实用录音技术(第5版)(音频技术与录音艺术译丛)(Practical Recording Techniques)
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品牌: 马特利特(Bruce Bartlett)
基本信息·出版社：人民邮电出版社
·页码：479 页
·出版日期：2010年03月
·ISBN：9787115217189
·条形码：9787115217189
·版本：第1版
·装帧：平装
·开本：16
·正文语种：中文
·丛书名：音频技术与录音艺术译丛
·外文书名：Practical Recording Techniques
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内容简介本书为音响录音人员提供音响录音各环节的实用指南。从录音装备、建声要求、话筒及监听系统选择到交流声的预防等都提供了简练而实用的要点。同时还介绍了录音流程、录音作品的音质评价等。 书中还介绍了最新的数字录音技术，包括计算机数字音频工作站和优化以及环绕声的各种录音方法等。诸如硬盘和闪存式录音机、计算机录音、以循环为基底的录音、键盘和数字音频工作站、MIDI、环绕声、网络音频以及在线协作等。本书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。 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，本书旨在成为录音师、制片人、音乐人等初学者手边的实用指南。通过阅读本书，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。
目录
目录 1音乐：为何录音(Music: Why You 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录音通路(The Recording Chain)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实况混录(Live-Mix Recording)7 2.1.3多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[Stand-alone DAW(Recorder-Mixer)]8 2.1.5基于计算机的数字音频工作站录音(Computer DAW)9 2.1.6MIDI音序器录音(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)14 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(Echoes)19 3.3.2混响(Reverberation)20 3.3.3扩散(Diffusion)21 3.4如何处理回声和混响(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搭建一个更安静的录音室(Making a quieter Studio)25 3.6音频设备的信号特征(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最佳信号电平(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录音室的设备(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)39 4.1.3幻象供电电源(Phantom-Power Supply)40 4.1.4话筒前置放大器(Mic Preamp)40 4.1.5D.I盒(Direct Box)40 4.1.6监听系统(Monitor System)41 4.1.7效果器(Effects)41 4.1.8各种各样的设备(Miscellaneous Equipment)42 4.1.9MIDI录音室设备(MIDI Studio Equipment)42 4.2设备的安装(Setting up Your Studio)43 4.2.1线缆(Cables)43 4.2.2设备接插件(Equipment Connectors)44 4.2.3线缆接插件(Cable Connectors)45 4.2.4音频电缆的种类(Cable Types)46 4.2.5机柜/跳线盘(Rack/Patch Bay)48 4.2.6设备的连接(Equipment Connections)48 4.3哼声的预防(Hum Prevention)52 4.4降低射频干扰(Reducing Radio Frequency Interference)54 5监听(Monitoring)55 5.1扬声器的要求(Speaker Requirement)55 5.2近场监听音箱(Nearfield Monitors)56 5.3内置功放(有源)音箱[Powered(Active)Monitors]57 5.4功率放大器(The Power Amplifier)57 5.5音箱线和极性(Speaker Cables and Polarity)58 5.6控制室声学(Control-Room Acoustics)58 5.7音箱的摆放(Speaker Placement)59 5.8监听音箱的使用(Using the Monitors)60 5.9耳机(Headphones)61 5.10提示系统(The Cue System)62 5.11小结(Conclusion)63 6话筒(Microphones)65 6.1换能器种类(Transducer Types)65 6.2极坐标图(Polar Pattern)68 6.3频率响应(Frequency Response)71 6.4阻抗[Impedance(Z)]73 6.5最大声压级(Maximum SPL)73 6.6灵敏度(Sensitivity)74 6.7本底噪声(Self-Noise)74 6.8信号噪声比(Signal-to-Noise Ratio)74 6.9极性(Polarity)75 6.10话筒的种类(Microphone Types)75 6.10.1大振膜电容话筒(Large-Diaphregm