The AudioPro Home Recording Course, Volume 3
| Ilość stron: | 272 |
| Format: | 215 x 275 |
| Opracowanie na: | książka |
| Rodzaj produktu: | nuty drukowane + 2 płyty CD |
| Wersja językowa: | angielska |
| Dostępność | w magazynie, wysyłka natychmiastowa |
| Zawartość: | Zajrzyj do środka. Oto kilka stron z publikacji:
 |
| Kod produktu: | NPL078018 |
| Produkty podobne: | Gibson Bill - The AudioPro Home Recording Course, Volume 2
|
Publikacja jest trzecią częścią cyklu książek dotyczących nauki tworzenia własnego studia muzycznego. Niniejsza część obejmuje tematy dotyczące odpowiedniego oprogramowania, konfiguracji systemu, nagrań cyfrowych i różnic pomiędzy nagraniami analogowymi a cyfrowymi, przechowywania i kopiowania plików i wiele innych. Do książki zostały dołączone także dwie płyty CD z nagranymi przykładami muzycznymi danych zagadnień wraz z ich wyjaśnieniami. Całość w języku angielskim.
The AudioPro Home Recording Course was created to familiarise musicians with the fundamentals of studio recording using explanations and examples that are easy to understand.
The text is complemented by hundreds of illustrations and two CDs containing information and audio examples.
Volume three covers: MIDI (basic training, quantising, mixing with MIDI, notation software, controllers, setting up your system); MIDI sequencing (constructing MIDI drum parts, creating bass, guitar and keyboard parts, combining MIDI and live recording); digital effects (hardware vs. software plugins, details of using each type of effect); digital recording (analogue vs. digital, recording and playback formats, digital audio file formats, storage and backup, MDMs and computer-based hard disk systems, choosing the right software, common terms demystified, random access editing); synchronising (MIDI to audio sync, MIDI to MIDI sync, analogue to analogue sync).
Spis treści:
1. The Third Millennium
Moving Ahead
History
Preparation for What's to Come
The Internet
My Turning Point
2. Midi Theory
Intro to MIDI
MIDI Basic Training
The Language
MIDI IN, OUT, and THRU
MIDI Cables
Daisy Chain
Channels
MIDI Interface
MIDI Parameters
What Do MIDI Parameters Affect?
Controllers
Channel Modes
Omni Mode
Multi Mode
Mono Mode
Polyphony versus Multitimbrality
MIDI Time Code
System Messages
System Exclusive (Sys Ex)
Data Dump
The Handshake
Data Backup
Quantizing
The Basics
Strength
Sensitivity
How Tight Is Tight Enough?
Randomize
Real - Time
Step Record
Shifting Tracks
Velocites, Durations, and Tempos
Notation Software
Uses
Lyrics
Chord Symbols
Mixing with MIDI
Parameters
Comining MIDI Mix Tools
General MIDI Specifications
Standard MIDI File
Cross - Platform Compatibility
Keyboard and Mix Controllers
Keyboard Controllers
Mix Controllers
MIDI System Design - What Should I Have?
Synths
Sequencers
Interfaces
Mixers
Digital Audio Cards
Tactile Control Surfaces for Computer-Based Digital Workstations
3. MIDI Sequencing
Building the Band
Constructing MIDI Drum Parts
Fundamentals
The Groove
Groove Quantize
Drum Set Patterns
Accents
Fills
Believability
Construction
Percussion Patterns
Frosting
Many Instruments
Simple Parts That Work Together
Forming the bass line
Patterns
The Groove
Reality / Believability
Feel
Guitar Parts
Believability
The Groove
Patterns
Grand and Electric Piano Parts
The Groove
Patterns
Grand Pianos vs. Rhodes Pianos
Believability
Feel
The Frosting
Strings and Pads
Bass
Sound Effects
Combining MIDI and Live Recording
Drum Loops
4. Digital Recording
Analog Recording
Analog vs. Digital
Physical Properties of Sound
Amlitude
Frequency
Velocity
Wavelength
Envelope
Harmonic Content
Phase
Digital Theory
What's So Good about Digital Recording?
Bits / Bytes / Words
Advantage of Binary Code / PCM
Samples
Quantization / Bits
Aliasing
RAM Buffer
Sample Rates
Dither / Quantization Error
Noise Shaping
Converters
Oversampling
Dynamic Range
Format Conversion
Errors
Data Protection
Error Detection
Error Correction
Redundancy
Concealment
Muting
Digital Recording, Transmission, and Playback Formats
AES/EBU
S/P DIF
SDIF-1
SDIF-2
SMDI
MADI
DASH
Digital Audio File Formats
Sound Designer and Sound Designer II
AIFF-Apple's Audio Interchange File Format
WAV-Windows Audio File Format
Quick Time
RealAudio
SND Resource
Storage Mediums
Backing Up
CD-Compact Disc
HD-CD
CD-R and CD-RW-Recordable and Rewriteable Compact Disc
DAT
MiniDisc
Hard Disc
DVD
Divx
5. Digital Multitracks
Comparison of MDMs to Computer-Based Recording Systems
Formats
Other MDMs
Dedicated Digital Recording Systems
Samplers
Computer-Based Hard Disk Recording Systems
History
Differences between Hard Disk and Tape-based Recording?
