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Metal Music Manual: Producing, Engineering, Mixing, and Mastering Contemporary Heavy Music [Kõva köide]

  • Formaat: Hardback, 382 pages, kõrgus x laius: 235x191 mm, kaal: 1180 g
  • Ilmumisaeg: 22-Mar-2017
  • Kirjastus: Routledge
  • ISBN-10: 1138809314
  • ISBN-13: 9781138809314
Teised raamatud teemal:
  • Formaat: Hardback, 382 pages, kõrgus x laius: 235x191 mm, kaal: 1180 g
  • Ilmumisaeg: 22-Mar-2017
  • Kirjastus: Routledge
  • ISBN-10: 1138809314
  • ISBN-13: 9781138809314
Teised raamatud teemal:
Metal Music Manual shows you the creative and technical processes involved in producing contemporary heavy music for maximum sonic impact. From pre-production to final mastered product, and fundamental concepts to advanced production techniques, this book contains a world of invaluable practical information. Assisted by clear discussion of critical audio principles and theory, and a comprehensive array of illustrations, photos, and screen grabs, Metal Music Manual is the essential guide to achieving professional production standards.

The extensive companion website features multi-track recordings, final mixes, processing examples, audio stems, etc., so you can download the relevant content and experiment with the techniques you read about. The website also features video interviews the author conducted with the following acclaimed producers, who share their expertise, experience, and insight into the processes involved:





Fredrik Nordström (Dimmu Borgir, At The Gates, In Flames)











Matt Hyde (Slayer, Parkway Drive, Children of Bodom) Ross Robinson (Slipknot, Sepultura, Machine Head)





Logan Mader (Gojira, DevilDriver, Fear Factory)





Andy Sneap (Megadeth, Killswitch Engage, Testament)





Jens Bogren (Opeth, Kreator, Arch Enemy)





Daniel Bergstrand (Meshuggah, Soilwork, Behemoth)





Nick Raskulinecz (Mastodon, Death Angel, Trivium)

Quotes from these interviews are featured throughout Metal Music Manual, with additional contributions from:











Ross "Drum Doctor" Garfield (one of the worlds top drum sound specialists, with Metallica and Slipknot amongst his credits)





Andrew Scheps (Black Sabbath, Linkin Park, Metallica)





