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•Centrum Dystrybucji Nut•				System sklepów muzycznych

CD Track
Forword
Preface
Basics
Playing Rock ("Sweet")
Technique / Theory
Learning the Groove
Improvisation
Reading
Daily Practice Routine
Playing Blues ("Do It Now")
Technique / Theory
Learning the Groove
Improvisation
Reading
Daily Practice Routine
Playing Blues Swing ("I Just Wanna Be With You")
Technique / Theory
Learning the Groove
Improvisation
Reading
Daily Practice Routine
Playing Funk ("Leave Me Alone")
Technique / Theory
Learning the Groove
Improvisation
Reading
Daily Practice Routine
Playing Light Funk ("Affordable")
Technique / Theory
Learning the Groove
Improvisation
Reading
Daily Practice Routine
Playing Gard Rock ("Don't Look Down")
Technique / Theory
Learning the Groove
Improvisation
Reading
Daily Practice Routine
Plaing Bossa Nowa ("Take your Time")
Technique / Theory
Learning the Groove
Improvisation
Reading
Daily Practice Routine
Playing Stop Time ("Stop It")
Technique / Theory
Learning the Groove
Improvisation
Reading
Daily Practice Routine
Final Remarks

Introduction
Equipment
Chapter One: Sound Envelopes and the Notation Grid
Sound Description
The Staff
Leger Lines
Clefs
The Treble Clef
The Bass Clef
The Percussion Clef
The Alto and Tenor Clef
Placement of Clefs
The Great Staff
Homework
Additional Practises:
New Notation for New Sounds
Specific Percussion Clefs
Other Moveable C Clefs
Hybrid Clefs
Chapter Two: Fundamental Rhtyhmic Description
Note - heads
Stems
Stem Length
Stem Direction
Stem Length in Leger Lines
The Quarter Rest
The Half Rest
The Whole Rest
Percussion and Rhtyhm Note - heads
Homework
Additional Practices
Other Percussive Note - heads
Chapter Three: Fundamental Pitch Description
Placement of Notes on the Staff
Accidentals
Flats
Sharps
Naturals
Double Flats
Double Sharps
Spacing of Note - heads in Regard to Accidentals
Key Signatures
Application of Accidentals
The Logic of Accidentals
Courtesy Accidentals
Key Changes
Homework
Additional Practises
Logic of Accidentals
Null Key Signatures
Chapter Four: The Notational Grid: Conclusion
The Three Regions of the Staff
Measures
Barlines
Single Barlines
Double Barlines
The "fine" Barline
Braces and Brackets
Homework
Additional Practices
Changes of Clef
Chapter Five: Time Signatures, Meter, and Tempo
Time Signatures
Placement of Time Signatures
"Common Time" and "Cut time"
Changes Meter
Metric Placement of Note - heads and Rests
Alignment
Tempo Markings
Changes of Tempo
Homework
Additional Practices
Types of Rhythm
Metrical Rhythm
Changing Between Simple Time and Compound Time
Change of Pulse Note - value
Chapter Six: Rhythmic Subdivision of the Pulse
Flags
Beams
Application of Beams
Stem Direction of Beamed Note Groups
Beam Slant
Homework
Chapter Seven: Rhythmic Subdivision of the Pulse: Continued
Horizontal Beams
Primary Beams
Secondary Beams
Broken Secondary Beams
Syncopation
Borrowed Metric Groupings
Homework
Additional Practices
"Midway" Beaming of Note Groups
Beams as Indicators of Phrasing
Chapter Eight: Rhythmic Subdivision of the Pulse: Concluded
The Eighth Rest
The Sixteenth Rest
The Whole Measure Rest
Ties
Augmentation Dots
Dotted Rests
Rests in Compound Meters
Homework
Aditional Practices
Smaller Value Rests
Ties Attending Voicings
Triple Augmentation Dots
Chapter Nine: Holds, Pauses, and Repeats
Fermatas
Pauses
Caesuras
Fermatas Attending Caesuras
Multiple Measure Rests
Repeat Brackets
Repeat Endings
Single Measure Repeats
Double Measure Repeats
Da Capo and Dal Segno
al fine and al Coda
Homework
Additional Practices
Fermatas Attending Barlines
The "Grand Pause"
Tacet
Third Repeat Endings
Single Pulse Repeats
Col
Chapter Ten: Chords, Voicings, and Divisi Parts
Chord Symbols
Parenthetical Tensions
Inversions and Pedals
Voicings
Alignement of Accidentals
Divisi Parts
Octave Signs
Homework
Additional Practices
Hybrid Chords and Polychords
Divisi Parts: Continued
Coll' 8va and Coll' 8vb.
Chapter Eleven: Dynamics
Location of Dynamic Information
Dynamic Level Markings
Dynamic Terminology
Wedges
Homework
Additional Practices
Location of Dynamics
Combined Dynamic Level markings
Change of Dynamic :evel on Repeated Sections
Chapter twleve: Articulation
The "Unarticulated Note"
Accent Marks
Staccato Marks
Legato / Tenuto Marks
Plavement of Accent, Staccato, and Legato Markings
Slurs
Breath Marks
Accent Terminology
Idiomatic Considerations
Homework
Additional Practices
Combining Accents with Staccato and Legato Markings
Combining Accent, Staccato and Legato Markings with Slurs
Combining Accent Terms with Dynamics
Chapter Thirteen: Ornaments
The Portamento
The Glissando
Trills
Tremolos
The Unmeasured Tremolo
The Measured Tremolo
Grace Notes
Arpeggios
Turns
Bends
Homework
Additional Practices
Cues
I: Names of Instruments with Abbreviations
II: Score Layout
III: Instrumental Transpositions
IV: Glossary of European Musical Terms