Condenser Mic)75 6.10.2小振膜电容话筒(Small-Diaphregm Condenser Mic)76 6.10.3乐器用动圈话筒(Dynamic Instrument Microphone)76 6.10.4实况人声用话筒(Live-Voice Microphone)76 6.10.5带式话筒(Ribbon Microphone)76 6.10.6界面话筒(Boundary Microphone)76 6.10.7微型话筒(Miniature Microphone)77 6.10.8立体声话筒(Stereo Microphone)78 6.10.9数字话筒(Digital Microphone)79 6.10.10头戴式话筒(Headworn Microphone)79 6.11话筒的选择(Microphone Selection)79 6.12话筒的附件(Mic Accessories)80 6.12.1扑声滤波器(Pop Filter)81 6.12.2话筒架和话筒杆(Stand and Booms)81 6.12.3防震架(Shock Mount)81 6.12.4话筒线及接插件(Cables and Connectors)81 6.12.5多芯电缆(Snake)82 6.12.6话筒音分器(Splitter)83 6.13小结(Summary)83 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需要多少支话筒？(How many Mics?)86 7.3话筒如何靠近声源摆放？(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 Techniques)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)96 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 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、鼓机和电钢琴(Synthesizer, Drum Machine and Electric Piano)107 8.4莱斯利风琴音箱(Leslie Organ Speaker)107 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踩镲(Hi-Hat)111 8.5.6通通鼓(Tom-Toms)111 8.5.7底鼓(Kick Drum)112 8.5.8镲片(Cymbals)113 8.5.9室内环境话筒(Room Mics)113 8.5.10界面话筒技术(Boundary Mics Technuques)113 8.5.11使用2~4支话筒的录音(Recording with Two to Four Mics)113 8.5.12鼓类录音要点(Drum Recording Tips)115 8.6打击乐器(Percussion)116 8.7原声吉他(Acoustic Guitar)117 8.8歌手/吉他手(Singer/Guitarist)118 8.9三角钢琴(Grand Piano)119 8.10立式钢琴(Upright Piano)121 8.11原声贝司(Acoustic Bass)122 8.12五弦琴(班卓琴)(Banjo)122 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)123 8.14锤击式德西马琴(Hammered Dulcimer)123 8.15提琴类乐器(小提琴)[Fiddle(Violin)]124 8.16弦乐组(String Section)125 8.17弦乐四重奏(String Quartet)125 8.18青草乐队和旧时光弦乐队(Bluegrass Band and Old-time String Band)126 8.19竖琴(Harp)126 8.20号角(Horns)126 8.21萨克斯管(Saxophone)127 8.22木管乐器(Woodwings)128 8.23口琴、手风琴和风笛(Harmonica, Accordion and Bagpipe)129 8.24领唱(Lead Vocal)129 8.24.1拾音距离(Miking Distance)129 8.24.2喘息噗声(Breath Pops)130 8.24.3宽动态范围(Wide Dynamic Range)131 8.24.4咝声(Sibilance)131 8.24.5来自乐谱架和天花板的反射(Reflections from the Music Stand and Ceiling)132 8.24.6人声效果(Vocal Effects)132 8.25背景歌声(Background Vocals)133 8.26口语单词(诸如互联网下载广播及音频书籍)[Spoken Word(Such as Podcast and Audio Books)]133 8.27合唱队和管弦乐队(Choir and Orchestra)133 8.28小结(Summary)134 9数字录音(Digital Recording)135 9.1模拟与数字之间的差别(Differences between Analog and Digital)135 9.2数字录音(Digital Recording)135 9.2.1比特深度(Bit Depth)138 9.2.2采样率(Sampling Rate)139 9.2.3数据速率和存储需求量(Data Rate and Storage Requirements)140 9.2.4数字录音电平(Digital Recording Level)140 9.3时钟(The Clock)141 9.4数字音频信号格式(Digital Audio Signal Formats)142 9.5比特补偿器(Dither)143 9.6抖动(Jitter)145 9.7数字的传输和复制(Digital Transfers and Copies)145 9.8两轨数字录音机(２-Track Digital Recorders)147 