Maor Appelbaum (Sepultura, Faith No More, Halford)
Foreword xi
Acknowledgments xiii
Chapter 1 Introduction
1(6)
Audio
3(1)
Video Interviews
4(1)
Forum
5(2)
Chapter 2 Contemporary Metal Music
7(2)
Tempo and Subdivisions
8(1)
Chapter 3 The Parameters Of Heaviness
9(14)
Distortion
9(4)
Proximity
13(1)
Perceived Loudness
13(1)
The Distortion Paradox
14(1)
Sonic Weight
14(2)
Transients
16(1)
Spectral Dynamics and Transient Brightness
16(3)
Clarity
19(1)
Definition
19(1)
Intelligibility
19(1)
Performance Precision
20(1)
The Parameters of Heaviness-Summary
21(2)
Part I Preproduction 23(40)
Chapter 4 Preproduction
25(10)
Vision and Leadership
25(1)
Rehearsals
26(1)
The Budget
27(1)
Click Tracks
28(1)
In Practice
29(1)
Tempo Mapping
29(2)
Click Tones
31(1)
Guide Tracks
31(1)
Click-Free Tracking
32(1)
Live Guide Tracks without a Click
33(1)
Overdubs without a Click
33(1)
The Click Track Acid Test
33(2)
Chapter 5 Sound At Source
35(28)
Drums
35(4)
Kick Resonant Head: Ported vs Un-ported vs Removed
39(10)
Metalwork Setup
49(1)
Bass and Guitar
50(1)
Baritones/Longer Scale Lengths
50(13)
Part II Engineering 63(106)
Chapter 6 Engineering Overview
65(4)
Isolation = Separation = Control
65(1)
Headroom
66(1)
Printed Compression
67(1)
Printed EQ
67(2)
Chapter 7 Drums
69(42)
Setup
69(1)
Kick Drums
70(7)
Short ISO-Tunnel
77(3)
Snare Top
80(4)
Snare Bottom
84(1)
Toms
85(3)
Metalwork
88(10)
Room Mics and Controlled Cohesion
98(5)
Triggers
103(1)
Recording Drum Hits from the Kit Used for Tracking
104(1)
Sample Creation
105(1)
Drum Edits and Quantization
106(5)
Chapter 8 Guitars
111(32)
Dls and Re-Amping
113(1)
Speaker Selection
114(1)
Isolation Tactics
115(1)
Amp Volume
116(2)
Mic Selection
118(1)
Loudspeaker Frequency Radiation
119(5)
Mic Placement
124(4)
Proximity Effect
128(2)
Off-Axis Placement
130(1)
Double Miking
131(3)
Double-Tracking (vs. Quad-Tracking)
134(2)
Quad-Tracking
136(1)
Tonal Variation
137(1)
Multi-Amp/Cab Recording for Double-Tracked Guitars
138(3)
Mix Center Rhythm Thickener
141(2)
Chapter 9 Bass
143(12)
DI
143(2)
(Series) Amp/Cab Distortion
145(1)
Amp/Cab/Mic
146(4)
A Different Kind of Brightness
150(2)
Emulation
152(1)
Layers
153(1)
(Parallel) Reinforcement Distortion
153(2)
Chapter 10 Vocals
155(14)
Scheduling
155(1)
Coaching, Communication, and Comping
155(1)
Engineering
156(2)
Polar Patterns and Gang Vocals
158(3)
Handheld Vocal Recording
161(1)
Vocal Compression
162(2)
Monitoring
164(1)
Headphone-less Vocal Recording
165(3)
Recording Further Instruments
168(1)
Part III Mixing 169(174)
Chapter 11 Edits, Polarity And Phase Alignment, Samples, And Gates
171(30)
Edits
171(1)
Mix Groups
172(1)
Polarity and Phase Alignment
173(3)
Waveform Edits
176(1)
Multing
177(1)
Drum Samples-Overview
177(2)
Drum Sample Selection
179(4)
Sample Implementation
183(8)
Isolation vs. Cohesion
191(1)
Gating
192(9)
Chapter 12 Balance And Stereo Width
201(10)
Mix Group Component Balance
201(1)
Mix Balance
202(1)
Panning and Stereo Width
203(5)
Monitoring and Room Acoustics
208(3)
Chapter 13 Compression
211(42)
Signal Chain Order
211(1)
Compression Parameters
212(2)
Timbral Coloration and Transient Design
214(2)
Drum Compression
216(6)
Snare Hit - Uncompressed
222(1)
Snare Hit - Transient Design
222(12)
Bass Compression
234(9)
Rhythm Guitar Compression
243(2)
Lead Guitar Compression
245(1)
Vocal Compression
245(4)
Parallel Vocal Compression
249(1)
Sibilance and De-Essing
249(2)
Limiting
251(2)
Chapter 14 EQ
253(54)
Sonic Sludge 20-55 HZ
256(1)
Low-End Foundation 55-125 HZ
256(1)
Upper Lows 125-200 HZ
256(1)
Low-Mids-"Mudrange" 200-550 HZ
256(1)
Mids 550 HZ-1 KHZ
256(1)
High-Mids 1-4 KHZ
257(1)
Low-Highs 4-7.5 KHZ
257(1)
Mid-Highs 7.5-10 KHZ
258(1)
Upper-Highs/Air 10-17 KHZ
258(1)
Ultrasonic Highs 17-20 KHZ
258(1)
Parametric EQ
258(1)
High-Pass Filters
259(1)
Sweep EQ
260(1)
Corrective and Surgical EQ
261(1)
Instrument EQ
262(11)
Intelligent EQ
273(4)
Context and Interdependence
277(5)
Low-Pass Filters
282(1)
Spectral Masking
282(3)
Bass
285(8)
Channel EQ/Group EQ
293(1)
Rhythm Guitar EQ
294(5)
"Big Mono" vs. Panoramic Width
299(1)
Mirrored EQ
300(2)
Vocals
302(5)
Chapter 15 Effects Processing And Automation
307(28)
Reverb
307(6)
Snare Reverb Aux Sends
313(7)
Delay
320(5)
Distortion
325(4)
Sine Wave or White Noise Reinforcement
329(1)
Analogue and Tape Emulation
330(1)
Mix Referencing
330(2)
Automation
332(3)
Chapter 16 Master Buss Processing
335(8)
Master Buss Compression
335(5)
Master Buss EQ
340(1)
Master Buss Limiting
340(1)
Summing
341(2)
Part IV Mastering 343(36)
Chapter 17 Mastering
345(24)
DIY and the "Four Es" of Mastering
345(1)
Signal Chain
346(1)
Mastering EQ
347(5)
Low End Localization
352(1)
Reverb
353(1)
Unified Mastering-Bridging the Divide
353(1)
Compression
353(3)
Mid/Side Compression
356(4)
Mid/Side Multiband Compression
360(3)
Harmonic Enhancement
363(1)
Stereo Width Enhancement
363(1)
Stem Mastering
363(1)
Soft Clipping
364(1)
Limiting
365(2)
Automation
367(1)
Fades
367(1)
Mastered Output Peak Levels-CD
367(2)
Chapter 18 Loudness Normalization
369(10)
Loudness Metering and Mastering Practice
371(6)
A Final Word
377(2)
Index 379
Mark Mynett is a record producer, recording-mixing-mastering engineer, author, and Senior Lecturer in Music Technology and Production at the University of Huddersfield, England. As both musician and producer, he has over 20 years' experience in the metal genre; has written numerous heavy-music production articles for leading magazines, including Sound on Sound and Guitar World; and in 2013 gained the worlds first PhD in Contemporary Metal Music Production. He owns his own studio, Mynetaur Productions (www.mynetaur.com), where he provides engineering, mixing and mastering services for clients from all over the world.