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[正版 实用录音技术 第6版第六版 技术与录音艺术译丛 数字音频技术深入剖析实用传声器拾音技术 录音专业理论音频艺术制作图书籍]

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[书名：实用录音技术第6版]

[作者：(美)巴特利特,(美)巴特利特,朱慰中]

[出版社：人民邮电出版社]

[出版日期：2014-07-01]

[印刷日期：2014-07-01]

[ISBN：9787115352583]

[字数：637000]

[页码：442]

[版次：1]

[装帧：平装]

[开本：16开]

[重量：g]

[定价：99.00元]

[《实用录音技术(第6版)》作为音响录音人员的实用指南，提供了音响录音各环节所需知识。全书概括了许多录音要点和捷径。从装备一个家用录音室(含低成本或高级的)、如何设置和使用设备、声学设施上的优化、监听音箱的选择到交流哼声的预防等都给出了多方面的建议。同时还教你如何评价并改善你的录音作品制作出具有专业质量的作品。《实用录音技术(第6版)》也是初学者基础训练的指南，指出了如何使用不太昂贵的家用录音室设备来获得高质量的录音作品。]

[第6版更新了一批有关插件程序、Pro Tools、iOS录音系统以及许多录音网站的信息，同时全部更新了数字音频工作站及MIDI技术细节方面的信息。你可以在与本书配套的相关网站(www.focalpress.com/cw/bartlett)上下载到多段音频样例。通过聆听这些音频样例，实际体会本书中讲到的那些效果和技术。]

[对于想要通过理解录音设备和技术来录制更好的音乐录音作品的人员来说，《实用录音技术(第6版)》旨在成为录音师、制片人、音乐人等初学者手边的实用指南。通过阅读《实用录音技术(第6版)》，读者可在家用录音室、小型专业录音棚或在现场录音流程中做好工作上的准备。]

[1音乐：我们为何录音(Music：Why We Record)1]

[1.1加深对音乐的理解(Increasing Your Involvement in Music)1]

[1.2各种不同的聆听方法(Different Ways of Listening)2]

[1.3为什么要录音(Why Record？)3]

[2录音方法(The Recording Process)5]

[2.1录音分类(Types of Recording)5]

[2.1.1实况立体声录音(Live Stereo Recording)6]

[2.1.2实况混音至2声轨录音(Live-Mix-to-2-Track Recording)7]

[2.1.3多声轨录音机和调音台录音(Multitrack Recorder and Mixer)7]

[2.1.4独立的数字音频工作站(录音机-调音台)录音 8]

[2.1.5计算机数字音频工作站录音(Computer DAW)9]

[2.1.6MIDI音序录音(MIDI Sequencing)10]

[2.2各种录音方法的优缺点(Pro and Cons of Each Method)11]

[2.3混音制作(Recording the Mixes)12]

[3声音、信号和录音室声学(Sound，Signals and Studio Acoustics)13]

[3.1声波的产生(Sound Wave Creation)13]

[3.2声波的特性(Characteristics of Sound Waves)14]

[3.2.1振幅(Amplitude)15]

[3.2.2频率(Frequency)15]

[3.2.3波长(Wavelength)15]

[3.2.4相位和相位移(Phase and Phase Shift)15]

[3.2.5相位干涉(Phase Interference)16]

[3.2.6谐波(Harmonics)17]

[3.2.7包络(Envelope)18]

[3.3室内声音的特性(Behavior of Sound in Rooms)19]

[3.3.1回声(Echo)19]

[3.3.2混响(Reverberation)20]

[3.3.3扩散(Diffusion)21]

[3.4如何控制回声和混响(How to tame Echoes and Reverb)21]

[3.4.1运用录音技术来控制录音室的问题(Controlling Room Problems with Recording Techniques)21]

[3.4.2运用声学处理来控制录音室的问题(Controlling Room Problems with Acoustic Treatments)22]

[3.4.3驻波的控制(Controlling Standing Waves)24]

[3.5创建一个更安静的录音室(Making a quieter Studio)25]

[3.6音频设备器件的信号特征(Signal Characteristics of Audio devices)26]

[3.6.1频率响应(Frequency Response)26]

[3.6.2噪声(Noise)28]

[3.6.3失真(Distortion)28]

[3.6.4*佳信号电平(Optimum Signal Level)28]

