By Tim Dittmar
Audio Engineering 101 is a true global consultant for beginning out within the recording undefined. when you have the dream, the guidelines, the tune and the creativity yet do not know the place to begin, then this ebook is for you!
Filled with useful suggestion on the best way to navigate the recording international, from an writer with first-hand, real-life event, Audio Engineering 101 may also help you achieve the interesting, yet difficult and complicated, track undefined.
Covering all you want to learn about the recording technique, from the features of sound to a consultant to microphones to analog as opposed to electronic recording. Dittmar covers the entire fundamentals- apparatus, studio acoustics, the principals of EQ/ compression, track examples to paintings from and whilst and the way to take advantage of compression. FAQ's from pros offer you genuine perception into the truth of existence at the undefined.
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Additional info for Audio Engineering 101. A Beginner's Guide to Music Production
You will learn over time to recognize the clients who do need special attention and provide it. Some vocalists perform better with a small audience in the studio: friends, family, band members, and fans. One band I recorded had between twenty and thirty people hanging around for most of the performance. It pumped them up and inspired their recording. I was willing to go along because it did positively affect the band’s performance. They fed off the energy of friends and fans plus it gave their music the party beach vibe they wanted to share with listeners.
35 36 CHAPTER 3 EQ Points of Interest. Frequencies Made Easy Tiny – A sound with extreme highs and almost no lows will likely sound tiny. Not enough volume may also make a sound tiny. Tubby – An unflattering term that describes too much low or low-mids in a sound. Try cutting between 100 and 400 Hz. Warm – A warm tone accentuates the low and low-mid frequency range. Analog tape and tube amps are often described as warm. The opposite of a warm sound would be a cold or brittle sound. Wet – A wet sound or wet mix would have an obvious amount of FX present.
Remember that if you use a spaced pair, don’t forget to apply the 3:1 rule discussed earlier in this chapter. A simple way to get a quick and decent drumset sound is by placing one mic over the center of the kit to capture the snare, toms, and cymbals. Try using a condenser or ribbon mic for this. For the kick drum, try placing a dynamic mic inside the drum and adjusting it until you get the desired tone. A great stereo drum sound can be achieved easily with the top/side miking technique. With this method place two mics equal distance from the snare (a mic cable is handy to measure the distance), one mic is placed over the drummer’s shoulder and the other mic is placed lower on the floor tom side.
Audio Engineering 101. A Beginner's Guide to Music Production by Tim Dittmar
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