Оглавление
Jeff Strong. Home Recording For Dummies
Home Recording For Dummies® To view this book's Cheat Sheet, simply go to www.dummies.com and search for “Home Recording For Dummies Cheat Sheet” in the Search box. Table of Contents
List of Tables
List of Illustrations
Guide
Pages
Introduction
About This Book
Foolish Assumptions
Icons Used in This Book
Beyond the Book
Where to Go from Here
Getting Started with Home Recording
Understanding Home Recording
Examining the Anatomy of a Home Studio
Exploring the recording essentials
Checking out recording system types
Getting a Glimpse into the Recording Process
Setting up a song
Getting a great sound
Recording
Overdubbing
Making Sense of Mixing
Cleaning up tracks using editing
Equalizing your tracks
Processing your signal
Blending your tracks
Adding the Final Touches
Mastering your mixes
Putting your music out into the world
Dealing with digital distribution
Creating CD copies
Embracing vinyl
Promoting your music
Getting the Right Gear
Determining Your Home Studio Needs
Detailing Your Digital Options
Computer-Based Digital Recording Systems
Finding the right computer setup
MAC OR PC?
Getting the sound in and out
PCIe interfaces
USB interfaces
Thunderbolt interfaces
Choosing the right software
Researching a program you’re interested in
Checking out some popular programs
FREE PROGRAMS
COLLABORATION PROGRAMS
PROFESSIONAL-LEVEL PROGRAMS
Studio-in-a-Box Systems
Taking a look at the benefits
Examining some popular SIAB systems
Mobile-Device Recording
Android
Hardware
Apps
Apple iOS
Hardware
Apps
Exploring Sample Setups
Live and MIDI studio
MIDI-intensive studio
Live studio
Podcasting studio
Audio-for-video studio
Mobile on-location studio
Getting Connected: Setting Up Your Studio
Understanding Analog Connections
The ¼-inch analog plug
Mono/TS
Stereo/TRS
XLR
RCA
Delving into Digital Connections
MIDI
AES/EBU
S/PDIF
ADAT Lightpipe
TDIF
USB
FireWire
Thunderbolt
Working Efficiently
Taming heat and dust
Monitoring your monitors
Optimizing Your Room
Isolating sound
Controlling sound
Sound control during tracking
Sound control during mixing
GET A GOOD PAIR OF NEAR-FIELD MONITORS
MIX AT LOW VOLUMES
USE PANELS TO TAME SOUND
USE BASS TRAPS TO TAME STANDING WAVES
Meet the Mixer
Meeting the Many Mixers
Analog mixer
Digital mixer
Software mixer
Computer control surface
Understanding Mixer Basics
Examining inputs
Inputs
Trim control
Checking out the channel strip
Viewing the channel strip layout
Following the flow of the signal
Recognizing mixer routing
Master bus
Sub (submix) bus
Auxiliary (aux) bus
Opting for outputs
Master Out jack
Phones jack
Monitors jack
Multitrack Recording
Understanding Multitracking
Getting Ready to Record
Setting up a song
Creating and organizing your tracks
Creating new tracks
Naming tracks
Assigning inputs and outputs
Selecting a sound source
Setting levels
Getting the sound you want
EQ
Effects
Choosing a monitoring source
Setting a Tempo Map
Saving Your Work
Sharing Files with Others
Working with Microphones
Understanding Microphones
Meeting the Many Microphone Types
Construction types
PHANTOM POWER
Condenser microphones
Boundary microphones
Dynamic microphones
Ribbon microphones
Polarity patterns
Omnidirectional
Cardioid
Shotgun
Figure-8
Multiple-pattern mics
Assessing Your Microphone Needs
Deciding How Many Microphones and What Kind
Getting started
Dynamic mics
Large-diaphragm condenser mics
Small-diaphragm condenser mics
Movin’ on
Dynamic mics
Large-diaphragm tube condenser mics
Small-diaphragm condenser mics
Going all out
Dynamic mics
Large-diaphragm condenser mics
Ribbon mics
Small-diaphragm condenser mics
Finding the Right Mic for the Situation
Partnering Mics with Preamps
Solid-state
Vacuum tube
Hybrid
Considering Compressors
Analyzing Some Microphone Accessories
Microphone cords
Microphone stands
Pop filters
Caring for Your Microphones
Daily care
Storage
Taking a Look at Microphone Techniques
Singling Out Close Miking
Detailing Distant Miking
Assessing Ambient Miking
Selecting Stereo Miking
X-Y pairs
Blumlein technique
Spaced pairs
Stereo microphones
Overcoming problems with stereo miking
Phase cancellation
Poor stereo imaging
Creating Miking Combinations
Miking Your Instruments
Getting a Great Lead Vocal Sound
Making the most of the room
Choosing the best mic
Dynamic mic
Large-diaphragm condenser mic
Small-diaphragm condenser mic
Ribbon mic
Getting Good Backup Vocals
Examining Electric Guitar Miking
Using the room
Getting the most out of the mics
Exploring Electric Bass Miking
Managing the room
Getting the most from the mic
Miking Acoustic Guitars and Similar Instruments
Making the most of the room
Using your mics
Maneuvering Horn Mics
Understanding the role of the room
Making the most of the mics
Placing Mics for a Piano
Harnessing the sound of the room
Managing the mics
Setting Up Mics for Strings
Making the most of the room
Making sense of the mics
Digging into Drum Set Miking
First things first: Tuning your drums
Using the room to your benefit
Picking up the kick (bass) drum
WHAT TYPE OF DRUM SET?
