{"product_id":"home-recording-for-dummies-6th-edition-9781119711100","title":"Home Recording For Dummies 6th Edition","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003eIntroduction\u003c\/b\u003e\u003cb\u003e 1\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAbout This Book 1\u003c\/p\u003e \u003cp\u003eFoolish Assumptions 2\u003c\/p\u003e \u003cp\u003eIcons Used in This Book 3\u003c\/p\u003e \u003cp\u003eBeyond the Book 3\u003c\/p\u003e \u003cp\u003eWhere to Go from Here 3\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 1: Getting Started with Home Recording 5\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 1: Understanding Home Recording\u003c\/b\u003e\u003cb\u003e 7\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eExamining the Anatomy of a Home Studio 7\u003c\/p\u003e \u003cp\u003eExploring the recording essentials 8\u003c\/p\u003e \u003cp\u003eChecking out recording system types 10\u003c\/p\u003e \u003cp\u003eGetting a Glimpse into the Recording Process 11\u003c\/p\u003e \u003cp\u003eSetting up a song 11\u003c\/p\u003e \u003cp\u003eGetting a great sound 11\u003c\/p\u003e \u003cp\u003eRecording 12\u003c\/p\u003e \u003cp\u003eOverdubbing 12\u003c\/p\u003e \u003cp\u003eMaking Sense of Mixing 12\u003c\/p\u003e \u003cp\u003eCleaning up tracks using editing 13\u003c\/p\u003e \u003cp\u003eEqualizing your tracks 13\u003c\/p\u003e \u003cp\u003eProcessing your signal 13\u003c\/p\u003e \u003cp\u003eBlending your tracks 13\u003c\/p\u003e \u003cp\u003eAdding the Final Touches 14\u003c\/p\u003e \u003cp\u003eMastering your mixes 14\u003c\/p\u003e \u003cp\u003ePutting your music out into the world 15\u003c\/p\u003e \u003cp\u003ePromoting your music 16\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 2: Getting the Right Gear\u003c\/b\u003e\u003cb\u003e 17\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDetermining Your Home Studio Needs 18\u003c\/p\u003e \u003cp\u003eDetailing Your Digital Options 21\u003c\/p\u003e \u003cp\u003eComputer-Based Digital Recording Systems 23\u003c\/p\u003e \u003cp\u003eFinding the right computer setup 23\u003c\/p\u003e \u003cp\u003eGetting the sound in and out 26\u003c\/p\u003e \u003cp\u003eChoosing the right software 30\u003c\/p\u003e \u003cp\u003eStudio-in-a-Box Systems 33\u003c\/p\u003e \u003cp\u003eTaking a look at the benefits 33\u003c\/p\u003e \u003cp\u003eExamining some popular SIAB systems 33\u003c\/p\u003e \u003cp\u003eMobile-Device Recording 34\u003c\/p\u003e \u003cp\u003eAndroid 35\u003c\/p\u003e \u003cp\u003eApple iOS 36\u003c\/p\u003e \u003cp\u003eExploring Sample Setups 37\u003c\/p\u003e \u003cp\u003eLive and MIDI studio 38\u003c\/p\u003e \u003cp\u003eMIDI-intensive studio 38\u003c\/p\u003e \u003cp\u003eLive studio 41\u003c\/p\u003e \u003cp\u003ePodcasting studio 42\u003c\/p\u003e \u003cp\u003eAudio-for-video studio 43\u003c\/p\u003e \u003cp\u003eMobile on-location studio 44\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 3: Getting Connected: Setting Up Your Studio\u003c\/b\u003e\u003cb\u003e 45\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eUnderstanding Analog Connections 46\u003c\/p\u003e \u003cp\u003eThe ¼-inch analog plug 46\u003c\/p\u003e \u003cp\u003eXLR 49\u003c\/p\u003e \u003cp\u003eRCA 49\u003c\/p\u003e \u003cp\u003eDelving into Digital Connections 50\u003c\/p\u003e \u003cp\u003eMIDI 50\u003c\/p\u003e \u003cp\u003eAES\/EBU 50\u003c\/p\u003e \u003cp\u003eS\/PDIF 51\u003c\/p\u003e \u003cp\u003eADAT Lightpipe 51\u003c\/p\u003e \u003cp\u003eTDIF 51\u003c\/p\u003e \u003cp\u003eUSB 52\u003c\/p\u003e \u003cp\u003eFireWire 53\u003c\/p\u003e \u003cp\u003eThunderbolt 54\u003c\/p\u003e \u003cp\u003eWorking Efficiently 55\u003c\/p\u003e \u003cp\u003eTaming heat and dust 57\u003c\/p\u003e \u003cp\u003eMonitoring your monitors 57\u003c\/p\u003e \u003cp\u003eOptimizing Your Room 58\u003c\/p\u003e \u003cp\u003eIsolating sound 58\u003c\/p\u003e \u003cp\u003eControlling sound 60\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 4: Meet the Mixer\u003c\/b\u003e\u003cb\u003e 69\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eMeeting the Many Mixers 69\u003c\/p\u003e \u003cp\u003eAnalog mixer 70\u003c\/p\u003e \u003cp\u003eDigital mixer 71\u003c\/p\u003e \u003cp\u003eSoftware mixer 72\u003c\/p\u003e \u003cp\u003eComputer control surface 73\u003c\/p\u003e \u003cp\u003eUnderstanding Mixer Basics 74\u003c\/p\u003e \u003cp\u003eExamining inputs 75\u003c\/p\u003e \u003cp\u003eChecking out the channel strip 76\u003c\/p\u003e \u003cp\u003eRecognizing mixer routing 82\u003c\/p\u003e \u003cp\u003eOpting for outputs 83\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 5: Multitrack Recording\u003c\/b\u003e\u003cb\u003e 85\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eUnderstanding Multitracking 85\u003c\/p\u003e \u003cp\u003eGetting Ready to Record 86\u003c\/p\u003e \u003cp\u003eSetting up a song 87\u003c\/p\u003e \u003cp\u003eCreating and organizing your tracks 87\u003c\/p\u003e \u003cp\u003eSelecting a sound source 90\u003c\/p\u003e \u003cp\u003eSetting levels 92\u003c\/p\u003e \u003cp\u003eGetting the sound you want 92\u003c\/p\u003e \u003cp\u003eChoosing a monitoring source 95\u003c\/p\u003e \u003cp\u003eSetting a Tempo Map 95\u003c\/p\u003e \u003cp\u003eSaving Your Work 95\u003c\/p\u003e \u003cp\u003eSharing Files with Others 96\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 2: Working with Microphones 97\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 6: Understanding Microphones\u003c\/b\u003e\u003cb\u003e 99\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eMeeting the Many Microphone Types 100\u003c\/p\u003e \u003cp\u003eConstruction types 100\u003c\/p\u003e \u003cp\u003ePolarity patterns 106\u003c\/p\u003e \u003cp\u003eAssessing Your Microphone Needs 110\u003c\/p\u003e \u003cp\u003eDeciding How Many Microphones and What Kind 111\u003c\/p\u003e \u003cp\u003eGetting started 111\u003c\/p\u003e \u003cp\u003eMovin’ on 113\u003c\/p\u003e \u003cp\u003eGoing all out 115\u003c\/p\u003e \u003cp\u003eFinding the Right Mic for the Situation 117\u003c\/p\u003e \u003cp\u003ePartnering Mics with Preamps 120\u003c\/p\u003e \u003cp\u003eSolid-state 120\u003c\/p\u003e \u003cp\u003eVacuum tube 121\u003c\/p\u003e \u003cp\u003eHybrid 121\u003c\/p\u003e \u003cp\u003eConsidering Compressors 122\u003c\/p\u003e \u003cp\u003eAnalyzing Some Microphone Accessories 123\u003c\/p\u003e \u003cp\u003eMicrophone cords 123\u003c\/p\u003e \u003cp\u003eMicrophone stands 123\u003c\/p\u003e \u003cp\u003ePop filters 