| Introduction |
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1 | (1) |
| About This Book |
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1 | (1) |
| Foolish Assumptions |
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2 | (1) |
| Icons Used in This Book |
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3 | (1) |
| Beyond the Book |
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3 | (1) |
| Where to Go from Here |
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3 | (2) |
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PART 1 GETTING STARTED WITH HOME RECORDING |
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5 | (160) |
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Chapter 1 Understanding Home Recording |
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1 | (16) |
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Examining the Anatomy of a Home Studio |
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7 | (4) |
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Exploring the recording essentials |
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8 | (2) |
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Checking out recording system types |
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10 | (1) |
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Getting a Glimpse into the Recording Process |
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11 | (1) |
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11 | (1) |
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11 | (1) |
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12 | (1) |
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12 | (1) |
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12 | (2) |
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Cleaning up tracks using editing |
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13 | (1) |
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13 | (1) |
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13 | (1) |
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13 | (1) |
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14 | (3) |
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14 | (1) |
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Putting your music out into the world |
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15 | (1) |
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16 | (1) |
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Chapter 2 Getting the Right Gear |
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17 | (124) |
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Determining Your Home Studio Needs |
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18 | (3) |
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Detailing Your Digital Options |
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21 | (2) |
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Computer-Based Digital Recording Systems |
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23 | (10) |
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Finding the right computer setup |
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23 | (3) |
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Getting the sound in and out |
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26 | (4) |
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Choosing the right software |
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30 | (3) |
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33 | (1) |
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Taking a look at the benefits |
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33 | (1) |
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Examining some popular SIAB systems |
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33 | (1) |
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34 | (107) |
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35 | (1) |
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36 | (105) |
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Chapter 8 Miking Your Instruments |
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141 | (24) |
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Getting a Great Lead Vocal Sound |
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142 | (3) |
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Making the most of the room |
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142 | (1) |
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142 | (3) |
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Getting Good Backup Vocals |
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145 | (1) |
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Examining Electric Guitar Miking |
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146 | (3) |
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147 | (1) |
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Getting the most out of the mics |
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147 | (2) |
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Exploring Electric Bass Miking |
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149 | (1) |
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149 | (1) |
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Getting the most from the mic |
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149 | (1) |
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Miking Acoustic Guitars and Similar Instruments |
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150 | (2) |
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Making the most of the room |
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150 | (1) |
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150 | (2) |
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152 | (1) |
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Understanding the role of the room |
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152 | (1) |
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Making the most of the mics |
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152 | (1) |
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153 | (1) |
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Harnessing the sound of the room |
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153 | (1) |
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153 | (1) |
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Setting Up Mics for Strings |
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154 | (1) |
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Making the most of the room |
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154 | (1) |
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154 | (1) |
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Digging into Drum Set Miking |
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155 | (8) |
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First things first: Tuning your drums |
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155 | (1) |
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Using the room to your benefit |
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156 | (1) |
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Picking up the kick (bass) drum |
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156 | (3) |
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Setting up the snare drum |
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159 | (1) |
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160 | (1) |
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161 | (1) |
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Creating the best cymbal sound |
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161 | (1) |
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162 | (1) |
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Getting Your Hands on Hand Drums |
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163 | (1) |
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Perfecting Percussion Miking |
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163 | (2) |
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Exploring the impact of the room |
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163 | (1) |
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Choosing and using the mics |
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164 | (1) |
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PART 3 RECORDING LIVE AUDIO |
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165 | (68) |
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Chapter 9 Getting a Great Source Sound |
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167 | (16) |
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Making Sense of the Signal Chain |
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167 | (2) |
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Setting Optimal Signal Levels |
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169 | (2) |
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Understanding Pre and Post Levels |
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171 | (3) |
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Interpreting the various levels |
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171 | (2) |
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173 | (1) |
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Getting Great Guitar, Bass, and Electronic String Instrument Sounds |
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174 | (2) |
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174 | (1) |
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175 | (1) |
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176 | (1) |
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Creating Killer Keyboard Tracks |
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176 | (1) |
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Recording E-Drums, Drum Machines, and Electronic Percussion |
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177 | (1) |
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Making the Most of Microphones |
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178 | (5) |
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179 | (1) |
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179 | (4) |
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Chapter 10 Recording Audio |
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183 | (8) |
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Performing Your First Take |
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183 | (2) |
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185 | (2) |
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185 | (1) |
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Punching with a foot switch |
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185 | (1) |
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185 | (1) |
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Repeated punching (looping) |
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186 | (1) |
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187 | (1) |
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188 | (1) |
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189 | (1) |
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Keeping Track of Your Tracks |
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190 | (1) |
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Chapter 11 Understanding Electronic Instruments and MIDI |
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191 | (16) |
