standing panel. For a color version of this figure, see www.iste....Figure 3.18. Swivel feet attached to the base of a frame. For a color version of...Figure 3.19. Using a sound barrier (SE Electronics)Figure 3.20. A cardioid condenser microphone placed within a sound screen (Vicou...Figure 3.21. The Audio Technica AT2020 USB microphoneFigure 3.22. Frequency response curve of the Neumann U87, top, and the Rode nTi,...Figure 3.23. A Neumann U87 microphone and its spider-like suspensionFigure 3.24. A pop filter in front of a condenser microphoneFigure 3.25. Desktop voice recording. For a color version of this figure, see ww...Figure 3.26. From left to right, stand microphone, boom microphone up, boom micr...Figure 3.27. Microphones on articulated armsFigure 3.28. Placing a microphone high up with a slight tiltFigure 3.29. Lateral shift of the microphone to the right or left. For a color v...Figure 3.30. Notion of distance from the microphone, closed fists, open handFigure 3.31. Poor and good handling of a vocal microphone. For a color version o...Figure 3.32. The influence of hand position on the frequency response curve of a...Figure 3.33. Position of the monitor speaker according to the type of microphone...Figure 3.34. Voice recording configuration with a Focusrite Scarlett 2i2 interfa...Figure 3.35. Voice recording configuration with a Solid State Logic SSL 2+ inter...Figure 3.36. Two interfaces from the 2010s, the Apogee Duet FireWire and the MBo...Figure 3.37. High-end digital audio interfaces with integrated DSP processing (M...Figure 3.38. The TPB Pro Audio mvMeter 2 measurement plugin. For a color version...Figure 3.39. An HPF filter with the Avid Protools seven-band equalization plugin...Figure 3.40. A low shelf filter with the Avid Protools seven-band equalization p...Figure 3.41. A bell filter with the Avid Protools seven-band equalizer plugin. F...Figure 3.42. The Renaissance DeEsser plugin from Waves and the De-Esser plugin f...Figure 3.43. A great classic, the Urei 1176 taken over by Waves, in the form of ...Figure 3.44. A reference in the field of tube compressors, the Teletronix La-2a,...Figure 3.45. The Echoboy delay plugin from SoundToysFigure 3.46. The Valhalla Vintage Verb reverb plugin. For a color version of thi...Figure 3.47. Four performers in front of an MS pairFigure 3.48. Live configuration, one microphone per performerFigure 3.49. Configuration with two crossed bidirectional microphonesFigure 3.50. A 1.20-m active pole (Schoeps RC)Figure 3.51. An application of the 3:1 rule with three microphones placed in fro...5 Chapter 4Figure 4.1. The album “Autobahn” by Kraftwerk. For a color version of this figur...Figure 4.2. The Electrix Warp Factory vocoder. For a color version of this figur...Figure 4.3. Basic principle of the vocoderFigure 4.4. The Roland SVC-350 vocoderFigure 4.5. Talkbox with a synthesizerFigure 4.6. The MXR talkboxFigure 4.7. The eighth version of the Antares Auto-tune software plugin. For a c...Figure 4.8. Antares Auto-tune Pro. For a color version of this figure, see www.i...Figure 4.9. The Melodyne 5 editing window. For a color version of this figure, s...Figure 4.10. The Tascam TA-1VP rack-mounted speech processor. For a color versio...Figure 4.11. Electro Harmonix’s Voice Box voice processor pedal. For a color ver...Figure 4.1. The album “Autobahn” by Kraftwerk. For a color version of this figur...Figure 4.2. The Electrix Warp Factory vocoder. For a color version of this figur...Figure 4.3. Basic principle of the vocoderFigure 4.4. The Roland SVC-350 vocoderFigure 4.5. Talkbox with a synthesizerFigure 4.6. The MXR talkboxFigure 4.7. The eighth version of the Antares Auto-tune software plugin. For a c...Figure 4.8. Antares Auto-tune Pro. For a color version of this figure, see www.i...Figure 4.9. The Melodyne 5 editing window. For a color version of this figure, s...Figure 4.10. The Tascam TA-1VP rack-mounted speech processor. For a color versio...Figure 4.11. Electro Harmonix’s Voice Box voice processor pedal. For a color ver...
