Description
DIGITAL AUDIO RECORDING MANUAL
Series 'Audio Engineering | Audio Manuals for the Sound Engineer'.
Volume 2
- n. 270 total pages (Format approx. A4: cm. 21.59 x 27.94 - Font: Avenir Book 10 - Line spacing: 0.8)
- n. 9 pages of 4-level index, to find each topic quickly
- over 200 images
- No. 5 sections with a total of 42 chapters
The Digital Audio Recording Manual is mainly aimed at general learning of the principles of registration, but will also be used as a practical guide to consult during practice.
It consists of five sections:
- Section 1 is aimed at acquiring a brief but sufficient sound engineer culture: recording objectives, sound, equipment, listening criteria;
- Section 2 is dedicated to general operation: recording techniques, operating modes, gain staging, general criteria of microphone and line recording, phasing problems
- Section 3 deals with the specific recording operations of the various types of sound sources, focusing in particular on the most recurring and critical ones: voice, polyphonic choir, guitars, piano, pipe and electronic organ, bass, drums, percussion, strings, woodwinds, orchestral sections and large orchestra;
- the 4th section is entirely dedicated to editing and tuning: simple and surgical editing, timing, tuning and autotuning, cleaning and leveling
- the 5th section has a concluding content and briefly dwells on various side aspects of the subject: exporting tracks, amplifying instruments, the mobile studio, filming for video and cinema
Preface
The Zen teacher asked aspiring painters to study for ten years by practising for many hours a day
He then suggested 'forgetting' everything, stopping practising for months
He then urged the pupil to 'really' paint, following only intuition, as technical ability would emerge naturally, but without dominating the scene
In this sense, the same exhortation can be made for the art of recording, suggesting the following:
'Don't follow any rule, but first know them all'
I am sure any experienced sound engineer will find this statement agreeable
The Author
HANDBOOK INDEX
Index 4
Preface 12
Other Audio and Phonics Publications 12
Preface 12
Other Audio and Phonics Publications 12
SECTION A *** INTRODUCTORY NOTIONS 13
OBJECTIVES OF RECORDING 14
Audio Recording 14
Collaboration between the Sound Engineer and the Artistic Director 15
Completion of an audio track in session 15
Collaboration between the Sound Engineer and the Artistic Director 15
Completion of an audio track in session 15
THE ELECTROACOUSTIC SIGNAL 16
The acoustic signal 16
Acoustic transduction 17
The Electroacoustic Signal 17
Electroacoustic Signal Characteristics 18
Balanced and unbalanced line conductors 18
Balanced Line Cables 18
Cables with unbalanced line 19
Stereo cables with balanced and unbalanced line 19
Processors, Amplifiers and Speakers 20
Acoustic transduction 17
The Electroacoustic Signal 17
Electroacoustic Signal Characteristics 18
Balanced and unbalanced line conductors 18
Balanced Line Cables 18
Cables with unbalanced line 19
Stereo cables with balanced and unbalanced line 19
Processors, Amplifiers and Speakers 20
DIGITAL SAMPLING 21
The AD and DA conversion 21
The sampling frequency 21
The Question of Bits 22
The sampling frequency 21
The Question of Bits 22
THE RECORDING SESSION 24
Number of Bits 24
Sampling frequency 24
Resources 25
Pre fader metering 25
Latency and delay compensation 25
Elements of a session 27
Audio Track 27
Aux Track 28
Master Track 28
Instrument Track 28
MIDI Track 28
Bus 28
Predefined Work Sessions 29
Track Configuration 29
Track Configuration 29
Configuration of plugins 29
The Voices of DAW 29
Sampling frequency 24
Resources 25
Pre fader metering 25
Latency and delay compensation 25
Elements of a session 27
Audio Track 27
Aux Track 28
Master Track 28
Instrument Track 28
MIDI Track 28
Bus 28
Predefined Work Sessions 29
Track Configuration 29
Track Configuration 29
Configuration of plugins 29
The Voices of DAW 29
MICROPHONES 31
A little history 31
Transducers 32
