Sound Recording in the 21st Century
Edition: 1
Copyright: 2022
Pages: 120
Edition: 1
Copyright: 2022
Pages: 120
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The world of sound recording is fast and ever-changing.
With the multi-billion-dollar podcast industry and the growth of the home recording industry over the last 20 years, more and more people are writing, playing, and recording their own music outside of the traditional recording studio.
Thomas E. Larson’s Sound Recording in the 21st Century provides the reader with the most direct and comprehensive path to learning the basic facts, figures, and tools to get their sound recording game on.
Written by a sound engineer with more than 35 years’ experience, Sound Recording in the 21st Century:
- discusses the history and transformation of sound recording from a misunderstood and dark art to a useful tool that is available for everyone to use.
- examines today’s digital audio workstations, third-party plugins, microphones, monitors, audio interfaces, mixers, and other products that are becoming more inexpensive and more user-friendly.
- presents a myriad of ways for readers to create, compose, modify, remix, trash, mangle, enhance, or collaborate in today’s sound recording world.
- is user friendly! Opening quotations from famous sound engineers, breathtaking photos/images, end of chapter questions, and an embedded glossary immerse readers to the content.
Foreword
Chapter 1 A Brief History of Sound Recording
Thomas Edison
Here Comes Electricity
Magnetic Tape
And Here Comes Digital
Sound Recording Today
Topics for Discussion
Chapter 2 Sound Basics
Phase
Waveforms
Equal Loudness Curves
Sound in Space
Topics for Discussion
Chapter 3 Microphones
Microphones
Microphone Types
Polar Patterns
When to Use Each Type of Mic
Stereo Miking
What Mic to Buy if You’re Just Getting Started
Topics for Discussion
Chapter 4 Monitors
Headphones
Topics for Discussion
Chapter 5 Mixing Consoles and Audio Interfaces
Input Section
Monitor Section
Output Section
Signal Routing
Digital Hardware Mixers
The DAW Virtual Mixing Console
Topics for Discussion
Chapter 6 Digital Audio
File Types, Organization, and Storage
Recording in the Digital Realm
Getting Signal Around
Playback in the Digital Realm
Topics for Discussion
Chapter 7 The DAW
The Digital Audio Setup
The DAW Workspace
Power and Flexibility
Popular DAWs
Topics for Discussion
Chapter 8 Plugins
Other Plugins
Topics for Discussion
Chapter 9 Compression
Multiband Compression
Parallel Compression
Sidechain Compression
Limiting
The Loudness Wars
Topics for Discussion
Chapter 10 Equalization
Talk like an Equalizer
Use Your Ears!
EQ Filter Types
Using an Equalizer
Topics for Discussion
Chapter 11 Reverb and Delay
Reverb: Bathrooms, Plates, and Springs
Some Reverb Guidelines
Reverb Controls
Delay
Chorus, Flanging, and Phasing
Topics for Discussion
Chapter 12 Mic Placement
Stereo Miking
Close Miking
Three Specific Mic Settings
Topics for Discussion
Chapter 13 The Recording Process: Tracking and Overdubbing
The Tracking Session: Recording Basic Tracks
Once You’re at the Session
Setting Levels
Overdubbing
Topics for Discussion
Chapter 14 The Recording Process: Editing, Mixing, and Mastering
Getting started
Once You’ve Got Everything Set Up, Now What?
Panning
Some Other Things to Consider
Mastering
LUFS
Topics for Discussion
Glossary
Index
Tom Larson is Assistant Professor of Composition (Emerging Media and Digital Arts) at the Glenn Korff School of Music at the University of Nebraska-Lincoln. In addition to authoring The History of Rock and Roll, he is also the author of Modern Sounds: The Artistry of Contemporary Jazz, and The History and Tradition of Jazz, both published by Kendall Hunt Publishing. His first CD of original jazz compositions, Flashback, was released in 2003. He has studied jazz piano with Dean Earle, Fred Hersch, Bruce Barth, and Kenny Werner, jazz arranging with Herb Pomeroy and music composition with Robert Beadell and Randall Snyder. In addition to performing with jazz ensembles throughout the Midwest and East Coast, he has performed with Paul Shaffer, Victor Lewis, Dave Stryker, Bobby Shew, Claude Williams, Bo Diddley, Jackie Allen, the Omaha Symphony, the Nebraska Chamber Orchestra, the Nebraska Jazz Orchestra, and the University of Nebraska Faculty Jazz Ensemble.
Tom also writes and produces music for documentary films; among his credits are the scores for three documentaries for the PBS American Experience series (a production of WGBH-TV, Boston): In the White Man’s Image, Around the World in 72 Days, and Monkey Trial. He also scored the documentaries Willa Cather: The Road Is All for WNET-TV (New York), Ashes from the Dust for the PBS series NOVA, and the PBS specials Most Honorable Son and In Search of the Oregon Trail. Tom has written extensively for the Nebraska Educational Telecommunications, South Dakota Public Broadcasting, and the University of Illinois Asian Studies Department. His music has also been used on the CBS-TV series The District. His commercial credits include music written for Phoenix-based Music Oasis, L.A.-based Music Animals, Chicago-based Pfeifer Music Partners and General Learning Communications, and advertising agencies in Nebraska.
A Lincoln native, Tom received a Bachelor of Music in Composition in 1977 from Berklee College of Music in Boston and a Master of Music in Composition
in 1985 from the University of Nebraska-Lincoln. He is also an avid runner, and completed the Boston Marathon in 2005, 2006, and 2007. More information on Tom Larson can be found at tomlarsonmusic.net.