Setting up the snare drum
Tackling the tom-toms
Handling the hi-hats
Creating the best cymbal sound
Miking the whole kit
Getting Your Hands on Hand Drums
Perfecting Percussion Miking
Exploring the impact of the room
Choosing and using the mics
Recording Live Audio
Getting a Great Source Sound
Making Sense of the Signal Chain
Setting Optimal Signal Levels
THE STRAIGHT-LINE RULE
Understanding Pre and Post Levels
Interpreting the various levels
Looking at examples
Getting Great Guitar, Bass, and Electronic String Instrument Sounds
Connect directly
Process beforehand
Leverage your amp
Creating Killer Keyboard Tracks
Recording E-Drums, Drum Machines, and Electronic Percussion
Making the Most of Microphones
Placing mics properly
Compressing carefully
Getting to know compressor parameters
Creating compressor settings
Recording Audio
Performing Your First Take
Punching In and Out
Manual punching
Punching with a foot switch
Automatic punching
Repeated punching (looping)
Exploring Overdubbing
MULTITRACK ABUSE
Submixing
Bouncing
Keeping Track of Your Tracks
Understanding Electronic Instruments and MIDI
Meeting MIDI
Perusing MIDI ports
Understanding MIDI channels
Appreciating MIDI messages
Managing modes
Mode 1: Omni On/Poly
Mode 2: Omni On/Mono
Mode 3: Omni Off/Poly
Mode 4: Omni Off/Mono
Taking orders from General MIDI
Gearing Up for MIDI
Sound generators
Synthesizer
Drum machine
Sound module
SAMPLERS
SOFT SYNTHS
Sound card
MIDI controller
Sequencer
MIDI interface
Recording Electronic Instruments Using MIDI
Synchronizing Your Devices
Synchronizing two (or more) synthesizers
Synchronizing a computer sequencer and a synthesizer
Synchronizing a sequencer and an audio recorder
Using the transport function from one device to control another
MIDI TIME CODE, MIDI CLOCK, HUH?
Sequencing
Recording MIDI data
Preparing to record
Real-time recording
Step-time sequencing
Overdubbing
Using MIDI Merge/Replace
Punching in and out
Saving Your Data
Transferring Data Using MIDI
Working with Loops
Understanding Loops and Loop Types
Choosing Loop Formats
Setting Up Your Session
Setting tempo and time and key signatures
Creating song maps
Enabling a metronome
Adding Loops to Your Sessions
Browsing loop libraries
Previewing loops
Adding loops to your session
Editing Loops
Creating Loops
Editing and Enhancing Your Tracks
Getting into Editing
Understanding Digital Editing
Copy
Cut/Delete/Erase
Insert
Paste
Move
Export/Import
Undo
Finding the Section You Want to Edit
Editing aurally
Editing visually
Editing to Improve the Sound of a Performance
Replacing a bad note
Evening out a performance
Getting rid of distortion
Getting rid of noise
Correcting pitch problems
Creating a Performance That Never Happened
Creating loops
Assembling a song
Making compilations of your tracks
Discovering Other Ways to Use Editing
Adjusting the length of a performance
Reversing a phrase
Editing MIDI Data
Understanding MIDI Windows
Selecting track material
Selecting notes with the Pencil tool
Using the Selector tool
Setting MIDI patches on tracks
Adding MIDI events
Inserting notes
Drawing velocity or continuous controller data
Inserting program changes
Deleting MIDI notes
Editing MIDI Data
Changing a note’s pitch
Changing a note’s duration
Changing a note’s velocity
Changing time locations
Moving notes freely
Editing Program Data
Changing program patches
Moving program change markers
Changing Continuous Controller Data
Editing lines with the Pencil tool
Editing breakpoints
Scaling breakpoints
Quantizing Your Performance
Transposing Your Performance
Saving Your Data
Transferring Data Using MIDI
Mixing and Mastering Your Music
Mixing Basics
Understanding Mixing
Managing Levels as You Work
Getting Started Mixing Your Song
Mixing in DAWs
Using a control surface
Using a digital mixer
Using an analog mixer
Using the Stereo Field
Left or right
Lead vocals
Backup vocals
Guitar parts
Bass
Drums
Percussion
Piano/synthesizers/organs
Front or back
