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
Comping Tracks
Quick Punch
Divine Digital Recording
Spend Time Mixing
SSD
Sample Rate
Chapter Three: Planning a Recording Session
Every Link in the Chain Is As Important As the Ones Before and After It
Recording Session Setup
Cables
Plug-Ins
Chapter Thirteen: Recording Multiple Takes
Record The Instrument in Stereo
Chapter Fourteen: New Concepts
Effects: Compressors and Limiters
Effects: Noise Gates
Effects: Delays and Echoes
Harmonizers: Octave Dividers, Aural Exciters
Recording Modes/Recording Regions
Pre-Roll and Post-Roll
Destructive/Nondestructive Recording
Crossfades
Keeping Notes
Chapter Four: Noise from Your Electrical Connections
Power Quality
Receptacle Load Centers
Chapter Seventeen: Editing in a DAW
Creative Editing
Edits to Clean Up Audio
Chapter Eighteen: Mixing
Premastering
With Quick Punch
Microphones
Headphone Mix
Roger's Obsession with All Things Sound
Condenser, Ribbon, and Dynamic Microphones
Recording Fader Moves
How Many Tracks Do I Need?
Chapter Ten: Connecting an Audio Source
Roger Nichols Remembered
Roger Nichols Discography
Index
Mbox Features and Connections
Set Start Point for Recording
Test the Pattern of the Microphone
Critical Distance
How Many Simultaneous Tracks Do I Need?
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
Loop Record with Overdubs
Practicing Punch-Ins
Without Pre-Roll
With Pre-Roll
Mixing
Word Clock
Mix Processors
Mixing Back to Two Tracks of Multitrack or DAW
Self-Instruction Guide for The Roger Nichols Recording Method
Pro Tools Session Files
System Upgrades
Microphone Patterns
Omnidirectional
Cardioid
Supercardioid
Automating Vocal Levels
Chapter Twenty: Your Final Mix
Clean Up Your Mix
Print to External Recorder
Microphones
Hypercardioid
Bounce to Disk
Headphone Mix
Analog vs. Digital
Hard Disk Recording
Other Recording Systems
Microphone Pickup Angle
Microphone Performance in the Direct Sound Field
Microphone Performance in Reverberant Sound Field
Burn CD of Final Mix
In Conclusion
Thunderbolt
Microphone Level and Instrument Level
What Recording Software Will I Use?
Should I Consider a Studio-in-a-Box?
Do I Need a Mixer?
Amplifiers
Speaker
Channel Strip
Chapter Six: My Thoughts on Recording Formats
Basic Levels for Your First Mix
All Recording Methods Break Down to Two Basic Categories
Analog
Digital
Snap, Crackle, and Pop Music
Panning
Reverb Sends and Settings
Equalization
Compressors in the Mix
Contents
Foreword
From Roger Nichols
Chapter Seven: My Detailed Audio Production Definitions
Chapter Eight: Caveat Sampler, Ille Nunquam Cedunt!
Chapter Nine: Microphones
Listening to Other Mixes
Make Notes on Your Mixes
Chapter Nineteen: Beginning Automation
Sound Waves and Pond Ripples
Transducers
Your Work Is Never Done
Hidden Tracks
Inactive Tracks
Lighting Load Centers
The First Taste of Mixing
Gain Structure
The 3:1 Rule
Epilogue - This Is a Service Business
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?
Will I Record Everything Directly or with Microphones?
Rejection Is Good
Standard Distance
Exercise 9.1: Recording a Microphone Signal
Launch Pro Tools
About Roger Nichols
TV and Film Credits
Awards
Overview Of Accomplishments
Chapter Five: What Is Recording?
Reverb: Hello,,, Hello... Hello...
What Computer Hard Drives Do I Need?
SATA
Test the Microphones with Instruments
Recording an Acoustic Guitar
Chapter Eleven: Recording Formats--Understanding How Digital Audio Works
Digital Audio Formats
Bit Depth
File Format
Chapter Twelve: Signal Chain
Firewire 400/800
USB
Ethernet
Fiber Channel
Now What?
Virtual Channel Strip
Gain Structure
Recording Alternate Takes
Chapter Fifteen: Overdubs
Overdubbing Tracks to Existing Material
Speakers and Monitoring
Console/Recording Device
When Recording
Overdubs
Effects: EQ
Chapter Sixteen: Punch-In Techniques
EQ Balance
Compression
On the Level
AC Harmonics
Grounding and Noise
Balanced Power to the Rescue