Lead Magnet: 43 Foolproof Strategies To Get More Leads, Win A Ton of New Customers And Double Your Profits In Record Time...

In this new edition, discover how to achieve commercial-grade recordings, even in the smallest studios, by applying power-user techniques from the world’s most successful producers. Recording Secrets for the Small Studio is based on the backroom strategies of more than 250 famous names. This thorough and down-to-earth guide leads you through a logical sequence of practical tasks to build your live-room skills progressively from the ground up, with user-friendly explanations that introduce technical concepts on a strictly need-to-know basis. On the way, you’ll unravel the mysteries of many specialist studio tactics and gain the confidence to tackle a full range of real-world recording situations. Specifically designed for small-studio enthusiasts, this book provides an intensive training course for those who want a fast track to releasing quality results, while the chapter summaries, assignments, and extensive online resources are perfect for school and college use. Learn the fundamental principles of mic technique that you can apply in any recording scenario – and how to avoid those rookie mistakes that all too often compromise the sonics of lower-budget productions. Explore advanced techniques which help industry insiders maintain their competitive edge even under the most adverse conditions: creative phase manipulation, improvised acoustics tweaks, inventive monitoring workarounds, and subtle psychological tricks. Find out where you don’t need to spend money, as well as how to make a limited budget really count. Make the best use of limited equipment and session time, especially in situations where you’re engineering and producing single-handed. Pick up tricks and tips from celebrated engineers and producers across the stylistic spectrum, including Steve Albini, Neal Avron, Roy Thomas Baker, Joe Barresi, Howard Benson, Tchad Blake, T-Bone Burnett, Geoff Emerick, Brian Eno, Paul Epworth, Shawn Everett, Humberto Gatica, Imogen Heap, Ross Hogarth, Trevor Horn, Rodney Jerkins, Leslie Ann Jones, Eddie Kramer, Jacquire King, Daniel Lanois, Sylvia Massy, Alan Meyerson, Justin Niebank, Gary Paczosa, Tony Platt, Jack Joseph Puig, David Reitzas, Bob Rock, Laura Sisk, Fraser T Smith, Young Guru, and many more. Now extensively expanded and updated, with new sections on contact mics, software instruments, squash mics, and ensemble depth distortion. Cover Half Title Series Page Title Page Copyright Page Dedication Contents Acknowledgements Introduction What You’ll Learn From This Book What You Won’t Learn Before You Start How to Use This Book Part 1: One Source, No Mics Chapter 1: Recording a Machine 1.1 Hooking Things Up 1.1.1 Connector Basics 1.1.2 Choosing Cables 1.1.3 Cable Layout 1.2 The Line-Check 1.2.1 Unity Gain 1.2.2 Divide and Conquer! 