Practical recording techniques : (Record no. 5145)
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| 000 -LEADER | |
|---|---|
| fixed length control field | 13416cam a2200349 a 4500 |
| 001 - CONTROL NUMBER | |
| control field | 15362035 |
| 003 - CONTROL NUMBER IDENTIFIER | |
| control field | OSt |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20200101162419.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION | |
| fixed length control field | 080710s2009 maua bf 001 0 eng |
| 010 ## - LIBRARY OF CONGRESS CONTROL NUMBER | |
| LC control number | 2008030765 |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| International Standard Book Number | 9780240811444 (pbk. : alk. paper) |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| International Standard Book Number | 0240811445 (pbk. : alk. paper) |
| 035 ## - SYSTEM CONTROL NUMBER | |
| System control number | (OCoLC)233544014 |
| 040 ## - CATALOGING SOURCE | |
| Original cataloging agency | DLC |
| Transcribing agency | DLC |
| Modifying agency | YDX |
| -- | BTCTA |
| -- | YDXCP |
| -- | BAKER |
| -- | DLC |
| 050 00 - LIBRARY OF CONGRESS CALL NUMBER | |
| Classification number | TK7881.6 |
| Item number | .B367 2009 |
| 082 00 - DEWEY DECIMAL CLASSIFICATION NUMBER | |
| Classification number | 621.389 3 BAR B |
| Edition number | 23 |
| 100 1# - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Bartlett, Bruce. |
| 245 10 - TITLE STATEMENT | |
| Title | Practical recording techniques : |
| Remainder of title | the step-by-step approach to professional audio recording / |
| Statement of responsibility, etc. | Bruce Bartlett, Jenny Bartlett. |
| 250 ## - EDITION STATEMENT | |
| Edition statement | 5th ed. |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
| Place of publication, distribution, etc. | Burlington, MA : |
| Name of publisher, distributor, etc. | Focal Press, |
| Date of publication, distribution, etc. | c2009. |
| 300 ## - PHYSICAL DESCRIPTION | |
| Extent | xiii, 631 p. : |
| Other physical details | ill. ; |
| Dimensions | 24 cm. |
| 504 ## - BIBLIOGRAPHY, ETC. NOTE | |
| Bibliography, etc. note | Includes bibliographical references (p. 541-545) and index. |
| 505 ## - FORMATTED CONTENTS NOTE | |
| Formatted contents note | Preface<br/>Acknowledgements<br/><br/>1 Music: Why You Record<br/>Increasing Your Involvement in Music<br/>Different Ways of Listening<br/>Why Record?<br/><br/>2 The Recording Chain<br/>Types of Recording<br/>Live Stereo Recording<br/>Live Mix Recording<br/>Multitrack Recorder and Mixer<br/>Stand-alone Digital Audio Workstation (Recorder-Mixer)<br/>Computer Digital Audio Workstation<br/>MIDI Sequencing<br/>Pros and Cons of Each Method<br/>Recording the Mixes<br/><br/>3 Sound, Signals, and Studio Acoustics<br/>Sound Wave Creation<br/>Characteristics of Sound Waves<br/>Amplitude<br/>Frequency<br/>Wavelength<br/>Phase and Phase Shift<br/>Phase Interference<br/>Harmonics<br/>Envelope<br/>Behavior of Sound in Rooms<br/>Echoes<br/>Reverberation<br/>Diffusion<br/>How to Tame Echoes and Reverb<br/>Controlling Room Problems with Recording Techniques<br/>Controlling Room Problems with Acoustic Treatments<br/>Controlling Standing Waves<br/>Making a Quieter Studio<br/>Signal Characteristics of Audio Devices<br/>Frequency Response<br/>Noise<br/>Distortion<br/>Optimum Signal Level<br/>Signal-to-Noise Ratio<br/>Headroom<br/><br/>4 Equipping Your Studio<br/>Equipment<br/>Recording Device<br/>Microphone<br/>Phantom Power Supply<br/>Mic Preamp<br/>Direct