9.8.1携带式硬盘录音机(Portable Hard-Drive Recorder)147 9.8.2数字音频工作站(The Digital Audio Workstation)147 9.8.3可录CD机(CD Recordable)(CD-R)148 9.8.4闪存式录音机(Flash Memory Recorder)151 9.9多声轨数字录音机(Multitrack Digital Recorder)152 9.9.1硬盘(HD)录音机[Hard-Disk(HD) Recorder]153 9.9.2录音机-调音台(Recorder-Mixer)(又称数字个人录音室)153 9.9.3三种多声轨录音系统的优缺点(Pros and Cons of Three Multitrack Recording Systems)155 9.10备份(Backup)157 10效果和信号处理器(Effects and Signal Processors)159 10.1软件效果(Software Effects)(插件程序Plug-Ins)159 10.2均衡器(Equalizer)160 10.2.1均衡的类型(Types of EQ)160 10.2.2如何使用均衡(How to Use EQ)163 10.2.3何时使用均衡(When to Use EQ)166 10.2.4均衡的用法(Uses of EQ)166 10.3压缩器(Compressor)168 10.3.1压缩器的使用(Using a Compressor)169 10.3.2压缩器的连接(Connecting a Compressor)172 10.3.3癇allpark”压缩器的设置建议(Suggested“Ballpark”Compressor Settings)172 10.4限幅器(Limiter)173 10.5噪声门(Noise Gate)174 10.6延时器：回声、声音加倍、合唱和镶边(Delay:Echo，Doubling, Chorus and Flaning)175 10.6.1回声(Echo)176 10.6.2声音加倍(Doubling)177 10.6.3合唱(Chorus)178 10.6.4镶边(Flanging)178 10.7混响(Reverberation)179 10.7.1混响参数(Reverb Parameters)180 10.7.2混响的连接(Reverb Connections)181 10.8预混响(Preverb)182 10.9声音增强器(Enhancer)183 10.10倍频程分频器(Octave Divider)183 10.11声音和谐器(Harmonizer)183 10.12歌声处理器(Vocal Processor)183 10.13音调校正(Pitch Correction)184 10.14电子管处理器(Tube Processor)184 10.15旋转式扬声器仿真器(Rotary Speaker Simulator)184 10.16模拟磁带仿真器(Analog Tape Simulator)184 10.17空间处理器(Spatial Processor)185 10.18话筒模仿器(Microphone Modeler)185 10.19吉他放大器模仿器(Guitar Amplifier Modeler)185 10.20失真(Distortion)185 10.21滴答声消除和噪声消除(De-Click and De-Noise)186 10.22环绕声(Surround Sound)186 10.23多功能效果处理器(Multieffects Processor)186 10.24回顾(Looking Back)187 10.25声音质量术语(Sound-Quality Glossary)187 11调音台和混录调音台(Mixers and Mixing Consoles)193 11.1录音阶段(Stages of Recording)193 11.2调音台的功能和格式(Mixer Functions and Formats)193 11.3模拟调音台(Analog Mixer)194 11.3.1输入部分(Input Section)195 11.3.2输出部分(Output Section)200 11.3.3监听部分(Monitor Section)202 11.3.4大型混录调音台的附加功能(Additional Features in Large Mixing Consoles)204 11.4数字调音台(Digital Mixer)205 11.5软件调音台(Software Mixer)207 11.6控制器界面(Controller Surface)207 12多轨录音机和调音台的操作(Operating the Multitrack Recorder and Mixer)209 12.1录音流程准备(Session Preparation)209 12.1.1调音台与录音机的设置(Set Up the Mixer and Recorder)210 12.1.2输入至声轨的分配(Assign Inputs to Tracks)211 12.1.3录音电平的设定(Set Recording Levels)211 12.1.4均衡的设定(Set EQ)212 12.2进行录音(Recording)212 12.3放音(Playback)212 12.4叠录(Overdubbing)213 12.5插入补录(Punching-in)214 12.6声轨的合成(Composite Tracks)215 12.7获取更多的声轨(Getting More Tracks)215 12.8鼓声的替换(Drum Replacement)216 12.9缩混(Mixdown)216 12.9.1调音台和录音机的设置(Set Up the Mixer and Recorder)216 12.9.2消去不需要的素材(Erase Unwanted Material)217 12.9.3声像偏置(Panning)217 12.9.4每条声轨的高通滤波(Higupass Filter Each Track)218 12.9.5压缩(Compression)218 