"Audio Engineering | Audio Manuals for the Sound Engineer" Series The Digital Audio Recording Manual<\/strong> It is primarily intended for general learning of recording principles, but can also be used as a practical guide to consult during practice.<\/p>\n It is composed of 5 sections:<\/strong><\/p>\n Preface<\/i><\/p>\n The Zen teacher asked aspiring painters to study for ten years, practicing for many hours a day.<\/i><\/p>\n He then suggested to \u201cforget\u201d everything, stopping practicing for months.<\/i><\/p>\n After that he urged the student to paint \u201ctruly\u201d, following only his intuition, as the technical ability would emerge naturally, but without dominating the scene.<\/i><\/p>\n In this sense, the same exhortation can be formulated for the art of recording, suggesting the following:<\/i><\/p>\n \u201cDon't follow any rules, but know them all first.\u201d<\/i><\/strong><\/p>\n I'm sure that every expert sound engineer will agree with this statement.<\/i><\/p>\n The Author<\/strong><\/p>\n Get a savings when you buy here on the author's site<\/strong><\/p>\n Inside the book you will also find a gift voucher to get the Sound Engineer Glossary<\/em> (you see)<\/p>","protected":false},"featured_media":5859,"comment_status":"open","ping_status":"closed","template":"","meta":[],"product_brand":[],"product_cat":[69,70],"product_tag":[],"class_list":["post-5858","product","type-product","status-publish","has-post-thumbnail","product_cat-libri","product_cat-libri-e-manuali-di-audio","first","instock","sale","purchasable","product-type-simple"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"http:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product\/5858","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product"}],"about":[{"href":"http:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/types\/product"}],"replies":[{"embeddable":true,"href":"http:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/comments?post=5858"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/media\/5859"}],"wp:attachment":[{"href":"http:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/media?parent=5858"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"http:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product_brand?post=5858"},{"taxonomy":"product_cat","embeddable":true,"href":"http:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product_cat?post=5858"},{"taxonomy":"product_tag","embeddable":true,"href":"http:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product_tag?post=5858"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nVolume 2<\/strong><\/p>\n\n
\n
\n<\/div>\n<\/section>\n<\/div>\nMANUAL INDEX<\/strong><\/h2>\n
\nPreface 12<\/em>
\nOther Publications on Audio and Voice 12<\/em><\/div>\nSECTION A *** INTRODUCTORY NOTIONS 13<\/h2>\n
OBJECTIVES OF RECORDING 14<\/h3>\n
\nCollaboration between the Sound Engineer and the Artistic Director 15
\nCompleting an audio track during a session 15<\/div>\nTHE ELECTROACOUSTIC SIGNAL 16<\/h3>\n
\nAcoustic transduction 17
\nThe Electroacoustic Signal 17
\nCharacteristics of the electroacoustic signal 18
\nBalanced and non-balanced line conductors 18
\nBalanced line cables 18
\nUnbalanced line cables 19
\nBalanced and unbalanced stereo cables 19
\nProcessors, Amplifiers and Speakers 20<\/div>\nDIGITAL SAMPLING 21<\/h3>\n
\nThe sampling rate 21
\nThe Bit 22 Question<\/div>\nRECORDING SESSION 24<\/h3>\n
\nSampling rate 24
\nResources 25
\nPre-fader metering 25
\nLatency and Delay Compensation 25
\nElements of a session 27
\nAudio Track 27
\nAux Track 28
\nMaster Track 28
\nInstrument Track 28
\nMIDI Track 28
\nBus 28
\nDefault Work Sessions 29
\nConfiguring Tracks 29
\nConfiguring Tracks 29
\nConfiguring plugins 29
\nThe Voices of DAW 29<\/div>\nMICROPHONES 31<\/h3>\n
\nThe transducers 32