Low-fidelity transducers 32
Dynamic Microphone 32
Ribbon microphone 33
Condenser microphone 33
Valve microphone 33
The diaphragm 34
Pick-up angle and polar diagram 34
Frequency response 35
Impedance 36
Dynamics 37
Sensitivity 37
Signal to Noise Ratio 37
Dynamic response 37
Electromechanical resistance 38
Transducers 32
Low-fidelity transducers 32
Dynamic Microphone 32
Ribbon microphone 33
Condenser microphone 33
Valve microphone 33
The diaphragm 34
Pick-up angle and polar diagram 34
Frequency response 35
Impedance 36
Dynamics 37
Sensitivity 37
Signal to Noise Ratio 37
Dynamic response 37
Electromechanical resistance 38
RUDIMENTS OF ACOUSTICS 39
Noise, sound, vibrational frequency 39
Fundamentals, harmonics, beat 40
Waves, height, polarity, phase, cycle, period 41
Composite waves, polarity reversal 41
Transient and sound tail, ADSR 42
Sound propagation 43
Intensity 43
Spatiality and propagation 43
Reflections and absorption 44
Crossing and absorption 44
Reflection 44
Reflection vectors 44
Echo 45
Flutter echo 46
Reverberation 46
Presence and proximity 48
Volume 48
Environmental Resonance 48
Low frequencies 49
High frequencies 50
Attack transients 50
Fundamentals, harmonics, beat 40
Waves, height, polarity, phase, cycle, period 41
Composite waves, polarity reversal 41
Transient and sound tail, ADSR 42
Sound propagation 43
Intensity 43
Spatiality and propagation 43
Reflections and absorption 44
Crossing and absorption 44
Reflection 44
Reflection vectors 44
Echo 45
Flutter echo 46
Reverberation 46
Presence and proximity 48
Volume 48
Environmental Resonance 48
Low frequencies 49
High frequencies 50
Attack transients 50
REFERENCE LISTENING 51
Acoustic set-up of studio 51
Sound Insulation 52
Internal treatment 53
Monitors 60
Big and near-field monitors 60
Closed and reflex 60 loudspeakers
The Subwoofer 61
Speaker positioning 62
The comb filter in the control room 65
The comb filter in the shooting room 66
Sub positioning and its phasing with room 66
Timing between sub and speakers 67
Position of the listening point 67
Corrective equalisation 69
Acoustic perception 70
The deception of volume 70
What happens at high volume 70
What happens at low volume 71
Reference volumes 71
Reference level at 85 dB 71
Working at 70 dB 71
Compare at 60 and 110 dB 72
Critical listening to the various volumes 72
Don't ruin your hearing 72
Other listening tests 72
Headphone monitoring 72
Avoiding Psychoacoustic Adaptation 74
Technical listening and relaxation listening 75
Narrowband monitoring 75
Alternative Monitors 77
Sound Insulation 52
Internal treatment 53
Monitors 60
Big and near-field monitors 60
Closed and reflex 60 loudspeakers
The Subwoofer 61
Speaker positioning 62
The comb filter in the control room 65
The comb filter in the shooting room 66
Sub positioning and its phasing with room 66
Timing between sub and speakers 67
Position of the listening point 67
Corrective equalisation 69
Acoustic perception 70
The deception of volume 70
What happens at high volume 70
What happens at low volume 71
Reference volumes 71
Reference level at 85 dB 71
Working at 70 dB 71
Compare at 60 and 110 dB 72
Critical listening to the various volumes 72
Don't ruin your hearing 72
Other listening tests 72
Headphone monitoring 72
Avoiding Psychoacoustic Adaptation 74
Technical listening and relaxation listening 75
Narrowband monitoring 75
Alternative Monitors 77
SECTION B *** GENERAL OPERATION 78
RECORDING TECHNIQUES 79
Main recording methods 79
Normal recording manual 79
Quick Punch 79
Punch In and Out 79
Roll In and Roll Out 80
Cyclic recording 80
Direct or Multitrack 80
Live recording 80
Total overdubbing 81
Partial live recording 82
Overdubbing with progressive parts replacement 83
Ghost Rev 84
When and how to use it 85
Normal recording manual 79
Quick Punch 79
Punch In and Out 79
Roll In and Roll Out 80
Cyclic recording 80
Direct or Multitrack 80
Live recording 80
Total overdubbing 81
Partial live recording 82
Overdubbing with progressive parts replacement 83
Ghost Rev 84