123\u003c\/p\u003e \u003cp\u003eCaring for Your Microphones 124\u003c\/p\u003e \u003cp\u003eDaily care 125\u003c\/p\u003e \u003cp\u003eStorage 125\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 7: Taking a Look at Microphone Techniques\u003c\/b\u003e\u003cb\u003e 127\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSingling Out Close Miking 128\u003c\/p\u003e \u003cp\u003eDetailing Distant Miking 130\u003c\/p\u003e \u003cp\u003eAssessing Ambient Miking 131\u003c\/p\u003e \u003cp\u003eSelecting Stereo Miking 133\u003c\/p\u003e \u003cp\u003eX-Y pairs 133\u003c\/p\u003e \u003cp\u003eBlumlein technique 134\u003c\/p\u003e \u003cp\u003eSpaced pairs 135\u003c\/p\u003e \u003cp\u003eStereo microphones 136\u003c\/p\u003e \u003cp\u003eOvercoming problems with stereo miking 137\u003c\/p\u003e \u003cp\u003eCreating Miking Combinations 139\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 8: Miking Your Instruments \u003c\/b\u003e\u003cb\u003e141\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eGetting a Great Lead Vocal Sound 142\u003c\/p\u003e \u003cp\u003eMaking the most of the room 142\u003c\/p\u003e \u003cp\u003eChoosing the best mic 142\u003c\/p\u003e \u003cp\u003eGetting Good Backup Vocals 145\u003c\/p\u003e \u003cp\u003eExamining Electric Guitar Miking 146\u003c\/p\u003e \u003cp\u003eUsing the room 147\u003c\/p\u003e \u003cp\u003eGetting the most out of the mics 147\u003c\/p\u003e \u003cp\u003eExploring Electric Bass Miking 149\u003c\/p\u003e \u003cp\u003eManaging the room 149\u003c\/p\u003e \u003cp\u003eGetting the most from the mic 149\u003c\/p\u003e \u003cp\u003eMiking Acoustic Guitars and Similar Instruments 150\u003c\/p\u003e \u003cp\u003eMaking the most of the room 150\u003c\/p\u003e \u003cp\u003eUsing your mics 150\u003c\/p\u003e \u003cp\u003eManeuvering Horn Mics 152\u003c\/p\u003e \u003cp\u003eUnderstanding the role of the room 152\u003c\/p\u003e \u003cp\u003eMaking the most of the mics 152\u003c\/p\u003e \u003cp\u003ePlacing Mics for a Piano 153\u003c\/p\u003e \u003cp\u003eHarnessing the sound of the room 153\u003c\/p\u003e \u003cp\u003eManaging the mics 153\u003c\/p\u003e \u003cp\u003eSetting Up Mics for Strings 154\u003c\/p\u003e \u003cp\u003eMaking the most of the room 154\u003c\/p\u003e \u003cp\u003eMaking sense of the mics 154\u003c\/p\u003e \u003cp\u003eDigging into Drum Set Miking 155\u003c\/p\u003e \u003cp\u003eFirst things first: Tuning your drums 155\u003c\/p\u003e \u003cp\u003eUsing the room to your benefit 156\u003c\/p\u003e \u003cp\u003ePicking up the kick (bass) drum 156\u003c\/p\u003e \u003cp\u003eSetting up the snare drum 159\u003c\/p\u003e \u003cp\u003eTackling the tom-toms 160\u003c\/p\u003e \u003cp\u003eHandling the hi-hats 161\u003c\/p\u003e \u003cp\u003eCreating the best cymbal sound 161\u003c\/p\u003e \u003cp\u003eMiking the whole kit 162\u003c\/p\u003e \u003cp\u003eGetting Your Hands on Hand Drums 163\u003c\/p\u003e \u003cp\u003ePerfecting Percussion Miking 163\u003c\/p\u003e \u003cp\u003eExploring the impact of the room 163\u003c\/p\u003e \u003cp\u003eChoosing and using the mics 164\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 3: Recording Live Audio 165\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 9: Getting a Great Source