Improve the artistry of your productions with this techniques guide, which focuses throughout on musicality and how your decisions affect it. Author Carlos Lellis Ferreira walks you through the recording process, bringing aesthetic considerations into each discussion. Learn visually with detailed diagrams and clear explanations of best practices.
Improve the artistry of your productions with this techniques guide, which focuses throughout on musicality and how your decisions affect it. Author Carlos Lellis Ferreira walks you through the recording process, bringing aesthetic considerations into each discussion. Learn visually with detailed diagrams and clear explanations of best practices.
Carlos Lellis holds an SAE/Middlesex University MA in Creative Media and a diploma Summa Cum Laude from Berklee College of Music. He has worked as an engineer and producer with artists such as Rosabella Gregory, Joby Talbot and Grammy Award winners Sir John Tavener and Thomas Dybdahl amongst many others. He is currently the head lecturer at SAE Institute, London, where he oversees the first year of the BA/BSc programme in Sound Production.
Inhaltsangabe
Introduction Why record? 1 - The Recording Environment Traditional recording studios Residential studios Home studios 2 -The Recording Team / Roles and Responsibilities Musicians Programmers Tape Op / Pro Tools Operator / Assistant engineer Main Engineer Producer A&R and Other Record Company Representatives Investors 3 -Preparing to record (Pre-Production) Before Getting into the Studio Referencing 'Demo fever' The 'reccie' Instrumentation / Types of audio signals Other signals e.g. MIDI The gear list / the sound-check chart 4 -The Tools Microphones Direct injection boxes Cables / Connectors Microphone preamplifiers EQ Dynamic processors Consoles Patchbays Effects Multi-Track Recorders Two-Track Recorders The monitoring system - Amps, speakers, headphones 5 -The Live Room (In The Studio) Problematic environments Power and distribution 6 -The Session Music theory primer - Engineering requirements (transcription examples) Musicians and equipment (instruments / microphone stands / placement) 6 -The Session Music theory primer - Engineering requirements (transcription examples) Musicians and equipment (instruments / microphone stands / placement) Interplay and interaction The sound-check Gain structure Polarity Click-tracks The 'Cue Mix' (including effects) Studio psychology Simultaneous tracking Stereo Microphone Techniques Overdubs The auditioning process The Monitor Mix Recording direct to 'two-track' Session notes / Track sheets Recall sheets The production progress chart Meeting the deadline 7 -Sound Examples 8 -Appendices 9 -Outro
Introduction Why record? 1 - The Recording Environment Traditional recording studios Residential studios Home studios 2 -The Recording Team / Roles and Responsibilities Musicians Programmers Tape Op / Pro Tools Operator / Assistant engineer Main Engineer Producer A&R and Other Record Company Representatives Investors 3 -Preparing to record (Pre-Production) Before Getting into the Studio Referencing 'Demo fever' The 'reccie' Instrumentation / Types of audio signals Other signals e.g. MIDI The gear list / the sound-check chart 4 -The Tools Microphones Direct injection boxes Cables / Connectors Microphone preamplifiers EQ Dynamic processors Consoles Patchbays Effects Multi-Track Recorders Two-Track Recorders The monitoring system - Amps, speakers, headphones 5 -The Live Room (In The Studio) Problematic environments Power and distribution 6 -The Session Music theory primer - Engineering requirements (transcription examples) Musicians and equipment (instruments / microphone stands / placement) 6 -The Session Music theory primer - Engineering requirements (transcription examples) Musicians and equipment (instruments / microphone stands / placement) Interplay and interaction The sound-check Gain structure Polarity Click-tracks The 'Cue Mix' (including effects) Studio psychology Simultaneous tracking Stereo Microphone Techniques Overdubs The auditioning process The Monitor Mix Recording direct to 'two-track' Session notes / Track sheets Recall sheets The production progress chart Meeting the deadline 7 -Sound Examples 8 -Appendices 9 -Outro
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