When and how to use it 85
INPUTS AND GAIN STAGING 86
Signal Inputs 86
Signal levels 87
What is Gain Staging 88
A lightning rod for distortion 89
A huge dynamic 89
Audio levels in tracks and groups 90
The Vu meter 90
Groups and subgroups 91
Input and output levels in plugins 91
Gain staging in monitoring 92
Signal levels 87
What is Gain Staging 88
A lightning rod for distortion 89
A huge dynamic 89
Audio levels in tracks and groups 90
The Vu meter 90
Groups and subgroups 91
Input and output levels in plugins 91
Gain staging in monitoring 92
MICROPHONE PICK-UP 93
The universal microphone 93
Choice of microphone 93
General remarks and sound test 94
The instrument and the instrumentalist 94
The position of the microphone 95
The mono 96
Stereo 96
The stereo recording of individual instruments and sections 97
Stereo shooting techniques 97
Choice of microphone 93
General remarks and sound test 94
The instrument and the instrumentalist 94
The position of the microphone 95
The mono 96
Stereo 96
The stereo recording of individual instruments and sections 97
Stereo shooting techniques 97
MICROPHONE PICK-UP FIELDS 100
The microphone fields 100
Fields of presence 101
Environment fields 103
Mono, stereo and mixed shots 103
Time lag in multi-field shooting 104
The directivity of microphones in the field 105
Choice of shooting field according to role in the mix 105
Use of environment fields 106
Fields of presence 101
Environment fields 103
Mono, stereo and mixed shots 103
Time lag in multi-field shooting 104
The directivity of microphones in the field 105
Choice of shooting field according to role in the mix 105
Use of environment fields 106
THE MULTI-MICROPHONE TAKE 107
Advantages of multi-microphone shooting 107
Time lag 107
The shooting of a percussion set and drums 109
Panoramic shot of set 110
Individual shooting of set pieces 110
Mixed shooting 111
Lightened mixed shot 112
Double microphonic drums 112
Phasing of microphones in percussion sets 113
Shooting with opposite polarity 113
Time displacement 114
Time lag 107
The shooting of a percussion set and drums 109
Panoramic shot of set 110
Individual shooting of set pieces 110
Mixed shooting 111
Lightened mixed shot 112
Double microphonic drums 112
Phasing of microphones in percussion sets 113
Shooting with opposite polarity 113
Time displacement 114
LIVE STUDIO SHOOTING 115
Dividing acoustic cages 115
Acoustic partition panels 115
Overdubbing 116
Acoustic partition panels 115
Overdubbing 116
RECOVERY ON LINE 117
Luminaires to be connected in line 117
Signal adapters 118
Sources with unbalanced line output 118
Pickup and piezo sources 118
Traditional turntable 118
On-line registration 119
Signal adapters 118
Sources with unbalanced line output 118
Pickup and piezo sources 118
Traditional turntable 118
On-line registration 119
PRELIMINARY ADJUSTMENTS 120
Recording in Flat 121
Preliminary equalisation 122
Preliminary Equalisation 122
Preliminary equalisation for melodic instruments 124
Preliminary equalisation for drums 127
Preliminary equalisation 122
Preliminary Equalisation 122
Preliminary equalisation for melodic instruments 124
Preliminary equalisation for drums 127
SECTION C *** THE REGISTRATION OF SOURCES 129
GUITARS AND PLUCKED STRINGS 130
Microphones for guitars 130
Typical shooting ranges for guitars 130
Guitar reprise 131
Choosing the right guitar and pick 131
Consult with guitarist 131
The guitar's sound emission 132
In search of the perfect microphone position 132
Pick-up polar patterns and microphone distance 133
Acoustic environment 134
Multi-microphone techniques 134
Phase relations and comb filters 134
The XY 135 shot
Processing in Recording 136
Preliminary equalisation in guitar recording 136
Preliminary Compression and Reverberation in Recording 137
Typical shooting ranges for guitars 130
Guitar reprise 131
Choosing the right guitar and pick 131
Consult with guitarist 131
The guitar's sound emission 132
In search of the perfect microphone position 132
Pick-up polar patterns and microphone distance 133
