Table of Contents Chapter 1: Audio Basics 1.1 It's Not Always About The Gear! 1.2 What Is Sound? 1.3 The Decibel 1.4 Power Relationships 1.5 Decibel Scales 1.6 Dynamic Range 1.7 Signal To Noise Ratio 1.8 Frequency 1.9 Frequency Response 1.10 Waveforms, Fundamentals, And Harmonics 1.11 Wavelength, Velocity, Phase 1.12 Amplitude Summation 1.13 Human Hearing 1.14 Signal Flow And Audio Level Standards 1.15 Gain Structure 1.16 Analog Audio Connectors 1.17 Digital Audio Connectors 1.18 Digital Audio Basics Chapter 2: Good Sound 2.1 Recognizing Good Sound 2.2 Sound Reproduction Formats 2.3 Monitoring Options - Loudspeakers, Headphones and Earbuds 2.4 Compressed Audio Formats 2.5 Dynamic Range 2.6 What About Distortion? 2.7 What Is A Good Recording? 2.8 Accuracy 2.9 Non-Natural Sounds And Balances 2.10 What Are The Elements Of A Good Mix? 2.11 Frequency Balance 2.12 Clarity And Intelligibility 2.13 Musical Arrangement 2.14 The Stereo Image 2.15 Focus And Amplitude Balance 2.16 Processing And Effects 2.17 Song Structure And Orchestration 2.18 Making A Great Record Chapter 3: About Microphones... 3.1 The Microphone 3.2 End Address Or Side Address? 3.3 Directionality And Pickup Patterns 3.4 Dynamic Microphones 3.5 Condenser Microphones 3.6 Ribbon Microphones 3.7 Tube (Valve) Microphones 3.8 Other Microphone Technologies 3.9 Phantom Power 3.10 Proximity Effect 3.11 Frequency Response 3.12 Off-Axis Response 3.13 Flat Microphones VS Vocal Microphones 3.14 Low Frequency Response 3.15 Low Frequency Instrument Microphones 3.16 Sensitivity 3.17 Self-Noise And Equivalent Noise Rating (ENR) 3.18 Signal To Noise Ratio 3.19 Maximum SPL 3.20 Dynamic Range 3.21 Transient Response 3.22 Pop Filters, Windscreens, And Dead Cats 3.23 Shock Mounts 3.24 Mic Preamps 3.25 What Mic To Use? 3.26 There's More To It Than Specifications! Chapter 4: EQ Basics 4.1 What Is EQ? 4.2 Last Resort, And Creative Mix Tool 4.3 Can You EQ Spill? 4.4 EQ Filter Types 4.5 Analog VS. Digital EQ 4.6 Additive VS. Subtractive EQ 4.7 The Fewer Filters The Better 4.8 How Much To EQ? 4.9 When To EQ? 4.10 Golden Rules Of EQ Chapter 5: Stereo Imaging 5.1 The Stereo Soundstage 5.2 Phantom And Discrete Images 5.3 Image Width 5.4 Beyond The Loudspeakers 5.5 Depth Concepts 5.6 The Illusion Of Height 5.7 Static And Dynamic Panning 5.8 Image Symmetry 5.9 Use All Of The Soundstage! 5.10 How To Listen 5.10 Reality VS. Recording Chapter 6: Stereo Microphone Arrays 6.1 Microphone Arrays 6.2 XY Coincident Pair Techniques 6.3 Blumlein Pair Technique 6.4 Near-Coincident Pair Techniques 6.5 Spaced Pair (AB) Techniques 6.6 MS (Middle-Side) Techniques 6.7 The Decca Tree 6.8 Binaural And Baffle Techniques Chapter 7: The Effect Of Microphone Position 7.1 Art And Science 7.2 Distance and Tonal Qualities 7.3 Zoom Factor 7.4 Off-Axis Response 7.5 Direct VS Reflected Sound 7.6 Floor Reflections - The Good, The Bad, And Boundary Mics 7.7 Distance and Stereo Arrays 7.8 Spill - Enemy Or Creative Tool? 7.9 Why Minor Changes In Mic Position Change The Sound So Much 7.10 Experimentation and Exploration 7.11 Practical Tips To Help Set Mic Position Chapter 8: The Recording Room 8.1 Room Sound 8.2 Live Rooms 8.3 Dead Rooms 8.4 Room Size 8.5 Cubic Airspace 8.6 Standing Waves And Resonant Frequencies 8.7 Flutter Echo 8.8 Microphone Directionality And Room Considerations 8.9 Room Shape 8.10 Absorption 8.11 Diffusion 8.12 The Purpose Of The Room 8.13 Acoustical Home Remedies Chapter 9: Recording Vocals 9.1 Is It Really About The Mic? 9.2 Getting The Performance 9.3 Vocal Tracking Methods 9.4 Miking Individuals 9.5 Voice And Acoustic Gui
Dr. Ian Corbett is the coordinator of the Audio Engineering Program, and Professor of Music Technology and Audio Engineering at Kansas City Kansas Community College. He also owns and operates off-beat-open-hats - recording and sound reinforcement which specializes in servicing the needs of jazz and classical ensembles in the Kansas City area. Since 2004, he has been a member of the Audio Engineering Society's Education Committee, and has mentored, presented, and served on panels at local, regional, national, and international AES and other professional events. Ian has also authored articles on audio recording related subjects for Sound On Sound magazine.