$29.99
The Roger Nichols Recording Method
A Primer for the 21st Century Audio Engineer
By Roger Nichols
Item: 00-40830
UPC: 038081457222
ISBN 10: 0739095056
ISBN 13: 9780739095058
PRICE: $29.99
Category: Pro Audio Textbook
Format: Book & DVD-ROM
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
Effects: Compressors and Limiters
Effects: Noise Gates
Effects: Delays and Echoes
Harmonizers: Octave Dividers, Aural Exciters
Quick Punch
Loop Record with Overdubs
Practicing Punch-Ins
Without Pre-Roll
Comping Tracks
With Pre-Roll
Balanced Power to the Rescue
Inactive Tracks
Mixing
Word Clock
Mix Processors
Mixing Back to Two Tracks of Multitrack or DAW
With Quick Punch
Chapter Seventeen: Editing in a DAW
Creative Editing
Edits to Clean Up Audio
Microphones
Headphone Mix
Analog vs. Digital
Hard Disk Recording
Hypercardioid
Microphone Pickup Angle
Microphone Performance in the Direct Sound Field
Microphone Performance in Reverberant Sound Field
In Conclusion
Epilogue - This Is a Service Business
About Roger Nichols
TV and Film Credits
Other Recording Systems
The 3:1 Rule
Awards
All Recording Methods Break Down to Two Basic Categories
Analog
Digital
Snap, Crackle, and Pop Music
Compressors in the Mix
Spend Time Mixing
Listening to Other Mixes
Divine Digital Recording
Make Notes on Your Mixes
From Roger Nichols
Roger's Obsession with All Things Sound
Self-Instruction Guide for The Roger Nichols Recording Method
Pro Tools Session Files
Clean Up Your Mix
Print to External Recorder
Bounce to Disk
Microphone Patterns
Omnidirectional
Cardioid
Basic Levels for Your First Mix
Panning
Reverb Sends and Settings
Chapter Five: What Is Recording?
Sound Waves and Pond Ripples
Transducers
Chapter Six: My Thoughts on Recording Formats
Equalization
Premastering
Chapter Eighteen: Mixing
Keeping Notes
Chapter Four: Noise from Your Electrical Connections
Power Quality
The First Taste of Mixing
EQ Balance
Compression
SATA
Sample Rate
Bit Depth
File Format
Chapter Twelve: Signal Chain
SSD
Firewire 400/800
USB
System Upgrades
Supercardioid
Burn CD of Final Mix
Contents
Chapter Seven: My Detailed Audio Production Definitions
Chapter Eight: Caveat Sampler, Ille Nunquam Cedunt!
Chapter Nine: Microphones
Chapter Nineteen: Beginning Automation
Recording Fader Moves
Automating Vocal Levels
Foreword
Condenser, Ribbon, and Dynamic Microphones
Chapter Twenty: Your Final Mix
Do I Prefer a PC or a Mac?
Testing Additional Microphone Types
Amplifiers
Fiber Channel
Thunderbolt
Speaker
Channel Strip
Chapter Three: Planning a Recording Session
Chapter Fourteen: New Concepts
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
Gain Structure
Chapter One: Why Learn the Art and Science of Audio and Recording?
Chapter Two: Determine Your Recording Needs
Will I Sequence or Play Parts Live?
Chapter Ten: Connecting an Audio Source
Ethernet
Microphone Level and Instrument Level
Receptacle Load Centers
On the Level
Reverb: Hello,,, Hello... Hello...
Your Work Is Never Done
Hidden Tracks
Lighting Load Centers
AC Harmonics
Grounding and Noise
What Recording Software Will I Use?
Virtual Channel Strip
Headphone Mix
Gain Structure
Recording Alternate Takes
Chapter Fifteen: Overdubs
Every Link in the Chain Is As Important As the Ones Before and After It
Recording Session Setup
Cables
Microphones
Speakers and Monitoring
Overdubbing Tracks to Existing Material
Will I Record Everything Directly or with Microphones?
How Many Tracks Do I Need?
How Many Simultaneous Tracks Do I Need?
What's My Budget?
Mbox Features and Connections
Set Start Point for Recording
Test the Pattern of the Microphone
Critical Distance
Should I Use a Laptop or Desktop?
What Computer Audio Interfaces Do I Need?
What Computer Hard Drives Do I Need?
Test the Microphones with Instruments
Recording an Acoustic Guitar
Chapter Eleven: Recording Formats--Understanding How Digital Audio Works
Digital Audio Formats
Console/Recording Device
When Recording
Overdubs
Chapter Sixteen: Punch-In Techniques
Recording Modes/Recording Regions
Pre-Roll and Post-Roll
Destructive/Nondestructive Recording
Effects: EQ
Crossfades
Should I Consider a Studio-in-a-Box?
Do I Need a Mixer?
Now What?
Plug-Ins
Chapter Thirteen: Recording Multiple Takes
Record The Instrument in Stereo