[3.6.5信号噪声比(Signal-to-Noise Ratio)29]

[3.6.6动态余量(Headroom)29]

[4录音室的装备(Equipping Your Studio)31]

[4.1设备(Equipment)31]

[4.1.1录音设备(Recording Device)31]

[4.1.2话筒(Microphone)40]

[4.1.3幻象供电电源(Phantom-Power Supply)41]

[4.1.4话筒前置放大器(Mic Preamp)41]

[4.1.5直接插入小盒(Direct Box)41]

[4.1.6监听系统(Monitor System)42]

[4.1.7效果器(Effects)42]

[4.1.8各种各样的设备(Miscellaneous Equipment)43]

[4.1.9MIDI录音室设备(MIDI Studio Equipment)43]

[4.2设备的安装(Setting up Your Studio)44]

[4.2.1线缆(Cables)44]

[4.2.2设备接插件(Equipment Connector)45]

[4.2.3线缆接插件(Cable Connector)46]

[4.2.4音频电缆的种类(Cable Types)48]

[4.2.5机柜/跳线盘(Rack/Patch Bay)49]

[4.2.6设备的连接(Equipment Connections)51]

[4.3哼声的预防(Hum Prevention)54]

[4.4降低射频干扰(Reducing Radio Frequency Interference)56]

[4.5小结(Summary)56]

[5监听(Monitoring)57]

[5.1扬声器的要求(Speaker Requirement)57]

[5.2近场监听音箱(Nearfield Monitors)58]

[5.3内置功放(有源)音箱［Powered(Active)Monitors］ 60]

[5.4功率放大器(The Power Amplifier)60]

[5.5音箱线及极性(Speaker Cables and Polarity)60]

[5.6控制室声学(Control-Room Acoustics)61]

[5.7音箱的摆放(Speaker Placement)61]

[5.8监听音箱的使用(Using the Monitors)62]

[5.9耳机(Headphones)64]

[5.10提示系统(The Cue System)64]

[5.11小结(Summary)66]

[6话筒(Microphone)67]

[6.1换能器种类(Transducer Type)67]

[6.2极坐标图(Polar Pattern)70]

[6.3频率响应(Frequency Response)73]

[6.4阻抗［Impedance(Z)］ 75]

[6.5*大声压级(Maximum SPL)75]

[6.6灵敏度(Sensitivity)76]

[6.7本底噪声(Self-Noise)76]

[6.8信号噪声比(Signal-to-Noise Ratio)76]

[6.9极性(Polarity)77]

[6.10话筒的种类(Microphone Type)77]

[6.10.1大振膜电容话筒(Large-Diaphragm Condenser MIC)77]

[6.10.2小振膜电容话筒(Small-Diaphragm Condenser MIC)78]

[6.10.3乐器用动圈话筒(Dynamic Instrument Microphone)78]

[6.10.4实况人声用话筒(Live-Voice Microphone)78]

[6.10.5带式话筒(Ribbon Microphone)78]

[6.10.6界面话筒(Boundary Microphone)78]

[6.10.7微型话筒(Miniature Microphone)79]

[6.10.8立体声话筒(Stereo Microphone)80]

[6.10.9数字话筒(Digital Microphone)80]

[6.10.10头戴式话筒(Headworn Microphone)80]

[6.11话筒的选择(Microphone Selection)81]

[6.12话筒的附件(MIC Accessory)82]

[6.12.1扑声滤波器(Pop Filter)82]

[6.12.2话筒架和话筒杆(Stand and Boom)82]

[6.12.3防震架(Shock Mount)83]

[6.12.4话筒线及接插件(Cables and Connector)83]

[6.12.5多芯电缆(Snake)83]

[6.12.6话筒音分器(Splitter)84]

[6.13小结(Summary)84]

[7话筒技术基础(Microphone Technique Basics)85]

[7.1使用哪一类话筒？(Which MIC should I use？)85]

[7.2要使用多少支话筒？(How many MICs？)86]

[7.3话筒与声源的距离？(How close should I place the MIC？)88]

[7.3.1泄漏声(渗漏或溅落)［Leakage(Bleed or Spill)］ 89]

[7.3.2话筒不能过于靠近乐器拾音(Don]’t Mike Too Close)90

[7.4话筒应该摆放在什么位置？(Where should I place the MIC？)91]