6 Appendix 1Figure A1.1. Sound level scales (source: Wikipedia). For a color version of this...Figure A1.2. Comparison of bel, decibel (dB SPL) and pascal (Pa). For a color ve...Figure A1.3. Psophometric diagram (weighted curve) dBA
7 Appendix 2Figure A2.1. Some models of coaxial jacks. 1) subminiature 2.5 mm mono male jack...Figure A2.2. The different contact points for the 6.35 mm jack connectorsFigure A2.3. A “Bantam” or TT patchbay cable in TRS versionFigure A2.4. Pinout of the 3-pin XLR connectorsFigure A2.5. Wiring diagram of a classic XLR cable. For a color version of this ...Figure A2.6. Wiring diagram of XLR jack adapters. For a color version of this fi...Figure A2.7. Wiring diagram for an insert cord. For a color version of this figu...Figure A2.8. Different types of USB connectorsFigure A2.9. Different USB connectorsFigure A2.10. Some Sub-D connectors and a female Sub-D/XLR breakout cable. For a...Figure A2.11. BNC male and chassis connectorsFigure A2.12. RCA male and female connectors and chassis. For a color version of...Figure A2.13. Toslink male and chassis connectorsFigure A2.14. A Toslink/Mini Toslink cable
8 Appendix 4Figure A4.1. Principle of the AB pairFigure A4.2. An AB pairFigure A4.3. Principle of the XY pairFigure A4.4. An XY pair (source: www.dpa-by-audio2.fr)Figure A4.5. The Rode NT4 XY stereo microphoneFigure A4.6. Principle of the ORTF pairFigure A4.7. An ORTF pair (source: www.harmonycentral.com)Figure A4.8. Principle of the MS pairFigure A4.9. An MS pairFigure A4.10. Principle of the Decca treeFigure A4.11. Decca tree installation (source: www.musictech.net). For a color v...Figure A4.12. Principle of the Blumlein methodFigure A4.13. A Blumlein installation (source: www.musicradar.com). For a color ...Figure A4.14. Principle of the Faulkner ArrayFigure A4.15. Principle of the sound-absorbing disk methodFigure A4.16. A Jecklin Disk installation (source: Wikipedia). For a color versi...Figure A4.17. Principle of the artificial headFigure A4.18. Neumann KU100 artificial head
List of Tables
1 Chapter 1Table 1.1. Some studio compressorsTable 1.2. Some studio equalizersTable 1.3. Sabine absorption coefficients according to materials and frequenciesTable 1.4. Some reverbs, delays and echo chambers for studiosTable 1.5. Some studio de-essersTable 1.6. Some studio expandersTable 1.7. Some studio enhancersTable 1.8. Software plugins for digital audio workstations
2 Chapter 2Table 2.1. A selection of preamplifiersTable 2.2. Some digital audio interfaces classified by the manufacturerTable 2.3. Some multichannel amplifiers or splitters for headphonesTable 2.4. Characteristics of the Genelec 8040 and 8050Table 2.5. Specifications of the Studer A1, A3 and A5 loudspeakers (source: Stud...Table 2.6. Characteristics of the Adam Audio AX seriesTable 2.7. Some proximity speakersTable 2.8. Some monitoring controllers
3 Chapter 3Table 3.1. Microphones costing less than 400 eurosTable 3.2. Microphones costing between 400 and 800 eurosTable 3.3. Microphones costing more than 800 eurosTable 3.4. Digital microphones (USB)Table 3.5. Advantages and disadvantages of positioning the microphone in relatio...
4 Chapter 4Table 4.1. Some vocoder pluginsTable 4.2. Some models of speech processors
5 Appendix 2Table A2.1. USB type-A and type-B pinoutTable A2.2. USB mini-A and micro-B pinout
6 Appendix 3Table A3.1. Some compression pluginsTable A3.2. Some equalization pluginsTable A3.3. Some De-Esser pluginsTable A3.4. Some reverb plugins
7 Appendix 5Table A5.1. Characteristics of plugins according to their extension
Guide
1 Cover
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