{"product_id":"mic-it-9780367470364","title":"Mic It","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eCapture great sound in the first place and spend less time fixing it in the mix with Ian Corbettâs \u003ci\u003eMic It!\u003c\/i\u003e With this updated and expanded second edition, youâll quickly understand essential audio concepts as they relate to microphones and mic techniques and learn how to apply them to your\u003ci\u003e \u003c\/i\u003erecording situation. \u003ci\u003eMic It! \u003c\/i\u003egives 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.\u003c\/p\u003e\u003cp\u003eBeginning with essential audio theory and a discussion of the desirable characteristics of good sound, \u003ci\u003eMic It!\u003c\/i\u003e 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\u003cb\u003e \u003c\/b\u003eimmersive audio, immersive recording concepts, drum tuning, and recording techniques for audio for video. \u003ci\u003eMic It!\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eChapter 1:\u003c\/strong\u003e Audio Basics\u003c\/p\u003e\u003cp\u003e1.1 It’s Not Always About the Gear!\u003c\/p\u003e\u003cp\u003e1.2 What is Sound?\u003c\/p\u003e\u003cp\u003e1.3 The Decibel (dB)\u003c\/p\u003e\u003cp\u003e1.4 Power Relationships\u003c\/p\u003e\u003cp\u003e1.5 Decibel Scales\u003c\/p\u003e\u003cp\u003e1.6 Dynamic Range\u003c\/p\u003e\u003cp\u003e1.7 Signal-To-Noise Ratio\u003c\/p\u003e\u003cp\u003e1.8 Frequency vs Pitch\u003c\/p\u003e\u003cp\u003e1.9 Frequency Response\u003c\/p\u003e\u003cp\u003e1.10 Waveforms, Fundamentals, and Harmonics\u003c\/p\u003e\u003cp\u003e1.11 Wavelength, Velocity, Phase\u003c\/p\u003e\u003cp\u003e1.12 Amplitude Summation and Comb Filtering\u003c\/p\u003e\u003cp\u003e1.13 Human Hearing\u003c\/p\u003e\u003cp\u003e1.14 Signal Flow and Audio Level Standards\u003c\/p\u003e\u003cp\u003e1.15 Gain Structure and Recording Levels\u003c\/p\u003e\u003cp\u003e1.16 Analog Audio Connectors\u003c\/p\u003e\u003cp\u003e1.17 Digital Audio Connectors\u003c\/p\u003e\u003cp\u003e1.18 Digital Audio Basics\u003c\/p\u003e\u003cp\u003eChapter 2: \"Good Sound\"\u003c\/p\u003e\u003cp\u003e2.1 Recognizing Good Sound\u003c\/p\u003e\u003cp\u003e2.2 Sound Reproduction Formats\u003c\/p\u003e\u003cp\u003e2.3 Monitoring Options – Loudspeakers, Headphones, and Earbuds\u003c\/p\u003e\u003cp\u003e2.4 Mono Compatibility\u003c\/p\u003e\u003cp\u003e2.5 Compressed Audio Formats\u003c\/p\u003e\u003cp\u003e2.6 Dynamic Range\u003c\/p\u003e\u003cp\u003e2.7 What About Distortion?\u003c\/p\u003e\u003cp\u003e2.8 What Is a Good Recording?\u003c\/p\u003e\u003cp\u003e2.9 Accuracy\u003c\/p\u003e\u003cp\u003e2.10 Non-Natural Sounds and Balances\u003c\/p\u003e\u003cp\u003e2.11 What Are the Elements of a Good Mix?\u003c\/p\u003e\u003cp\u003e2.12 Frequency Balance\u003c\/p\u003e\u003cp\u003e2.13 Clarity and Intelligibility\u003c\/p\u003e\u003cp\u003e2.14 The Stereo Image\u003c\/p\u003e\u003cp\u003e2.15 Focus and Amplitude Balance\u003c\/p\u003e\u003cp\u003e2.16 Processing and Effects\u003c\/p\u003e\u003cp\u003e2.17 Musical Arrangement and Song Structure\u003c\/p\u003e\u003cp\u003e2.18 Making a Great Record\u003c\/p\u003e\u003cp\u003eChapter 3: About Microphones, Part 1…\u003c\/p\u003e\u003cp\u003e3.1 The Microphone\u003c\/p\u003e\u003cp\u003e3.2 End Address or Side Address?