Introduction
Chapter 1 - Impedance and Wiring
Basic Terminology
Compatibility Between Hi Z and Lo Z
Balanced vs. Unbalanced
Basic Terminology
Unbalanced Guitar Cables
Balanced Cables
Conclusion
Chapter 2 - Bass Guitar
Electric Bass
Condition of the Bass
Direct Box / Direct In (DI)
The Bass Level
Instrument Differences
Musical Style
Recording Levels for Bass
Mic Techniques
Compressing the Bass
Equalization
Panning
Reverb
Synth Bass
Plugging the Synth Bass In
Miking the Synth Bass
Performance of the Synth Bass Part
Bass Range and EQ
Compressing the Synth Bass
Recording Level for the Synth Bass
Panning Synth Bass
Effect and the Synth Bass
Acoustic Bass
Close - Miking the String Bass
Conclusion
Chapter 3 - Harmonics / Overtones / Partials
The Difference Between Harmonics, Overtones and Partials
Conclusion
Chapter 4 - Vocals
Mic Techniques
Placement
Distance
Small Room vs. Large Room
Moving - Coil / Ribbon
Condenser
Effects
Stylistic Considerations
Wind Screen
Repairing a Problem Plosive
Electronic Plovive Repair
The Proximity Effect
Bass Roll-off
The Pad
Different Sounds of Different Pickup Patterns
Positioning the Microphone
Compressor / Limiter / Gate / Expander
Dynamic Range
Compression
Sibilance
The De-esser
Equalization
Recording Environment
Physical Aids
Intonation
Headphones
Punch In / Punch Out
Perseverance
Panning
Common Vocal Effects
Delay
Slapback
The Electronic Double
The Electronic Triple
Regeneration
Reverb
Predelay
Exciter
Chorus / Flanger / Phase Shifter
Backing Vocals
Conclusion
Chapter 5 - Acoustic Piano and Rhodes
Grand Piano
The Basics
Mic Choice and Technique
Stereo or Mono
Instrument Maintenance
Setting the Mood
Processing Pano Sounds
No Two Pianos Sound Identical
Recording Levels
Equalizer the Piano
Compressing the Piano
Exciting the Piano
Reverberation
Miking the Vertical Piano
Sampled Piano Sounds
Rhodes - type Sounds
Rhodes Effects
Equalizing the Rhodes
Conclusion
Chapter 6 - Recording Synthesizers
Recording Synths: Strings, Pads, Bell-like Sounds, Brass and Effects
Live in vs. Mic in Through DI
Line In
DI Can Color the Sound Adversely
String and Pads
Layering
Equalizing Pads
Dynamic Processing the Synth
Reverb
Combining Textures
Exciter
Chorus, Flanger, Phase Shifter
Panning
Delay
Bell - like Sounds
Equalizing the Bell - like Sounds
Panning Bell - like Sounds
Compression
Reverb
Chorus / Flanger / Phase Shifter
Brass
Mic Technique
Levels
Brass Samples
Brass Equalization
Panning
Reverb
Exciter
Chorus / Flanger / Phase Shifter
Delay
Special Effects
Conclusion
Chapter 7 - Panning and Stereo Imaging
Speaker Position and Choice
Mic Techniques
The Head
Assignment
3:1 Principle
Panning
Reverberation
Space in a Space
Combining Wet and Dry
Delay
Panning
Chorus/ Flanger / Phase Shifter
Monitors and Your Stereo Image
Conclusion
Chapter 8 - The Total Recording Session
Planning
Tracks
Envision the Final Products
Instrument
Tuning
Strings
Getting the Recorder Ready
Cleaning and Demagnetizing
Demagnetizing the Analog Tape Machine
Cleaning the Analog Recorder
Tones on the Analog Recorder
Tones on the Digital Recorder
Media Selection
Magnetic Tape / Video Tape
Recordable CDs / Hard Drives
Tape Storage Is a Critical Condiseration
Time Code
Striping SMPTE
Getting the Sequencer to Follow SMPTE
Tightening the Arrangement
Contents of Arrangement
Reference Lead Vocal
Backing Vocals
Bounce to Track One
Electric Guitar to Track Four
Punch-Ins
Acoustic Guitar to Track Five
Final Vocal to Track Three
Lead Guitar to Track Six
Conclusion
Chapter 9 - Mixdown to Master to Product
Mixdown Machine
Basic Proceudre for Alignment (Mixdown and Multitrack)
Playback Alignment
Record EQ
Reference Tones
Reference Tone
Starting the Mix / Zeroing the Board
Tape Choice
Outboard Gear to Have on Hand
Tape Speed
Automation
Multiple Sets of Monitors
Comparison to Other Projects
The Spherical Approach to Panning and Positioning in the Mix
EQ: The Cumulative Effect
Mixing Theories and Building Concepts
Mix Approach
The Arrangement
Characteristics of a Good Mix
Strong and Solid, But Controlled, Lows
Mids Distributed Evenly Among Various Instruments
Strong, Smooth Highs That Are Easy to Listen To
Balance
Depth
Width
Momentum
Consistency
Sounds Good in Stereo and Mono
Approaches to Mixing That I've Found Ineffective
Signs of an Amateur Musical Recording
Basic Setup Procedure
Once You Select and Prepare the Multitrack and Mixdown Machines
Arranging During Mixdown
Multiple Mixes
Mix Versions
Building the Mix
Kick Drum / Bass Guitar
Pan the Cymbals for a Natural Sound
Live Toms
Drum Machine Toms
Drum Set Overhands (Live)
Bass
Lead Vocal
Compression
Expander
Vocal EQ
Exciter
Simple Delay
Add Backing Vocals
Comping Keyboards and Rhythm Guitars
Filling in the Holes With the Guitar or Keys
Lead Parts
Solos
Mix Levels
Fades
Preparing the Mixed Master for Duplication
Editing
Mastering
Different Mixes
Conclusion
GLossary
Index

