Focal Press Mic It!: Microphones, Microphone Techniques, and Their Impact on the Final Mix

Focal Press 9780367470364 Overview

  • 1Description
  • 2Table of Contents
  • 3Table of Contents Continued
  • 4Table of Contents Continued
  • 5Table of Contents Continued
  • 6About the Author

Capture great sound in the first place and spend less time fixing it in the mix with Ian Corbett's Mic It!: Microphones, Microphone Techniques, and Their Impact on the Final Mix from Focal Press. With this updated and expanded second edition, you'll quickly understand essential audio concepts as they relate to microphones and mic techniques and learn how to apply them to your recording situation. Mic It! gives you the background to explore, discover, and design your own solutions, enabling you to record great source tracks that can be developed into anything from ultra-clean mixes to massive, organic soundscapes. Beginning with essential audio theory and a discussion of the desirable characteristics of good sound, Mic It! covers microphones, mono and stereo mic techniques, the effect of the recording space or room, and large classical and jazz ensemble recording.

This second edition also features new chapters on immersive audio, immersive recording concepts, drum tuning, and recording techniques for audio for video. Mic It! provides in-depth information on how different mic techniques can be used, modified, and fine-tuned to capture not only the best sound, but the best sound for the mix, as well as how to approach and set up the recording session, prepare for mixing, and avoid common recording and mixing mistakes. Corbett's expert advice ranges from vital knowledge no novice should be without, to advanced techniques that more experienced engineers can explore to benefit and vary the sound of their recordings. Whether you only ever buy one microphone, are equipping a studio on a budget, or have a vast selection of great mics to use, with Mic It! you'll learn how to make the most of the tools you have.

