Audio Engineering 101. A Beginner's Guide to Music by Tim Dittmar

By Tim Dittmar

Audio Engineering 101 is a true international consultant for beginning out within the recording undefined. when you've got the dream, the information, the track and the creativity yet have no idea the place to begin, then this ebook is for you!

Filled with functional recommendation on the way to navigate the recording international, from an writer with first-hand, real-life adventure, Audio Engineering 101 may help you reach the fascinating, yet difficult and complicated, track undefined.

Covering all you must find out about the recording strategy, from the features of sound to a advisor to microphones to analog as opposed to electronic recording. Dittmar covers the entire fundamentals- apparatus, studio acoustics, the principals of EQ/ compression, track examples to paintings from and whilst and the way to take advantage of compression. FAQ's from execs provide you with genuine perception into the truth of lifestyles at the undefined.

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A comfortable spot in the studio or outside that welcomes the musicians to relax, hangout, and get out of the studio can go a long way. A comfy couch, an espresso machine, a box of percussion toys, vintage equipment, or anything that says “Come and hang out here, and create music,” can enhance the vibe of a session. A studio should be a place to escape from the world and create music. As an engineer, don’t bring your personal problems or issues into a session. You never want to risk bringing the vibe down on a session.

A beefier, bassier tone can be achieved by placing a cardioid pickup pattern mic right next to the source. Beware, this can also make sounds muddy and overly bassy. Directional characteristics determine how isolated a sound will be from other sounds and how much environment will be heard in the recorded sound. Bi-directional, or Figure 8, pattern picks up sound from the front and the back of the mic and rejects sound from the sides. Ribbon microphones tend to be ­bi-directional, although they come in all pickup patterns.

Add upper-mids or high frequencies to make a sound less distant. A distant sound could also mean that it is too low in the mix or has way too much reverb. Dry – A sound with little or no FX can be described as dry. A dry sound would not have reverb or other obvious effects present. A dry sound is most common with folk, bluegrass, and acoustic styles of music. Dull – A sound can appear dull if it is lacking energy, highs, or is overly compressed. Add upper-mids or highs to a dull sound, or slow the attack setting on a compressor to make a sound less dull.

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