Hal Leonard Recording Method 시리즈의 2권 Instrument & Vocal Recording 입니다.
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- Contents -

Audio and Video Examples
Preface

Chapter 1 - Acoustics
Controlling Your Acoustical Environment
   The Room
   Diffusion and Absorption
Mode/Standing Wave/Resonance
   Calculating the Frequency of Standing Waves in a Room
   Axial Standing Waves
   Tangential
   Oblique
Calculating Problematic Modes
   Consider All Opposing Surfaces
   Red Flags
   Flutter Echo
   Your Location in the Room Matters
   Everything Else in the Room Matters
The Rectangle
The Goal
Solutions to Acoustical Problems
   Dimensional Proportions
   Adjusting Angles
   Treating Surfaces
Portable Acoustical Treatments
   Tube Traps
Monitoring: Turn It Down
Conclusion
Guitar Fundamentals

Chapter 2 - Electric Guitar
Tone and Timbre
   Physical Properties
   Pickup Placement
   Tone Controls
   Frequency Content
Recording the Electric Guitar
   Direct Electric
Miking the Speaker Cabinet
Combining the Miked and Direct Signals
   Miking the Strings and the Amp or DI
Software Plug-Ins
Recording Levels
   Analog Levels
   Digital Levels
   Transients
Pickups
   Pickup Position
   Pickup Types
Basic Types of Electric Guitars
Pickup Phase Relationship
Alternate Tunings
Processing the Guitar Sound
   Compressor/Limiter/Gate/Expander
   Distortion
   All-in-One Effects
   Stomp Boxes
   Digital Modeling
   Integration of Hardware and Software
   Software Control of Modeling Systems
Reamping
   Reamping Guitar
Equalizing the Guitar
   Delay
Electronic Doubling
Multi-Effects
   Chorus/Flanger/Phase Shifter
   Reverberation
Panning
Preparing the Instrument

Chapter 3 - Acoustic Guitar
   Strings
   Picks
   Alternate Tunings
The Impact of Different Wood Configurations on Tone
   Spruce Top
   Rosewood Sides and Back
   Mahogany Sides and Back
Electric Acoustic Guitars
Recording Acoustic Guitar
Mic Techniques
   Mic Type
   Mono Mic Techniques
   Stereo Mic Techniques
Recording Acoustic Guitar and Voice Together
   Tuning/Instrument Selection
   Dynamic Processing and the Acoustic Guitar
   Double-Tracking the Acoustic Guitar
   Constructing Acoustic Guitar Parts
   Equalizing the Acoustic Guitar
   Reverberation
   Classical Guitar (Nylon String Guitar)

Chapter 4 - Drums & Percussion
Drum Conditioning
   Tuning
Drumsticks
Muffling Drums
Hardware
Room Acoustics
Theories of Drum Miking
   Essential Microphones
   Mic Choices
   Positioning the Microphones
   Phase Interaction between Mics
Recording Level
   Digital
   Analog
Acoustic Considerations
Recording a Drum Set with One Microphone
Recording a Kit with Two Mics
Recording a Kit with Three Mics
Recording a Kit with Four Mics
Close-Mike Technique
Equalizing Drums
   Kick Drum
Snare Drum
   Two Mics on the Snare
Toms
Overhead Microphones
The Hi-Hat Mic
Mono Room Mic on the Floor
Gating the Drum Tracks
Aiming the Mics
Phones
Baffles, Gobos, and Screens
Click Track
Phase Coherence
   Adjusting Phase in the DAW
   Shifting DAW Tracks
   Multiple Kick Mics
   Maybe Its Better the Way It Was
Effects on Drums
   Compressing Drums
   Panning the Drums
Compare Your Work
   Does Your Mix Sound as Clean in the High Frequencies as the Reference?
Triggering during Mixdown
Automation
Percussion
   Congas and Bongos
   Shakers, Tambourines, and Triangles
   Whistles and Rattlers and Stuff
Electric Bass

Chapter 5 - Electric & Upright Bass
Condition of the Bass
Direct Box/Direct In (DI)
Pickup Output Level
Instrument Differences
Musical Style
Recording Levels for Bass
Mic Techniques
Compressing the Electric Bass
Equalization of the Bass Guitar
Panning the Bass
Reverberation and Bass Guitar
Recording Synth Bass
   Plugging In the Synth Bass
   Miking the Synth Bass
   Synth Bass Range and EQ
   Compressing the Synth Bass
   Recording Level for the Synth Bass
   Panning Synth Bass
   Effects and the Synth Bass
Acoustic Bass
   Close-Miking the String Bass
Conclusion

Chapter 6 - Vocals
Vocal Phrasing
   Breathing
   Choosing Breath Points and Phrases
   Releases
   Pronunciation
   Enunciation
   Smile - Mouth Shape Matters
When and How to Make Suggestions
Getting Vocals in Tune
   Headphones
Mic Techniques
   Placement
   Small Room versus Large Room
   Moving-Coil/Ribbon
   The Room
Stylistic Considerations
Wind Screen
Repairing a Problem Plosive
   Electronic Plosive Repair
The Proximity Effect
   Bass Roll-Off
The Pad
Different Sounds of Different Pickup Patterns
Positioning the Microphone
Dynamic Range
Compressor/Limiter/Gate/Expander
   Sibilance
   The De-Esser
Equalization
Recording Environment
Physical Aids
When to Start Recording
Punch In/Punch Out
   Executing the Punch
Control the Environment
Perseverance: When is it Good Enough?
Characteristics of Excellent Vocal Tracks
   Panning
   Breaths
   Tuning
   Finding the Groove
   Phrasing
Backing Vocals
The Digital Domain
   Channels, Tracks, and Takes
   Comping
Recording Vocals to Computer
   Separate Mixer
   Plug-Ins versus Outboard Processing
Conclusion
Grand Piano
   The Basics

Chapter 7 - Grand, Upright & Rhodes Piano
   Mic Choice and Technique
   Stereo or Mono
   Instrument Maintenance
Setting the Mood
Processing Piano Sounds
   No Two Pianos Sound Identical
   Recording Levels
   Equalizing the Piano
   Compressing the Piano
   Exciting the Piano
   Reverberation
Multiple Pairs of Microphones
Miking the Vertical Piano
Sampled Piano Sounds
Rhodes-Type Sounds
   Rhodes Effects
   Equalizing the Rhodes
Conclusion

Chapter 8 - Real & Synthesized Strings, Brass & Woodwinds
Strings
   Considerations and Techniques
   Performance Technique
   Mic Choice
   Caveat
   Mic Technique
Brass
   Mic Choice
   Recording Levels
   Attenuation
   Microphone Position
   Brass Ensemble
Woodwinds
   Mic Technique
Recording Synthesized Sounds
   Line Input Versus DI
   Line In
   DI
   Synth String Pads
   Synth Brass and Woodwinds
   Levels

Index

Test Answers