Sound\u003c\/b\u003e\u003cb\u003e 167\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eMaking Sense of the Signal Chain 167\u003c\/p\u003e \u003cp\u003eSetting Optimal Signal Levels 169\u003c\/p\u003e \u003cp\u003eUnderstanding Pre and Post Levels 171\u003c\/p\u003e \u003cp\u003eInterpreting the various levels 171\u003c\/p\u003e \u003cp\u003eLooking at examples 173\u003c\/p\u003e \u003cp\u003eGetting Great Guitar, Bass, and Electronic String Instrument Sounds 174\u003c\/p\u003e \u003cp\u003eConnect directly 174\u003c\/p\u003e \u003cp\u003eProcess beforehand 175\u003c\/p\u003e \u003cp\u003eLeverage your amp 176\u003c\/p\u003e \u003cp\u003eCreating Killer Keyboard Tracks 176\u003c\/p\u003e \u003cp\u003eRecording E-Drums, Drum Machines, and Electronic Percussion 177\u003c\/p\u003e \u003cp\u003eMaking the Most of Microphones 178\u003c\/p\u003e \u003cp\u003ePlacing mics properly 179\u003c\/p\u003e \u003cp\u003eCompressing carefully 179\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 10: Recording Audio\u003c\/b\u003e\u003cb\u003e 183\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003ePerforming Your First Take 183\u003c\/p\u003e \u003cp\u003ePunching In and Out 185\u003c\/p\u003e \u003cp\u003eManual punching 185\u003c\/p\u003e \u003cp\u003ePunching with a foot switch 185\u003c\/p\u003e \u003cp\u003eAutomatic punching 185\u003c\/p\u003e \u003cp\u003eRepeated punching (looping) 186\u003c\/p\u003e \u003cp\u003eExploring Overdubbing 187\u003c\/p\u003e \u003cp\u003eSubmixing 188\u003c\/p\u003e \u003cp\u003eBouncing 189\u003c\/p\u003e \u003cp\u003eKeeping Track of Your Tracks 190\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 11: Understanding Electronic Instruments and MIDI\u003c\/b\u003e\u003cb\u003e 191\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eMeeting MIDI 192\u003c\/p\u003e \u003cp\u003ePerusing MIDI ports 192\u003c\/p\u003e \u003cp\u003eUnderstanding MIDI channels 194\u003c\/p\u003e \u003cp\u003eAppreciating MIDI messages 195\u003c\/p\u003e \u003cp\u003eManaging modes 196\u003c\/p\u003e \u003cp\u003eTaking orders from General MIDI 197\u003c\/p\u003e \u003cp\u003eGearing Up for MIDI 198\u003c\/p\u003e \u003cp\u003eSound generators 199\u003c\/p\u003e \u003cp\u003eSound card 202\u003c\/p\u003e \u003cp\u003eMIDI controller 203\u003c\/p\u003e \u003cp\u003eSequencer 204\u003c\/p\u003e \u003cp\u003eMIDI interface 204\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 12: Recording Electronic Instruments Using MIDI\u003c\/b\u003e\u003cb\u003e 207\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSynchronizing Your Devices 207\u003c\/p\u003e \u003cp\u003eSynchronizing two (or more) synthesizers 208\u003c\/p\u003e \u003cp\u003eSynchronizing a computer sequencer and a synthesizer 209\u003c\/p\u003e \u003cp\u003eSynchronizing a sequencer and an audio recorder 210\u003c\/p\u003e \u003cp\u003eUsing the transport function from one device to control another 212\u003c\/p\u003e \u003cp\u003eSequencing 214\u003c\/p\u003e \u003cp\u003eRecording MIDI data 215\u003c\/p\u003e \u003cp\u003eOverdubbing 217\u003c\/p\u003e \u003cp\u003eSaving Your Data 218\u003c\/p\u003e \u003cp\u003eTransferring Data Using MIDI 219\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 13: Working with