\u003c\/p\u003e\u003cp\u003e3.3 Directionality and Pick-Up Patterns\u003c\/p\u003e\u003cp\u003e3.4 Dynamic Microphones\u003c\/p\u003e\u003cp\u003e3.5 Condenser (Capacitor) Microphones\u003c\/p\u003e\u003cp\u003e3.6 Single vs Dual Diaphragm Microphones\u003c\/p\u003e\u003cp\u003e3.7 Pressure and Pressure Gradient Transducers\u003c\/p\u003e\u003cp\u003e3.8 Ribbon Microphones\u003c\/p\u003e\u003cp\u003e3.9 Tube (Valve) Microphones\u003c\/p\u003e\u003cp\u003e3.10 Stereo Microphones\u003c\/p\u003e\u003cp\u003e3.11 Virtual Microphones\u003c\/p\u003e\u003cp\u003e3.12 Other Microphone Technologies\u003c\/p\u003e\u003cp\u003eChapter 4: About Microphones, Part 2…\u003c\/p\u003e\u003cp\u003e4.1 Phantom Power\u003c\/p\u003e\u003cp\u003e4.2 Proximity Effect\u003c\/p\u003e\u003cp\u003e4.3 Frequency Response\u003c\/p\u003e\u003cp\u003e4.4 Off-Axis Response\u003c\/p\u003e\u003cp\u003e4.5 Flat Microphones vs Vocal Microphones\u003c\/p\u003e\u003cp\u003e4.6 Low Frequency Response\u003c\/p\u003e\u003cp\u003e4.7 Low Cut Filters\u003c\/p\u003e\u003cp\u003e4.8 Low Frequency Instrument Microphones\u003c\/p\u003e\u003cp\u003e4.9 Sensitivity\u003c\/p\u003e\u003cp\u003e4.10 Self-Noise and Equivalent Noise Rating (ENR)\u003c\/p\u003e\u003cp\u003e4.11 Signal-to-Noise Ratio\u003c\/p\u003e\u003cp\u003e4.12 Pads\u003c\/p\u003e\u003cp\u003e4.13 Maximum SPL\u003c\/p\u003e\u003cp\u003e4.14 Dynamic Range\u003c\/p\u003e\u003cp\u003e4.15 Transient Response\u003c\/p\u003e\u003cp\u003e4.16 Pop Filters, Windscreens, and Dead Cats\u003c\/p\u003e\u003cp\u003e4.17 Shock Mounts\u003c\/p\u003e\u003cp\u003e4.18 Mic Preamps\u003c\/p\u003e\u003cp\u003e4.19 What Mic to Use?\u003c\/p\u003e\u003cp\u003e4.20 There’s More to It Than Specifications!\u003c\/p\u003e\u003cp\u003eChapter 5: EQ Basics\u003c\/p\u003e\u003cp\u003e5.1 What Is EQ?\u003c\/p\u003e\u003cp\u003e5.2 Last Resort, and Creative Mix Tool\u003c\/p\u003e\u003cp\u003e5.3 Can You EQ Spill?\u003c\/p\u003e\u003cp\u003e5.4 EQ Filters\u003c\/p\u003e\u003cp\u003e5.5 Analog vs Digital EQ\u003c\/p\u003e\u003cp\u003e5.6 Additive vs Subtractive EQ\u003c\/p\u003e\u003cp\u003e5.7 The Fewer Filters the Better\u003c\/p\u003e\u003cp\u003e5.8 How Much to EQ?\u003c\/p\u003e\u003cp\u003e5.9 When to EQ?\u003c\/p\u003e\u003cp\u003e5.10 Golden Rules of EQ\u003c\/p\u003e\u003cp\u003eChapter 6: Stereo Imaging\u003c\/p\u003e\u003cp\u003e6.1 The Stereo Soundstage\u003c\/p\u003e\u003cp\u003e6.2 How to Listen\u003c\/p\u003e\u003cp\u003e6.3 Phantom and Discrete Images\u003c\/p\u003e\u003cp\u003e6.4 Image Width\u003c\/p\u003e\u003cp\u003e6.5 Beyond the Loudspeakers\u003c\/p\u003e\u003cp\u003e6.6 Depth Concepts\u003c\/p\u003e\u003cp\u003e6.7 The Illusion of Height\u003c\/p\u003e\u003cp\u003e6.8 Static and Dynamic Panning\u003c\/p\u003e\u003cp\u003e6.9 Image Symmetry\u003c\/p\u003e\u003cp\u003e6.10 Use All of the Soundstage!