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Brand: Music Sales
Model : 14022422
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Musician’s Guide To Home Recording(mclan) (Music Sales America) Feature
- Published by Music Sales America 327 Pages
- by Larry Wichman
- Author: Larry Wichman
Musician’s Guide To Home Recording(mclan) (Music Sales America) Overviews
Updated edition includes advice on creating great demos, secrets to using 4-track Portasound cassette decks, tips for assembly and best use of 16-track home studios, a buyerÂ’s guide to new and used equipment, hints from studio musicians, and more.
Musician’s Guide To Home Recording(mclan) (Music Sales America) RelateItems
Musician’s Guide To Home Recording(mclan) (Music Sales America) CustomerReview
This is the place to start.
While this book is rather old now, and while there is a focus on the analog domain, the analog domain is where we live, so get used to it. The type of recording device you use, be it analog or digital, makes no difference. This is a quality reference for making professional quality recordings. It won’t tell you how to run your software, nor should it. It will tell you what you really need, how to mix, and how to achieve professional results using whatever you have available. If you have something cheap like a 4-track cassette or Sonar/Acid with your soundcard, or if you are running Digital Performer or Protools with a Metric Halo 2882 or an Otari 24 track, you can make quality recordings with the information in this book.
Chapter 1: The art of Listening
If more people read this, then maybe there wouldn’t be so many horrible recordings floating around…maybe. Listening is a very important skill in this business. Walking into a room and knowing where you want to place an instrument for just the right sound, and knowing where you don’t want to. Knowing why a recording sounds off in the playback.
Chapter 2: Microphones
A solid understanding of mics is very important in studio recording, and this chapter does a fine job of explaining what is available and how each mic works.
Chapter 3: Multitrack tape recorders
They still use them in Los Angeles, so this is still somewhat relevant. And you might want to track some drums on an old reel to reel and run it into Protools, eh, maybe…been done, a lot.
Chapter 4: Reducing signal noise
While this deals mostly with tape, there is some valuable information on effects noise and other noise, as well.
Chapter 5: Recording consoles
So much useful stuff here. Again, if more people would read this, they would jump miles ahead. And the world would be a better place…
Chapter 6: Recording techniques
This is the basic stuff. If you don’t know this, give up.
Chapter 7: Track arrangements for song demos
Mostly focused on 4 track cassettes here. Still, some useful knowledge to have. If you’re using one of the various free DAW’s or lower end stuff with limited track counts, there is little difference between that and a cassette recorder…in fact, a 0 cassette portastudio may have better sound quality than some sound cards.
Chapter 8: Cassette Portastudios
Yep, that’s what it’s about. I’ve made whole albums with one, so did Bruce Springsteen, and the sound can best a cheap digital rig any day in the right hands. Again, if you have limited track counts, or other limitations, the knowledge provided will be of use regardless of the machine you use.
Chapters 9-15: How to record…almost everything.
This is the core of the book. Whether you own an SM57 (you should), a Neumann u87 (if you can), or whatever you could snag that still passes a signal, then use the information here to slap it in front of something and make records.
Chapter 16: Mixdown Techniques
This is, likewise, a must read. And re-read.
Chapter 17: Studio Acoustics
A practical guide to solving room issues, both cheaply, and not so cheaply…It doesn’t say this, but Don’t use Foam! Ever! Unless you want muffled highs, mid-range honk, and generally unhealthy living…There are many step-by-step procedures to solve a given problem. Making Gobos is something that’s fun and useful. I never made them using the instructions here (I used rockwool panels), but a lot of this should be viewed as guidelines that will have to be fitted to your situation. Acoustics is a complex subject, but a lot of ground is covered in this chapter, and you can take it to whatever extreme you like…
Chapter 18: Buyers guide to studio gear
A lot of cool stuff here. And for those who are recording in-the-box, as it were, you should realize that a cheap outboard reverb will destroy any plug-in. Of course, the hazards of buying old gear is you really need to have someone available who can refurbish it. That 20-year-old PCM70 might sound good now, but one road trip to New York, and well…it’ll need recapped. This chapter is for those wanting real studio sounds as they grow.
Chapter 19: Sampling and recording in the digital domain
The only useless chapter. Mostly. Though, while the numbers may have changed, digital audio hasn’t. 8 or 24 bit, 32kHz or 192kHz, it’s still the same old data. So, in that regard, it’s interesting, at least. Of course, no one uses DAT anymore.
So, hopefully, someone finds this review helpful, it’s more of an overview, I suppose. Back when I started multitrack recording, around 1996-ish, I tried a number of books to gather my chops, this one kicked the rest to the curb. Some books have completely wrong ideas. With Peter McIan, you get the knowledge of someone who has actually recorded great albums. There really isn’t one right way, though. But there are any number of wrong ways. Gather as much information as you can.
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