Acoustic environment 134
Multi-microphone techniques 134
Phase relations and comb filters 134
The XY 135 shot
Processing in Recording 136
Preliminary equalisation in guitar recording 136
Preliminary Compression and Reverberation in Recording 137
AMPLIFIERS AND CABINETS 138
Cabinet for Electric Bass Guitar 138
Mixed recording of bass 138
Cabinet for Electric Guitar 140
The Microphone for Cabinet 140
Cabinet for Electromagnetic or Electronic Organ 141
The Leslie 142 microphone pick-up
The room shot for the rotary speaker 142
Mixed recording of bass 138
Cabinet for Electric Guitar 140
The Microphone for Cabinet 140
Cabinet for Electromagnetic or Electronic Organ 141
The Leslie 142 microphone pick-up
The room shot for the rotary speaker 142
WIND INSTRUMENTS: WOODWINDS 143
Microphones for Woods 143
Shooting fields 143
Proximity field 143
Resonance field 144
Shooting fields 143
Proximity field 143
Resonance field 144
WIND INSTRUMENTS: THE BRASSES 145
Microphones 145
Shooting fields 145
Proximity range 145
Resonance field 146
Shooting fields 145
Proximity range 145
Resonance field 146
STRINGED INSTRUMENTS 147
Microphones 147
Shooting fields 147
Resonance field 148
Proximity field 148
Shooting fields 147
Resonance field 148
Proximity field 148
HARMONICA AND SMALL INSTRUMENTS 149
ACCORDION 150
Microphones for accordion recording 150
Accordion reprise in mono 150
Resume accordion in stereo 150
Accordion reprise in mono 150
Resume accordion in stereo 150
BATTERY 152
Drumming Methods 152
Method A - Panoramic Mono 152
Method B - Stereo Phased Panoramic Shot 153
Variants of methods A and B 153
Method C - Stereo Panoramic Shot ORTF 153
Method D - Stereo Spaced Panoramic Shot 154
Method E - Mixed Method with Close Mics 156
Phasing between panoramic and close mics 157
Method E1 - Set Variant of the Mixed Method 159
Bass Drum - Kick Drum 159
Microphone pick-up 160
Which microphones should be used for the bass drum? 162
Snare drum - Snare Drum 163
Top Microphone - Top Mic 163
Bottom Mic 164
TomTom and Timpani 166
HiHat - Charleston 167
Plates 168
Over-Heads 168
Panoramic shot of the entire set 168
Choice of over-head microphones 169
Other percussion in the drum set 169
Environment 170
Phase 170 problems
Eliminating Preliminary Defects in Shooting 171
The Click Bleed 171
Method A - Panoramic Mono 152
Method B - Stereo Phased Panoramic Shot 153
Variants of methods A and B 153
Method C - Stereo Panoramic Shot ORTF 153
Method D - Stereo Spaced Panoramic Shot 154
Method E - Mixed Method with Close Mics 156
Phasing between panoramic and close mics 157
Method E1 - Set Variant of the Mixed Method 159
Bass Drum - Kick Drum 159
Microphone pick-up 160
Which microphones should be used for the bass drum? 162
Snare drum - Snare Drum 163
Top Microphone - Top Mic 163
Bottom Mic 164
TomTom and Timpani 166
HiHat - Charleston 167
Plates 168
Over-Heads 168
Panoramic shot of the entire set 168
Choice of over-head microphones 169
Other percussion in the drum set 169
Environment 170
Phase 170 problems
Eliminating Preliminary Defects in Shooting 171
The Click Bleed 171
PERCUSSIONS 172
Small percussion instruments 172
The great percussions 173
Open-bottomed drums 173
The great percussions 173
Open-bottomed drums 173
ITEM 175
Characteristics of the microphone to be used 175
Acoustics 176
Stationary waves in the camera room of item 176
Voice recovery position 177
Acoustic panels 178
How to shoot 178
Microphone tilt 178
Anti-pop filter 178
Manage microphone distance 178
Compensatory distance variation 179
Addressing Axis 179
Acoustics 176
Stationary waves in the camera room of item 176
Voice recovery position 177
Acoustic panels 178
How to shoot 178
Microphone tilt 178
Anti-pop filter 178
Manage microphone distance 178
Compensatory distance variation 179
Addressing Axis 179
BACKING VOCALS 180
Small Simple Choir 180
Multi-engraved choirs 181
Multi-engraved choirs 181
PIANO 183
Mono piano recording 183
Stereo piano recording 183
Basic shooting with 2 microphones 183