\nLow-fidelity transducers 32
\nDynamic Microphone 32
\nRibbon Microphone 33
\nCondenser Microphone 33
\nTube Microphone 33
\nThe diaphragm 34
\nShooting angle and polar diagram 34
\nFrequency response 35
\nImpedance 36
\nDynamics 37
\nSensitivity 37
\nSignal to Noise Ratio 37
\nDynamic response 37
\nElectromechanical resistance 38<\/div>\nRUDIMENTS OF ACOUSTICS 39<\/h3>\n
\nFundamental, harmonics, beat 40
\nWaves, height, polarity, phase, cycle, period 41
\nComposite waves, polarity reversal 41
\nTransient and tail of sounds, ADSR 42
\nPropagation of sound 43
\nIntensity 43
\nSpatiality and propagation 43
\nReflections and Absorption 44
\nCrossing and absorption 44
\nReflection 44
\nReflection Vectors 44
\nEco 45
\nFlutter echo 46
\nReverb 46
\nPresence and proximity 48
\nVolume 48
\nEnvironmental Resonance 48
\nLow frequencies 49
\nHigh frequencies 50
\nAttack Transients 50<\/div>\nREFERENCE LISTENING 51<\/h3>\n
\nSound Insulation 52
\nInternal treatment 53
\nThe 60 monitors
\nBig and near-field monitors 60
\nClosed and reflex speakers 60
\nThe subwoofer 61
\nSpeaker placement 62
\nThe comb filter in control room 65
\nThe comb filter in the shooting room 66
\nSubwoofer placement and phasing with room 66
\nPhasing between the sub and the speakers 67
\nPosition of the listening point 67
\nCorrective Equalization 69
\nAcoustic perception 70
\nThe Deception of Volume 70
\nWhat happens at high volume 70
\nWhat happens at low volume 71
\nReference volumes 71
\nReference level at 85 dB 71
\nWorking at 70 dB 71
\nCompare at 60 and 110 dB 72
\nCritical listening to the various volumes 72
\nDon't ruin your hearing 72
\nOther listening tests 72
\nHeadphone monitoring 72
\nAvoid psychoacoustic adaptation 74
\nTechnical listening and relaxing listening 75
\nNarrowband Monitoring 75
\nAlternative Monitors 77<\/div>\nSECTION B *** GENERAL OPERATION 78<\/h2>\n
RECORDING TECHNIQUES 79<\/h3>\n
\nNormal manual recording 79
\nQuick Punch 79
\nPunch In and Out 79
\nRoll In and Roll Out 80
\nCyclic recording 80
\nDirect or Multitrack 80
\nLive recording 80
\nTotal overdub recording 81
\nPartial live recording 82
\nOverdubbing with progressive replacement of parts 83
\nGhost Rev 84
\nWhen and how to use it 85<\/div>\nINPUTS AND GAIN STAGING 86<\/h3>\n
\nSignal Levels 87
\nWhat is Gain Staging 88
\nA lightning rod for distortion 89
\nA huge dynamic 89
\nAudio levels in tracks and groups 90
\nThe 90 VU meter
\nGroups and subgroups 91
\nInput and output levels in plugins 91
\nGain staging in monitoring 92<\/div>\nMICROPHONE RECORDING 93<\/h3>\n
\nMicrophone Selection 93
\nGeneral observations and acoustic recording tests 94
\nThe instrument and the instrumentalist 94
\nMicrophone position 95
\nThe 96 mono shot
\nThe 96 stereo recording
\nStereo recording of individual instruments and sections 97
\nStereo Recording Techniques 97<\/div>\nMICROPHONE RECORDING FIELDS 100<\/h3>\n
\nAttendance Fields 101
\nEnvironment fields 103
\nMono, stereo and mixed recordings 103
\nTime lag in multi-field shots 104
\nThe directivity of microphones in the recording fields 105
\nChoosing the shooting field according to the role in the mix 105
\nUsing Environment Fields 106<\/div>\nMULTI-MICROPHONE RECORDING 107<\/h3>\n
\nTime lags 107
\nThe recovery of a percussion set and drums 109
\nPanoramic shot of set 110
\nIndividual reshoots of the pieces of set 110
\nMixed recovery 111
\nMixed recovery lightened 112
\nDouble-miked drums 112
\nMicrophone Phasing in Percussion Sets 113
\nResume with opposite polarity 113
\nTime lag 114<\/div>\nLIVE RECORDING IN STUDIO 115<\/h3>\n
\nAcoustic partition panels 115
\nOverdubbing 116<\/div>\nTHE RECOVERY ON LINE 117<\/h3>\n
\nSignal adapters 118
\nSources with unbalanced line output 118
\nPickup and piezo sources 118
\nTraditional turntable 118
\nOnline registration 119<\/div>\nPRELIMINARY ADJUSTMENTS 120<\/h3>\n