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 (dB)
    • 1.4 Power Relationships
    • 1.5 Decibel Scales
    • 1.6 Dynamic Range
    • 1.7 Signal-To-Noise Ratio
    • 1.8 Frequency vs Pitch
    • 1.9 Frequency Response
    • 1.10 Waveforms, Fundamentals, and Harmonics
    • 1.11 Wavelength, Velocity, Phase
    • 1.12 Amplitude Summation and Comb Filtering
    • 1.13 Human Hearing
    • 1.14 Signal Flow and Audio Level Standards
    • 1.15 Gain Structure and Recording Levels
    • 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 Mono Compatibility
    • 2.5 Compressed Audio Formats
    • 2.6 Dynamic Range
    • 2.7 What About Distortion?
    • 2.8 What Is a Good Recording?
    • 2.9 Accuracy
    • 2.10 Non-Natural Sounds and Balances
    • 2.11 What Are the Elements of a Good Mix?
    • 2.12 Frequency Balance
    • 2.13 Clarity and Intelligibility
    • 2.14 The Stereo Image
    • 2.15 Focus and Amplitude Balance
    • 2.16 Processing and Effects
    • 2.17 Musical Arrangement and Song Structure
    • 2.18 Making a Great Record
  • Chapter 3: About Microphones, Part 1�
    • 3.1 The Microphone
    • 3.2 End Address or Side Address?
    • 3.3 Directionality and Pick-Up Patterns
    • 3.4 Dynamic Microphones
    • 3.5 Condenser (Capacitor) Microphones
    • 3.6 Single vs Dual Diaphragm Microphones
    • 3.7 Pressure and Pressure Gradient Transducers
    • 3.8 Ribbon Microphones
    • 3.9 Tube (Valve) Microphones
    • 3.10 Stereo Microphones
    • 3.11 Virtual Microphones
    • 3.12 Other Microphone Technologies
  • Chapter 4: About Microphones, Part 2�
    • 4.1 Phantom Power
    • 4.2 Proximity Effect
    • 4.3 Frequency Response
    • 4.4 Off-Axis Response
    • 4.5 Flat Microphones vs Vocal Microphones
    • 4.6 Low Frequency Response
    • 4.7 Low Cut Filters
    • 4.8 Low Frequency Instrument Microphones
    • 4.9 Sensitivity
    • 4.10 Self-Noise and Equivalent Noise Rating (ENR)
    • 4.11 Signal-to-Noise Ratio
    • 4.12 Pads
    • 4.13 Maximum SPL
    • 4.14 Dynamic Range
    • 4.15 Transient Response
    • 4.16 Pop Filters, Windscreens, and Dead Cats
    • 4.17 Shock Mounts
    • 4.18 Mic Preamps
    • 4.19 What Mic to Use?
    • 4.20 There�s More to It Than Specifications!
  • Chapter 5: EQ Basics
    • 5.1 What Is EQ?
    • 5.2 Last Resort, and Creative Mix Tool
    • 5.3 Can You EQ Spill?
    • 5.4 EQ Filters
    • 5.5 Analog vs Digital EQ
    • 5.6 Additive vs Subtractive EQ
    • 5.7 The Fewer Filters the Better
    • 5.8 How Much to EQ?
    • 5.9 When to EQ?
    • 5.10 Golden Rules of EQ
  • Chapter 6: Stereo Imaging
    • 6.1 The Stereo Soundstage
    • 6.2 How to Listen
    • 6.3 Phantom and Discrete Images
    • 6.4 Image Width
    • 6.5 Beyond the Loudspeakers
    • 6.6 Depth Concepts
    • 6.7 The Illusion of Height
    • 6.8 Static and Dynamic Panning
    • 6.9 Image Symmetry
    • 6.10 Use All of the Soundstage!
    • 6.11 Reality vs Recording
Table of Contents Continued
  • Chapter 7: Stereo Microphone Arrays
    • 7.1 Microphone Arrays
    • 7.2 XY Coincident Pair Techniques
    • 7.3 Blumlein Pair Technique
    • 7.4 Near-Coincident Pair Techniques
    • 7.5 Spaced Pair (AB) Techniques
    • 7.6 MS (Middle-Side) Techniques
    • 7.7 The Decca Tree
    • 7.8 Binaural and Baffle Techniques
  • Chapter 8: Immersive Audio
    • 8.1 Surround and Immersive Audio
    • 8.2 Channel Panning and Object Based Audio
    • 8.3 The New Challenges of Immersive Audio
    • 8.4 Channel Based Microphone Techniques
    • 8.5 Binaural Techniques8.6 Introducing Ambisonics�
  • Chapter 9: The Effect of Microphone Position
    • 9.1 Art and Science
    • 9.2 Distance and Tonal Qualities
    • 9.3 "Zoom Factor"
    • 9.4 Off-Axis Response
    • 9.5 Direct vs Reflected Sound
    • 9.6 Comb Filtering Problems
    • 9.7 Floor Reflections � the Good, the Bad, and Boundary Mics
    • 9.8 Stereo Arrays and Distance
    • 9.9 Spill � Enemy or Creative Tool?
    • 9.10 Mic Position Practicalities
    • 9.11 Multi-Miking
    • 9.12 Experimentation and Exploration
    • 9.13 Practical Tips to Help Set Mic Position
  • Chapter 10: The Recording Room
    • 10.1 Room Sound
    • 10.2 Live Rooms
    • 10.3 Dead Rooms
    • 10.4 Room Size
    • 10.5 Cubic Airspace
    • 10.6 Standing Waves and Resonant Frequencies
    • 10.7 Flutter Echo
    • 10.8 Microphone Directionality and Room Considerations
    • 10.9 Room Shape
    • 10.10 Absorption
    • 10.11 Diffusion
    • 10.12 The Purpose of the Room
    • 10.13 The Single Room Home Studio
    • 10.14 Acoustical "Home Remedies"
    • 10.15 Monitor Calibration Software?
Table of Contents Continued
  • Chapter 11: Recording Vocals
    • 11.1 Is it Really About the Mic?
    • 11.2 Getting "the" Performance
    • 11.3 Vocal Tracking Methods
    • 11.4 Miking Individuals