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192 | (6) |
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192 | (2) |
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Understanding MIDI channels |
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194 | (1) |
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Appreciating MIDI messages |
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195 | (1) |
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196 | (1) |
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Taking orders from General MIDI |
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197 | (1) |
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198 | (9) |
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199 | (3) |
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202 | (1) |
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203 | (1) |
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204 | (1) |
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204 | (3) |
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Chapter 12 Recording Electronic Instruments Using MIDI |
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207 | (14) |
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Synchronizing Your Devices |
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207 | (7) |
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Synchronizing two (or more) synthesizers |
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208 | (1) |
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Synchronizing a computer sequencer and a synthesizer |
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209 | (1) |
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Synchronizing a sequencer and an audio recorder |
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210 | (2) |
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Using the transport function from one device to control another |
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212 | (2) |
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214 | (4) |
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215 | (2) |
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217 | (1) |
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218 | (1) |
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Transferring Data Using MIDI |
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219 | (2) |
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Chapter 13 Working with Loops |
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221 | (12) |
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Understanding Loops and Loop Types |
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222 | (1) |
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222 | (1) |
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223 | (3) |
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Setting tempo and time and key signatures |
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223 | (1) |
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224 | (1) |
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225 | (1) |
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Adding Loops to Your Sessions |
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226 | (3) |
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226 | (1) |
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227 | (1) |
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Adding loops to your session |
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227 | (2) |
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229 | (1) |
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229 | (4) |
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PART 4 EDITING AND ENHANCING YOUR TRACKS |
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233 | (36) |
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Chapter 14 Getting into Editing |
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235 | (18) |
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Understanding Digital Editing |
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236 | (5) |
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237 | (1) |
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237 | (1) |
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238 | (1) |
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239 | (1) |
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240 | (1) |
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240 | (1) |
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241 | (1) |
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Finding the Section You Want to Edit |
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241 | (3) |
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241 | (1) |
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242 | (2) |
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Editing to Improve the Sound of a Performance |
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244 | (5) |
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245 | (1) |
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Evening out a performance |
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246 | (1) |
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Getting rid of distortion |
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247 | (1) |
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248 | (1) |
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Correcting pitch problems |
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248 | (1) |
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Creating a Performance That Never Happened |
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249 | (2) |
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249 | (1) |
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250 | (1) |
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Making compilations of your tracks |
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250 | (1) |
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Discovering Other Ways to Use Editing |
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251 | (2) |
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Adjusting the length of a performance |
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251 | (1) |
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251 | (2) |
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Chapter 15 Editing MIDI Data |
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253 | (16) |
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Understanding MIDI Windows |
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253 | (4) |
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255 | (1) |
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Setting MIDI patches on tracks |
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255 | (1) |
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256 | (1) |
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257 | (1) |
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257 | (3) |
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258 | (1) |
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Changing a note's duration |
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258 | (1) |
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Changing a note's velocity |
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259 | (1) |
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259 | (1) |
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260 | (1) |
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260 | (1) |
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260 | (1) |
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Moving program change markers |
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260 | (1) |
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Changing Continuous Controller Data |
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261 | (2) |
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Editing lines with the Pencil tool |
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261 | (1) |
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262 | (1) |
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262 | (1) |
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Quantizing Your Performance |
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263 | (3) |
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Transposing Your Performance |
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266 | (1) |
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267 | (1) |
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Transferring Data Using MIDI |
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267 | (2) |
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PART 5 MIXING AND MASTERING YOUR MUSIC |
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269 | (120) |
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271 | (14) |
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272 | (1) |
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Managing Levels as You Work |
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272 | (1) |
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Getting Started Mixing Your Song |
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273 | (1) |
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274 | (2) |
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274 | (1) |
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274 | (1) |
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275 | (1) |
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276 | (3) |
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276 | (2) |
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278 | (1) |
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Adjusting Levels: Enhancing the Emotion of the Song |
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279 | (2) |
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280 | (1) |
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281 | (1) |
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281 | (4) |
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281 | (2) |
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283 | (1) |
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284 | (1) |
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284 | (1) |
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Chapter 17 Using Equalization |
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285 | (16) |
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285 | (2) |
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285 | (1) |
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286 | (1) |
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286 | (1) |
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287 | (1) |
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287 | (4) |
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Inserting an EQ plug-in in a track |
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287 | (2) |
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289 | (2) |
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291 | (10) |
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293 | (3) |
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296 | (1) |
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296 | (1) |
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297 | (1) |
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297 | (2) |
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299 | (1) |
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299 | (1) |