1.3 Setting Levels 1.3.1 Find the First Gain Stage 1.3.2 Identify the Important Meters 1.3.3 Adjust Gain through the System 1.3.4 Listen 1.4 Troubleshooting Signal Quality 1.4.1 Pinpointing the Problem 1.4.2 Managing Earth Loops 1.4.3 Avoiding Digital Errors 1.4.4 Feedback Loops and Comb-Filtering 1.5 Beyond Reasonable: Refining Your Results 1.5.1 Improving the Source 1.5.2 The Aesthetics of Noise and Distortion 1.5.3 Simplify the Signal Path 1.6 After you Hit Record 1.7 Keeping up with the Musicians Chapter 2: The Human Element 2.1 Preparing for the Session 2.1.1 Studio Layout 2.1.2 Written Materials 2.1.3 Creature Comforts 2.1.4 Framing the Session 2.1.5 Setting up the Recorder 2.1.6 Checking the Monitoring 2.2 The Musician Strolls in... 2.2.1 The Importance of Hitting Record 2.2.2 Playing for Time 2.2.3 When to Tackle the Sonics 2.2.4 Refining the Sound 2.3 In-Session Multitasking 2.3.1 Take Notes 2.3.2 Evaluate the Performance 2.3.3 Support the Performer Chapter 3: Instruments with Pickups 3.1 Recording Pickup Signals 3.2 Monitoring Considerations for Pickup Recording 3.2.1 Silent Instruments 3.2.2 Working with a Separate Live Room 3.2.3 Studio Communications 3.2.4 One-Room Monitoring Workarounds 3.3 Building a Performance with Comping 3.3.1 Limit Your Track Count 3.3.2 Use a Comp Sheet 3.4 In Search of the Best Performance 3.4.1 Performance Pointers 3.4.2 Arrangement Tips 3.5 Next Stop: Mics! Part 2: One Source, One Mic Chapter 4: Basic Vocal Recording 4.1 The Microphone 4.1.1 Condenser Design 4.1.2 Cardioid Polar Pattern 4.1.3 Valves and Transformers 4.1.4 Price and Reputation 4.1.5 ‘Best Guess’ Versus ‘Ideal’ 4.2 Mounting and Cabling 4.2.1 Stability 4.2.2 Shockmounts and Mic Clips 4.2.3 Cable Dressing 4.3 Mic Positioning 4.3.1 Miking Angle 4.3.2 Miking Distance 4.3.3 Mic Orientation 4.3.4 Positioning Consistency 4.4 Acoustics Considerations 4.4.1 Room Reflections 4.4.2 Resonances 4.5 Monitoring Refinements 4.5.1 Acoustic Vocal Monitoring 4.5.2 Vocal Foldback 4.5.3 Vocal Compression 4.5.4 Balancing and Processing the Backing Track 4.5.5 Comfort Effects 4.6 On the Session 4.6.1 Refining the Sonics 4.6.2 Takes and Comping 4.6.3 Talkback and Performance Directions 4.7 And Another Thing... Chapter 5: Beyond Vanilla Vocals 5.1 Alternative Microphone Types 5.1.1 Other Polar Patterns 5.1.2 Dynamic Mics 5.1.3 Ribbon Mics 5.2 Using Acoustic Reflections 5.3 Loudspeaker Monitoring 5.3.1 Speakers in the Mic Null 5.3.2 Polarity Inversion Techniques 5.3.3 Tackling Loudspeaker Reflections 5.3.4 Filtering Fixes Chapter 6: Single-Mic Instrument Recording 6.1 Before You Reach for a Mic 6.1.1 Guessing a Mic Position 6.1.2 Your Friend, The Musician 6.1.3 Tonal Adjustment at Source 6.1.4 The Role of the Room 6.2 Homing in on a Mic Position 6.2.1 Adjusting Your Initial Mic Position by Ear 6.2.2 Improving Your Guesswork 6.2.3 Piggy-backing 6.2.4 High-Frequency Beams and Shadows 6.2.5 Air Resonances 6.2.6 Balancing Instrument Facets 6.2.7 Spotlighting and Reflections 6.3 Choosing Microphones 6.3.1 Large-diaphragm Condenser Mics 6.3.2 Small-diaphragm Condenser Mics 6.3.3 Other Condenser Designs 6.3.4 Ribbon Mics 6.3.5 Dynamic Mics 6.3.6 Contact Mics 6.4 Further Monitoring Tips 6.5 The Efficiency and Art of Mic Technique Part 3: One Source, Multiple Mics Chapter 7: Multimiking in Mono 7.1 Coincident Multimiking 7.1.1 Phase-Aligning Multiple Mics 7.1.2 Combining Polar Patterns 7.1.3 Balancing Instrument Facets 7.1.4 Mixing Microphone Flavours 7.2 Non-Coincident Multimiking 7.2.1 Combining Close Mics 7.2.2 Creative Use of Phase Relationships 7.2.3 Ambience and Room Mics 7.3 Multi-Amping and Reamping Electric Instruments 7.3.1 Multiple Amplifiers 7.3.2 Reamping Electric Guitars 7.3.3 Other