Stereo 187 complementary shots
Multiple stereo shots 187
Ambient stereo auxiliary 188
Supplementary mono 188
Strategic points for mono 189 recovery
Phase polarity used as a non-linear eq 189
The upright piano 190
Stereo piano recording 183
Basic shooting with 2 microphones 183
Stereo 187 complementary shots
Multiple stereo shots 187
Ambient stereo auxiliary 188
Supplementary mono 188
Strategic points for mono 189 recovery
Phase polarity used as a non-linear eq 189
The upright piano 190
PIPE ORGAN 192
Narrow sound front 192
Wide sound front 193
Multiple sound front 194
Optimisation of barrel block timing 194
Using the HPF 195 filter
Preliminary equalisation 195
Wide sound front 193
Multiple sound front 194
Optimisation of barrel block timing 194
Using the HPF 195 filter
Preliminary equalisation 195
POLYPHONIC CHOIR 196
Stereo recording with Circle Choir 196
Stereo shot with semi-circle choir 197
Stereo recording with choir in line 197
Semi-phase shooting 198
Spaced shot 198
Shooting by Sections 199
Phased shooting in sections with circle chorus 199
Sectional screen shot with circle chorus 199
Individual shooting 200
Stereo shot with semi-circle choir 197
Stereo recording with choir in line 197
Semi-phase shooting 198
Spaced shot 198
Shooting by Sections 199
Phased shooting in sections with circle chorus 199
Sectional screen shot with circle chorus 199
Individual shooting 200
ORCHESTRA AND BAND 201
The Little Orchestra 201
General Criteria 201
Stereo or stereo set priority 202
Shooting with priority to close mics 203
Final Considerations on Transient Phasing 204
The Big Orchestra 204
Basic environmental microphoning 205
Ortf 205
Decca tree 205
Close mics for the big orchestra 206
General Criteria 201
Stereo or stereo set priority 202
Shooting with priority to close mics 203
Final Considerations on Transient Phasing 204
The Big Orchestra 204
Basic environmental microphoning 205
Ortf 205
Decca tree 205
Close mics for the big orchestra 206
SECTION D *** Editing and Tuning 207
WE DISCOVER AUDIO EDITING 208
The Risks of Editing 208
Editing Techniques 209
Basic Editing 209
Surgical Editing 209
Timing 210
Manual tuning 210
Cleaning 211
Leveling 211
Auto-tuning 211
When to Perform Editing 211
Editing Techniques 209
Basic Editing 209
Surgical Editing 209
Timing 210
Manual tuning 210
Cleaning 211
Leveling 211
Auto-tuning 211
When to Perform Editing 211
BASIC EDITING 213
Choose & Enter 213
Le Takes 213
Choising 213
Risks of Choosing 214
Corrective Recording 215
Select the fragment to be replaced 215
Setting the Pre-Roll 215
Setting the Post-Roll 215
Listening and Joining 216
Risks of Corrective Recording 216
Copy & Paste 216
Cleaning 216
Selection and Copying 217
Pastes 217
Non-quantitised sessions - No Grid 217
Le Takes 213
Choising 213
Risks of Choosing 214
Corrective Recording 215
Select the fragment to be replaced 215
Setting the Pre-Roll 215
Setting the Post-Roll 215
Listening and Joining 216
Risks of Corrective Recording 216
Copy & Paste 216
Cleaning 216
Selection and Copying 217
Pastes 217
Non-quantitised sessions - No Grid 217
SURGICAL EDITING 218
Erasing 218
Cutting 218
How to make a cut 218
Choosing the best cutting point 218
Cut for splicing long notes 219
Manual correction of sound wave design 220
Fading and Splicing in General 220
Classification of Fading 220 types
Ordinary fading 222
Surgical Fading 222
Copy & Paste 223
Copy & Paste consonants 223
Copy & Paste of instrumental transients 224
Dynamic Compressing & Expanding 224
Equalising 225
Multitrack editing for Drums and other Ensembles 225
Cutting 218
How to make a cut 218
Choosing the best cutting point 218
Cut for splicing long notes 219
Manual correction of sound wave design 220
Fading and Splicing in General 220
Classification of Fading 220 types
Ordinary fading 222
Surgical Fading 222
Copy & Paste 223
Copy & Paste consonants 223
Copy & Paste of instrumental transients 224
Dynamic Compressing & Expanding 224
Equalising 225
Multitrack editing for Drums and other Ensembles 225
TIMING 228