12.9.6平衡的调节(Set a Balance)219 12.9.7均衡的调节(Set EQ)220 12.9.8效果的加入(Add Effects)220 12.9.9电平的调节(Set Levels)221 12.9.10混录的评价(Judging the Mix)221 12.9.11混录期间的变更处理(Changes During the Mix)223 12.9.12混录的录音或输出(Record or Rxport the Mix)223 12.10小结(Summary)224 12.10.1录音(Recording)224 12.10.2叠录(Overdubbing)225 12.10.3缩混(Mixdown)225 12.11自动化混录(Automated Mixing)225 12.11.1自动化系统的种类(Types of Automation Systems)226 12.11.2快照与连续自动化(Snapshot versus Continuous Automation)228 12.11.3自动化混录步骤(Automation Mixing Procedure)228 12.12低保真度录音：如何修补声轨(Lo-Fi Recording: How to Trash Your Tracks)229 12.12.1低保真度频率响应(Lo-Fi Frequency Response)229 12.12.2失真(Distortion)230 12.12.3噪声(Noise)232 12.12.4泄漏声(Leakage)232 12.12.5房间声(Room Sound)233 12.12.6低保真度的审美学(Lo-Fi Aesthetics)233 13计算机录音(Computer Recording)235 13.1基本操作(Basic Operation)236 13.1.1录音和放音(Recording and Playback)237 13.1.2编辑(Editing)237 13.1.3缩混(Mixdown)238 13.2计算机(The Computer)238 13.3音频接口(Audio Interfaces)239 13.3.1声卡(Sound Card)(PCI音频接口)239 13.3.2火线或USB音频接口(FireWire or USB Audio Interface)241 13.3.3音频接口的性能特点(Audio Interface Features)242 13.3.4控制界面(Control Surface)245 13.3.5艾利斯火线端口(Alesis FirePort)247 13.4数字信号处理卡(DSP Card)247 13.5模拟合成放大器(Analog Summing Amplifier)248 13.6录音软件(Recording Software)248 13.6.1录音软件性能特点(Features)249 13.6.2插件程序(Plug-Ins)251 13.6.3Digidesign Pro Tools 工作站软件252 13.7数字音频用计算机的优化(Optimizing Your Computer for Digital Audio)254 13.8数字音频工作站的使用(Using a DAW)254 13.8.1连接(Connections)255 13.8.2软件的设定(Software Settings)255 13.8.3编辑要点(Editing Tips)256 13.8.4音频质量的保证要点 (Maintaining Audio Quality)261 13.9音频跟随视频(Audio for Video)266 14音质评价(Judging Sound Quality)269 14.1古典和流行音乐录音的比较(Classical versus Popular Recording)269 14.2流行音乐录音作品中的优良声音(Good Sound in a Pop-Music Recording)270 14.2.1优良的混录(A Good Mix)270 14.2.2宽广的频响范围(Wide Range)271 14.2.3优良的音质平衡(Good Tonal Balance)271 14.2.4干净的声音(Clean Sound)272 14.2.5清晰度(Clarity)272 14.2.6柔和度(Smoothness)272 14.2.7现场感(Presence)273 14.2.8空间感(Spaciousness)273 14.2.9快速的瞬态响应(Sharp Transients)273 14.2.10紧密的低音和鼓声(Tight Bass and Drums)273 14.2.11宽广而又细致的立体声声像(Wide and Detailed Stereo Imaging)274 14.2.12宽广而又易于控制的动态范围(Wide but Controlled Dynamic Range)274 14.2.13有新意的音响效果(Interesting Sounds)275 14.2.14切合时宜的制作(Suitable Production)275 14.3古典音乐录音作品中的优良声音(Good Sound in a ClassicalMusic Recording)275 14.3.1优良的建声条件(Good Acoustics)276 14.3.2原声平衡(A Natural Balance)276 14.3.3音质的清晰度(Tonal Accuracy)276 14.3.4合适的远近感(Suitable Perspective)276 14.3.5精确的声像定位(Accurate Imaging)277 14.4审听的训练(Training Your Hearing)278 14.5劣质声音的消除方法(Troubleshooting Bad Sound)279 14.5.1所有录音作品出现劣质声音(Bad Sound on All Recording)279 14.5.2只在重放声音时出现劣质声音(Bad Sound on Playback Only)280 14.5.3在流行音乐录音流程中出现的劣质声音(Bad Sound in a Pop-Music Recording Session)280 