Handbook of Recording Engineering

The Handbook of Recording Engineering is a logical outgrowth of the first two editions of Sound Recording. The earlier editions of Sound Recording have been widely used as texts at all educational levels, and it is the author's intent in the Handbook of Recording Engineering to produce a book which is even more suited to these purposes. The Handbook of Recording Engineering is a logical outgrowth of the first two editions of Sound Recording. The ten years since the first edition have seen no slackening in the development of recording technology, and they have wit­ nessed an almost phenomenal growth in the teaching of recording and audio engineering at all academic levels. The earlier editions of Sound Recording have been widely used as texts at all educational levels, and it is the author's intent in the Handbook of Recording Engineering to produce a book which is even more suited to these purposes. At the same time, the book has been organized as a true handbook, which presents of reference material in easily accessible form. a broad array The organization of the book is unique in that it progresses as the signal transmission chain itself does-from the recording venue on through the micro­ phone, transmission channel, and finally to the listening environment. The first six chapters thus form a logical sequence, and the author recommends that in­ structors using the Handbook follow them accordingly. Chapter One presents a discussion of acoustical fundamentals, including an introduction to some basic psychoacoustical considerations having to do with performance spaces. Chapter Two covers the basic operating principles of mi­ crophones, while Chapter Three extends the discussion of microphones to cover the entire range of stereophonic imaging phenomena.

This third edition provides information on the recording process, expanding on material from the second edition while including new ideas. The book brings together knowledge on the most current concepts, methods, systems and solutions to everyday recording problems, covering all aspects of the business from the basic training in the studio to choosing the right microphone. Special features of the book include a revision of chapters on digital recording and signal processing, in addition to coverage of analog tape recording and code-decode noise-reduction systems. Recording systems are examined in detail including discussions of digital consoles and digital metering as well as the monitoring environment. Also presented is information on the how and why of what is done in the studio including classical and pop/rock recording production techniques.