Getting Great Sounds imparts microphone tips and tricks of the pros to any sound engineer or home studio enthusiast. It explains all aspects of all kinds of microphones: how they work and how to use them. Today, there are over 150 companies making microphones—this third edition introduces some of these companies and helps users navigate them.
Getting Great Sounds imparts microphone tips and tricks of the pros to any sound engineer or home studio enthusiast. It explains all aspects of all kinds of microphones: how they work and how to use them. Today, there are over 150 companies making microphones—this third edition introduces some of these companies and helps users navigate them.
Tom Lubin has held numerous positions in the recording and educational spheres throughout his long and illustrious career. He was the Western Australian representative for the Australian Film Television and Radio School and has held positions at the Film and Television Institute (Western Australia), The College of Recording Arts (San Francisco), field sales manager for Fostex, staff engineer at CBS Records Studios (San Francisco), Jimi Hendrix's Electric Lady Studios, and Gold Star. He is a lifetime member of the National Academy of Recording Arts and Sciences
Inhaltsangabe
Chapter 1: The Development of the Microphone Chapter 2: Microphone Types, Patterns, and Uses Chapter 3: Understanding Sound and Hearing Chapter 4: Polarity, Phase Cancellation, and Reverb Chapter 5: Impedance and Balance Chapter 6: Hum 101, DIs, and Related Transducers Chapter 7: Accessories and Necessary Hardware Chapter 8: Stereo Microphone Techniques Chapter 9: The Recording Session Chapter 10: Miking Drums Chapter 11: Miking the Guitar and a Bit on Bass Chapter 12: Miking Piano Chapter 13: Miking Solo Acoustic Instruments and Vocals Chapter 14: Miking Classical Acoustic Sections Appendix A: Compressors and Limiters: A Brief Overview Appendix B: An EQ Primer Appendix C: Microphones You May Not Have Heard Of
Chapter 1: The Development of the Microphone Chapter 2: Microphone Types, Patterns, and Uses Chapter 3: Understanding Sound and Hearing Chapter 4: Polarity, Phase Cancellation, and Reverb Chapter 5: Impedance and Balance Chapter 6: Hum 101, DIs, and Related Transducers Chapter 7: Accessories and Necessary Hardware Chapter 8: Stereo Microphone Techniques Chapter 9: The Recording Session Chapter 10: Miking Drums Chapter 11: Miking the Guitar and a Bit on Bass Chapter 12: Miking Piano Chapter 13: Miking Solo Acoustic Instruments and Vocals Chapter 14: Miking Classical Acoustic Sections Appendix A: Compressors and Limiters: A Brief Overview Appendix B: An EQ Primer Appendix C: Microphones You May Not Have Heard Of
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