레코딩과 믹싱 엔지니어이자 프로듀서인 Mike Major가 쓴 이 책은 드럼 레코딩에 대한 모든 것이 담겨있습니다.
곡에서 드럼의 역할을 정하는 방법과 드럼 키트 및 녹음실 셋업하는 법, 마이크의 선택과 사운드 체크, 트랙 나누기, 오버더빙, 에디팅, 그리고 최종 사용할 트랙을 결정하는 방법 등 드럼 레코딩에 대한 다양한 내용들이 수록되어 있습니다.
- Contents -
Introduction
Chapter 1 - Getting Started
Considering the Role of the Song
Having a Plan from the Beginning
Drawing Inspiration from Other Artist's Drum Sounds
Consider How the Instrumentation and Genre Influence the Drum Sound
Know the Drummer's Expectations
Establish a Vision Early On
Methods to Keep You on Track
Work on the Drum Sound with the Drummer and the Producer
Involve the Drummer in the Drum Sound
Establish a Weil-Balanced Drum Mix as Early as Possible
Summary
Chapter 2 - A Solid Foundation: The Drummer and the Drums
Understanding the Role of the Drummer
How Inexperience Can Affect Expectations
Great Drummers Produce Great Recordings
Understanding the Role of the Drums
Buy the Best Drums You Can Afford
Make the Most of What You Have
Choosing Drum Heads
Tuning Your Drums
Muffling the Kick Drum
Tuning for Pitch or "Spread" Between Toms
How the Songs Arrangement Can Affect the Tuning
Choosing Cymbals
Choosing Drum Sticks and Bass Drum Beaters
The Drummer's Technique
Great Drummers Hit the Drum in the Center
Great Drummers Don't Bury the Stick in the Drum Head
Great Drummers Mix Themselves
Good Drummers Use Rim Shots Appropriately
Setting Up the Drum Kit for Best Results
Summary
Chapter 3 The Acoustics of the Recording Space
How Size Affects the Recording Room
How the Floor Affects the Sound of the Recording Space
How the Walls Affect the Sound of the Recording Space
Wall Construction Types
The Effect of Wall Finishes and Treatments
How the Ceiling Affects the Sound of the Space
Ceiling Construction
Ceiling Height
How Doors and Windows Affect the Sound of the Space
Doors
Windows
Common Acoustical Characteristics in Rooms
Dealing with the Room Acoustics
Wall Reflections
Temporary Installations for Controlling Wall Reflections: Absorbers
Dealing with a Low Ceiling
Temporary Floor Treatments
Determining the Best Location for the Drum Kit
Designing the Control Room
Summary
Chapter 4 - Preparing to Record
Being Prepared Won't Kill Your Creativity!
Pre-Recording Checklist
Time or Budget Limitations
How Important Is the Drum Sound to the Sound of the Project?
Other Sources and the Recording System
The Size of the Drum Kit and Setup and the Number of Mics
Use of Preamps, Console, or Patchbay
Recording with a Click Track
Drummer Is Tracking with Other Musicians
Preparing the Recording Medium
Analog Recording
Preparing to Record Digitally
Summary
Chapter 5 - Choosing Microphones
Understanding What the Mic Brings to the Table
Mic Choice Philosophy 101
The Simple Approach to Miking
Understanding the Different Microphone Types
Condenser Mics
Dynamic Mics
Ribbon Mics
Understanding Polar Patterns
Understanding Frequency Response
Other Considerations in Mic Choice
Off-Axis Response
Using "Standard" Microphones
Setting the Tone with Microphone Selection
Looking at the Standards from Another Perspective
The Importance of Using Good Mic Stands
Mic Stand Isolation Devices
The Importance of Good Mic Cables
Summary
Chapter 6 - Microphone Placement
Using the Directional Characteristics of Microphones
Choosing the Best Location to Place the Mic
Understanding Where the Drum's Tone Comes From
Location, Location, Location
Adjusting the Mic Angle Vertically
Adjusting the Mic Angle Horizontally
Distance = Difference
How Mixing Can Reveal Problems with Ambient Bleed
Using Multiple Mics on a Drum
Point: One Mic Is Better Than Two
Counterpoint: Two Mics Are Better Than One
Multiple Mics and Phase Cancellation
What Do Phase Problems Sound Like?