Box<br/>Monitor System<br/>Effects<br/>Miscellaneous Equipment<br/>MIDI Studio Equipment<br/>Setting Up Your Studio<br/>Cables<br/>Equipment Connectors<br/>Cable Connectors<br/>Cable Types<br/>Rack/Patch Bay<br/>Equipment Connections<br/>Hum Prevention<br/>Reducing Radio Frequency Interference<br/><br/>5 Monitoring<br/>Speaker Requirements<br/>Nearfield[tm] Monitors<br/>Powered (Active) Monitors<br/>The Power Amplifier<br/>Speaker Cables and Polarity<br/>Control-Room Acoustics<br/>Speaker Placement<br/>Using the Monitors<br/>Headphones<br/>The Cue System<br/>Conclusion<br/><br/>6 Microphones<br/>Transducer Types<br/>Traits of Each Transducer Type<br/>Polar Pattern<br/>Traits of Each Polar Pattern<br/>Frequency Response<br/>Impedance (Z)<br/>Maximum SPL<br/>Sensitivity<br/>Self-Noise<br/>Signal-to-Noise Ratio<br/>Polarity<br/>Microphone Types<br/>Large-Diaphragm Condenser Microphone<br/>Small-Diaphragm Condenser Microphone<br/>Dynamic Instrument Microphone<br/>Live-Vocal Microphone<br/>Ribbon Microphone<br/>Boundary Microphone<br/>Miniature Microphone<br/>Stereo Microphone<br/>Digital Microphone<br/>Headworn Microphone<br/>Microphone Selection<br/>Mic Accessories<br/>Pop Filters<br/>Stands and Booms<br/>Shock Mount<br/>Cables and Connectors<br/>Snake<br/>Splitter<br/>Summary<br/><br/>7 Microphone-Technique Basics<br/>Which Mic Should I Use?<br/>How Many Mics?<br/>How Close Should I Place the Mic?<br/>Leakage (Bleed or Spill)<br/>Don't Mike Too Close<br/>Where Should I Place the Mic?<br/>On-Surface Techniques<br/>The Three-to-One Rule<br/>Off-Axis Coloration<br/>Stereo Mic Techniques<br/>Goals of Stereo Miking<br/>Types of Stereo Mic Techniques<br/>Comparing the Four Techniques<br/>Hardware<br/>How to Test Imaging<br/><br/>8 Microphone Techniques<br/>Electric Guitar<br/>Miking the Amp<br/>Recording Direct<br/>Electric Guitar Effects<br/>Electric Bass<br/>Synthesizer, Drum Machine, and Electric Piano<br/>Leslie Organ Speaker<br/>Drum Set<br/>Tuning<br/>Damping and Noise Control<br/>Drum Miking<br/>Drum Recording Tips<br/>Percussion<br/>Acoustic Guitar<br/>Singer/Guitarist<br/>Grand Piano<br/>Upright Piano<br/>Acoustic Bass<br/>Banjo<br/>Mandolin, Dobro, Bouzouki, and Lap Dulcimer<br/>Hammered Dulcimer<br/>Fiddle (Violin)<br/>String Section<br/>String Quartet<br/>Bluegrass Band and Old-Time String Band<br/>Harp<br/>Horns<br/>Saxophone<br/>Woodwinds<br/>Harmonica, Accordion, and Bagpipe<br/>Lead Vocal<br/>Miking Distance<br/>Breath Pops<br/>Wide Dynamic Range<br/>Sibilance<br/>Reflections from the Music Stand and Ceiling<br/>Vocal Effects<br/>Background Vocals<br/>Spoken Word<br/>Choir and Orchestra<br/>Summary<br/><br/>9 Digital Recording<br/>Analog versus Digital<br/>Digital Recording<br/>Bit Depth<br/>Sampling Rate<br/>Data Rate and Storage Requirements<br/>Digital Recording Level<br/>The Clock<br/>Digital Audio Signal Formats<br/>Converting Signal Formats<br/>Dither<br/>Jitter<br/>Digital Transfers or Copies<br/>2-Track Digital Recorders<br/>Portable Hard-Drive Recorder<br/>The Digital Audio Workstation<br/>CD Recordable<br/>Flash Memory recorder<br/>Multitrack Digital Recorders<br/>Hard-Disk (HD) Recorder<br/>Recorder-Mixer (Personal Digital Studio)<br/>Pros and Cons of Three Multitrack Recording Systems<br/>Backup<br/><br/>10 Effects and Signal Processors<br/>Software Effects (Plug-Ins)<br/>Equalizer<br/>Types of EQ<br/>How to Use EQ<br/>When to Use EQ<br/>Uses of EQ<br/>Compressor<br/>Using a Compressor<br/>Connecting a Compressor<br/>Suggested "Ballpark" Compressor Settings<br/>Limiter<br/>Noise Gate<br/>Delay--Echo, Doubling, Chorus, and Flanging<br/>Reverberation<br/>Reverb Parameters<br/>Reverb Connections<br/>Preverb<br/>Enhancer<br/>Octave Divider<br/>Harmonizer<br/>Vocal Processor<br/>Pitch Correction<br/>Tube Processor<br/>Rotary Speaker Simulator<br/>Analog Tape Simulator<br/>Spatial Processor<br/>Microphone Modeler<br/>Guitar Amplifier Modeler<br/>Distortion<br/>De-Click and De-Noise<br/>Surround Sound<br/>Multi-effects Processor<br/>Looking Back<br/>Sound-Quality Glossary<br/><br/>11 Mixers and Mixing Consoles<br/>Stages of Recording<br/>Mixer Functions and Formats<br/>Analog Mixer<br/>Input Section<br/>Output Section<br/>Monitor Section<br/>Additional Features in Large Mixing Consoles<br/>Digital Mixer<br/>Digital Mixer Features<br/>Software Mixer<br/>Control Surface<br/><br/>12 Mixer Operation<br/>Session Preparation<br/>Set Up the Mixer and Recorder<br/>Assign Inputs to Tracks<br/>Set Recording Levels<br/>Set EQ<br/>Recording<br/>Playback<br/>Overdubbing<br/>Punching-In<br/>Composite Tracks<br/>Getting More Tracks<br/>Drum Replacement<br/>Mixdown<br/>Set Up the Mixer and Recorders<br/>Erase or Delete Unwanted Material<br/>Panning<br/>Compression<br/>Set a Balance<br/>Set EQ<br/>Add Effects<br/>Set Levels<br/>Judging the Mix<br/>Changes During the Mix<br/>Record or Export the Mix<br/>Summary<br/>Automated Mixing<br/>Types of Automation Systems<br/>Snapshot vs. Continuous Automation<br/>Automated Mixing Procedure<br/>Lo-Fi Recording: How to Trash Your Tracks<br/>Lo-Fi Frequency Response<br/>Distortion<br/>Noise<br/>Leakage<br/>Room Sound<br/>Lo-Fi Aesthetics<br/><br/>13 Computer Recording<br/>Basic Operation<br/>Recording and Playback<br/>Editing<br/>Mixdown<br/>The Computer<br/>Audio Interfaces<br/>Sound Card (PCI audio interface)<br/>FireWire or USBAudio Interface<br/>Audio Interface Features<br/>Control Surface<br/>Alesis FirePort<br/>DSP Card<br/>Analog Summing Amplifier<br/>Recording Software<br/>Features<br/>Plug-Ins<br/>Pro Tools<br/>Optimizing Your Computer for Digital Audio<br/>Using a DAW<br/>Connections<br/>Software Settings<br/>Editing Tips<br/>Maintaining Audio Quality<br/>Audio for Video<br/><br/>14 Judging Sound Quality<br/>Classical versus Popular Recording<br/>Good Sound in a Pop-Music Recording<br/>A Good Mix<br/>Wide Range<br/>Good Tonal Balance<br/>Clean Sound<br/>Clarity<br/>Smoothness<br/>Presence<br/>Spaciousness<br/>Sharp Transients<br/>Tight Bass and Drums<br/>Wide and Detailed Stereo Imaging<br/>Wide but Controlled Dynamic Range<br/>Interesting Sounds<br/>Suitable Production<br/>Good Sound in a Classical-Music Recording<br/>Good Acoustics<br/>A Natural Balance<br/>Tonal Accuracy<br/>Suitable Perspective<br/>Accurate Imaging<br/>Training Your Hearing<br/>Troubleshooting Bad Sound<br/>Bad Sound on All Recordings<br/>Bad Sound on Playback Only<br/>Bad Sound in a Pop Music Recording Session<br/>Bad Sound in a Classical Music Recording<br/><br/>15 Session Procedures, Mastering, and CD Burning<br/>Preproduction<br/>Instrumentation<br/>Recording Order<br/>Track Assignments<br/>Session Sheet<br/>Production Schedule<br/>Track Sheet<br/>Microphone Input List<br/>Instrument Layout Chart<br/>Setting Up the Studio<br/>Setting Up the Control Room<br/>Session Overview<br/>Recording<br/>Relating to the Musicians<br/>Overdubbing<br/>Breaking Down<br/>Mixdown<br/>Mastering<br/>Burning a Reference CD<br/>Sending Out Your CD for Mastering<br/>Mastering Your Own Album<br/>Transferring