[7.5表面拾音技术(On-Surface Technique)92]

[7.6三比一规则(The Three-to-One Rule)93]

[7.7轴外声染色(Off-Axis Coloration)94]

[7.8立体声话筒技术(Stereo MIC Techniques)94]

[7.8.1立体声拾音的目的(Goals of Stereo Miking)95]

[7.8.2立体声话筒技术分类(Type of Stereo MIC Techniques)95]

[7.8.34种立体声话筒技术的比较(Comparing the Four Techniques)100]

[7.9硬件(Hardware)101]

[7.10如何进行声像测试(How to Test Imaging)102]

[7.11小结(Summary)102]

[8话筒技术(MIC. Techniques)103]

[8.1电吉他(Electric Guitar)103]

[8.1.1对吉他放大器的拾音(Miking the Amp)104]

[8.1.2对电吉他的直接录音(Recording Direct)104]

[8.1.3电吉他效果(Electric Guitar Effects)105]

[8.2电贝司(Electric Bass)105]

[8.3合成器、鼓机、电钢琴(Synthesizer，Drum Machine and Electric Pia**)107]

[8.4莱斯利风琴音箱(Leslie Organ Speaker)108]

[8.5鼓类(Drum Set)108]

[8.5.1鼓面的调节(Tuning)108]

[8.5.2阻尼和噪声的控制(Damping and Noise Control)109]

[8.5.3鼓类的拾音(Drum Miking)109]

[8.5.4军鼓(Snare)110]

[8.5.5立钹(Hi-Hat)111]

[8.5.6通通鼓(Tom-Tom)112]

[8.5.7底鼓(Kick Drum)112]

[8.5.8铙钹(Cymbal)113]

[8.5.9房间话筒(Room MIC)113]

[8.5.10界面话筒技术(Boundary MIC Technique)114]

[8.5.11用两至四支话筒录音(Recording with Two to Four MIC)114]

[8.5.12鼓类录音要点(Drum Recording Tips)116]

[8.6打击乐器(Percussion)118]

[8.7原声吉他(Acoustic Guitar)118]

[8.8歌手/吉他手(Singer/Guitarist)119]

[8.9三角钢琴(Grand Pia**)120]

[8.10立式钢琴(Upright Pia**)122]

[8.11原声贝司(Acoustic Bass)123]

[8.12五弦琴(Banjo)124]

[8.13曼陀林、杜布罗吉他、布祖基琴(希腊曼陀林)及蝴蝶琴(德西马琴)(Mandolin，Dobro，Bouzouki and Lap Dulcimer)125]

[8.14锤击式德西马琴(Hammered Dulcimer)125]

[8.15提琴类乐器(小提琴)［Fiddle(Violin)］ 125]

[8.16弦乐组(String Section)126]

[8.17弦乐四重奏(String Quartet)127]

[8.18青草乐队和旧时光弦乐队(Bluegrass Band and Old-time String Band)127]

[8.19竖琴(Harp)127]

[8.20号角(Horn)128]

[8.21萨克斯管(Saxophone)128]

[8.22木管乐器(Woodwing)129]

[8.23口琴、手风琴和风笛(Harmonica，Accordion and Bagpipe)130]

[8.24领唱(Lead Vocal)131]

[8.24.1拾音距离(Miking Distance)131]

[8.24.2喘息噗声(Breath Pops)132]

[8.24.3宽动态范围(Wide Dynamic Range)132]

[8.24.4咝声(Sibilance)133]

[8.24.5来自乐谱架和天花板的反射(Reflections from the Music Stand and Ceiling)133]

[8.24.6歌声效果(Vocal Effects)134]

[8.25背景歌声(Background Vocal)135]

[8.26口语单词(Spoken Word)135]

[8.27合唱队和管弦乐队(Choir and Orchestra)135]

[8.28小结(Summary)136]

[9效果和信号处理器(Effects and Signal Processor)137]

[9.1软件效果(Software Effects)(插件程序Plug-Ins)137]

[9.2均衡器(Equalizer)138]

[9.2.1均衡的类型(Types of EQ)138]

[9.2.2如何使用均衡(How to Use EQ)141]

[9.2.3何时使用均衡(When to Use EQ)144]