Applications of Reamping 7.4 The Joy of Commitment Chapter 8: Multimiking in Stereo 8.1 Coincident XY Arrays 8.1.1 Stereo from Level Differences 8.1.2 Choosing the Mics and Guessing the Distance 8.1.3 From Acceptance Angle to Mutual Angle 8.2 Coincident MS Arrays 8.2.1 The Middle–Sides Stereo Format 8.2.2 Acceptance Angles for MS Arrays 8.2.3 Should I Choose XY or MS? 8.3 Non-Coincident AB Arrays 8.3.1 Stereo from Time Differences 8.3.2 Acceptance Angles, Mic Spacings, and Polar Patterns 8.4 Combining Level Differences and Time Differences 8.4.1 Designing Near-coincident Arrays 8.4.2 Case Study: NOS or ORTF? 8.5 Stereo Miking in the Wild 8.5.1 Tonal Balance Versus Stereo Balance 8.5.2 Beyond the Bounds of Acceptance 8.5.3 Stereo Setups with Unmatched Mics 8.6 Beyond Stereo Pairs Part 4: Multiple Sources, Multiple Mics Chapter 9: Ensemble Recording with a Dominant Array 9.1 Using a Single-Mic Dominant Array 9.1.1 Ensemble and Venue Reconnaissance 9.1.2 Which Mic? 9.1.3 How Wet Overall? 9.1.4 What Level for Each Instrument? 9.1.5 What Tone for Each Instrument? 9.1.6 What Depth for Each Instrument? 9.1.7 Sonic Adjustments on the Session 9.2 Using Simple Stereo Dominant Arrays 9.2.1 Balance, Tone, and Depth Across the Acceptance Region 9.2.2 Combining an Array’s Front and Rear Pickup 9.2.3 Wide AB and Close AB Arrays 9.3 Multimic Dominant Arrays in Mono and Stereo 9.3.1 Coincident Multimiking 9.3.2 Dual Arrays for Dry/Wet Control 9.3.3 Balance and Depth Corrections 9.3.4 Hybrid Stereo Arrays 9.4 A Spotless Record Chapter 10: Adding Spot Arrays 10.1 Using Spot Arrays 10.1.1 Managing Spill 10.1.2 Stereo Imaging Considerations 10.1.3 Spotting for Tone 10.1.4 Dealing with Depth Perspective 10.2 How Should My Spot Mics Sound? 10.3 Small Is Beautiful 10.4 Some Case Studies 10.4.1 A Drum Kit 10.4.2 A Chamber Orchestra 10.4.3 The New Orthodoxy 10.5 Monitoring And Sightlines Chapter 11: Ensemble Recording with Peer Arrays 11.1 Planning the Session 11.1.1 Acoustic Balance and Depth Perspective 11.1.2 Anticipating Processing Requirements 11.1.3 Stereo Considerations 11.1.4 Session Layout for the Performers 11.2 Building the Ensemble Sound 11.2.1 Choose a Peer Array 11.2.2 Refine the Peer Array: Focus and Backdrop 11.2.3 Refine the Meld: Focus and Backdrop 11.2.4 The Ghost of the Next Array 11.2.5 Turn the Handle... 11.3 Some More Case Studies 11.3.1 A Singing Pianist 11.3.2 A Jazz Trio 11.3.3 An Exploratory Campaign 11.4 Session Pacing And Playbacks 11.4.1 Workarounds for Limited Setup Time 11.4.2 The Power of Playbacks Chapter 12: Going Freestyle 12.1 Coping With Large-Scale Sessions 12.1.1 Delegating the Workload 12.1.2 Mic Stands and Cabling for Ensemble Work 12.1.3 Equipment Redundancy 12.2 Multiple Sessions And Multiple Rooms 12.2.1 Personnel and Equipment 12.2.2 A Question of Timing 12.2.3 Postponing Decisions 12.3 Getting The Best Out Of Synths And Samplers 12.3.1 Software Drum Instruments 12.3.3 Sampled Loops and Phrases 12.3.4 MIDI Orchestral Arrangements 12.4 Improving Your Efficiency 12.5 The Analogue Mindset 12.6 Using Commercial Studios Chapter 13: Conclusion Appendix 1: Music Studios and the Recording Process: An Overview Sound in Different Forms Sinewaves and Audio Frequencies Logarithmic Scales for Level and Pitch The Multitrack Recording Process Audio Signals