the Mastered Program to CD-R<br/>CD-Text and ISRC Codes<br/>Master Log<br/>Copyrights and Royalties<br/><br/>16 The MIDI Studio: Equipment and Recording Procedures<br/>MIDI-Studio Components<br/>Recording Music Made by Soft Synths<br/>The MIDI Signal Chain<br/>MIDI Recording Procedure<br/>Recording a Hardware Synth<br/>"No sound" MIDI Troubleshooting<br/>Recording with a Keyboard Workstation<br/>Recording with a Drum Machine and Synth<br/>Using Effects<br/>Loop-Based Recording<br/>Making Your Own Loops<br/>Types of Loops<br/>Working With Loops<br/>Loop Libraries<br/>Loop Creation Software<br/>Summary<br/><br/>17 On-Location Recording of Popular Music<br/>Record Off the Board<br/>Record with Mics and a Portable Digital Recorder<br/>Gear<br/>Preparing for the Session<br/>At the Gig<br/>A Recording Session with No PA<br/>After the Gig<br/>Record with a 4-Tracker<br/>Connect the PA Mixer Insert Sends to a Recording Mixer<br/>Connections<br/>Monitoring<br/>Setting Levels<br/>Splitting the Mic Signals<br/>Using Splitters<br/>Multitrack Recording in a Truck<br/>Preparing for the Session<br/>Preproduction Meeting<br/>Site Survey<br/>Mic List<br/>Track Sheet<br/>Block Diagram<br/>Equipment List<br/>Preparing for Easier Setup<br/>Protective Cases<br/>Mic Mounts<br/>Snakes and Cables<br/>Rack Wiring<br/>Other Tips<br/>At the Session: Setup<br/>Power Distribution System<br/>Power Source<br/>Interconnecting Multiple Sound Systems<br/>Connections<br/>Running Cables<br/>Recording-Console Setup<br/>Mic Techniques<br/>Electric Guitar Grounding<br/>Audience Mics<br/>Sound Check and Recording<br/>Teardown<br/><br/>18 On-Location Recording of Classical Music<br/>Equipment<br/>Selecting a Venue<br/>Session Setup<br/>Mounting the Mics<br/>Connections<br/>Monitoring<br/>Microphone Placement<br/>Miking Distance<br/>Stereo-Spread Control<br/>Soloist Pickup and Spot Microphones<br/>Setting Levels<br/>Recording a Concert<br/>Editing<br/><br/>19 Surround Sound: Techniques and Media<br/>Surround Speaker Arrangement<br/>Setting Up a Surround Monitoring System<br/>Bass Management<br/>LFE Channel Filtering<br/>Surround Mixing Equipment<br/>Connections<br/>Calibration<br/>Recording and Mixing Pop Music for Surround<br/>Panning<br/>Using the Center Speaker<br/>Using the LFE Channel<br/>Downmixing<br/>Surround Mix Delivery Format<br/>Surround-Sound Mic Techniques<br/>Soundfield 5.1 Microphone System<br/>Delos VR2 Surround Miking Method<br/>NHK Method<br/>The KFM 360 Surround System<br/>Five-Channel Microphone Array with Binaural Head<br/>DMP Method<br/>Woszcyk Technique (PZM Wedge plus Opposite-Polarity 180-Degree Coincident-Cardioid Surround Mics)<br/>Williams Five Cardioid Mic Array<br/>Double MS Techique<br/>Surround Ambience Microphone Array<br/>Chris Burmajster Array<br/>Ideal Cardioid Arrangement<br/>The Holophone H2-PRO Surround Mic<br/>Sonic Studios DSM-4CS 4-Channel Surround Dummy Head<br/>Slotte Method<br/>Martin Method<br/>Mike Sokol's FLuRB Array<br/>Stereo Pair plus Surround Pair<br/>Surround Media<br/>Compact Disc<br/>DVD<br/>Blu-ray Disc (BD)<br/>Super Audio CD<br/>Encoding Surround for Release on Various Formats<br/>Surround Encoding for CD<br/>Surround Encoding for DVD-Video<br/>Surround Encoding for DVD-Audio<br/>Summary of Media Formats<br/>Encoding Hardware and Software for CD and DVD-Video<br/>DVD Premastering Formats<br/>Dolby Units for DVD Mastering<br/><br/>20 Web Audio and Online Collaboration<br/>Streaming versus Downloading<br/>Data Compression<br/>Web-Related