[9.2.4均衡的用法(Uses of EQ)144]

[9.3压缩器(Compressor)146]

[9.3.1压缩器的使用(Using a Compressor)147]

[9.3.2压缩器的连接(Connecting a Compressor)150]

[9.3.3Ballpark压缩器设定建议(Suggested]“Ballpark” Compressor Settings)151

[9.3.4并联压缩(Parallel Compression)152]

[9.3.5侧链(Side chain)152]

[9.4限幅器(Limiter)153]

[9.5噪声门(Noise Gate)153]

[9.6延时器：回声、声音加倍、合唱和镶边声(Delay：Echo，Doubling，Chorus and Flanging)154]

[9.6.1回声(Echo)155]

[9.6.2声音加倍(Doubling)157]

[9.6.3合唱(Chorus)157]

[9.6.4镶边声(Flanging)158]

[9.7混响(Reverberation)159]

[9.7.1混响参数(Reverb Parameters)160]

[9.7.2混响的连接(Reverb Connections)161]

[9.8预混响(Preverb)161]

[9.9声音增强器(Enhancer)162]

[9.10倍频程分频器(Octave Divider)162]

[9.11声音和谐器(Harmonizer)163]

[9.12歌声处理器(Vocal Processor)163]

[9.13音调校正(Pitch Correction)163]

[9.14电子管处理器(Tube Processor)164]

[9.15旋转式扬声器仿真器(Rotary Speaker Simulator)164]

[9.16模拟磁带仿真器(Analog Tape Simulator)164]

[9.17空间处理器(Spatial Processor)164]

[9.18话筒模仿器(Microphone Modeler)165]

[9.19吉他放大器模仿器(Guitar Amplifier Modeler)165]

[9.20失真(Distortion)165]

[9.21滴答声消除和噪声消除(De-Click and De-Noise)166]

[9.22环绕声(Surround Sound)166]

[9.23多功能效果处理器(Multieffects Processor)166]

[9.24通路条插件程序(Channel Strip Plug-in)167]

[9.25回顾(Looking Back)167]

[9.26声音质量术语(Sound-Quality Glossary)168]

[10调音台和混音调音台(Mixers and Mixing Consoles)173]

[10.1录音阶段(Stages of Recording)173]

[10.2调音台的功能和格式(Mixer Functions and Formats)173]

[10.3模拟式调音台(Analog Mixer)174]

[10.3.1输入部分(Input Section)175]

[10.3.2输出部分(Output Section)181]

[10.3.3监听部分(Monitor Section)183]

[10.3.4大型混音调音台内的一些附加功能(Additional Features in Large Mixing Consoles)185]

[10.4数字调音台(Digital Mixer)186]

[10.5软件调音台(Software Mixer)187]

[10.6控制器界面(Controller Surface)188]

[11调音台的操作(Mixer Operation)189]

[11.1录音任务档期准备(Session Preparation)189]

[11.1.1调音台与录音机的设置(Set Up the Mixer and Recorder)189]

[11.1.2输入至声轨的分配(Assign Inputs to Tracks)191]

[11.1.3录音电平的设定(Set Recording Levels)191]

[11.1.4监听混音的设定(Set a Monitor Mix)192]

[11.2进行录音(Recording)192]

[11.3放音(Playback)193]

[11.4叠录(Overdubbing)193]

[11.5插入补录(Punching-in)194]

[11.6声轨的合成(Composite Tracks)195]

[11.7获取更多的声轨(Getting More Tracks)196]

[11.8鼓声的替换(Drum Replacement)196]

[11.9缩混(Mixdown)197]

[11.9.1调音台和录音机的设置(Set Up the Mixer and Recorder)197]

[11.9.2抹去或删除不需要的素材(Erase or Delete Unwanted Material)198]

[11.9.3声像偏置(Panning)198]

[11.9.4每条声轨上高通滤波器的使用(Use a Highpass Filter on Each Track)199]

[11.9.5压缩(Compression)199]

[11.9.6平衡的调节(Set a Balance)200]

[11.9.7均衡的调节(Set EQ)201]

[11.9.8效果的加入(Add Effects)201]

[11.9.9电平的调节(Set Levels)202]

[11.9.10对混音的评价(Judging the Mix)203]

[11.9.11混音期间的变更处理(Changes During the Mix)204]