Cut & Move 228
Time Stretching and Time Expanding 228
Stretching 229
Expanding 229
Flex Timing 230
Management of parameters 231
Applications in advertising 232
Fading & Cleaning 232
Time Stretching and Time Expanding 228
Stretching 229
Expanding 229
Flex Timing 230
Management of parameters 231
Applications in advertising 232
Fading & Cleaning 232
TUNING 233
Manual Tuning 233
Pitch errors 234
How to proceed 234
Audio segments with consistent pitch 234
Notes with wide vibrato 234
Glissed Notes - Manual Correction 234
Glissed notes - Manual correction with autotuning 235
Pitch errors 234
How to proceed 234
Audio segments with consistent pitch 234
Notes with wide vibrato 234
Glissed Notes - Manual Correction 234
Glissed notes - Manual correction with autotuning 235
LEVELING 237
What is Leveling 237
Executive records 237
Leveling with volume 237
Leveling with compression 238
Equalisation retouches 238
Anomalous leveling 238
Executive records 237
Leveling with volume 237
Leveling with compression 238
Equalisation retouches 238
Anomalous leveling 238
CLEANING 240
Cutting 240
De-breathing 241
Softening 241
Softening with fade-in 242
Softening with dynamic compressor 242
Softening with the equaliser 242
Fading 243
Fade in and fade out 243
Cross fading 243
De-breathing 241
Softening 241
Softening with fade-in 242
Softening with dynamic compressor 242
Softening with the equaliser 242
Fading 243
Fade in and fade out 243
Cross fading 243
AUTOTUNING 244
Input Type and Tracking 244
Key & Scale 245
Bypass Note and Remove Note 246
Retune Speed 246
Detune and Transpose, Throat lenght, Formant 247
Humanize 248
Natural Vibrato 248
Vibrato Creator 248
Operational Management 249
Key & Scale 245
Bypass Note and Remove Note 246
Retune Speed 246
Detune and Transpose, Throat lenght, Formant 247
Humanize 248
Natural Vibrato 248
Vibrato Creator 248
Operational Management 249
SECTION AND *** MISCELLANEOUS 251
MICROPHONE TO AMPLIFY 252
Low filming isolation 252
Larsen trigger 252
Using the proximity field 253
Tricks for limiting microphone returns 253
The sound check 253
Larsen trigger 252
Using the proximity field 253
Tricks for limiting microphone returns 253
The sound check 253
MOBILE RECORDING STUDIO 254
Shooting an acoustic concert 254
In-line shooting from direct out 254
Portable Multitrack Recorders 255
Recording with a portable DAW 255
Synchronisation between Daw 255
Gain adjustment 256
In-line shooting from direct out 254
Portable Multitrack Recorders 255
Recording with a portable DAW 255
Synchronisation between Daw 255
Gain adjustment 256
FILMING FOR VIDEO AND CINEMA 257
The importance of audio in video 257
Main audio problems 257
Recording Film Audio 258
The film to be dubbed 258
Shooting in the field 258
Using an external recorder 258
How to manage cables 258
Use quality accessories 259
Hiring a 'real' sound engineer 259
Making an inspection 259
Always check recording levels 259
Correct positioning of microphones 260
Recording the ambient background 260
Recording audio also from camera 260
Recording a sound clapperboard 260
Using standard operating commands 261
Post production does not work miracles 261
Main audio problems 257
Recording Film Audio 258
The film to be dubbed 258
Shooting in the field 258
Using an external recorder 258
How to manage cables 258
Use quality accessories 259
Hiring a 'real' sound engineer 259
Making an inspection 259
Always check recording levels 259
Correct positioning of microphones 260
Recording the ambient background 260
Recording audio also from camera 260
Recording a sound clapperboard 260
Using standard operating commands 261
Post production does not work miracles 261
SESSION EXPORT 262
Preliminary Operations 262
Technical considerations 263
Exporting audio tracks for an external mix 263
:::
Copyright 265
Contact 265
Biography 266
Bibliography 267
Technical considerations 263
Exporting audio tracks for an external mix 263
:::
Copyright 265
Contact 265
Biography 266
Bibliography 267
Alessandro Fois
Reviews
There are no reviews yet.