14.5.4在古典乐录音作品中出现的劣质声音(Bad Sound in a Classical Music Recording)286 15录音流程、母带制作及CD刻录(Session Procedures, Mastering and CD Burning)291 15.1前期录音准备(Preproduction)291 15.1.1乐谱(Istrumentation)291 15.1.2录音顺序(Recording Order)292 15.1.3声轨分配(Track Assignments)292 15.1.4录音流程单(Session Sheet)293 15.1.5录制计划表(Production Schedule)293 15.1.6声轨表(Track Sheet)294 15.1.7话筒输入清单(Microphone Input List)294 15.1.8乐器分布图表(Instrument Layout Chart)296 15.2录音棚的前期准备工作(Setting Up the Studio)296 15.3录音控制室的前期准备工作(Setting Up the Control Room)297 15.4录音流程概要(Session Overview)297 15.5进行录音(Recording)297 15.6叠录(Overdubbing)299 15.7录音阶段结束工作(Breaking Down)299 15.8缩混(Mixdown)300 15.9母带制作(Mastering)300 15.9.1参考用 CD 的刻录(Burning a Reference CD)301 15.9.2把CD外送作母带制作加工(Sending Out Your CD for Mastering)302 15.9.3把自己的歌曲选集作母带制作加工(Mastering Your Own Album)302 15.10母带制作后的节目至CD-R盘上的转移(Transferring the Mastered Programm to CD-R)306 15.11母版CD日志(Master Log)308 15.12版权及版税(Copyrights and Royalties)309 16MIDI录音室:设备及录音步骤(The MIDI Studio:Equipment and Recording Procedures)311 16.1MIDI录音室的部件(MIDI-Studio Components)312 16.2由软件合成器得到的音乐录音(Recording Music Made by Soft Synths)317 16.2.1MIDI 信号链路(The MIDI Signal Chain)318 16.2.2MIDI录音步骤(MIDI Recording Procedures)319 16.3硬件合成器的录音(Recording a Hardware Synths)322 16.4MIDI“无声”的故障诊断(“No Sound”MIDI Troubleshooting)323 16.5使用键盘工作站的录音(Recording with a Keyboard Workstation)325 16.6使用鼓机及合成器的录音(Recording with a Drum Machine and Synth)325 16.7效果的使用(Using Effects)326 16.8循环基底的录音(Loop-Based Recording)327 16.8.1制作自己的循环(Making your Own Loops)327 16.8.2循环的种类(Types of Loops)328 16.8.3使用循环的工作(Working with Loops)328 16.8.4循环资料库(Loop Libraries)328 16.8.5循环的创建软件(Loop Creation Software)329 17流行音乐的实况录音(On-Location Recording of Popular Music)331 17.1用扩声调音台的录音(Record off the Board)331 17.2用话筒及携带式数字录音机的录音(Record with Mics and a Portable Digital Recorder)332 17.2.1使用的设备(Gear)332 17.2.2录音流程的准备(Preparing for the Session)332 17.2.3演出之前(At the Gig)333 17.2.4不带扩声的录音流程(A Recording Session with No PA)334 17.2.5演出之后(After the Gig)335 17.3使用四轨录音机的录音(Record with a 4-Tracker)335 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)336 17.4.1连接(Connections)337 17.4.2监听(Monitoring)339 17.4.3电平的设定(Setting Levels)339 17.5话筒信号的分配(Splitting the Mic Signals) 340 17.6在录音车内的多声轨录音(Multitrack Recording in a Truck)342 17.7录音流程的准备(Preparing for the Session)342 17.7.1制作前碰头会(Preproduction Meeting)342 17.7.2现场勘察(Site Survey)342 17.7.3话筒清单(Mic List)343 17.7.4声轨表(Track Sheet)344 17.7.5框图(Block Diagram)344 17.7.6设备清单(Equipment List)345 17.8为更简易设置的准备工作 (Preparing for Easier Setup)346 17.8.1保护箱(Protective Cases)346 17.8.2话筒装配夹(Mic Mounts)347 17.8.3多芯电缆及线缆(Snakes and Cables)347 17.8.4机柜的连线(Rack Wiring)348 17.8.5其他要点(Other Tips)348 17.9录音流程的进行：设置(At the