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

Foreword to teachers
Foreword to parents
Section 1: fundamentals
How the fingers are numbered
Finger number melodies
Black key groups of two
Black key groups of three
The musical alphabet
Letter name melodies
How music is written
Notation melodies (notes)
Section 2: Application
Right hand position (C,D, E) - The Speed Boat
Left Hand Position (A, B, C) - The Computer
Alternating Hands - Bone Sweet Bone
3/4 Rhythm - dotted half note - Oscar the Octopus
Four Notes Up and Four Notes Down - Deep Sea Diving
Changing Hands within a Measure - Old Mc Donald
New Note G in Right Hand - The Ice Cream Cone
Natural Accents - The Wind Sock
Five Notes Up and Five Notes Down - Mr. Frog Is Full of Hops
Introducing 2/4 time - Porcupines
Presenting rests - Chief thunder cloud
Omitting finger numbers - Gooseberry goose
Eighth notes - The Happy halibut
Left - hand crossing over - The Funny Bunny
C and G below Middle C - Submarine
The Sharp Sign - The Dragon
Key of G (F Sharp in Signature) - Myrtle the Turtle
Leger Note D in Left hand - Power Shovel
Combining Hands - The Eagle
The Tie - The Circus
White Key Melodic Skips - A Riddle
New Hand Position in left hand - Donkey party
New right hand position - Watchman's song
Another new right hand group - Hot Dog Stand
The flat sign - The Wren and the Swan
Key of F (B flat in signature) - The Jet Plane
Leger Note B in right hand - Pretty Polly
Chords in right hand - Monkey Business
Accidentals (Sharp, Flat and Natural) - Eskimo Boy
Staccato - The Detective
Octave higher sign - Lightning Ranger
Chords in left hand - The Streamline express
Piano Quiz
Certificate of Promotion

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