LITMIR.BIZ

      1  Cover

      2  Title Page

      3  Copyright

      4  Preface Target audience Structure and contents of the book Conventions Vocabulary and definition Acknowledgments

      5  Introduction

      6  1 Processing Hardware and Software 1.1. The materials 1.2. The software 1.3. Conclusion

      7  2 Configuration and the Audio System 2.1. The capture and processing chain 2.2. Microphone preamplifiers 2.3. Digital audio interfaces 2.4. Multi-channel headphone amplifiers 2.5. Monitoring speakers 2.6. Amplifiers for passive speakers 2.7. Monitoring controllers 2.8. Conclusion

      8  3 Voice Recording 3.1. Artist, comfort and environment 3.2. The choice of microphone 3.3. Constraints and accessories 3.4. Positioning the microphone 3.5. Feedback 3.6. The voice-only mix 3.7. Recording multiple performers 3.8. Recording a choir 3.9. Recording a voice-over 3.10. Conclusion

      9  4 Special Effects 4.1. The vocoder 4.2. The talkbox 4.3. Auto-tune 4.4. Melodyne 4.5. Voice processors 4.6. Finally

      10  Conclusion

      11  Appendices

      12  Appendix 1 Sound Unit A1.1. Introduction A1.2. Bel and decibel A1.3. The different variants of the dB A1.4. Conclusion

      13  Appendix 2 Audio Connectivity A2.1. Introduction A2.2. Coaxial jack A2.3. XLR plug A2.4. XLR cables and adapter jacks A2.5. USB connector A2.6. Sub-D connector A2.7. BNC connector A2.8. RCA connector A2.9. Toslink connector A2.10. Conclusion

      14  Appendix 3 Audio Processing Plugins A3.1. Introduction A3.2. Compression plugins A3.3. Equalization plugins A3.4. De-Esser plugins A3.5. Delay and reverb plugins

      15  Appendix 4 Microphone Pairs A4.1. Introduction A4.2. The AB pair A4.3. The XY pair A4.4. The ORTF pair A4.5. The MS pair A4.6. The Decca tree A4.7. The Blumlein method A4.8. The Faulkner Array A4.9. The sound-absorbing disk method A4.10. The artificial head A4.11.

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