[11.9.12混音的录音或输出(Record or Export the Mix)205]

[11.10在混音时常可自问的20个问题(20 Questions to Ask Yourself While Mixing)206]

[11.11小结(Summary)208]

[11.11.1录音(Recording)208]

[11.11.2叠录(Overdubbing)208]

[11.11.3缩混(Mixdown)209]

[11.12自动化混音(Automated Mixing)209]

[11.12.1自动化系统的种类(Types of Automation Systems)210]

[11.12.2快照与连续自动化(Snapshot versus Continuous Automation)211]

[11.12.3自动化混音步骤(Automation Mixing Procedure)212]

[11.13低保真度录音：如何修补声轨(Lo-Fi Recording：How to Trash Your Tracks)212]

[11.13.1低保真度频率响应(Lo-Fi Frequency Response)213]

[11.13.2失真(Distortion)214]

[11.13.3噪声(Noise)215]

[11.13.4泄漏声(Leakage)215]

[11.13.5房间声(Room Sound)216]

[11.13.6低保真度的审美学(Lo-Fi Aesthetics)216]

[12音质评价(Judging Sound Quality)217]

[12.1古典和流行音乐录音的比较(Classical versus Popular Recording)217]

[12.2流行音乐录音作品中的优良声音(Good Sound in a Pop-Music Recording)218]

[12.2.1优良的混音(A Good Mix)218]

[12.2.2宽广的频响范围(Wide Range)219]

[12.2.3优良的音质平衡(Good Tonal Balance)219]

[12.2.4干净的声音(Clean Sound)220]

[12.2.5清晰度(Clarity)220]

[12.2.6柔和度(Smoothness)221]

[12.2.7现场感(Presence)221]

[12.2.8空间感(Spaciousness)221]

[12.2.9快速的瞬态响应(Sharp Transients)221]

[12.2.10紧密的低音和鼓声(Tight Bass and Drums)221]

[12.2.11宽广而又细致的立体声声像(Wide and Detailed Stereo Imaging)222]

[12.2.12宽广而又有可控的动态范围(Wide but Controlled Dynamic Range)223]

[12.2.13有新意的音响效果(Interesting Sounds)223]

[12.2.14切合时宜的制作(Suitable Production)223]

[12.3古典音乐录音作品中的优良声音(Good Sound in a Classical-Music Recording)224]

[12.3.1优良的建声条件(Good Acoustics)224]

[12.3.2原声平衡(A Natural Balance)224]

[12.3.3音质的清晰度(Tonal Accuracy)225]

[12.3.4合适的远近感(Suitable Perspective)225]

[12.3.5精确的声像定位(Accurate Imaging)225]

[12.4审听的训练(Training Your Hearing)226]

[12.5坏声音的消除方法(Troubleshooting Bad Sound)227]

[12.5.1整个录音作品均为坏声音(Bad Sound on All Recording)228]

[12.5.2只在还音时出现坏声音(Bad Sound on Playback Only)228]

[12.5.3在流行音乐录音任务档期中出现的坏声音(Bad Sound in a Pop-Music Recording Session)229]

[12.5.4在古典乐录音作品中出现的坏声音(Bad Sound in a Classical-Music Recording)234]

[12.6小结(Summary)237]

[13数字录音(Digital Recording)239]

[13.1模拟与数字之间的差别(Differences between Analog and Digital)239]

[13.2数字录音(Digital Recording)239]

[13.2.1比特深度(Bit Depth)242]

[13.2.2采样率(Sampling Rate)243]

[13.2.3数据速率和存储需求量(Data Rate and Storage Requirements)244]

[13.2.4数字录音电平(Digital Recording Level)245]

[13.3时钟(The Clock)246]

[13.4数字音频信号格式(Digital Audio Signal Formats)246]

[信号格式的转换(Converting Signal Formats)247]

[13.5比特补偿器(Dither)248]

[13.6抖动(Jitter)249]

[13.7数字的传输和拷贝(Digital Transfers and Copies)250]

[13.82轨数字录音机(2-Track Digital Recorders)251]

[13.8.1数字音频工作站(The Digital Audio Workstation)251]

[13.8.2可录CD机(CD Recordable)(CD-R)252]

[13.8.3手持式闪存式录音机(Handheld Flash Memory Recorder)255]