Session:Setup)349 17.9.1电源分配系统(Power Distribution System)349 17.9.2供电电源(Power Source)350 17.9.3多个声音系统的内部连接(Interconnecting Multiple Sound Systems)350 17.9.4连接(Connections)351 17.9.5线缆的运行(Running Cables)351 17.9.6录音调音台的设置(Recording-Console Setup)352 17.10话筒技术(Mic Techniques)352 17.10.1电吉他的接地方法(Electric Guitar Grounding)353 17.10.2听众话筒(Audience Microphones)354 17.11声音检查及录音(Sound Check and Recording)355 17.12装备拆卸(Teardown)355 18古典音乐的实况录音(On-Location Recording of Popular Music)357 18.1设备(Equipment)357 18.2场地的选择(Selecting a Venue)359 18.3录音流程设置(Session Setup)359 18.3.1话筒的架设( Mounting the Mics)360 18.3.2连接(Connections)360 18.3.3监听(Monitoring)361 18.4话筒的摆放(Microphone Placement)362 18.4.1拾音距离(Distance)362 18.4.2立体声声像分布的控制(Stereo-Spread Control)363 18.4.3独唱歌手的拾音及补点话筒(Soloist Pickup and Spot Microphones)364 18.5电平的设定(Setting Levels)366 18.6一场音乐会的录音(Recording a Concert)366 18.7编辑(Editing)367 19环绕声：技术和媒体(Surround Sound：Techniques and Media)369 19.1环绕声音箱的布置(Surround Speaker Arrangement)369 19.2环绕声监听系统的设置(Setting Up a Surround Monitoring System)371 19.2.1低音管理(Bass Management)372 19.2.2环绕声混录设备(Surround Mixing Equipment)373 19.2.3连接(Connections)373 19.2.4校准(Calibration)375 19.3流行音乐环绕声的录音及混录(Recording and Mixing Pop Music for Surround)377 19.3.1声像偏置(Panning)377 19.3.2中置音箱的用法(Using the Center Speaker)378 19.3.3LFE(低音效果)声道的用法(Using the LFE Channel)378 19.3.4下缩混(Downmixing)378 19.3.5环绕声混录传输格式(Surround Mix Delivery Format)379 19.4环绕声话筒摆放技术(Surround-Sound Mic Techniques)379 19.4.1声场5.1话筒系统(Soundfield 5.1 Microphone System)379 19.4.2Delos VR2 环绕声拾音方法(Delos VR2 Surround Miking Method)380 19.4.3NHK(日本广播协会)环绕声拾音方法(NHK Method)381 19.4.4KFM360 环绕声系统(KFM 360 Surround System)381 19.4.5使用双耳人工头的五声道话筒阵列(Five-Channel Microphone Array with Binaural Head)382 19.4.6DMP 方法(DMP Method)383 19.4.7Woszcyk 技术(PZM楔子加相反极性，180°重合式心形环绕声话筒)[Woszcyk Technique(PZM Wedge plus Opposite-Polarity, 180-Degree Coincident-Cardioid Surround Mics)]384 19.4.8威廉姆斯五心形话筒阵列(Williams Five Cardioid Mic Array)385 19.4.9双MS技术(Double MS Technique)385 19.4.10环绕背景声话筒阵列(Surround Ambience Mic Array)386 19.4.11Chris Burmajster 阵列(Chris Burmajster Array)386 19.4.12理想的心形话筒排列(Ideal Cardioid Arrangement)387 19.4.13全息录音机 H2-PRO环绕声话筒(The Holophone H2-PRO Surround Mic)388 19.4.14Sonic Stusios DSM-4CS 四通道环绕声人工头(Sonic Stusios DSM-4CS 4-Channel Surround Dummy Head)388 19.4.15Slotte 方法(Slotte Method)388 19.4.16马丁方法(Martin Method)388 19.4.17Sokol's FLuRB拾音阵列(Mike Sokol's FLuRB Array)389 19.4.18立体声对话筒加环绕声对话筒拾音方法(Stereo Purround Pair)389 19.5环绕声媒体(Surround Media)390 19.5.1CD光盘(Compact Disc)390 19.5.2数字多用途光盘(DVD)390 19.5.3蓝光(Blue-ray)光盘(BD)393 19.5.4超级音频CD(Super Audio CD)393 19.6对已公布的各种格式的环绕声的编码(Encoding Surround for Release on Various Formats)394 