The Roger Nichols Recording Method
A Primer for the 21st Century Audio Engineer
By Roger Nichols
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Category: Pro Audio Textbook
Learn the basics of digital recording, each step of the signal path, and everything from microphone placement to mixing strategy through the eyes and ears of "The Immortal" Roger Nichols, master engineer. From scientifically analyzing the differences between condenser, ribbon, and dynamic microphones, to sharing his secrets to an amazing mix, Nichols delivers something for everyone interested in the science and art of audio engineering---no matter what your experience level. The DVD-ROM includes Pro Tools session files, personally set up by Roger, to give you hands-on training.

The Roger Nichols Recording Method gives you the unique experience of learning directly from Roger---exactly as he would have taught you at one of his famous master classes. It's the ultimate experience of having an eight-time GRAMMY®-winning engineer sit down in your studio to teach you from his personal experiences and techniques. This book is excellent for beginners but is still full of gems for seasoned pros who want to know how Roger Nichols always managed to get that sound.

Topics include:
* Plan your recording sessions like a professional engineer and producer
* Choose the right microphones and learn how Roger would place them for a session
* Test microphone patterns; learn about critical distance placement and the 3 to 1 rule
* Understand how digital audio really works to choose the right format for your sessions
* Learn about the signal path from microphone/instrument levels, channels strips, and plugins
* Record multiple takes, overdubs, punch-in techniques, and get tips on editing digital audio files
* Learn Roger's personal tips for mixing, using automation, creating your final mix, and more!
TITLE COMPOSER
Roger's Obsession with All Things Sound
Supercardioid
In Conclusion
The 3:1 Rule
Awards
Effects: Noise Gates
Quick Punch
Chapter One: Why Learn the Art and Science of Audio and Recording?
Chapter Ten: Connecting an Audio Source
Chapter Nine: Microphones
Chapter Twenty: Your Final Mix
Digital
Listening to Other Mixes
Loop Record with Overdubs
Practicing Punch-Ins
Without Pre-Roll
With Pre-Roll
Effects: Delays and Echoes
Harmonizers: Octave Dividers, Aural Exciters
Comping Tracks
Mixing
When Recording
Overdubs
Effects: EQ
Effects: Compressors and Limiters
Recording Modes/Recording Regions
Pre-Roll and Post-Roll
Destructive/Nondestructive Recording
Crossfades
Gain Structure
Recording Alternate Takes
Chapter Fifteen: Overdubs
Overdubbing Tracks to Existing Material
Recording Session Setup
Cables
Microphones
Speakers and Monitoring
Sound Waves and Pond Ripples
Panning
Word Clock
With Quick Punch
Should I Consider a Studio-in-a-Box?
Do I Need a Mixer?
Now What?
Chapter Three: Planning a Recording Session
Plug-Ins
Chapter Thirteen: Recording Multiple Takes
Record The Instrument in Stereo
Chapter Fourteen: New Concepts
Every Link in the Chain Is As Important As the Ones Before and After It
Headphone Mix
EQ Balance
Compression
On the Level
Reverb: Hello,,, Hello... Hello...
Power Quality
Receptacle Load Centers
Lighting Load Centers
Grounding and Noise
Balanced Power to the Rescue
Chapter Five: What Is Recording?
Hidden Tracks
Inactive Tracks
Basic Levels for Your First Mix
Transducers
Chapter Six: My Thoughts on Recording Formats
All Recording Methods Break Down to Two Basic Categories
Analog
Reverb Sends and Settings
Equalization
Compressors in the Mix
Spend Time Mixing
Snap, Crackle, and Pop Music
Divine Digital Recording
Chapter Seven: My Detailed Audio Production Definitions
Chapter Eight: Caveat Sampler, Ille Nunquam Cedunt!
Make Notes on Your Mixes
Chapter Nineteen: Beginning Automation
Recording Fader Moves
Automating Vocal Levels
Mbox Features and Connections
Set Start Point for Recording
Test the Pattern of the Microphone
Chapter Two: Determine Your Recording Needs
Will I Sequence or Play Parts Live?
Will I Record Everything Directly or with Microphones?
How Many Tracks Do I Need?
USB
Chapter Twelve: Signal Chain
Console/Recording Device
Chapter Sixteen: Punch-In Techniques
Ethernet
Fiber Channel
Thunderbolt
Microphone Level and Instrument Level
Amplifiers
Speaker
Channel Strip
AC Harmonics
Your Work Is Never Done
Analog vs. Digital
Hard Disk Recording
Other Recording Systems
Gain Structure
Rejection Is Good
Standard Distance
Exercise 9.1: Recording a Microphone Signal
Launch Pro Tools
Overview Of Accomplishments
Roger Nichols Remembered
Roger Nichols Discography
Index
Chapter Seventeen: Editing in a DAW
Creative Editing
Edits to Clean Up Audio
Keeping Notes
Chapter Eighteen: Mixing
Mix Processors
Mixing Back to Two Tracks of Multitrack or DAW
Premastering
What Recording Software Will I Use?
Virtual Channel Strip
Condenser, Ribbon, and Dynamic Microphones
Microphone Patterns
Omnidirectional
Cardioid
Contents
Foreword
From Roger Nichols
Clean Up Your Mix
Print to External Recorder
Bounce to Disk
Burn CD of Final Mix
Self-Instruction Guide for The Roger Nichols Recording Method
Pro Tools Session Files
System Upgrades
Microphones
Epilogue - This Is a Service Business
About Roger Nichols
TV and Film Credits
Hypercardioid
Microphone Pickup Angle
Microphone Performance in the Direct Sound Field
Microphone Performance in Reverberant Sound Field
Headphone Mix
Chapter Four: Noise from Your Electrical Connections
The First Taste of Mixing
How Many Simultaneous Tracks Do I Need?
Critical Distance
What's My Budget?
Do I Prefer a PC or a Mac?
Should I Use a Laptop or Desktop?
What Computer Audio Interfaces Do I Need?
Testing Additional Microphone Types
Test the Microphones with Instruments
Recording an Acoustic Guitar
Chapter Eleven: Recording Formats--Understanding How Digital Audio Works
What Computer Hard Drives Do I Need?
Digital Audio Formats
Sample Rate
Bit Depth
File Format
SATA
SSD
Firewire 400/800