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Index
Chapter 1
Chapter 2
The Mixing Room
Setting up a Room at Home
Tuning the Room
Monitoring
Referencing
Chapter 3
Pre-Production
Space, equipment and time
Live Beds Or Multi-Tracked Performance
The Influence Of Spill In A Recording
Approach To Session And Artist
On the Day
Setting up Sessions
Chapter 4
The Drum Kit
Kit Sound and Genre
Tuning Methods
Order And Method Of Tuning
Acoustic Treatments
Dampenig
Tuning Aids
Adjusting The Harmonics
Fret Buzz And Flat Spots
Constant String Breakage
Ringing Strings
Cues – Headphones And Foldback
Headphones
Using Fold Back
Settling In Time
Types Of Audio Cable
Chapter 5
Recording Chain Basics
Microphone Types
Polar Patterns
Microphone Choice
Phase Cancellation
Processor Basics
Recording Drums And Percussion
Recording Amplifiers
Guitar Amp Emulators/Modellers And Software Types
Understanding Speakers And Cabinets
Microphone Positioning
DI (Direct Injection) And Re-Amping
Recording Acoustic Instruments
Recording Lead And Backing Vocals
Recording Brass And Woodwind
Recording Strings
Recording Pianos And Keyboards
Recording With Analogue Tape
MIDI Basics
Chapter 6
Work Flow
Drum Editing
Sound Replacement
Editing Bass
Editing Guitars
Editing Vocals
Auto Correction
Chapter 7
Overview
Mixing Styles
Processing Order Of Outboard Gear And Plug-Ins
Equalising / Compressing During Recording
Types Of Eq’s And Application
The Stereo Image
Mono Mixes
Masking
Psychoacoustics
Compression In A Mix
Applying Equalisation And Compression
Starting The Mix
Chapter 8
A Brief History
Principles of Mastering
Mastering Process
Stereo Width Processing
Order Of Processing
Types Of Compressors/Limiters
Equalisation
Analysis Of The Mix
Editing
Other Considerations
Dithering And Noise Shaping
Limiting And Loudness
Mastering For Streaming
Track Order
Output Files
Chapter 9
Blog
FAQs
Plans & Pricing
CONTACT
- INDEX -
the audio apprentice
CHAPTER 1
Introduction
Pre-Production
CHAPTER 2
Setting Up Your Room
The Mixing Room
Pre-Production
Setting Up A Room At Home
Tuning The Room
Monitoring
Referencing
CHAPTER 3
Preparation For Recording
Pre-Production
Pre-Production
Space, Equipment And Time
Live Beds Or Multi-Tracked Performance
The Influence Of Spill In A Recording
Approach To Session And Artist
On The Day
Setting Up Sessions
Recording
Sample Rates And Bit Depths
CHAPTER 4
Technical Pre-Production
The Drum Kit
Pre-Production
Kit Sounds And Genre
Tuning Methods
Order And Method Of Tuning
Acoustic Treatments
Dampening
Tuning Aids
Guitar Trouble Shooting
Adjusting The Harmonics
Fret Buzz And Flat Spots
Constant String Breakage
Ringing Strings
Cues – Headphones And Foldback
Headphones
Using Fold Back
Settling In Time
Types Of Audio Cable
CHAPTER 5
Recording
Recording Chain Basics
Pre-Production
Signal Path
Gain Structure
Signal To Noise Ratio And Recording Levels
Microphone Types
Condenser Microphones
Dynamic Microphones
Ribbon Microphone
Boundary Or "PZM Microphones
Piezoelectric Microphones
Diaphragm Size
Polar Patterns
Cardioid
Figure 8
Unidirectional
Omnidirectional
Microphone Choice
Phase Cancellation
Processor Basics
Expanders/Noise Gates
Reverbs And Delays
Flanging
Phasing
Chorus
Reversing Reverb And Delay
Compressor/Limiter
Side-Chaining
Distortion In Recording
Recording Drums And Percussion