[13.9多声轨数字录音机(Multitrack Digital Recorder)255]

[13.9.1硬盘(HD)录音机［Hard-Disk(HD) Recorder］ 256]

[13.9.2录音机-调音台(Recorder-Mixer)256]

[13.9.3三种多声轨录音系统的优缺点(Pros and Cons of Three Multitrack Recording Systems)258]

[13.10备份(Backup)260]

[14计算机录音(Computer Recording)261]

[14.1基本操作(Basic Operation)262]

[14.1.1录音和放音(Recording and Playback)263]

[14.1.2编辑(Editing)263]

[14.1.3缩混(Mixdown)264]

[14.2计算机(The Computer)264]

[14.3音频接口(Audio Interfaces)265]

[14.3.1声卡(Sound Card)(PCI音频接口)266]

[14.3.2火线、USB或雷电音频接口(FireWire，USB or Thunderbolt Audio Interface)267]

[14.3.3音频接口的性能特点(Audio Interface Features)269]

[14.3.4控制界面(Control Surface)272]

[14.3.5艾利斯火线端口(Alesis FirePort)274]

[14.4数字信号处理卡(DSP Card)275]

[14.5模拟合成放大器(Analog Summing Amplifier)275]

[14.6录音软件(Recording Software)275]

[14.6.1录音软件的功能特点(Features)276]

[14.6.2插件程序(Plug-Ins)278]

[14.6.3Avid Pro Tools工作站软件 281]

[14.7多声轨录音用计算机的优化(Optimizing Your Computer for Multitrack Recording)285]

[14.8数字音频工作站的使用(Using a DAW)285]

[14.8.1连接(Connections)285]

[14.8.2软件的设定(Software Settings)286]

[14.8.3编辑要点(Editing Tips)287]

[14.8.4音频质量的保证要点(Maintaining Audio Quality)292]

[14.9音频跟随视频(Audio for Video)297]

[15录音任务档期、母带制作及CD刻录(Session Procedures，Mastering and CD Burning)299]

[15.1前期录音准备(Preproduction)299]

[15.1.1乐谱(Istrumentation)299]

[15.1.2录音顺序(Recording Order)300]

[15.1.3声轨分配(Track Assignments)300]

[15.1.4录音任务档期单(Session Sheet)301]

[15.1.5录制计划表(Production Schedule)301]

[15.1.6声轨表(Track Sheet)302]

[15.1.7话筒输入清单(Microphone Input List)302]

[15.1.8乐器分布图表(Instrument Layout Chart)304]

[15.2录音棚的录音前期准备工作(Setting Up the Studio)304]

[15.3录音控制室的录音前期准备工作(Setting Up the Control Room)305]

[15.4录音任务档期概要(Session Overview)305]

[15.5进行录音(Recording)305]

[与演奏员们的协调(Relating to the Musicians)306]

[15.6叠录(Overdubbing)307]

[15.7录音阶段结束工作(Breaking Down)307]

[15.8缩混(Mixdown)308]

[15.9母带制作(Mastering)308]

[15.9.1参考用CD的刻录(Burning a Reference CD)309]

[15.9.2把CD外送进行母带制作加工(Sending Out Your CD for Mastering)310]

[15.9.3把自己的歌曲选集进行母带制作加工(Mastering Your Own Album)310]

[15.10母带制作后节目至CD-R盘上的转移(Transferring the Mastered Programm to CD-R)314]

[CD-Text(文字)及ISRC(国际标准录音码)编码(CD-Text and ISRC Codes)316]

[15.11母版CD日志(Master Log)317]

[15.12版权及版税(Copyrights and Royalties)318]

[16MIDI与循环(MIDI and Looping)319]

[16.1MIDI部件(MIDI Components)320]

[16.2软件合成器的音乐录音(Recording Music Made by Soft Synths)325]

[16.2.1MIDI信号链路(The MIDI Signal Chain)325]

[16.2.2MIDI录音步骤(MIDI Recording Procedures)327]

[16.3硬件合成器的录音(Recording a Hardware Synths)330]

16.4MIDI“[无声]”[的故障诊断(]“No Sound”MIDI Troubleshooting)331

[16.5使用键盘工作站的录音(REcording with a Keyboard Workstation)332]

[16.6使用鼓机及合成器的录音(Recording with a Drum Machine and Synth)333]