\u003c\/p\u003e\u003cp\u003e6.11 Reality vs Recording\u003c\/p\u003e\u003cp\u003eChapter 7: Stereo Microphone Arrays\u003c\/p\u003e\u003cp\u003e7.1 Microphone Arrays\u003c\/p\u003e\u003cp\u003e7.2 XY Coincident Pair Techniques\u003c\/p\u003e\u003cp\u003e7.3 Blumlein Pair Technique\u003c\/p\u003e\u003cp\u003e7.4 Near-Coincident Pair Techniques\u003c\/p\u003e\u003cp\u003e7.5 Spaced Pair (AB) Techniques\u003c\/p\u003e\u003cp\u003e7.6 MS (Middle-Side) Techniques\u003c\/p\u003e\u003cp\u003e7.7 The Decca Tree\u003c\/p\u003e\u003cp\u003e7.8 Binaural and Baffle Techniques\u003c\/p\u003e\u003cp\u003eChapter 8: Immersive Audio\u003c\/p\u003e\u003cp\u003e8.1 Surround and Immersive Audio\u003c\/p\u003e\u003cp\u003e8.2 Channel Panning and Object Based Audio\u003c\/p\u003e\u003cp\u003e8.3 The New Challenges of Immersive Audio\u003c\/p\u003e\u003cp\u003e8.4 Channel Based Microphone Techniques\u003c\/p\u003e\u003cp\u003e8.5 Binaural Techniques\u003c\/p\u003e\u003cp\u003e8.6 Introducing Ambisonics…\u003c\/p\u003e\u003cp\u003eChapter 9: The Effect of Microphone Position\u003c\/p\u003e\u003cp\u003e9.1 Art and Science\u003c\/p\u003e\u003cp\u003e9.2 Distance and Tonal Qualities\u003c\/p\u003e\u003cp\u003e9.3 \"Zoom Factor\"\u003c\/p\u003e\u003cp\u003e9.4 Off-Axis Response\u003c\/p\u003e\u003cp\u003e9.5 Direct vs Reflected Sound\u003c\/p\u003e\u003cp\u003e9.6 Comb Filtering Problems\u003c\/p\u003e\u003cp\u003e9.7 Floor Reflections – the Good, the Bad, and Boundary Mics\u003c\/p\u003e\u003cp\u003e9.8 Stereo Arrays and Distance\u003c\/p\u003e\u003cp\u003e9.9 Spill – Enemy or Creative Tool?\u003c\/p\u003e\u003cp\u003e9.10 Mic Position Practicalities\u003c\/p\u003e\u003cp\u003e9.11 Multi-Miking\u003c\/p\u003e\u003cp\u003e9.12 Experimentation and Exploration\u003c\/p\u003e\u003cp\u003e9.13 Practical Tips to Help Set Mic Position\u003c\/p\u003e\u003cp\u003eChapter 10: The Recording Room\u003c\/p\u003e\u003cp\u003e10.1 Room Sound\u003c\/p\u003e\u003cp\u003e10.2 Live Rooms\u003c\/p\u003e\u003cp\u003e10.3 Dead Rooms\u003c\/p\u003e\u003cp\u003e10.4 Room Size\u003c\/p\u003e\u003cp\u003e10.5 Cubic Airspace\u003c\/p\u003e\u003cp\u003e10.6 Standing Waves and Resonant Frequencies\u003c\/p\u003e\u003cp\u003e10.7 Flutter Echo\u003c\/p\u003e\u003cp\u003e10.8 Microphone Directionality and Room Considerations\u003c\/p\u003e\u003cp\u003e10.9 Room Shape\u003c\/p\u003e\u003cp\u003e10.10 Absorption\u003c\/p\u003e\u003cp\u003e10.11 Diffusion\u003c\/p\u003e\u003cp\u003e10.12 The Purpose of the Room\u003c\/p\u003e\u003cp\u003e10.13 The Single Room Home Studio\u003c\/p\u003e\u003cp\u003e10.14 Acoustical \"Home Remedies\"\u003c\/p\u003e\u003cp\u003e10.15 Monitor Calibration Software?\u003c\/p\u003e\u003cp\u003eChapter 11: Recording Vocals\u003c\/p\u003e\u003cp\u003e11.1 Is it Really About the Mic?