Sound Pressure Levels
Microphone Choice
Microphone Placement
Capturing An Overall Kit Sound
Lessening Spill Within The Kit
Consistency Of Drum Strokes And Sounds
Capturing Ambience
Drum Grooves, Samples And Click Tracks
Recording Amplifiers
Microphone Choice
Types Of Amplifiers
Guitar Amp Emulators/Modellers And Software Types
Understanding Speakers And Cabinets
Speaker Troubleshooting
Microphone Positioning
The Proximity Effect And Close Mic’ng
Dust Cover Verses Surround
On And Off Axis – Using The Proximity Effect
DI (Direct Injection) And Re-Amping
DI’d Instruments
Re-Amping
DI’d Amplifiers
Recording Acoustic Instruments
Acoustic Guitars
Acoustic Bass
Recording Lead And Backing Vocals
Microphone Choice
Pop Filters
Microphone Placement
Vocal Ambience
Microphone Technique
Getting The Best Performance
Tracking Vocals
Diction
Pitching
Recording Brass And Woodwind
Recording Brass
Woodwind Instruments
Recording Strings
Setting And Genre
Space And Ambience
Microphone Choice
Microphone Placement
Recording Pianos And Keyboards
Microphone Choice
Compression
Microphone Placement
Starting Recording And Overdubbing
Recording With Analogue Tape
The Analogue Sound
Midi Basics
What Can You Use For MIDI?
Basic Workings of MIDI
Time Code
Standard MIDI Files
MIDI Editor
MIDI Channels And Instrument Groups
CHAPTER 6
Mix Preparation
Work Flow
Pre-Production
Planning The Mix Session
Preparing Tracks For Mixing
Drum Editing
Using Gates
Tom Editing
Timing Issues
Sound Replacement
Different Sample Replacement Techniques
Sampling
Editing Bass
Phase Alignment Of Different Sources
Wrong Notes
Editing Guitars
Editing Vocals
Auto Correction
CHAPTER 7
Mixing
Overview
Pre-Production
Mixing Styles
Processing Order Of Outboard Gear And Plug-Ins
Equalising / Compressing During Recording
Types Of Eq’s And Application
Shelving
Filters
Parametric Eq’s
Graphic EQ
Baxandall
The Stereo image
Placement Of Instruments In The Stereo Field
Frequency Range Relationships
Analysis Of A Mix
Space And Depth
Polar Inversion
Width And Depth
False Stereo Effects
Mono Mixes
Masking
Psychoacoustics
Perceived Volume And Power
Compression In A Mix
Applying Equalisation And Compression
Drums/Percussion
Electric And Acoustic Bass
Guitars - Acoustic And Electric
Vocals
Piano, Keyboards And Synths
Strings
Brass
Woodwind
Starting The Mix
Using Reverbs And Delays
Remixes And Recording Stems
CHAPTER 8
Mastering
A Brief History
Pre-Production
Principles Of Mastering
Mastering Process
Sample Rates And Clocking
Monitoring
Fletcher-Munson Effect
Stereo Width Processing
Advantages Of Creating Left, Centre And Right Channels
Splitting Stereo Tracks
Order Of Processing
Combined Stereo Mix Processing
Compression
Types Of Compressors/Limiters
Digital Limiters
Equalisation
Analysis Of The Mix
Eq Tips
Processing Tips
Centre Channel Processing Tips
Left And Right Channels
Editing
Topping And Tailing
Fade Ins And Outs
New Arrangements
Removing Noise
Volume Automation
Other Considerations
Homogenous Mixes
Matching Levels
Clicks And Glitches
Dithering And Noise Shaping
Noise Shaping
Limiting And Loudness
Mastering For Streaming
CODECS
Levels
The Mix
Application
Mastering For Radio
Conclusion
Track Order
Output Files
CD-R Disc
DDP Image Disc
CHAPTER 9
Final Thoughts
Pre-Production
CHAPTER 1
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