this is the mid part of the signal. Removing this information would leave only the information that differs between the left and right channels—the side information. So, the side information is accessed by subtracting the mid information from the whole signal and vice versa.
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Transients |
Simon Duggal |
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Abstract
A transient is the initial attack of a sound—the pluck of a guitar string before the note sustains or the moment a stick makes contact with a drum before the skin resonates..Transients are very short, have a high amplitude and have no tonal information. They usually contain higher frequencies than the harmonic content.
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