\nPreliminary equalization 122
\nPreliminary Equalization Mode 122
\nPreliminary EQ for Melodic Instruments 124
\nPreliminary EQ for drums 127<\/div>\nSECTION C *** REGISTRATION OF SOURCES 129<\/h2>\n
GUITARS AND PLUGGED STRINGS 130<\/h3>\n
\nTypical pickup fields for guitars 130
\nThe guitar recovery 131
\nChoosing the right guitar and pick 131
\nConsult with guitarist 131
\nThe emission of the guitar sound 132
\nFinding the perfect microphone position 132
\nPickup polar patterns and distance from the microphone 133
\nAcoustic environment 134
\nMulti-Microphone Techniques 134
\nPhase relations and comb filters 134
\nThe XY 135 recovery
\nProcessing in Recording 136
\nPreliminary equalization in guitar recording 136
\nCompression and Preliminary Reverberation in Recording 137<\/div>\nAMPLIFIERS AND CABINETS 138<\/h3>\n
\nMixed bass recording 138
\n140 Electric Guitar Cabinet
\nThe Microphone for the 140 Cabinet
\nCabinet for electromagnetic or electronic organ 141
\nThe microphone recording of the Leslie 142
\nThe environmental recovery for the rotary speaker 142<\/div>\nWIND INSTRUMENTS: WOODWINDS 143<\/h3>\n
\nShooting fields 143
\nProximity Field 143
\nResonance field 144<\/div>\nWIND INSTRUMENTS: BRASS INSTRUMENTS 145<\/h3>\n
\nShooting fields 145
\nProximity Field 145
\nResonance field 146<\/div>\nBOW INSTRUMENTS 147<\/h3>\n
\nShooting fields 147
\nResonance field 148
\nProximity Field 148<\/div>\nHARMONICA AND SMALL INSTRUMENTS 149<\/h3>\n
ACCORDION 150<\/h3>\n
\nAccordion recording in mono 150
\nAccordion recording in stereo 150<\/div>\nBATTERY 152<\/h3>\n
\nMethod A \u2013 Mono Panoramic Shooting 152
\nMethod B \u2013 Phased stereo panorama recording 153
\nVariants of methods A and B 153
\nMethod C \u2013 ORTF 153 Stereo Panoramic Recording
\nMethod D \u2013 Stereo spaced panoramic shot 154
\nMethod E \u2013 Mixed method with Close Mics 156
\nPhasing between pan and close mics 157
\nMethod E1 \u2013 an environmental variant of the Mixed Method 159
\nBass Drum \u2013 Bass Drum \u2013 Kick Drum 159
\nThe microphone recording 160
\nWhich microphones should you use for the bass drum? 162
\nSnare Drum 163
\nTop Mic 163
\nBottom Mic \u2013 Bottom Mic 164
\nTomTom and Timpani 166
\nHiHat \u2013 Charleston 167
\nDishes 168
\nOver-Heads 168
\nPanoramic shot of the entire set 168
\nChoosing Over-Head Microphones 169
\nOther percussion in drum set 169
\nEnvironment 170
\nPhase 170 problems
\nEliminate preliminary shooting defects 171
\nThe Click Bleed 171<\/div>\nPERCUSSIONS 172<\/h3>\n
\nThe great percussions 173
\nOpen-bottom drums 173<\/div>\nVOICE 175<\/h3>\n
\nAcoustics 176
\nStanding waves in the recording room of voice 176
\nVoice resume position 177
\nAcoustic panels 178
\nHow to take the 178 shot
\nMicrophone tilt 178
\nPop filter 178
\nManaging the distance from the microphone 178
\nCompensatory variation of distance 179
\nAddressing axis 179<\/div>\nBACKING VOCALS 180<\/h3>\n
\nMultiple Recording Choirs 181<\/div>\nPIANO 183<\/h3>\n
\nStereo recording of the piano 183
\nBasic recording with 2 microphones 183
\nStereo complementary shots 187
\nMultiple stereo shots 187
\nAuxiliary ambient stereo shots 188
\n188 mono complementary shots
\nStrategic points for mono 189 shooting
\nPhase polarity used as a nonlinear eq 189
\nThe 190 upright piano<\/div>\nPIPE ORGAN 192<\/h3>\n
\n193 wide sound front
\nMultiple sound front 194
\nOptimization of the phasing of the 194 barrel blocks
\nUsing the HPF 195 filter
\nPreliminary equalization 195<\/div>\nPOLYPHONIC CHOIR 196<\/h3>\n
\nStereo recording with semicircle choir 197
\nStereo recording with in-line chorus 197
\nSemi-phased recovery 198
\nSpaced shot 198
\nResumption for Sections 199
\nPhased sectional recovery with circle chorus 199
\nSectional screen shot with circle chorus 199