and Mixers Real-World Studio Setups: Something Old, Something New Setting up a Small Stereo Monitoring System Appendix 2: Who’s Who: Selected Discography Abbiss, Jim Adams, Robbie Addey, Malcolm Afanasieff, Walter Agnello, John Ahern, Brian Ainlay, Chuck Albini, Steve Allen, Ben Angel-Ho Astley, John Austin, Dan Avron, Neal Baker, Roy Thomas Ballard, Glen Barbe, David Barbiero, Michael Barresi, Joe Baseford, Chris Benson, Howard Bhasker, Jeff Bishop, Michael Blake, Tchad Botnik, Bruce Bottrill, Bill Boyer, Ed Boys, Jerry Bradfield, Andy Brauer, Michael Bright, Mark Brion, Jon Brown, Phill Brown, Tony Bullock, Bob Burnett, T-Bone Bush, Billy Bush, Steve Caillat, Ken Carranza, Robert Cervini, Zakk Chandler, Steve Chapman, Nathan Cherney, Ed Chiccarelli, Joe Churchyard, Steve Clarke, Alex Clearmountain, Bob Climie, Simon Clink, Mike Coad, Jez Colliva, Tommaso Cook, Norman Cosaro, Jason Costey, Rich Cuniberti, John Davidge, Neil Davies, Rhett Davis, Wyn Dawson, Simon Dodd, Richard Dollar, Jonny Dorfsman, Neil Douglas, Jack Dudgeon, Gus Easter, Mitch Emerick, Geoff Endino, Jack Eno, Brian Epstein, Steven Epworth, Paul Eringa, Dave Everett, Shawn Faulkner, Tony Feldmann, John Ferguson, David R. Fidelman, Greg Filipetti, Frank Flood Ford, James Fraser, Mike Fritz, Oz Gatica, Humberto Genewick, Steve Gibson, Fred ‘Fred Again’ Godrich, Nigel Gold, Japhna Goldstein, Noah Graydon, Jay Hague, Stephen Hampton, John Harrington, Travis Harris, Stephen Heap, Imogen Hedges, Mike Henderson, Peter Hillier, Ben Hobbs, Philip Hoffer, Tony Hogarth, Ross Homme, Josh Horn, Bob Horn, Trevor Höskulds, S. Husky Howard, Mark Howe, ‘Bones’ Hudson, John Jam, Jimmy Jean, Wyclef Jerden, Dave Jerkins, Rodney Johns, Andy Johns, Glyn Johnston, Bob Jones, Dom Jones, Gareth Jones, Jax Jones, Leslie Ann Kelly, Jon Killen, Kevin King, Jacquire Kirwan, Rob Kitchingham, Gerry Kolotkin, Glen Korff, Aleks Von Kosten, David Kramer, Eddie Kurlander, John Lanois, Daniel Latham, Tim Launay, Nick Lawson, Mark Leckie, John Leon, Craig Levine, Larry Levine, Steve Liddell, Frank Lillywhite, Steve Lipson, Steve LiPuma, Tommy Litt, Scott Lord-Alge, Chris Luke, David Mack, Reinhold Malouf, Brian Marcantoni, Alessandro Marcantonio, Steve Marchand, Pierre Massenburg, George Massy, Sylvia Maury, Andrew Mazer, Elliot McDonald, Rodaidh McKenna, Tim Meldal-Johnsen, Justin Merchant, John Messina, Jay Meyerson, Alan Mischke Miller, Jack Mincieli, Ann Monsters & Strangerz Moss, Wayne Murphy, Shawn Musso, Robert Nappi, Peter Neill, Mark Nelson, Ken Newland, Jay Nichols, Roger Niebank, Justin Norrell, Clif Oberg, Gus O’Donnell, Dave Ohlsson, Bob Olsen, Keith Paczosa, Gary Padgham, Hugh Parsons, Ala Pensado, Dave ‘Hard Drive’ Pettibone, Shep Pilegaard, Morten ‘Pilo’ Platt, Tony Plotnikoff, Mike Poole, Mike Porter, John Potter, Craig Powell, Jeff Price, Bill Price, Stuart Puig, Jack Joseph Putnam, Norbert Ramone, Phil Raphael, Gordon Reid, La Reitzas, David Richardson, Garth Richey, Korey Richmond, Simon ‘Palmskin’ Rock, Bob Ross, Jack Rosse, Eric Rubel, Joe Sands, Dennis Sarafin, Eric (Mixerman) Sardina, Rafa Scheiner, Elliot Schilling, Eric Schneider, Moses Schleicher, Clarke Schmitt, Al Scott, Jim Scott, Toby Sengpiel, Eberhard Shebib, Noah ‘40’ Shipley, Mike Shoemaker, Trina Shravanam, Sai Simon, John Simpson, Rik Sisk, Laura