    • 11.5 Voice and Acoustic Guitar
    • 11.6 Small Vocal Groups
    • 11.7 Larger Contemporary Vocal Groups
    • 11.8 Gang Vocals
    • 11.9 Vocal Recording Tips
    • 11.10 Vocal EQ Frequencies
  • Chapter 12: Drum Miking
    • 12.1 What Kind of Sound Does the Project Call For?
    • 12.2 How Many Mics Do You Really Need?
    • 12.3 Kick Drums
    • 12.4 Snare Drums
    • 12.5 Hi-Hats
    • 12.6 Tom Toms
    • 12.7 Cymbals and Overheads
    • 12.8 Room Mics
    • 12.9 Rock Drums vs Acoustic Jazz Drums
    • 12.10 Drum EQ Frequencies
  • Chapter 13: Drum Tuning
    • 13.1 Why Learn to Tune Drums?
    • 13.2 Fundamental vs Lug Frequencies
    • 13.3 Drums and Tuning Concepts
    • 13.4 Kick Drum Tuning
    • 13.5 Snare Drum Tuning
    • 13.6 Tom Tom Tuning
    • 13.7 Fixing Rings and Resonances
    • 13.8 Tuning Devices and Apps
  • Chapter 14: Guitars, Basses, and Keyboards
    • 14.1 The Role of the Rhythm Section
    • 14.2 Electric Guitar
    • 14.3 Creative Comb Filtering
    • 14.4 Direct Boxes
    • 14.5 Reamping
    • 14.6 Amp and Pedal Simulation
    • 14.7 Electric Bass
    • 14.8 More on Guitar and Bass Cabs
    • 14.9 Acoustic (Upright) Bass
    • 14.10 Acoustic Guitar
    • 14.11 Grand Piano
    • 14.12 Upright Piano
    • 14.13 Electric Keyboards and Synthesizers
    • 14.14 Leslie Speakers and the Hammond Organ
    • 14.15 Accordions
    • 14.16 EQ Frequencies
  • Chapter 15: Strings, Winds, Brass, and Percussion
    • 15.1 Orchestral String Instruments
    • 15.2 Horn Section Instruments
    • 15.3 Other Wind and String Instruments
    • 15.4 Percussion Instruments
    • 15.5 EQ Frequencies
Table of Contents Continued
  • Chapter 16: Setting Up the Studio
    • 16.1 The Three or Seven P's
    • 16.2 Bands - Small Room Recording
    • 16.3 Bands - Large Room Recording
    • 16.4 Iso-Rooms and Multi-Room Studios
    • 16.5 Gobos and Sound Barriers
    • 16.6 Drum Rooms and Drum Screens
    • 16.7 String Sections
    • 16.8 Horn Sections
  • Chapter 17: Miking Large Ensembles
    • 17.1 Orchestras and Large Instrumental Ensembles
    • 17.2 Main Arrays
    • 17.3 Outriggers
    • 17.4 Woodwind Mics
    • 17.5 Natural Reverb and Room Acoustics
    • 17.6 Audience Mics
    • 17.7 Spot Mics
    • 17.8 To Time Align or Not to Time Align?
    • 17.9 Artificial Reverb
    • 17.10 The Hollywood Sound
    • 17.11 Large Choirs
    • 17.12 Jazz Big Bands - Concert Seating
    • 17.13 Jazz Big Bands - Studio Isolation Seating
  • Chapter 18: Putting It All Together
    • 18.1 Recording for the Mix
    • 18.2 Ear Candy
    • 18.3 Pre-Production
    • 18.4 The Pre-Mix
    • 18.5 The Headphone Mix
    • 18.6 Click Tracks
    • 18.7 Knowing the Song
    • 18.8 Don't Give Everything Away at Once
    • 18.9 Correct Problems Early (But Know When to Let Them Go)
    • 18.10 Fixing Dull or Small Sounding Tracks
    • 18.11 "Polishing a Turd"
    • 18.12 Exploration and Experimentation
  • Chapter 19: Audio for Video
    • 19.1 Why Audio for Video?
    • 19.2 Types of Audio
    • 19.3 Recording Systems
    • 19.4 Synchronization
    • 19.5 Shotgun Microphones
    • 19.6 Blimps19.7
    • Boompoles and Pistol Grips
    • 19.8 Lavalier Microphones
    • 19.9 Voice-Overs and Dialog Replacement
    • 19.10 Isolation and Restoration Software
    • 19.11 Sound Effect Recording
  • Chapter 20: Tips From the Professionals�
    • 20.1 To Conclude�
    • 20.2 Lenise Bent
    • 20.3 David V. R. Bowles
    • 20.4 Joel Hamilton
    • 20.5 Kerry-Anne Kubisa
    • 20.6 Wes "Wesonator" Maebe
    • 20.7 Matt Ross-Spang
    • 20.8 Mark Rubel
    • 20.9 Catherine Vericolli
    • 20.10 Paul "Willie Green" Womack
About the Author
Ian Corbett is the Coordinator of Audio Engineering at Kansas City Kansas Community College. He also owns and operates off-beat-open-hats LLC recording and sound reinforcement. He is a frequent presenter at conferences and universities around the world, and currently a regional Vice-President of the Audio Engineering Society. He has experience in a wide variety of audio fields, including location recording, sound reinforcement, studio recording, theatre, television, and radio.

In the Box

  • Focal Press Mic It!: Microphones, Microphone Techniques, and Their Impact on the Final Mix
    Table of Contents
    • Description
    • Table of Contents
    • Table of Contents Continued
    • Table of Contents Continued
    • Table of Contents Continued
    • About the Author

    Focal Press 9780367470364 Specs

    Author
    Ian Corbett
    Publisher
    Routledge
    Publication Date
    December 30, 2020
    Edition
    2nd
    ISBN Number
    9780367470364
    Number of Pages
    440
    Cover Type
    Soft
    Illustrations
    185 Black & White Illustrations

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