Linear versus Nonlinear
Destructive versus Nondestructive Editing
Number of Tracks and Takes
Thing to Look For in the Software You Choose
Soundcards
Terms Common to Hard Disk Recording
Serial Bus / Data Transfer
SDS
SCSI
Fast and Wide SCSI-2 and 3
IDE/ATA
Firewire
Network and Online Data Transfer Rates
Apple Talk
Ethernet
Modem
Cable
ISDN (Integrated Services Digital Network)
T-1
T-3
Disk Management
Partitioning
Formatting
Compression
Repairing / Defragmenting
Protection: Practice Safe Computing
Keep Current
6. Digital Effects
Real-time versus Non-Real-time Digital Effects
Hardware versus Software versus Plug-ins
Digitally Controlled Amplifier
Digital Signal Processor
Pitch Change
Formants
Time Compression and Expansion
Spectral Effects
Multiband Compressor / Limiter
Peak Limiter
Expanders and Gates
Delay Effects
Reverb Effects
Equalizers
Delay
Chorus / Flanger
Invert Phase
Reverse
Special Effects
Variable Speeds
Fliter
Vinyl Simulation
Vocode
Lo-Fi
7. Random Access Editing
The Basics
Nondestructive Editing
Descructive Editing
Regions
Playlist / Edit Decision List
RAM Buffer
Gain Change / Normalizing
Cut, Copy and Paste
Undo, Redo, Save, Revert to Saved
Save As... Save a Copy As
Waveform / Pencil Editing
Smoothing
Preview Mode
Fades
Crossfades
Linear Fade
Curve Fade
S-Curve
Overlap Fade
Equal Gain
Equal Power
Pre-roll / Post-roll
Online / Offline
Editing withing the Software - Based Multitrack Domain
Soundfiles
Waveform View
Punch-in
Auto Record
Channels, Tracks, and Takes
Comping
Tuning
Finding the Groove
Quantizing Audio
Moving Audio Segments
Spot Mode
Slip Mode
Grid Mode
Shuffle Mode
Multitrack Backing Vocals
Breaths
Entrances
Releases
Intonation
Detuning
Readjusting Formants
Fills Fills, and Licks
Broadcast Audio
Voice-Over / Editing Speech
Application
Voice-Over
Timing
Ambience
Problematic Edits
Crossfade Ambience
Music Bed
Add Ambience
Reconstruct the Scene
Live with it
Breaths
Time Compression / Exapnsion
ADR / Foley
ADR
Foley
Getting the Program Ready for the Air
Normalize
Compress
Music
8. Synchronizing
Synchronizing Basics
Why Bother?
MIDI to Audio Sync
Timing Discrepancies
MIDI to MIDI Sync
Accuracy
Logjam
Processor Speed
Analog to Analog
LTC on Each Machine
Verifying Sync
Offsets
Regenerating Time Code
Free Wheeling
Jam Sync
Digital to Digital Sync
Components of Digital Sync
Time Base - Word Clock
Word Clock Rate
Pull-Up / Pull-Down
Address Code
Transport Control
MIDI Machine Control (MMC)
Variations in Accuracy
Sample - Accurate Sync
Frame - Accurate Sync with Phase Look
Frame - Accurata Sync with No Phase Lock / Continuous Sync
Frame - Accurate Trigger Sync
Various Sync Formats
Internal
MTC
SMPTE (LTC) 30fps, 29.97fps, 29.97df, 25, 24fps
Video Sync
VITC
Word 1x
Word 256x
S/P DIF and AES/EBU
SDIF-2 and MADI
Proprietary Sync Systems
ADAT and DA-88 Sync
9. Digital Mixing
How Are Digital and Analog Mixers Different?
The Analog Mixer
The Digital Mixer
Hardware versus Software
Automation
The Basics
Automation Types
Dynamic Automation
Auto Read
Absolute Mode / Auto Write / Replace
Auto Touch / Auto Latch
Trim Levels
Bypass / Auto Off / Rehearse
Mutes
Pan
Function of Fader Motors in the Digital Domain
Mix Editior Functions
Snapshot Automation
Operational Procedures
Saving
Undo
Building Automation
Software Plug-ins
Mix Procedure Using Automation
Inserts
Write Mutes
Drums
Documenting the Mix
Bass
Lead Vocal
Guitars and Synths
Backing Vocals
Intonation
Expression / Dynamics
Blend
Accuracy
The Rhythm Section
Locate Points
Copy Moves and Settings
EQ
Dynamic and Special Effects
Format
Hard Disk
DAT
10. Master Preparation
Editing the Mixed Master
The AM Version
The Album Version
The Dance Mix
Creative Restructuring
Mastering
What Is mastering?
To Master or Not to master
Monitoring Procedures
Assembling the Album
The CD Mastering Environment
Write Modes
Red Book
Yellow Book
Green Book
Orange Book, Part I and II
White Book
Blue Book / CD-Extra
Subcodes
PQ Subcodes
IRSC Code
Emphasis
SCMS
Track Number
Indexes
Noise Shaping
Equalizing
Real-time Analyzer (RTA)
Levels
Normalize
Real vs. Apparent Levels
How Hot Is Hot Enough?
Limiting / How to Sound Loud
Image Files
Mastering to Error Correcting Recorders
11. The Best of Botj Worlds
Acoustic Considerations
Chips or Tubes
Combining Tubes and Chips
Digital Modeling
Preamps
Old Effects versus New
Mixers
Cambling Considerations
Some Cable Theory
Do Cables Really Sound Different?
Choose Your Weapons Carefully
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