Smith, Alina Smith, Andy Smith, Don Smith, Fraser T. Smith, Joshua V Staub, Randy Stavrou, Mike Steiner, Armin Stone, Al Street, Stephen Streicher, Ron Suecof, Jason Sullivan, Stuart Swann, Darryl Swedien, Bruce Syrowski, Tom Tarsia, Mike Thoener, David Thornalley, Phil Tokic, Andrija Ulyate, Ryan Valentine, Eric Vernon, Mike Vig, Butch Vindver, Federico Virtue, Brian Visconti, Tony Vorndick, Bil Wagener, Michael Walker, Butch Walker, Miles Wallace, Andy Wallace, Matt Was, Don Weston, Bob White, Jack White, Stuart Winstanley, Alan Worley, Paul Wright, Toby Yakus, Shelly Young Guru Zdar, Philippe Zook, Joe Appendix 4: Picture Credits Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Name Index Subject Index "In this new edition, discover how to achieve commercial-grade recordings, even in the smallest studios, by applying power-user techniques from the world's most successful producers. Recording Secrets for the Small Studio is based on the backroom strategies of more than 250 famous names. This thorough and down-to-earth guide leads you through a logical sequence of practical tasks to build your live-room skills progressively from the ground up, with user-friendly explanations which introduce technical concepts on a strictly need-to-know basis. On the way, you'll unravel the mysteries of many specialist studio tactics and gain the confidence to tackle a full range of real-world recording situations. Specifically designed for small-studio enthusiasts, this book provides an intensive training course for those who want a fast track to releasing quality results. While the chapter summaries, assignments, and extensive online resources are perfect for school and college use. Learn the fundamental principles of mic technique that you can apply in any recording scenario -- and how to avoid those rookie mistakes that all too often compromise the sonics of lower-budget productions. Explore advanced techniques which help industry insiders maintain their competitive edge even under the most adverse conditions: creative phase manipulation, improvised acoustics tweaks, inventive monitoring workarounds, subtle psychological tricks... Find out where you don't need to spend money, as well as how to make a limited budget really count. Make the best use of limited equipment and session time, especially in situations where you're engineering and producing single-handed. Pick up tricks and tips from celebrated engineers and producers across the stylistic spectrum, including Steve Albini, Neal Avron, Roy Thomas Baker, Joe Barresi, Howard Benson, Tchad Blake, T-Bone Burnett, Joe Chiccarelli, Jack Douglas, Gus Dudgeon, Geoff Emerick, Brian Eno, Paul Epworth, Shawn Everett, Humberto Gatica, Nigel Godrich, Imogen Heap, Ross Hogarth, Trevor Horn, Rodney Jerkins, Glyn Johns, Leslie Ann Jones, Eddie Kramer, Jacquire King, Daniel Lanois, Sylvia Massy, Alan Meyerson, Justin Niebank, Hugh Padgham, Gary Paczosa, Tony Platt, Jack Joseph Puig, David Reitzas, Bob Rock, Rafa Sardina, Jim Scott, Laura Sisk, Fraser T Smith, Randy Staub, Bruce Swedien, Butch Vig, Tony Visconti, Butch Walker, Matt Wallace, Young Guru, and many, many more... Now extensively expanded and updated, with new sections on contact mics, software instruments, squash mics, and ensemble depth distortion"-- Provided by publisher