| Every recording starts with tracking. Yet in this day of samples, loops, and modeling, there’s a whole generation of engineers that have grown up with little knowledge of microphone technique. This book tries not only to preserve for history the techniques and methods of the recording masters, but answers the crying need of the recording marketplace of “How do I mike the snare?” or “How do I get a big guitar sound?”
While there are many books that touch upon the basics of recording (especially stereo orchestral material), there are few, if any, books that feature multiple techniques in miking a wide variety of instruments in the detail needed to achieve a reasonable and consistent result. And there is no book that concentrates upon this basic, yet all-important facet of recording in quite the manner presented herein.
That said, The Recording Engineer’s Handbook is not meant to be a replacement for many books that have long been the staple of microphone background. Indeed, it’s meant to be read in conjunction with other books that delve deeper into the basic technical info. However, I have provided a brief overview of the basics for those new to the subject.
As you will see, there are many ways to get the same basic result. There’s no right way to mic an instrument, but some ways are more accepted than others and therefore become “standard.” Whenever possible, I’ve tried to provide a high resolution photo of a described miking technique taken during an actual session, as well as a written description of the theory behind, and the variables of, each. |