Audio Files<br/>What You Need<br/>How to Upload Compressed Audio Files<br/>Putting Your Music On Your Website<br/>Flash Animation<br/>Collaborating by Sharing Files<br/>Sharing Multitrack Projects<br/>Finding Studio Musicians, Producers and Engineers<br/><br/>A dB or Not dB<br/>Definitions<br/>Sound Pressure Level<br/>Signal Level<br/>dBm<br/>dBu<br/>dBv<br/>dBV<br/>Change In Signal Level<br/>The VU Meter, Zero VU, and Peak Indicators<br/>Balanced versus Unbalanced Equipment<br/>Interfacing Balanced and Unbalanced Equipment<br/>Microphone Sensitivity<br/><br/>B Optimizing Your Computer for Multitrack Recording<br/>Speeding Up Your Hard Drive<br/>Increasing Processing Speed<br/>Preventing Interruptions<br/>Setting the Buffer Size<br/>Minimizing Latency<br/>Other Tips<br/>Windows Vista<br/>Optimizing MacIntosh for Multitrack Recording<br/><br/>C Impedance<br/>What is Impedance?<br/>I'm connecting two audio devices. Is it important to match their impedances? What if I don't?<br/>What about microphone impedance?<br/>I'm connecting a mic to a mixer. Is impedance a consideration?<br/>Should I consider impedance when I connect two line-level devices?<br/>Can I connect one source to two or more loads?<br/>Can I connect two or more sources to one input?<br/>Summary<br/><br/>D Where to Learn More<br/>Books and Videos<br/>The Library<br/>Pro Audio Books Plus<br/>Music Books Plus<br/>howaudio.com<br/>Focal Press<br/>Amazon.com<br/>Recording Magazines<br/>Pro Audio Magazines<br/>Consumer Audio Magazines<br/>Guides, Brochures, and Other Literature<br/>Guides to Recording Schools<br/>The Internet<br/>Recording Equipment Catalogs<br/>Experience<br/><br/><br/>Glossary |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM | |
| Topical term or geographic name entry element | Magnetic recorders and recording |
| Form subdivision | Handbooks, manuals, etc. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM | |
| Topical term or geographic name entry element | Sound |
| General subdivision | Recording and reproducing |
| -- | Digital techniques |
| Form subdivision | Handbooks, manuals, etc. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM | |
| Topical term or geographic name entry element | Sound |
| General subdivision | Recording and reproducing |
| Form subdivision | Handbooks, manuals, etc. |
| 700 1# - ADDED ENTRY--PERSONAL NAME | |
| Personal name | Bartlett, Jenny. |
| 856 41 - ELECTRONIC LOCATION AND ACCESS | |
| Materials specified | Table of contents only |
| Uniform Resource Identifier | <a href="http://www.loc.gov/catdir/toc/ecip0823/2008030765.html">http://www.loc.gov/catdir/toc/ecip0823/2008030765.html</a> |
| 906 ## - LOCAL DATA ELEMENT F, LDF (RLIN) | |
| a | 7 |
| b | cbc |
| c | orignew |
| d | 1 |
| e | ecip |
| f | 20 |
| g | y-gencatlg |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) | |
| Source of classification or shelving scheme | Dewey Decimal Classification |
| Koha item type | Stack text books |
| Withdrawn status | Lost status | Source of classification or shelving scheme | Damaged status | Not for loan | Collection code | Home library | Current library | Date acquired | Total Checkouts | Full call number | Barcode | Date last seen | Price effective from | Koha item type |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Dewey Decimal Classification | 98/4 | All India Institute of Speech and Hearing | All India Institute of Speech and Hearing | 01/01/2020 | 621.389 3 BAR B | 16394 | 01/01/2020 | 01/01/2020 | Stack text books |