Loops\u003c\/b\u003e\u003cb\u003e 221\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eUnderstanding Loops and Loop Types 222\u003c\/p\u003e \u003cp\u003eChoosing Loop Formats 222\u003c\/p\u003e \u003cp\u003eSetting Up Your Session 223\u003c\/p\u003e \u003cp\u003eSetting tempo and time and key signatures 223\u003c\/p\u003e \u003cp\u003eCreating song maps 224\u003c\/p\u003e \u003cp\u003eEnabling a metronome 225\u003c\/p\u003e \u003cp\u003eAdding Loops to Your Sessions 226\u003c\/p\u003e \u003cp\u003eBrowsing loop libraries 226\u003c\/p\u003e \u003cp\u003ePreviewing loops 227\u003c\/p\u003e \u003cp\u003eAdding loops to your session 227\u003c\/p\u003e \u003cp\u003eEditing Loops 229\u003c\/p\u003e \u003cp\u003eCreating Loops 229\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 4: Editing and Enhancing Your Tracks 233\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 14: Getting into Editing\u003c\/b\u003e\u003cb\u003e 235\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eUnderstanding Digital Editing 236\u003c\/p\u003e \u003cp\u003eCopy 237\u003c\/p\u003e \u003cp\u003eCut\/Delete\/Erase 237\u003c\/p\u003e \u003cp\u003eInsert 238\u003c\/p\u003e \u003cp\u003ePaste 239\u003c\/p\u003e \u003cp\u003eMove 240\u003c\/p\u003e \u003cp\u003eExport\/Import 240\u003c\/p\u003e \u003cp\u003eUndo 241\u003c\/p\u003e \u003cp\u003eFinding the Section You Want to Edit 241\u003c\/p\u003e \u003cp\u003eEditing aurally 241\u003c\/p\u003e \u003cp\u003eEditing visually 242\u003c\/p\u003e \u003cp\u003eEditing to Improve the Sound of a Performance 244\u003c\/p\u003e \u003cp\u003eReplacing a bad note 245\u003c\/p\u003e \u003cp\u003eEvening out a performance 246\u003c\/p\u003e \u003cp\u003eGetting rid of distortion 247\u003c\/p\u003e \u003cp\u003eGetting rid of noise 248\u003c\/p\u003e \u003cp\u003eCorrecting pitch problems 248\u003c\/p\u003e \u003cp\u003eCreating a Performance That Never Happened 249\u003c\/p\u003e \u003cp\u003eCreating loops 249\u003c\/p\u003e \u003cp\u003eAssembling a song 250\u003c\/p\u003e \u003cp\u003eMaking compilations of your tracks 250\u003c\/p\u003e \u003cp\u003eDiscovering Other Ways to Use Editing 251\u003c\/p\u003e \u003cp\u003eAdjusting the length of a performance 251\u003c\/p\u003e \u003cp\u003eReversing a phrase 251\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 15: Editing MIDI Data\u003c\/b\u003e\u003cb\u003e 253\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eUnderstanding MIDI Windows 253\u003c\/p\u003e \u003cp\u003eSelecting track material 255\u003c\/p\u003e \u003cp\u003eSetting MIDI patches on tracks 255\u003c\/p\u003e \u003cp\u003eAdding MIDI events 256\u003c\/p\u003e \u003cp\u003eDeleting MIDI notes 257\u003c\/p\u003e \u003cp\u003eEditing MIDI Data 257\u003c\/p\u003e \u003cp\u003eChanging a note’s pitch 258\u003c\/p\u003e \u003cp\u003eChanging a note’s duration 258\u003c\/p\u003e \u003cp\u003eChanging a note’s velocity 259\u003c\/p\u003e \u003cp\u003eChanging time locations 259\u003c\/p\u003e \u003cp\u003eMoving notes freely 260\u003c\/p\u003e \u003cp\u003eEditing Program Data 260\u003c\/p\u003e \u003cp\u003eChanging program patches 260\u003c\/p\u003e \u003cp\u003eMoving program change markers 260\u003c\/p\u003e \u003cp\u003eChanging Continuous Controller Data 261\u003c\/p\u003e \u003cp\u003eEditing lines with the Pencil tool 261\u003c\/p\u003e \u003cp\u003eEditing breakpoints 262\u003c\/p\u003e \u003cp\u003eScaling breakpoints 262\u003c\/p\u003e \u003cp\u003eQuantizing Your Performance 263\u003c\/p\u003e \u003cp\u003eTransposing Your Performance 266\u003c\/p\u003e \u003cp\u003eSaving Your Data 267\u003c\/p\u003e \u003cp\u003eTransferring Data Using MIDI 267\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 5: Mixing and Mastering Your Music 269\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 16: Mixing Basics\u003c\/b\u003e\u003cb\u003e 271\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eUnderstanding Mixing 272\u003c\/p\u003e \u003cp\u003eManaging Levels as You Work 272\u003c\/p\u003e \u003cp\u003eGetting Started Mixing Your Song 273\u003c\/p\u003e \u003cp\u003eMixing in DAWs 274\u003c\/p\u003e \u003cp\u003eUsing a control surface 274\u003c\/p\u003e \u003cp\u003eUsing a digital mixer 274\u003c\/p\u003e \u003cp\u003eUsing an analog mixer 275\u003c\/p\u003e \u003cp\u003eUsing the Stereo Field 276\u003c\/p\u003e \u003cp\u003eLeft or right 276\u003c\/p\u003e \u003cp\u003eFront or back 278\u003c\/p\u003e \u003cp\u003eAdjusting Levels: Enhancing the Emotion of the Song 279\u003c\/p\u003e \u003cp\u003eDynamics 280\u003c\/p\u003e \u003cp\u003eThe arrangement 281\u003c\/p\u003e \u003cp\u003eTuning Your Ears 281\u003c\/p\u003e \u003cp\u003eListening critically 281\u003c\/p\u003e \u003cp\u003eChoosing reference music 283\u003c\/p\u003e \u003cp\u003eDealing with ear fatigue 284\u003c\/p\u003e \u003cp\u003eMaking several versions 284\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 17: Using Equalization\u003c\/b\u003e\u003cb\u003e 285\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eExploring Equalization 285\u003c\/p\u003e \u003cp\u003eGraphic 285\u003c\/p\u003e \u003cp\u003eParametric 286\u003c\/p\u003e \u003cp\u003eLow-shelf\/high-shelf 286\u003c\/p\u003e \u003cp\u003eLow-pass\/high-pass 287\u003c\/p\u003e \u003cp\u003eDialing-In EQ 287\u003c\/p\u003e \u003cp\u003eInserting an EQ plug-in in a track 287\u003c\/p\u003e \u003cp\u003eExploring EQ options 289\u003c\/p\u003e \u003cp\u003eEqualizing Your Tracks 291\u003c\/p\u003e \u003cp\u003eGeneral EQ guidelines 293\u003c\/p\u003e \u003cp\u003eEqualizing vocals 296\u003c\/p\u003e \u003cp\u003eEqualizing guitar 296\u003c\/p\u003e \u003cp\u003eEqualizing bass 297\u003c\/p\u003e \u003cp\u003eEqualizing drums 297\u003c\/p\u003e \u003cp\u003eEqualizing percussion 299\u003c\/p\u003e \u003cp\u003eEqualizing piano 299\u003c\/p\u003e \u003cp\u003eEqualizing horns 300\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 18: Digging into Dynamics Processors\u003c\/b\u003e\u003cb\u003e 301\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eConnecting Dynamics Processors 301\u003c\/p\u003e \u003cp\u003eIntroducing Compressors 302\u003c\/p\u003e \u003cp\u003eGetting to know compressor parameters 303\u003c\/p\u003e \u003cp\u003eGetting started using compression 305\u003c\/p\u003e \u003cp\u003eUsing compression 306\u003c\/p\u003e \u003cp\u003eLooking into Limiters 311\u003c\/p\u003e \u003cp\u003eUnderstanding limiter settings 312\u003c\/p\u003e \u003cp\u003eSetting limits with the peak limiter 313\u003c\/p\u003e \u003cp\u003eIntroducing Gates and Expanders 314\u003c\/p\u003e \u003cp\u003eGetting to know gate parameters 314\u003c\/p\u003e \u003cp\u003eGetting started using gates 316\u003c\/p\u003e \u003cp\u003eGetting started using an expander 317\u003c\/p\u003e \u003cp\u003eDetailing the De-Esser 317\u003c\/p\u003e \u003cp\u003eSetting Up Side Chains 319\u003c\/p\u003e \u003cp\u003eSetting up a side chain 319\u003c\/p\u003e \u003cp\u003eUsing a side chain 321\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 19: Singling Out Signal Processors\u003c\/b\u003e\u003cb\u003e 323\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eRouting Your Effects 324\u003c\/p\u003e \u003cp\u003eInserting effects 324\u003c\/p\u003e \u003cp\u003eSending signals to effects 325\u003c\/p\u003e \u003cp\u003eRolling Out the Reverb 326\u003c\/p\u003e \u003cp\u003eSeeing reverb settings 327\u003c\/p\u003e \u003cp\u003eGetting started using reverb 328\u003c\/p\u003e \u003cp\u003eDetailing Delay 329\u003c\/p\u003e \u003cp\u003eDigging into delay settings 329\u003c\/p\u003e \u003cp\u003eGetting started using delay 330\u003c\/p\u003e \u003cp\u003eCreating Chorus Effects 331\u003c\/p\u003e \u003cp\u003eMaking Sense of Microphone Modeling 333\u003c\/p\u003e \u003cp\u003eApplying an Amp Simulator 334\u003c\/p\u003e \u003cp\u003eDetailing Distortion Effects 335\u003c\/p\u003e \u003cp\u003eSelecting Tape Saturation Effects 336\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 20: Automating Your Mix\u003c\/b\u003e\u003cb\u003e 339\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eUnderstanding Automation 340\u003c\/p\u003e \u003cp\u003eAudio tracks 340\u003c\/p\u003e \u003cp\u003eAuxiliary input tracks 340\u003c\/p\u003e \u003cp\u003eInstrument tracks 341\u003c\/p\u003e \u003cp\u003eMaster fader tracks 341\u003c\/p\u003e \u003cp\u003eMIDI tracks 341\u003c\/p\u003e \u003cp\u003eAccessing Automation Modes 341\u003c\/p\u003e \u003cp\u003eWriting Automation 343\u003c\/p\u003e \u003cp\u003eWriting automation on a track 343\u003c\/p\u003e \u003cp\u003eWriting plug-in automation 344\u003c\/p\u003e \u003cp\u003eWriting send automation 345\u003c\/p\u003e \u003cp\u003eViewing Automation 346\u003c\/p\u003e \u003cp\u003eEditing Automation Data 347\u003c\/p\u003e \u003cp\u003eUsing editing commands 347\u003c\/p\u003e \u003cp\u003eEditing with the edit tools 348\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 21: Making Your Mix\u003c\/b\u003e\u003cb\u003e 351\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eSubmixing Tracks 351\u003c\/p\u003e \u003cp\u003eMixing in-the-Box 353\u003c\/p\u003e \u003cp\u003eExamining bounce options 353\u003c\/p\u003e \u003cp\u003ePerforming the bounce 356\u003c\/p\u003e \u003cp\u003eUsing an External Master Deck 357\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 22: Mastering Your Music\u003c\/b\u003e\u003cb\u003e 359\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDemystifying Mastering 360\u003c\/p\u003e \u003cp\u003eProcessing 360\u003c\/p\u003e \u003cp\u003eSequencing 361\u003c\/p\u003e \u003cp\u003eLeveling 361\u003c\/p\u003e \u003cp\u003eGetting Ready to Master 361\u003c\/p\u003e \u003cp\u003ePaying a Pro or Doing It Yourself 362\u003c\/p\u003e \u003cp\u003eHiring a Professional Mastering