\u003c\/p\u003e\u003cp\u003e11.2 Getting \"the\" Performance\u003c\/p\u003e\u003cp\u003e11.3 Vocal Tracking Methods\u003c\/p\u003e\u003cp\u003e11.4 Miking Individuals\u003c\/p\u003e\u003cp\u003e11.5 Voice and Acoustic Guitar\u003c\/p\u003e\u003cp\u003e11.6 Small Vocal Groups\u003c\/p\u003e\u003cp\u003e11.7 Larger Contemporary Vocal Groups\u003c\/p\u003e\u003cp\u003e11.8 Gang Vocals\u003c\/p\u003e\u003cp\u003e11.9 Vocal Recording Tips\u003c\/p\u003e\u003cp\u003e11.10 Vocal EQ Frequencies\u003c\/p\u003e\u003cp\u003eChapter 12: Drum Miking\u003c\/p\u003e\u003cp\u003e12.1 What Kind of Sound Does the Project Call For?\u003c\/p\u003e\u003cp\u003e12.2 How Many Mics Do You Really Need?\u003c\/p\u003e\u003cp\u003e12.3 Kick Drums\u003c\/p\u003e\u003cp\u003e12.4 Snare Drums\u003c\/p\u003e\u003cp\u003e12.5 Hi-Hats\u003c\/p\u003e\u003cp\u003e12.6 Tom Toms\u003c\/p\u003e\u003cp\u003e12.7 Cymbals and Overheads\u003c\/p\u003e\u003cp\u003e12.8 Room Mics\u003c\/p\u003e\u003cp\u003e12.9 Rock Drums vs Acoustic Jazz Drums\u003c\/p\u003e\u003cp\u003e12.10 Drum EQ Frequencies\u003c\/p\u003e\u003cp\u003eChapter 13: Drum Tuning\u003c\/p\u003e\u003cp\u003e13.1 Why Learn to Tune Drums?\u003c\/p\u003e\u003cp\u003e13.2 Fundamental vs Lug Frequencies\u003c\/p\u003e\u003cp\u003e13.3 Drums and Tuning Concepts\u003c\/p\u003e\u003cp\u003e13.4 Kick Drum Tuning\u003c\/p\u003e\u003cp\u003e13.5 Snare Drum Tuning\u003c\/p\u003e\u003cp\u003e13.6 Tom Tom Tuning\u003c\/p\u003e\u003cp\u003e13.7 Fixing Rings and Resonances\u003c\/p\u003e\u003cp\u003e13.8 Tuning Devices and Apps\u003c\/p\u003e\u003cp\u003eChapter 14: Guitars, Basses, and Keyboards\u003c\/p\u003e\u003cp\u003e14.1 The Role of the Rhythm Section\u003c\/p\u003e\u003cp\u003e14.2 Electric Guitar\u003c\/p\u003e\u003cp\u003e14.3 Creative Comb Filtering\u003c\/p\u003e\u003cp\u003e14.4 Direct Boxes\u003c\/p\u003e\u003cp\u003e14.5 Reamping\u003c\/p\u003e\u003cp\u003e14.6 Amp and Pedal Simulation\u003c\/p\u003e\u003cp\u003e14.7 Electric Bass\u003c\/p\u003e\u003cp\u003e14.8 More on Guitar and Bass Cabs\u003c\/p\u003e\u003cp\u003e14.9 Acoustic (Upright) Bass\u003c\/p\u003e\u003cp\u003e14.10 Acoustic Guitar\u003c\/p\u003e\u003cp\u003e14.11 Grand Piano\u003c\/p\u003e\u003cp\u003e14.12 Upright Piano\u003c\/p\u003e\u003cp\u003e14.13 Electric Keyboards and Synthesizers\u003c\/p\u003e\u003cp\u003e14.14 Leslie Speakers and the Hammond Organ\u003c\/p\u003e\u003cp\u003e14.15 Accordions\u003c\/p\u003e\u003cp\u003e14.16 EQ Frequencies\u003c\/p\u003e\u003cp\u003eChapter 15: Strings, Winds, Brass, and Percussion\u003c\/p\u003e\u003cp\u003e15.1 Orchestral String Instruments\u003c\/p\u003e\u003cp\u003e15.2 Horn Section Instruments\u003c\/p\u003e\u003cp\u003e15.3 Other Wind and String Instruments\u003c\/p\u003e\u003cp\u003e15.4 Percussion Instruments\u003c\/p\u003e\u003cp\u003e15.5 EQ Frequencies\u003c\/p\u003e\u003cp\u003eChapter 16: Setting Up the Studio\u003c\/p\u003e\u003cp\u003e16.1 The Three or Seven P’s\u003c\/p\u003e\u003cp\u003e16.2 Bands – Small Room Recording\u003c\/p\u003e\u003cp\u003e16.3 Bands – Large Room Recording\u003c\/p\u003e\u003cp\u003e16.4 Iso-Rooms and Multi-Room Studios\u003c\/p\u003e\u003cp\u003e16.5 Gobos and Sound Barriers\u003c\/p\u003e\u003cp\u003e16.6 Drum Rooms and Drum Screens\u003c\/p\u003e\u003cp\u003e16.7 String Sections\u003c\/p\u003e\u003cp\u003e16.8 Horn