The world of sound recording is fast and ever-changing.
With the multi-billion-dollar podcast industry and the growth of the home recording industry over the last 20 years, more and more people are writing, playing, and recording their own music outside of the traditional recording studio.
Thomas E. Larson’s Sound Recording in the 21st Century provides the reader with the most direct and comprehensive path to learning the basic facts, figures, and tools to get their sound recording game on.
Written by a sound engineer with more than 35 years’ experience, Sound Recording in the 21st Century:
- discusses the history and transformation of sound recording from a misunderstood and dark art to a useful tool that is available for everyone to use.
- examines today’s digital audio workstations, third-party plugins, microphones, monitors, audio interfaces, mixers, and other products that are becoming more inexpensive and more user-friendly.
- presents a myriad of ways for readers to create, compose, modify, remix, trash, mangle, enhance, or collaborate in today’s sound recording world.
- is user friendly! Opening quotations from famous sound engineers, breathtaking photos/images, end of chapter questions, and an embedded glossary immerse readers to the content.
Foreword
Chapter 1 A Brief History of Sound Recording
Thomas Edison
Here Comes Electricity
Magnetic Tape
And Here Comes Digital
Sound Recording Today
Topics for Discussion
Chapter 2 Sound Basics
Phase
Waveforms
Equal Loudness Curves
Sound in Space
Topics for Discussion
Chapter 3 Microphones
Microphones
Microphone Types
Polar Patterns
When to Use Each Type of Mic
Stereo Miking
What Mic to Buy if You’re Just Getting Started
Topics for Discussion
Chapter 4 Monitors
Headphones
Topics for Discussion
Chapter 5 Mixing Consoles and Audio Interfaces
Input Section
Monitor Section
Output Section
Signal Routing
Digital Hardware Mixers
The DAW Virtual Mixing Console
Topics for Discussion
Chapter 6 Digital Audio
File Types, Organization, and Storage
Recording in the Digital Realm
Getting Signal Around
Playback in the Digital Realm
Topics for Discussion
Chapter 7 The DAW
The Digital Audio Setup
The DAW Workspace
Power and Flexibility
Popular DAWs
Topics for Discussion
Chapter 8 Plugins
Other Plugins
Topics for Discussion
Chapter 9 Compression
Multiband Compression
Parallel Compression
Sidechain Compression
Limiting
The Loudness Wars
Topics for Discussion
Chapter 10 Equalization
Talk like an Equalizer
Use Your Ears!
EQ Filter Types
Using an Equalizer
Topics for Discussion
Chapter 11 Reverb and Delay
Reverb: Bathrooms, Plates, and Springs
Some Reverb Guidelines
Reverb Controls
Delay
Chorus, Flanging, and Phasing
Topics for Discussion
Chapter 12 Mic Placement
Stereo Miking
Close Miking
Three Specific Mic Settings
Topics for Discussion
Chapter 13 The Recording Process: Tracking and Overdubbing
The Tracking Session: Recording Basic Tracks
Once You’re at the Session
Setting Levels
Overdubbing
Topics for Discussion
Chapter 14 The Recording Process: Editing, Mixing, and Mastering
Getting started
Once You’ve Got Everything Set Up, Now What?
Panning
Some Other Things to Consider
Mastering
LUFS
Topics for Discussion
Glossary
Index
Tom Larson is Assistant Professor of Composition (Emerging Media and Digital Arts) at the Glenn Korff School of Music at the University of Nebraska-Lincoln. In addition to authoring The History of Rock and Roll, he is also the author of Modern Sounds: The Artistry of Contemporary Jazz, and The History and Tradition of Jazz, both published by Kendall Hunt Publishing. His first CD of original jazz compositions, Flashback, was released in 2003. He has studied jazz piano with Dean Earle, Fred Hersch, Bruce Barth, and Kenny Werner, jazz arranging with Herb Pomeroy and music composition with Robert Beadell and Randall Snyder. In addition to performing with jazz ensembles throughout the Midwest and East Coast, he has performed with Paul Shaffer, Victor Lewis, Dave Stryker, Bobby Shew, Claude Williams, Bo Diddley, Jackie Allen, the Omaha Symphony, the Nebraska Chamber Orchestra, the Nebraska Jazz Orchestra, and the University of Nebraska Faculty Jazz Ensemble.
Tom also writes and produces music for documentary films; among his credits are the scores for three documentaries for the PBS American Experience series (a production of WGBH-TV, Boston): In the White Man’s Image, Around the World in 72 Days, and Monkey Trial. He also scored the documentaries Willa Cather: The Road Is All for WNET-TV (New York), Ashes from the Dust for the PBS series NOVA, and the PBS specials Most Honorable Son and In Search of the Oregon Trail. Tom has written extensively for the Nebraska Educational Telecommunications, South Dakota Public Broadcasting, and the University of Illinois Asian Studies Department. His music has also been used on the CBS-TV series The District. His commercial credits include music written for Phoenix-based Music Oasis, L.A.-based Music Animals, Chicago-based Pfeifer Music Partners and General Learning Communications, and advertising agencies in Nebraska.
A Lincoln native, Tom received a Bachelor of Music in Composition in 1977 from Berklee College of Music in Boston and a Master of Music in Composition
in 1985 from the University of Nebraska-Lincoln. He is also an avid runner, and completed the Boston Marathon in 2005, 2006, and 2007. More information on Tom Larson can be found at tomlarsonmusic.net.