[16.7效果的使用(Using Effects)333]

[16.8循环基底的录音(Loop-based Recording)334]

[16.8.1制作自己的循环(Making your Own Loops)335]

[16.8.2循环的种类(Types of Loops)335]

[16.8.3使用循环的工作(Working with Loops)336]

[16.8.4循环资料库(Loop Libraries)336]

[16.8.5循环的创建软件(Loop Creation Software)337]

[17流行音乐的实况录音(On-location Recording of Popular Music)339]

[17.1用扩声调音台的录音(Record off the Board)339]

[17.2用手持式数字录音机的录音(Record with a Handheld Digital Recorder )340]

[17.2.1使用的设备(Gear)340]

[17.2.2录音任务档期的准备(Preparing for the Session)340]

[17.2.3演出之前(At the Gig)341]

[17.2.4不带扩声的录音任务档期(A Recording Session with No PA)342]

[17.2.5演出之后(After the Gig)343]

[17.3使用4声轨录音机的录音(Record with a 4-Tracker)343]

[17.4把扩声调音台的插入发送连接到多声轨录音机的录音(Connect the Pa-mixer Insert Sends to a Multitrack Recorder)344]

[17.4.1连接(Connections)345]

[17.4.2监听(Monitoring)347]

[17.4.3电平的设定(Setting Levels)347]

[17.5话筒信号的分配(Splitting the MIC Signals)348]

[话筒信号分配器的使用( Using Splitters)349]

[17.6在录音车内的多声轨录音(Multitrack Recording in a Truck)350]

[17.7录音任务档期的准备(Preparing for the Session)350]

[17.7.1制作前碰头会(Preproduction Meeting)350]

[17.7.2现场勘察(Site Survey)351]

[17.7.3话筒清单(MIC List)351]

[17.7.4声轨表(Track Sheet)352]

[17.7.5框图(Block Diagram)353]

[17.7.6设备清单(Equipment List)353]

[17.8为更简易设置的准备工作(Preparing for Easier Setup)354]

[17.8.1保护箱(Protective Cases)354]

[17.8.2话筒装配夹(Mic Mounts)355]

[17.8.3多芯电缆及线缆(Snakes and Cables)355]

[17.8.4机柜的连线(Rack Wiring)356]

[17.8.5其他要点(Other Tips)356]

[17.9录音任务档期的进行：设置(At the Session：Setup)357]

[17.9.1电源分配系统(Power Distribution System)357]

[17.9.2供电电源(Power Source)358]

[17.9.3多个声音系统的内部连接(Interconnecting Multiple Sound Systems)359]

[17.9.4连接(Connections)359]

[17.9.5线缆的运行(Running Cables)360]

[17.9.6录音调音台的设置(Recording-Console Setup)360]

[17.10话筒技术(MIC Techniques)361]

[17.10.1电吉他的接地方法(Electric Guitar Grounding)361]

[17.10.2听众话筒(Audience Microphones)362]

[17.11声音检查及录音(Sound Check and Recording)363]

[17.12装备拆卸(Teardown)364]

[17.13无时差录音/发布(Same-day Recording/Distribution)364]

[18古典音乐的实况录音(On-location Recording of Classica Music)365]

[18.1设备(Equipment)365]

[18.2场地的选择(Selecting a Venue)367]

[18.3录音任务档期设置(Session Setup)367]

[18.3.1话筒的架设(Mounting the MICs)368]

[18.3.2连接(Connections)369]

[18.3.3监听(Monitoring)370]

[18.4话筒的摆放(Microphone Placement)370]

[18.4.1拾音距离(Distance)370]

[18.4.2立体声声像分布的控制(Stereo-Spread Control)371]

[18.4.3独唱歌手的拾音及补点话筒(Soloist Pickup and Spot Microphon)373]

[18.5电平的设定(Setting Level)374]

[18.6一场音乐会的录音(Recording a Concert)375]

[18.7编辑(Editing)375]

[19网络音频及在线协作(Web Audio and Online Collaboration)377]

[19.1数据流与下载(Streaming versus Downloading)377]

[19.2数据压缩(Data Compression)377]

[19.3与网页有关的音频文件(Web-Related Audio Files)378]

[19.4上网须知(What You Need)380]

