전체 레코딩 과정을 처음 시작하는 사람들이 체계적으로 단계를 밟아갈 수 있게 가이드해주는 레코딩 가이드 북입니다.
녹음용 마이크의 작동 원리와 어떤 것을 선택해서 어떻게 사용해야 하는지, 마이크에서 믹서까지의 시그널 경로와 이 시그널을 어떻게 좋은 녹음으로 완성하는지, 그리고 이펙터들을 어떻게 활용할 수 있는지 등에 대한 내용들이 소개되어 있습니다.
맨 처음 고려해야 할 사항들부터 믹스다운, 마스터링, 복제에 이르기까지 레코딩 뮤지션이 꼭 알아야할 내용들이 체계적으로 정리되어 있습니다.


- Contents -

Audio and Video Examples
Preface

Chapter 1 - Sound Theory
Characteristics of Sound
   Waves
   Speed
   Cycles
   Frequency
   Pitch
   Wavelength
   Amplitude
   Loudness
   Phase
   Harmonics, Overtones, and Partials
   Shape
   Envelope
   Attack
   Decay
   Sustain
   Release
Hearing Protection
   EQ Versus Volume
   Painful Frequencies Versus Comforting Frequencies
   Understanding Hearing Differences
   Types of Hearing Loss
      Presbycusis
      Tinnitus
      Conductive Hearing Loss
   Aural Hypersensitivity
      Hyperacusis
      Recruitment
   Education Is rhe Answer

Chapter 2 - Connecting
Connectors
   RCA Connectors
   Quarter-Inch Phone Connectors
   XLR Connectors
   The Dual Banana Connector
   Speakon Connectors
Interconnect
   Resistance
   Inductance and Capacitance
Line-, Instrument -, and Mic-Level Impedance
   Terminology
   Compatibility Between Hi Z and Lo Z
Balanced Versus Unbalanced
   Terminology
   Unbalanced Guitar Cables
   Balanced Wiring
Choosing Cable
   Pre-Assembled Cables
   Custom-Assembled Cables
   Probable Causes for Various Cable Failures
   Least Common Denominator
   Acoustical Influences on Listening Tests
Cable Construction Standards
Speaker Cables
   Wire Gauge
Instrument-Level Cables
Line-Level Cables
Microphone Cables
Do Cables Really Sound Different?
Digital-Interconnect Cables
   Optical Digital Cables (Fiber Optics)
   Camp Time
Studio Reference Monitors
   Speaker Cabinet Components
      Drivers
      Direct Radiating Cone Speakers
      Horn Compression Drivers
      Ribbon Drivers
   The Importance of Enclosures
      Sealed Enclosures
      Infinite Baffle
      Acoustic Suspension
      Bass Reflex
      The Passive Radiator
      Transmission Line
      Component Alignment
   Speaker Impedance
      Calculating Speaker Impedance
Bridging an Amplifier
Crossover Configurations
   Passive Crossover
   Active Crossover
   Full-Range Cabinets
   Two-Way Cabinets
   Three-Way Cabinets
   Four-Way Systems
Powered and Non-Powered Monitors
   Non-Powered Monitors
   Professional Amplifiers
   Self-Powered Monitors
   Power Ratings
   Near-Field Reference Monitors
   Far-Field Monitors
Plugging In
   Electrical Power
   Powering Up
   Powering Down
Ground Hum
   Grounding
   Ground Loops
   Solutions to Grounding Problems
   Noise Doesn't Necessarily Indicate a Grounding Problem
   Connect All Equipment to the Same Outlet
   Hum Eliminators
   Lighting Dimmers
   Hire a Pro
   Auxiliary Power Supply
   Power Conditioner and Sequencer
   Circuit Tester
Danger, Danger

Chapter 3 - Mixers
Input Levels
Input Stage
Output Impedance
Direct Box
   Passive Versus Active DIs
Meters
   Volume Unit (VU)
   Peak Program and Full Scale Meters
   Adjusting Levels for Transients
Phantom Power
Mic Level/Sensitivity
Line and Instrument Level
   The Importance of Impedance Matching
   Operating Levels: +4 dBm Versus -10 dBV
Attenuators
Connecting a Professional Microphone to Built-in Computer Input
   Signal Level
   Impedance
   Connectors and Wiring
Mixer Configurations
   The Split and In-Line Console Designs
Analog Versus Digital Mixers
Control Surfaces
The Virtual Mixer

