By Rick Clark
Veteran track journalist Rick Clark carried out hundreds and hundreds of unveiling interviews with the various largest names within the to create this newly increased and subtle version of this striking booklet. Tony Visconti, Phil Ramone, Richard Dodd, Jim Scott, and David Kershenbaum are only a number of the a hundred and fifteen participants who proportion their distinctive studio practices, guidance, and anecdotes. a really thorough examine the recording global, this in-depth selection of interviews with recording, blending, and generating legends covers every little thing from recording strings and horn sections to utilizing inventive creation ideas at the most up-to-date musical types. Candid interviews with professional professionals will enlighten you with the data that has led the featured manufacturers, engineers, and composers to very large successes and thousands of checklist revenues. this beneficial and interesting details is geared up via subject material instead of via professional, so that you can achieve recommendation from numerous execs at the particular subject that pursuits you. blending, RECORDING, AND generating strategies OF the professionals, moment version is ideal for any manufacturer or engineer who desires the recommendation, reviews, tips, and methods utilized by the top specialists within the box. This thoroughly up to date variation beneficial properties many new interviews, clean content material from a number of the earlier edition's interviews, and a brand new part on dwell sound reinforcement.
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Additional resources for Mixing, Recording, and Producing Techniques of the Pros: Insights on Recording Audio for Music, Video, Film, and Games (Book)
The relatively low sampling rate of digital is a mistake, and the stuff lost above 20 Hz is somehow noticeable on high-end equipment, but not on most domestic. This is adequate for most pop music applications (cassettes, boom boxes, and midpriced home stereos), especially when most pop fans are low-end freaks. I especially like digital for having all 48 tracks at my disposal immediately, without locking up. My one last point is this: If analog is so hot and this tape compression thing is so cool, why do some engineers get obsessive about purity in the signal path and then bang that pure signal down to 15-IPS 1/4-inch analog tape with Dolby SR and the VU meters glued into the “righteous red”?
I normally cut at 30 IPS with no noise reduction. If I can get into a facility that has Dolby SR, I like to cut at 15 IPS with SR noise reduction. Digital may be cheaper, but analog is still the art form. Brent Truitt Credits include: Dixie Chicks, Alison Krauss, Nitty Gritty Dirt Band, Dolly Parton, Riders in the Sky, and David Grier. See the Appendix for Brent Truitt’s full bio. For recording acoustic music, let me also say that hopefully the person sitting in front of the mic has a good instrument.
It sounds like it reaches out and embraces you. That is what I dreamed about. With humidity, I can make my violin sound like that. That said, the humidity in this concert hall completely changed at night from the day. In some instances, it was as drastic as having an audience in there and not having an audience in there. It was that extreme. In most studios, you don’t have to worry about that as much. But in concert halls, it’s a consideration. So I realized that when I perform some of this stuff, I had to do it now in this time period, or I’d have to start all over.