Using Phase Anomalies for Tone Shaping
The 3:1 Rule
The 1:1 Rule?
Miking a Drum from Top and Bottom
Disadvantages of Using Multiple Mics on One Drum
Multiple Mics and Multiple Arrival Times
A Comprehensive Approach to Successfully Combining Multiple Mics
Miking the Kick Drum
Placing a Mic Inside the Kick Drum
Placing a Mic Outside the Kick Drum
Using Multiple Mics on the Kick Drum
Are Three Mics Better Than One?
Summary
Chapter 7 - Stereo, Mono, and Multi-Mic Techniques
A Brief History of Stereo Recording
Stereo Recording and Drums
Some Common Stereo Mic Techniques
Coincident Pair or X/Y Technique
The Blumlein Pair
The Spaced Pair
The ORTF Technique
Mid-Side Technique
Recording Drums in Mono
Mono with One Microphone
Mono Mic Placement
Mono with Multiple Mics
Recording Drums in Stereo
Recording Stereo Using Only Two Inputs
Using Stereo Miking Techniques to Supplement a Multi-Mic Setup
Using Room Mics
Summary
Chapter 8 - Microphone Selection Guide
Mic Options for the Inside of the Kick Drum
First Choice: The Shure Beta 52
Second Choice: The AKG D112
A Few Other Choices for the Inside of the Kick Drum
Mic Options for the Outside of the Kick Drum
First Choice: The Neumann U47/U48 Tube Mic
Second Choice: The Neumann U47fet
A Few Other Choices for the Outside of the Kick Drum
Best Choices for Miking the Snare Top
First Choice: The Shure SM57
Second Choice: Heil PR-31
Third Choice: Neumann KM 84
Other Choices for Miking the Snare Top
Best Choices for Miking the Snare Bottom
First Choice: Sennheiser MD 441
Second Choice: AKG C 451 B/EB/C 452 EB
A Few Other Choices for Miking the Snare Bottom
Best Choices for Miking the Hi-Hat
First Choice: Neumann KM 84/KM 184
Second Choice: Audio-Technica AT4041
A Few Other Choices for Miking the Hi-Hat
Best Choices for Miking the Toms
First Choice: Josephson e22S
Second Choice: AKG C 414 (EB, B-ULS, B-XLS)
Third Choice: Sennheiser MD 421
Other Choices for Miking the Toms
Best Choices for Miking the Overhead Mics
First Choice: Telefunken ELA M251
Second Choice: AKG C12
Third Choice: RODE Classic
Other Choices for Miking the Overhead Mics
Best Mic Choices for OH Mics: Small Diaphragm Condensers (SDCs)
First Choice: Neumann KM 84
Second Choice: Mercenary Audio KM 69
Third Choice: AKG 460
Best Room Mic Options
First Choice: Coles 4038 Studio Ribbon Mic
Second Choice: Neumann/Telefunkcn U47
Best Specialty Mic Options
Granelli Audio Labs G5790
Yamaha Subkick
The Crown PZM
The Placid Audio Copperphone
Summary
Chapter 9 - Understanding Consoles, Recorders, and Levels
Recording Console Basics
The Importance of Console Labeling
Common Console Labeling
Understanding Gain Structure
Following Good Level Setting Practices
Special Considerations for Analog Tape
Analog Tape "Warmth"
Digital Audio Basics
Digital Resolution and Quality
Hyper-Limiting and Distortion
Setting Levels While Recording Digitally
Differences in Level Setting When Using Mix Busses
The DAW Mixer
Maintaining Headroom in Your DAW Mixer
Summary
Chapter 10 - Mic Preamps
How Important Is High-Quality Gear?