\nIndividual recovery 200<\/div>\nORCHESTRA AND BAND 201<\/h3>\n
\nGeneral criteria 201
\nStereo or stereo set priority recording 202
\nClose mic priority shooting 203
\nFinal Thoughts on Transient Phasing 204
\nThe Great Orchestra 204
\nBasic ambient miking 205
\nOrtf 205
\nDecca tree 205
\nClose mics for the large orchestra 206<\/div>\nSECTION D *** Editing and Tuning 207<\/h2>\n
LET'S DISCOVER AUDIO EDITING 208<\/h3>\n
\nEditing Techniques 209
\nBasic Editing 209
\nSurgical Editing 209
\nTiming 210
\nManual tuning 210
\nCleaning 211
\nLeveling 211
\nAutotuning 211
\nWhen to Edit 211<\/div>\nBASIC EDITING 213<\/h3>\n
\nTakes 213
\nChoosing 213
\nRisks of Choosing 214
\nCorrective Recording 215
\nSelect the fragment to replace 215
\nSet Pre-Roll 215
\nSet Post-Roll 215
\nListening and joining 216
\nRisks of Corrective Recording 216
\nCopy & Paste 216
\nCleaning 216
\nSelect and Copy 217
\nPaste 217
\nNon-Quantized Sessions \u2013 No Grid 217<\/div>\nSURGICAL EDITING 218<\/h3>\n
\nCutting 218
\nHow to make a 218 cut
\nChoosing the best cutting point 218
\nLong note joining cut 219
\nManual correction of sound wave design 220
\nFading and Joints in General 220
\nClassification of Fading Types 220
\nOrdinary fading 222
\nSurgical Fading 222
\nCopy & Paste 223
\nCopy & Paste of Consonants 223
\nCopy & Paste of Instrumental Transients 224
\nDynamic Compressing & Expanding 224
\nEqualizing 225
\nMultitrack Editing for Drums and Other Ensembles 225<\/div>\nTIMING 228<\/h3>\n
\nTime Stretching and Time Expanding 228
\nStretching 229
\nExpanding 229
\nFlex Timing 230
\nParameter Management 231
\nAdvertising Applications 232
\nFading & Cleaning 232<\/div>\nTUNING 233<\/h3>\n
\nIntonation errors 234
\nHow to proceed 234
\nAudio segments having coherent pitch 234
\nNotes with wide vibrato 234
\nGlissando Notes \u2013 Manual Correction 234
\nGlissando Notes \u2013 Manual Correction with Autotuning 235<\/div>\nLEVELING 237<\/h3>\n
\nThe executive registers 237
\nLeveling with volume 237
\nLeveling with 238 compression
\nEqualization Adjustments 238
\nLeveling anomalies 238<\/div>\nCLEANING 240<\/h3>\n
\nDe-breathing 241
\nSoftening 241
\nSoftening with fade-in 242
\nSoftening with dynamic compressor 242
\nSoftening with the 242 equalizer
\nFading 243
\nFade in and fade out 243
\nCrossfade 243<\/div>\nAUTOTUNING 244<\/h3>\n
\nKey & Scale 245
\nBypass Note and Remove Note 246
\nRetune Speed 246
\nDetune and Transpose, Throat length, Formant 247
\nHumanize 248
\nNatural Vibrato 248
\nVibrato Creator 248
\nOperational Management 249<\/div>\nSECTION E *** MISCELLANEOUS 251<\/h2>\n
MICROPHONE TO AMPLIFY 252<\/h3>\n
\nLarsen 252 trigger
\nUse proximity field 253
\nTricks to limit microphone feedback 253
\nSound check 253<\/div>\nMOBILE RECORDING STUDIO 254<\/h3>\n
\nInline recovery from direct outs 254
\nPortable Multitrack Recorders 255
\nRecording with a portable DAW 255
\nSynchronization between DAWs 255
\nGain adjustment 256<\/div>\nSHOOTING FOR VIDEO AND CINEMA 257<\/h3>\n
\nMajor audio problems 257
\nRecord audio from movie 258
\nThe film to be dubbed 258
\nThe recovery on the field 258
\nUsing an external recorder 258
\nHow to Manage Cables 258
\nUse quality accessories 259
\nHiring a \u201creal\u201d sound engineer 259
\nMake an inspection 259
\nAlways check your recording levels 259
\nPositioning the microphones correctly 260
\nRecording the ambient background 260
\nRecord audio from your 260 camcorder too
\nRecording a 260-minute sound clip
\nUsing standard operating commands 261
\nPost-production doesn't work miracles 261<\/div>\nEXPORTING SESSION 262<\/h3>\n
\nTechnical considerations 263
\nExport audio tracks for an external mix 263
\n:::
\nCopyright 265<\/em>
\nContacts 265<\/em>
\nBiography 266<\/em>
\nBibliography 267<\/em><\/div>\n<\/div>\n<\/section>\n<\/div>","protected":false},"excerpt":{"rendered":"\n