Music Production: Recording

A Guide for Producers, Engineers, and Musicians
1. Auflage 2017
ISBN: 978-1-138-46901-3
Verlag: Taylor & Francis

Buch, Englisch, 368 Seiten, Format (B × H): 254 mm x 196 mm, Gewicht: 840 g

The sound recorder is themirror with a memory for those who listen. With it we can capture glimpses of our reality, producingpictures as we express ourselves. These may ultimately serve as reminders of who we were and of our dreams

Your recordings are the vehicle for your compositions. 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.

Unlike many other recording books, Music Production: Recording is organized around real-world scenarios, with details about roles and responsibilities that help you navigate through key stages of production.

Zielgruppe

Professional Practice & Development

Autoren/Hrsg.

Lellis, Carlos

Fachgebiete

• Technische Wissenschaften Sonstige Technologien | Angewandte Technik Akustik, Tontechnik
• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musikalische Akustik, Tontechnik, Musikaufnahme

Inhaltsverzeichnis

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

Über Autor(innen)

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.