Chapter 4 - Signal Path
Signal Path
The Preamp
Attenuator
Phase
Input Level Comparison
Channel Insert
Buses
Input Faders
Pre and Post
Using the Aux Bus
The Headphone Bus
Track Assignment
   Summing
Splitting a Signal Using a Y Cable
Pan
Gain Structure
   Potential Problems
Bouncing Tracks
   Analog and Digital Tape-Based Recorders
   Digital
Solo
   PFL (Pre Fader Listen)
   AFL (After Fader Listen)
   Mixdown Solo
Mutes
The Equalizer
   Hertz
   Definition of Frequency Ranges
   Bandwidth
   Sweepable EQ
   Parametric EQ
   Graphic EQ
   Notch Filter
   Peaking Filters
   Highpass Filter
   Lowpass Filter
   Bandpass Filter
   Shelving EQ
   Combined Equalizers
   The Equalizers Sound
The Monitor Section
   Control Room Monitor Selector
   Stereo to Mono
   Stereo Master
   Monitor Level/Speaker Level
   Talkback/Communications
   Test Tones
Integrating Analog and Digital Recorders
   Analog Reference Tones
Patch Bays
Session Setup
   Basic Procedure
New Mixer Functions

Chapter 5 - Microphones
Directional Characteristic
   Polar Response Graph
   On-Axis
   Off-Axis
   Sensitivity Scale
   Omnidirectional
   Bidirectional
   Unidirectional
      Cardioid
      Supercardioid
      Hypcrcardioid
      Ultracardioid
      Subcardioid
Operating Principle
   Transducer Types
   Magnetic Induction Transducers
   Variable Capacitance Transducers
Operating Principle of the Moving-Coil Mic
Operating Principle of the Ribbon Mic
Operating Principle of the Condenser Mic
   Phantom Power
   Electret Condenser Microphones
Comparison between Moving-Coil, Ribbon, and Condenser Microphones
Moving-Coil Mics
Condenser Microphones
Ribbon Mics
Shaping the Pickup Pattern
   Physical Housing Design
The Proximity Effect
   Compensating for the Proximity Effect
   Using the Proximity Effect ro Our Advantage
Response Characteristic
   Frequency Response Curve
Transient Response
Output Characteristic
   Equivalent Noise Rating/Self-Noise
   Sensitivity
   Maximum SPL Rating
   Impedance
Stereo Mic Techniques
   The X-Y Technique
   The Spaced Omni Pair
   The Crossed Bidirectional Blumlein Technique
   The MS Technique
   The ORTF Configuration
Multichannel Mic Techniques
   Downmixing
   The LRFB Technique
   The VSA Tree
Conclusion

Chapter 6 - Processors
Signal Processor Basics
   Communicating a Feeling
   Similarity of Hardware and Software Controls
Connecting Processors
   Channel Insert
   Auxiliary Bus
   Plug the Instrument Directly into the Processor
Dynamics Processor Operation
   Dynamic Range
   The VCA
   Substitutes for the VCA
Compressor/Limiter
   Why Do We Need a Compressor?
   The Resulting Effect of Compression
   Analog Versus Digital Application
   To Compress or Not to Compress - That Is the Question
Compression Parameters
   Threshold
   Attack Time
   Release Time
   Ratio
   Output Level
   The Difference between a Compressor and a Limiter
Hard Knee Versus Soft Knee Compression/Limiting
Peak/RMS Detection
Side Chain
Meters on the Compressor/Limiter
   Input Level Meter
   Output Level Meter
   Gain Reduction Meter
The Function of a Compressor
   Technical Effect
   Musical Effect
The Function of a Limiter
Proper Use of the Compressor/Limiter
Should I Use the Compressor/Limiter on Input or Output?
Setup Suggestions for the Compressor/Limiter
How Much Is Enough?
Pumping
Breathing
Commercial Pop Music
Classical Recording
The Purist and Compression
Multiband Compressor/Limiters
De-Essers
Tube Versus Solid-State Compressor/Limiters
The Gate/Expander
   The Controls on a Gate/Expander
   Gates Versus Expanders

Chapter 7 - Effects
Wet Versus Dry
Patching Effects Devices
Delay Effects
   Slapback Delay
   Doubling/Tripling
   Modulation
   Phase Shifter
   Flanger
   Chorus
   Phase Reversal and Regeneration
   Stereo Effects
Reverberation Effects
   Hall Reverb
   Chamber Reverb
   Plate Reverb
   Room Reverb
   Reverse Reverb
   Gated Reverb
   Other Variations of Reverberation
Effects Parameters
   Predelay
   Diffusion
   Decay Time
   Density
Effects Plug-Ins
Summary

Index

Test Answers