Contents
Introduction
What makes a great recording?
Section One - Record
1 - An Introduction to How Sound Works
How Sound Works
Amplitude
Sound Dispersion
Equal Loudness Contours
Speaker to Room Relationship
2 - Types of Speakers
Active Studio Speakers
Passive Studio Speakers
Two Way Speakers
Three Way Speakers
Dual Concentric Speakers (Coaxial Speakers)
Subwoofer
Ported (Vented) vs Closed (sealed) Speaker Cabinets
Choosing Monitors
3 - Speaker Placement
Speaker Placement
Speaker Positioning
Comb Filtering
Decoupling
4 - Room Acoustic Treatment
Room Acoustic Treatment
Broadband Bass Absorption
Room Treatment
Early Reflections
Low Ceilings
Rear Wall
Retail or DIY Broadband Bass Traps?
Room Measurement
Measuring Your Room
5 - DIY Broadband Bass Trap
DIY Broadband Bass Trap
6 - Speaker Listening Levels
Speaker Listening Levels
How to Calibrate your Listening Level
K20 - Monitoring Levels for Film Music Production
K14 - Monitoring Levels for Commercial Music Production
K12 - Monitoring Levels for Broadcast
Setting up a Subwoofer
7 - Sample Rate
Sample Rate
Upsampling
Downsampling
8 - Bit Depth (Word length)
Bit Depth (Word Length)
9 - Nyquist Frequency, Aliasing and Oversampling
Nyquist Frequency, Aliasing and Oversampling
Oversampling
10 - Word Clock, Jitter and Frequency Drift
Word Clock and Jitter
Frequency Drift
11 - File Formats
File Formats
12 - Audio Cables
Balanced
Unbalanced
XLR
Digital Audio Cables
Coaxial (Coax)
Optical (Toslink)
AES/EBU
13 - Audio Interface
Audio Interface
14 - Equipment Connections
Equipment Connections
15 - Phase
Phase
16 - Microphone, Instrument and Line Level
Mic Level
Instrument Level
Line Level
DI (Direct Injection or Direct Input) Box
17 - Microphones
Dynamic Microphone
Condenser Microphone
Small Diaphragm Condenser Microphone
Ribbon Microphone
Microphone Polar Patterns
Cardioid
Hypercardioid
Bidirectional (Figure 8)
Omnidirectional
Proximity Effect
18 - Preamps
Preamps
19 - Recording Vocals
What type of microphone should I use?
Which polar pattern should I select?
Should I use a pop shield?
Should I use a shock-mount?
Should I use the microphone hi pass filter (HPF)?
How far from the microphone should I stand?
Recording with Compression
20 - Controller Keyboards
Controller Keyboards
21 - DC Offset
DC Offset
22 - H/W Buffer Size and Latency
H/W Buffer Size and Latency
23 - Headphones
Headphones
Headphone Impedance
Cue Mix
Mixing on Headphones
24 - Digital Audio Workstation (DAW)
Digital Audio Workstation (DAW)
DAW Controls and Functions
Arrange Window
Tracks
Transport
Counter
Grid
Mix Window
Mixer
Tools
Midi Edit Window
Section Two - Mix
25 - Gain Staging
Analog Gain Staging
Digital Gain Staging
26 - Equalisers
Equalisers
Graphic Equalisers
Parametric Equalisers
Types of Equaliser Filters
Dynamic Eq
Minimum Phase
Linear Phase
Baxandall Curve
Frequency Range
Equaliser Tips
Modelled Equalisers
Piano Display
27 - Compressors
Compressors
Threshold/Attack/Release/Ratio
Knee
Different Types of Compressor
Feedforward and Feedback Processing
How to use a Compressor
Compressor Settings
Sidechain Compression
Sidechain Eq Filter
Parallel Compression (Parallel Processing)
Multiband Compressors
28 - Resonance and Spectral Shaping
Resonance and Spectral Shaping
29 - Limiters
Limiters
30 - Expanders and Noise Gates
Expanders
Noise Gates
31 - De-Essers
De-Essers
Automation
De-esser Plugin
Dynamic Eq
Sidechain Compression
Separate Track
32 - Effects
Effects
Reverberation (Reverb)
Delay and Echo
Modulation Effects - Phaser, Flanger and Chorus
Distortion and Saturation
Inserting Effects
Pitch Correction
33 - Subgroups
Subgroups
Subgroups and VCA
Step by step guide to routing
34 - Monitoring in Mono
Monitoring in Mono
35 - Mid/Side Processing
Mid/Side Processing
36 - Transients
Transients
37 - Panning
Panning
Pan Law
38 - Plosives
Plosives
39 - Zero Crossing and Crossfades
Zero Crossing and Crossfades
40 - Mixing Tips
Mixing Tips
Getting ready to Mix
Drums and Bass
Vocals
Guitars and Synths
General
Section Three - Master
41 - What is Mastering
What is Mastering
42 - Prepare your track for Mastering
Prepare your track for Mastering
43 - Mastering tools
Compression
Equalisation
Harmonic Exciter
Reverb
Stereo Enhancement
Limiting and Clipping
44 - Dither
Dither
45 - Metering: Peak, RMS and LUFS
Peak, RMS and LUFS
PPM (Peak Program Meters)
RMS (Root Mean Square)
LUFS (Loudness Units Full Scale)
46. Master Your Song
Mastering your song
Listen
Dynamics and Compression
Corrective Eq and Tone Shaping
Harmonic Enhancement
Limiting
Dither
Mastering Chain
Stem Mastering
Glossary
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