Adjusting Levels: Enhancing the Emotion of the Song
Dynamics
The arrangement
Tuning Your Ears
Listening critically
Choosing reference music
Dealing with ear fatigue
Making several versions
Using Equalization
Exploring Equalization
Graphic
Parametric
Low-shelf/high-shelf
Low-pass/high-pass
Dialing-In EQ
Inserting an EQ plug-in in a track
Exploring EQ options
Using parametric EQ
Using low-shelf/high-shelf EQ
Using low-pass/high-pass EQ
Equalizing Your Tracks
General EQ guidelines
Equalizing vocals
Lead
Backup
Equalizing guitar
Electric
Acoustic
Equalizing bass
Equalizing drums
Kick
Snare
Tom-toms
Hi-hats
Cymbals
Overhead mics
Equalizing percussion
Equalizing piano
Equalizing horns
Digging into Dynamics Processors
Connecting Dynamics Processors
Introducing Compressors
Getting to know compressor parameters
Getting started using compression
Using compression
Lead vocals
Backup vocals
Electric guitar
Electric bass
Strummed or picked acoustic stringed instruments
Horns
Piano
Classical strings
Kick drum
Snare drum
Hand drums
Percussion
Looking into Limiters
Understanding limiter settings
Setting limits with the peak limiter
Introducing Gates and Expanders
Getting to know gate parameters
Getting started using gates
Getting started using an expander
Detailing the De-Esser
Setting Up Side Chains
Setting up a side chain
Using a side chain
Singling Out Signal Processors
Routing Your Effects
Inserting effects
Sending signals to effects
Rolling Out the Reverb
Seeing reverb settings
Getting started using reverb
Detailing Delay
Digging into delay settings
Getting started using delay
Creating Chorus Effects
Making Sense of Microphone Modeling
Applying an Amp Simulator
Detailing Distortion Effects
Selecting Tape Saturation Effects
OH, HOW I YEARN FOR THAT ANALOG SOUND
Automating Your Mix
Understanding Automation
Audio tracks
Auxiliary input tracks
Instrument tracks
Master fader tracks
MIDI tracks
Accessing Automation Modes
Writing Automation
Writing automation on a track
Writing plug-in automation
Writing send automation
Viewing Automation
Editing Automation Data
Using editing commands
Cut and Delete
Copy
Paste
Editing with the edit tools
Grabber or Selector
Pencil
Trimmer
Making Your Mix
Submixing Tracks
Mixing in-the-Box
Examining bounce options
Performing the bounce
Using an External Master Deck
Mastering Your Music
Demystifying Mastering
Processing
Sequencing
Leveling
Getting Ready to Master
Paying a Pro or Doing It Yourself
Hiring a Professional Mastering Engineer
Mastering Your Music Yourself
Optimizing dynamics
Perfecting tonal balance
TURN IT UP!
Sequencing your songs
Balancing levels
Preparing for Distribution
Creating Your Finished Product
Understanding File Formats
Lossy audio file formats
Lossless audio file formats
Putting Your Music on CD
CDs on demand
Doing it yourself
PROTECTING YOUR RIGHTS
Having someone else do it
Short-run CD duplication
Large-quantity CD replication
UPC BARCODES
Delivering Digital Files
Download card
USB sticks (flash drives)
Online music distribution
Streaming music sites
Creating MP3 Files
Bit rate
Mode
Pressing Vinyl
The Part of Tens
Ten Invaluable Recording Tips
Using an Analog Tape Deck
Layering Your Drum Beats
Decorating Your Room
Setting a Tempo Map
Listening to Your Mix in Mono
Doubling and Tripling Your Tracks
Recording Dirty Room Ambience
Overdubbing Live Drums
Pressing Record, Even during a Rehearsal
Leaving the Humanity in Your Tracks
Ten (or So) Ways to Distribute and Promote Music
Marketing Yourself
Setting Up Your Own Music Website
Checking out musician-friendly hosting services
Designing your site
Putting Your Music on a Music Host Site
Engaging in Social Media Networking
Offering Free Downloads
Selling Your Music Digitally
Licensing Your Music
Podcasting
Selling Your CDs
Promoting Your Music
Connecting with an Email Newsletter
Index. A
B
C
D
E
F
G
H
I
J
K
L
M
N
O
P
Q
R
S
T
U
V
W
X
Y
Z
About the Author
Author’s Acknowledgments
WILEY END USER LICENSE AGREEMENT