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300 | (1) |
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Chapter 18 Digging into Dynamics Processors |
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301 | (22) |
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Connecting Dynamics Processors |
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301 | (1) |
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302 | (9) |
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Getting to know compressor parameters |
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303 | (2) |
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Getting started using compression |
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305 | (1) |
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306 | (5) |
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311 | (3) |
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Understanding limiter settings |
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312 | (1) |
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Setting limits with the peak limiter |
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313 | (1) |
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Introducing Gates and Expanders |
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314 | (3) |
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Getting to know gate parameters |
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314 | (2) |
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Getting started using gates |
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316 | (1) |
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Getting started using an expander |
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317 | (1) |
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317 | (2) |
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319 | (4) |
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319 | (2) |
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321 | (2) |
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Chapter 19 Singling Out Signal Processors |
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323 | (16) |
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324 | (2) |
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324 | (1) |
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Sending signals to effects |
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325 | (1) |
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326 | (3) |
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327 | (1) |
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Getting started using reverb |
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328 | (1) |
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329 | (2) |
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Digging into delay settings |
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329 | (1) |
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Getting started using delay |
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330 | (1) |
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331 | (2) |
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Making Sense of Microphone Modeling |
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333 | (1) |
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Applying an Amp Simulator |
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334 | (1) |
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Detailing Distortion Effects |
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335 | (1) |
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Selecting Tape Saturation Effects |
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336 | (3) |
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Chapter 20 Automating Your Mix |
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339 | (12) |
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340 | (1) |
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340 | (1) |
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340 | (1) |
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341 | (1) |
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341 | (1) |
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341 | (1) |
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Accessing Automation Modes |
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341 | (2) |
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343 | (3) |
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Writing automation on a track |
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343 | (1) |
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Writing plug-in automation |
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344 | (1) |
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345 | (1) |
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346 | (1) |
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347 | (4) |
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347 | (1) |
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Editing with the edit tools |
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348 | (3) |
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Chapter 21 Making Your Mix |
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351 | (8) |
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351 | (2) |
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353 | (4) |
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353 | (3) |
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356 | (1) |
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Using an External Master Deck |
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357 | (2) |
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Chapter 22 Mastering Your Music |
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359 | (14) |
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360 | (1) |
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360 | (1) |
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361 | (1) |
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361 | (1) |
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361 | (1) |
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Paying a Pro or Doing It Yourself |
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362 | (1) |
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Hiring a Professional Mastering Engineer |
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363 | (2) |
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Mastering Your Music Yourself |
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365 | (7) |
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366 | (2) |
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368 | (2) |
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370 | (1) |
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371 | (1) |
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Preparing for Distribution |
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372 | (1) |
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Chapter 23 Creating Your Finished Product |
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373 | (16) |
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Understanding File Formats |
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374 | (1) |
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374 | (1) |
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Lossless audio file formats |
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374 | (1) |
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375 | (5) |
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376 | (2) |
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378 | (1) |
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Large-quantity CD replication |
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379 | (1) |
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380 | (3) |
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381 | (1) |
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USB sticks (flash drives) |
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381 | (1) |
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Online music distribution |
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382 | (1) |
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382 | (1) |
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383 | (3) |
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383 | (2) |
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385 | (1) |
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386 | (3) |
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389 | (22) |
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Chapter 24 Ten Invaluable Recording Tips |
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391 | (6) |
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Using an Analog Tape Deck |
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391 | (1) |
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392 | (1) |
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393 | (1) |
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393 | (1) |
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Listening to Your Mix in Mono |
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394 | (1) |
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Doubling and Tripling Your Tracks |
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394 | (1) |
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Recording Dirty Room Ambience |
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394 | (1) |
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395 | (1) |
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Pressing Record, Even during a Rehearsal |
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396 | (1) |
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Leaving the Humanity in Your Tracks |
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396 | (1) |
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Chapter 25 Ten (or So) Ways to Distribute and Promote Music |
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397 | (14) |
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398 | (1) |
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Setting Up Your Own Music Website |
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399 | (3) |
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Checking out musician-friendly hosting services |
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400 | (1) |
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400 | (2) |
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Putting Your Music on a Music Host Site |
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402 | (1) |
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Engaging in Social Media Networking |
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403 | (1) |
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404 | (1) |
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Selling Your Music Digitally |
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404 | (2) |
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406 | (1) |
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406 | (1) |
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407 | (1) |
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408 | (1) |
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Connecting with an Email Newsletter |
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409 | (2) |
| Index |
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411 | |
Lisainfo e-raamatute kohta