19.6.1CD用环绕声的编码(Surround Encoding for CD)394 19.6.2DVD-Video用环绕声的编码(Surround Encoding for DVD-Video)395 19.6.3DVD-Audio用环绕声的编码(Surround Encoding for DVD-Audio)395 19.6.4关于媒体格式的小结(Summary of Media Formats)395 19.6.5CD和DVD-Video编码用的硬件和软件(Encoding Hardware and Software for CD and DVD-Video)396 19.7DVD前期母版制作的格式(DVD Pre-Mastering Formats)397 19.8DVD母版制作用的杜比设备(Dolby Units for DVD Mastering)397 20网络音频及在线协作(Web Audio and Online Collaboration)399 20.1数据流与下载(Streaming Versus Downloading)399 20.2数据压缩(Data Compression)399 20.3与网络有关的音频文件(Web-Related Audio Files)400 20.4上网须知(What You Need)402 20.5如何上载压缩过的音频文件(How to Upload Compressed Audio Files)403 20.6将你的音乐传至网站的方法(Putting Your Music on Your Web Site)405 20.7闪存动画片(Flash Animation)407 20.8通过共享文件的协作(Collaborating by Sharing Files)407 20.9寻求录音棚音乐人、制片人及录音师(Finding Studio Musicians, Producers and Engineers)410 附录AdB或非dB(db or not db)411 A.1定义(Definitions)411 A.2声压级(Sound Pressure Level)411 A.3信号电平(Signal Level)412 A.3.1dBm413 A.3.2dBu413 A.3.3dBv414 A.3.4dBV414 A.3.5信号电平的变化(Change in Signal Level)414 A.4VU表、零VU及峰值指示表(The VU Meter, Zero VU and Peak Indicators)415 A.5平衡与非平衡设备电平的比较(Balanced Versus Unbalanced Equipment Levels)416 A.6平衡与非平衡设备电平的接口连接(Interfacing Balanced and Unbalanced Equipment)416 A.7话筒灵敏度(Microphone Sensitivity)418 附录B多声轨录音用计算机的优化(Optimizing your Computer for Multitrack Recording)419 B.1提升硬盘驱动器速度的方法(Speeding Up Your Hard Drive)419 B.2处理速度的递增(Increasing Processing Speed)421 B.3中断的预防(Preventing Interruptions)422 B.4缓存器容量的设定(Setting the Buffer Size)424 B.5等待时间的最小化(Minimizing Latency)424 B.6其他要点(Other Tips)425 B.7WINDOWS VISTA427 B.8多声轨录音用苹果机的优化(Optimizing MacIntosh for Multitrack Recording)428 附录C阻抗(Impedance)429 C.1什么是阻抗?(What is Impedance?)429 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? )429 C.3要用什么样的话筒阻抗？(What About Microphone Impedance?)430 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?)431 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?)431 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?)432 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?)432 C.8小结(Summary)432 附录D继续教育(Further Education)435 D.1书籍和声像资料(Books and Videos)435 D.1.1图书馆(The Library)435 D.1.2专业音频书籍(Pro Audio Books)435 D.1.3大型音乐书店(Music Books Plus)435 D.1.4howaudio.com435 D.1.5焦点出版社(Focal Press)435 D.1.6Amazon.com436 D.2录音杂志(Recording Magazines)436 D.3专业音频杂志(Pro Audio Magazines)436 D.4消费者音频杂志(Consumer AudioMagazines)437 D.5指南、小册子及其他文献(Guide, Brochures and Other Literature)437 D.6有关录音院校的介绍(Guides to Recording Schools)437 D.7互联网(Internet)438 D.8录音设备目录(Recording Equipment Catalogs)438 D.9经验(Experience)439 术语表441 实用录音技术演示用网页(Practical Recording Techniques Demo Web Site)477
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