Mic Preamp Types
Discrete, Transformer-Coupled Mic Preamps
Tube Mic Preamps
Transformer-less, Discrete Transistor Mic Preamps
IC-Based Mic Preamps
Preamps: It's All in How You Run 'Em
Choosing Mic Preamps
Using the Same Type of Mic Preamp on Everything
Using Many Different Types of Mic Preamps
Pairing Mics with Mic Preamps
Summary
Chapter 11 - Tracking Mixes
Patching and Routing Mics to the Recorder
Monitoring Through the Recorder
Some Tracking Mix Guidelines
Maintaining Balance and Perspective
Creating a Good Tracking Mix
Another Residual Benefit of a Good Tracking Mix
Summary
Chapter 12 - An EQ Overview
The Fletcher-Munson Equal Loudness Contours
Monitor Volume and How It Can Affect Your Results and Your Hearing
Monitor Volume and How It Can Affect How You Use EQ
How the Intended Audience Can Affect Your Monitor Levels
Using EQ
Training Your Ears to Identify Frequencies
Defining the Frequency Ranges
EQ Guidelines
EQing Specific Drums
Other Considerations When Using EQ
Choosing EQs
First Choice: OH Mics
Second Choice: Snare Drum Top
Third Choice: Kick Drum Inside
Fourth Choice: Toms
Last Choices: Hi-Hat, Snare Bottom, and Room Mics
Summary
Chapter 13 - Processing Drums
Dynamics Processing
Compressor/Limiters: A Primer
Common Compressor Parameters
Gain Reduction Circuit Types
Why Compressors Sound the Way They Do
How Attack and Release Times Affect the Tone of the Drums
How the Compression Ratio Affects the Sound of Compression
Common Over-Compression Artifacts
Two Cool Compression Techniques
Using Noise Gates
Threshold
Range
Ratio
Attack
Hold
Release/Decay
Key Source (Internal/External)
Key Filters
Tips for Using Noise Gates
Common Errors When Using Noise Gates
Using Transient Shapers
Phase Manipulation
Summary
Chapter 14 - Creating Cue Mixes
The Balancing Act of Creating Cue Mixes
One Cue Mix for Everyone
Personal Cue Mixers
Sweetening a Cue Mix
The Importance of Quality Headphones
The Subjective Sound Quality of Headphones
Choosing Headphones for a Specific Task
Headphone Impedance
Design Differences in Headphones
Durability and Serviceability of Headphones
Comfort Is King
In-Ear Monitors
Using Click Tracks
When Not to Use a Click Track
Setting Click Levels in the Headphones
Keeping the Click Out of the Mics
Summary
Chapter 15 - Tracking and Editing
Tracking Alone or with the Band
Tracking as a Band
Tracking Each Player Separately
Together or Alone: Which Approach Is Best?
Getting a Good Take
Defining a Good Take
Listening to the Take
Putting a Master Take Together
The Advantages of Building a Master Take
The Disadvantages of Building a Master Take
Editing Drums: A Basic Overview
Tape Editing
Creative Analog Tape Editing Techniques
Using Samplers to Edit a Performance on Tape
Problems with Using Samplers
Editing in the Modern DAW
Editing for Feel or Editing to the Grid
Replacing Single Hits
Drum Overdubs
Checking the Final Take
Summary
Chapter 16 - Real-World Example Mic Setups
Elevated Basement Recording Studio
The Gear
The Session
The One-Mic Setup
One-Mic Setup #1
One-Mic Setup #2
One-Mic Setup #3
One-Mic Setup #4
The Two-Mic Setup
Two-Mic Setup #1
Two-Mic Setup #2
Three- and Four-Mic Setups
Three-Mic Setup #1
Three/Four-Mic Setup #2
Three/Four-Mic Setup #3
Three/Four-Mic Setup #4
Three/Four-Mic Setup #5
Larger Multi-Mic Setups
Eight-Mic Setup
Ten-Mic Setup
Twelve-Mic Setup #1
Twelve-Mic Setup #2
Summary
Index
|
;)