Engineer 363\u003c\/p\u003e \u003cp\u003eMastering Your Music Yourself 365\u003c\/p\u003e \u003cp\u003eOptimizing dynamics 366\u003c\/p\u003e \u003cp\u003ePerfecting tonal balance 368\u003c\/p\u003e \u003cp\u003eSequencing your songs 370\u003c\/p\u003e \u003cp\u003eBalancing levels 371\u003c\/p\u003e \u003cp\u003ePreparing for Distribution 372\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 23: Creating Your Finished Product\u003c\/b\u003e\u003cb\u003e 373\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eUnderstanding File Formats 374\u003c\/p\u003e \u003cp\u003eLossy audio file formats 374\u003c\/p\u003e \u003cp\u003eLossless audio file formats 374\u003c\/p\u003e \u003cp\u003ePutting Your Music on CD 375\u003c\/p\u003e \u003cp\u003eCDs on demand 376\u003c\/p\u003e \u003cp\u003eShort-run CD duplication 378\u003c\/p\u003e \u003cp\u003eLarge-quantity CD replication 379\u003c\/p\u003e \u003cp\u003eDelivering Digital Files 380\u003c\/p\u003e \u003cp\u003eDownload card 381\u003c\/p\u003e \u003cp\u003eUSB sticks (flash drives) 381\u003c\/p\u003e \u003cp\u003eOnline music distribution 382\u003c\/p\u003e \u003cp\u003eStreaming music sites 382\u003c\/p\u003e \u003cp\u003eCreating MP3 Files 383\u003c\/p\u003e \u003cp\u003eBit rate 383\u003c\/p\u003e \u003cp\u003eMode 385\u003c\/p\u003e \u003cp\u003ePressing Vinyl 386\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 6: The Part of Tens 389\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 24: Ten Invaluable Recording Tips\u003c\/b\u003e\u003cb\u003e 391\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eUsing an Analog Tape Deck 391\u003c\/p\u003e \u003cp\u003eLayering Your Drum Beats 392\u003c\/p\u003e \u003cp\u003eDecorating Your Room 393\u003c\/p\u003e \u003cp\u003eSetting a Tempo Map 393\u003c\/p\u003e \u003cp\u003eListening to Your Mix in Mono 394\u003c\/p\u003e \u003cp\u003eDoubling and Tripling Your Tracks 394\u003c\/p\u003e \u003cp\u003eRecording Dirty Room Ambience 394\u003c\/p\u003e \u003cp\u003eOverdubbing Live Drums 395\u003c\/p\u003e \u003cp\u003ePressing Record, Even during a Rehearsal 396\u003c\/p\u003e \u003cp\u003eLeaving the Humanity in Your Tracks 396\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChapter 25: Ten (or So) Ways to Distribute and Promote Music \u003c\/b\u003e\u003cb\u003e397\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eMarketing Yourself 398\u003c\/p\u003e \u003cp\u003eSetting Up Your Own Music Website 399\u003c\/p\u003e \u003cp\u003eChecking out musician-friendly hosting services 400\u003c\/p\u003e \u003cp\u003eDesigning your site 400\u003c\/p\u003e \u003cp\u003ePutting Your Music on a Music Host Site 402\u003c\/p\u003e \u003cp\u003eEngaging in Social Media Networking 403\u003c\/p\u003e \u003cp\u003eOffering Free Downloads 404\u003c\/p\u003e \u003cp\u003eSelling Your Music Digitally 404\u003c\/p\u003e \u003cp\u003eLicensing Your Music 406\u003c\/p\u003e \u003cp\u003ePodcasting 406\u003c\/p\u003e \u003cp\u003eSelling Your CDs 407\u003c\/p\u003e \u003cp\u003ePromoting Your Music 408\u003c\/p\u003e \u003cp\u003eConnecting with an Email Newsletter 409\u003c\/p\u003e \u003cp\u003eIndex 411\u003c\/p\u003e","brand":"John Wiley \u0026 Sons 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