[19.5如何上传压缩过的音频文件(How to Upload Compressed Audio Files)381]

[19.6把你的音乐放置到你的网页上的方法(Putting Your Music on Your Web Site)384]

[19.7通过共享文件的协作(Collaborating by Sharing Files)385]

[在家庭录音室录音、在商用录音棚混音(Record at Home，Mix in a Commercial Studio)386]

[19.8寻求录音棚音乐人、制片人及录音师(Finding Studio Musicians，Producers and Engineers)388]

[附录AdB或非dB(dB or not dB)389]

[A.1定义(Definition)389]

[A.2声压级(Sound Pressure Level)389]

[A.3信号电平(Signal Level)390]

A.3.1dBm391

A.3.2dBu391

A.3.3dBv392

A.3.4dBV392

[A.3.5信号电平的变化(Change in Signal Level)392]

[A.4VU表、零VU及峰值指示表(The VU Meter，Zero VU and Peak Indicators)393]

[A.5平衡与非平衡设备电平的比较(Balanced versus Unbalanced Equipment Levels)394]

[A.6平衡与非平衡设备的接口连接(Interfacing Balanced and Unbalanced Equipment)394]

[A.7话筒灵敏度(Microphone Sensitivity)396]

[附录B多声轨录音用计算机的优化(Optimizing Your Computer for Multitrack Recording)397]

[B.1提升硬盘驱动器运行速率的方法(Speeding Up Your Hard Drive)397]

[B.2处理速率的增加(Increasing Processing Speed)399]

[B.3中断的预防(Preventing Interruptions)400]

[B.4缓存器容量的设定(Setting the Buffer Size)402]

[B.5等待时间的*小化(Minimizing Latency)402]

[B.6其他要点(Other Tips)403]

[B.7Windows Vista与Windows 7405]

[B.8多声轨录音用苹果机的优化(Optimizing Mac for Multitrack Recording)406]

[附录C阻抗(Impedance)407]

[C.1什么是阻抗(What is Impedance？)407]

[C.2在连接两台音频设备时，有必要匹配它们的阻抗吗？如果不匹配又会怎么样呢？(I]’[m Connecting Two Audio Devices. Is It Important to Match Their Impedances？What If I Don]’[t？)407]

[C.3要用什么样的话筒阻抗？(What About Microphone Impedance？)408]

[C.4在把话筒连接到调音台上时，要考虑阻抗吗？(I]’[m Connecting a Mic to a Mixer. Is Impedance a Consideration？)408]

[C.5连接两台线路电平的设备时，要考虑阻抗吗？(Should I Consider Impedance When I Connect Two Line-Level Devices？)409]

[C.6可以把一个信号源连接到两个或多个负载上吗？(Can I Connect One Source to Two or More Loads？)409]

[C.7可以把两个或多个信号源连接到一个输入上吗？(Can I Connect Two or More Sources to One Inputs？)410]

[C.8小结(Summary)410]

[附录D幻象电源说明(Phantom Power Explained)411]

[D.1定义(Definition)411]

[D.2独立幻象电源的使用方法(Using a Standalone Supply)412]

[D.3使用注意事项(Cautions for Use)412]

[D.4直流偏置供电(DC Bias)412]

[附录E推荐深入学习的途径(Where To Learn More)413]

[E.1书籍和音像资料(Books and Videos)413]

[E.1.1图书馆(The Library)413]

[E.1.2专业音频书籍(Pro Audio Books Plus)413]

[E.1.3大型音乐书店(Music Books Plus)413]

[E.1.4混音书籍(Mix Books)413]

[E.1.5howaudio.com网站 413]

[E.1.6焦点出版社(Focal Press)414]

[E.1.7******.com在线书店 414]

[E.2录音杂志(Recording Magazines)414]

[E.3专业音频杂志(Pro Audio Magazines)414]

[E.4消费者音频杂志(Consumer Audio Magazines)415]

[E.5指南、小册子及其他文献(Guide Brochures and Other Literature)415]

[E.6有关录音院校的介绍(Guides to Recording Schools)415]

[E.7互联网(Internet)416]

[E.8录音设备目录(Recording Equipment Catalogs)417]

[E.9经验(Experience)417]

[E.10开创录音生涯(Starting a Career in Recording)417]

[术语表(Glossary)419]