Sections\u003c\/p\u003e\u003cp\u003eChapter 17: Miking Large Ensembles\u003c\/p\u003e\u003cp\u003e17.1 Orchestras and Large Instrumental Ensembles\u003c\/p\u003e\u003cp\u003e17.2 Main Arrays\u003c\/p\u003e\u003cp\u003e17.3 Outriggers\u003c\/p\u003e\u003cp\u003e17.4 Woodwind Mics\u003c\/p\u003e\u003cp\u003e17.5 Natural Reverb and Room Acoustics\u003c\/p\u003e\u003cp\u003e17.6 Audience Mics\u003c\/p\u003e\u003cp\u003e17.7 Spot Mics\u003c\/p\u003e\u003cp\u003e17.8 To Time Align or Not to Time Align?\u003c\/p\u003e\u003cp\u003e17.9 Artificial Reverb\u003c\/p\u003e\u003cp\u003e17.10 The Hollywood Sound\u003c\/p\u003e\u003cp\u003e17.11 Large Choirs\u003c\/p\u003e\u003cp\u003e17.12 Jazz Big Bands – Concert Seating\u003c\/p\u003e\u003cp\u003e17.13 Jazz Big Bands – Studio Isolation Seating\u003c\/p\u003e\u003cp\u003eChapter 18: Putting It All Together\u003c\/p\u003e\u003cp\u003e18.1 Recording for the Mix\u003c\/p\u003e\u003cp\u003e18.2 Ear Candy\u003c\/p\u003e\u003cp\u003e18.3 Pre-Production\u003c\/p\u003e\u003cp\u003e18.4 The Pre-Mix\u003c\/p\u003e\u003cp\u003e18.5 The Headphone Mix\u003c\/p\u003e\u003cp\u003e18.6 Click Tracks\u003c\/p\u003e\u003cp\u003e18.7 Knowing the Song\u003c\/p\u003e\u003cp\u003e18.8 Don’t Give Everything Away at Once\u003c\/p\u003e\u003cp\u003e18.9 Correct Problems Early (But Know When to Let Them Go)\u003c\/p\u003e\u003cp\u003e18.10 Fixing Dull or Small Sounding Tracks\u003c\/p\u003e\u003cp\u003e18.11 \"Polishing a Turd\"\u003c\/p\u003e\u003cp\u003e18.12 Exploration and Experimentation\u003c\/p\u003e\u003cp\u003eChapter 19: Audio for Video\u003c\/p\u003e\u003cp\u003e19.1 Why Audio for Video?\u003c\/p\u003e\u003cp\u003e19.2 Types of Audio\u003c\/p\u003e\u003cp\u003e19.3 Recording Systems\u003c\/p\u003e\u003cp\u003e19.4 Synchronization\u003c\/p\u003e\u003cp\u003e19.5 Shotgun Microphones\u003c\/p\u003e\u003cp\u003e19.6 Blimps\u003c\/p\u003e\u003cp\u003e19.7 Boompoles and Pistol Grips\u003c\/p\u003e\u003cp\u003e19.8 Lavalier Microphones\u003c\/p\u003e\u003cp\u003e19.9 Voice-Overs and Dialog Replacement\u003c\/p\u003e\u003cp\u003e19.10 Isolation and Restoration Software\u003c\/p\u003e\u003cp\u003e19.11 Sound Effect Recording\u003c\/p\u003e\u003cp\u003eChapter 20: Tips From the Professionals…\u003c\/p\u003e\u003cp\u003e20.1 To Conclude…\u003c\/p\u003e\u003cp\u003e20.2 Lenise Bent\u003c\/p\u003e\u003cp\u003e20.3 David V. R. Bowles\u003c\/p\u003e\u003cp\u003e20.4 Joel Hamilton\u003c\/p\u003e\u003cp\u003e20.5 Kerry-Anne Kubisa\u003c\/p\u003e\u003cp\u003e20.6 Wes \"Wesonator\" Maebe\u003c\/p\u003e\u003cp\u003e20.7 Matt Ross-Spang\u003c\/p\u003e\u003cp\u003e20.8 Mark Rubel\u003c\/p\u003e\u003cp\u003e20.9 Catherine Vericolli\u003c\/p\u003e\u003cp\u003e20.10 Paul \"Willie Green\" Womack\u003c\/p\u003e","brand":"Taylor \u0026 Francis","offers":[{"title":"Default Title","offer_id":51017915498839,"sku":"9780367470364","price":36.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780367470364.jpg?v=1750775072","url":"https:\/\/bookcurl.com\/products\/mic-it-9780367470364","provider":"Book Curl","version":"1.0","type":"link"}