BRUCE BARTLETT 是一位录音师、技术作者、音频新闻记者和话筒工程师（www.bartlett.com）。他在ProSoundWeb（专业音频网）、EQ（均衡）、Modern Recrding（现代录音）以及Journal of the Audio Engineering Society（音频工程师学会会报）等杂志上就有关音频课题发表过1000多篇文章。包括“现场音乐录音”（焦点出版社）等多本书籍的作者。是音频工程师学会（AES）和音频概念协作组织（Syn-Aud-Con）的会员。具有物理学学士学位及多项话筒设计的专利。他也是一位音乐家并从事商用的以计算机为基础的录音棚工作。
Jenny Bartlett 是一位自由职业的技术作者。
目錄：
目 录
1 音乐：我们为何录音Music:Why We 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 录音方法The Recording Process 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 实况混音至2声轨录音Live-Mix-to-2-Track Recording 7
2.1.3 多声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 8
2.1.5 计算机数字音频工作站录音Computer DAW 9
2.1.6 MIDI音序录音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 15
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Echo 19
3.3.2 混响Reverberation 20
3.3.3 扩散Diffusion 21
3.4 如何控制回声和混响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 创建一个更安静的录音室Making a quieter Studio 25
3.6 音频设备器件的信号特征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 录音室的装备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 40
4.1.3 幻象供电电源Phantom-Power Supply 41
4.1.4 话筒前置放大器Mic Preamp 41
4.1.5 直接插入小盒Direct Box 41
4.1.6 监听系统Monitor System 42
4.1.7 效果器Effects 42
4.1.8 各种各样的设备Miscellaneous Equipment 43
4.1.9 MIDI录音室设备MIDI Studio Equipment 43
4.2 设备的安装Setting up Your Studio 44
4.2.1 线缆Cables 44
4.2.2 设备接插件Equipment Connector 45
4.2.3 线缆接插件Cable Connector 46
4.2.4 音频电缆的种类Cable Types 48
4.2.5 机柜跳线盘RackPatch Bay 49
4.2.6 设备的连接Equipment Connections 51
4.3 哼声的预防Hum Prevention 54
4.4 降低射频干扰Reducing Radio Frequency Interference 56
4.5 小结Summary 56
5 监听Monitoring 57
5.1 扬声器的要求Speaker Requirement 57
5.2 近场监听音箱Nearfield Monitors 58
5.3 内置功放有源音箱［PoweredActiveMonitors］ 60
5.4 功率放大器The Power Amplifier 60
5.5 音箱线及极性Speaker Cables and Polarity 60
5.6 控制室声学Control-Room Acoustics 61
5.7 音箱的摆放Speaker Placement 61
5.8 监听音箱的使用Using the Monitors 62
5.9 耳机Headphones 64
5.10 提示系统The Cue System 64
5.11 小结Summary 66
6 话筒Microphone 67
6.1 换能器种类Transducer Type 67
6.2 极坐标图Polar Pattern 70
6.3 频率响应Frequency Response 73
6.4 阻抗［ImpedanceZ］ 75
6.5 最大声压级Maximum SPL 75
6.6 灵敏度Sensitivity 76
6.7 本底噪声Self-Noise 76
6.8 信号噪声比Signal-to-Noise Ratio 76
6.9 极性Polarity 77
6.10 话筒的种类Microphone Type 77
6.10.1 大振膜电容话筒Large-Diaphragm Condenser MIC 77
6.10.2 小振膜电容话筒Small-Diaphragm Condenser MIC 78
6.10.3 乐器用动圈话筒Dynamic Instrument Microphone 78
6.10.4 实况人声用话筒Live-Voice Microphone 78
6.10.5 带式话筒Ribbon Microphone 78
6.10.6 界面话筒Boundary Microphone 78
6.10.7 微型话筒Miniature Microphone 79
6.10.8 立体声话筒Stereo Microphone 80
6.10.9 数字话筒Digital Microphone 80
6.10.10 头戴式话筒Headworn Microphone 80
6.11 话筒的选择Microphone Selection 81
6.12 话筒的附件MIC Accessory 82
6.12.1 扑声滤波器Pop Filter 82
6.12.2 话筒架和话筒杆Stand and Boom 82
6.12.3 防震架Shock Mount 83
6.12.4 话筒线及接插件Cables and Connector 83
6.12.5 多芯电缆Snake 83
6.12.6 话筒音分器Splitter 84
6.13 小结Summary 84
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 要使用多少支话筒？How many MICs？ 86
7.3 话筒与声源的距离？How close should I place the MIC？ 88
7.3.1 泄漏声渗漏或溅落［LeakageBleed 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 Technique 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 95
7.8.3 4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
7.11 小结Summary 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、电钢琴Synthesizer，Drum Machine and Electric Piano 107
8.4 莱斯利风琴音箱Leslie Organ Speaker 108
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 立钹Hi-Hat 111
8.5.6 通通鼓Tom-Tom 112
8.5.7 底鼓Kick Drum 112
8.5.8 铙钹Cymbal 113
8.5.9 房间话筒Room MIC 113
8.5.10 界面话筒技术Boundary MIC Technique 114
8.5.11 用两至四支话筒录音Recording with Two to Four MIC 114
8.5.12 鼓类录音要点Drum Recording Tips 116
8.6 打击乐器Percussion 118
8.7 原声吉他Acoustic Guitar 118
8.8 歌手吉他手SingerGuitarist 119
8.9 三角钢琴Grand Piano 120
8.10 立式钢琴Upright Piano 122
8.11 原声贝司Acoustic Bass 123
8.12 五弦琴Banjo 124
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 125
8.14 锤击式德西马琴Hammered Dulcimer 125
8.15 提琴类乐器小提琴［FiddleViolin］ 125
8.16 弦乐组String Section 126
8.17 弦乐四重奏String Quartet 127
8.18 青草乐队和旧时光弦乐队Bluegrass Band and Old-time String Band 127
8.19 竖琴Harp 127
8.20 号角Horn 128
8.21 萨克斯管Saxophone 128
8.22 木管乐器Woodwing 129
8.23 口琴、手风琴和风笛Harmonica，Accordion and Bagpipe 130
8.24 领唱Lead Vocal 131
8.24.1 拾音距离Miking Distance 131
8.24.2 喘息噗声Breath Pops 132
8.24.3 宽动态范围Wide Dynamic Range 132
8.24.4 咝声Sibilance 133
8.24.5 来自乐谱架和天花板的反射Reflections from the Music Stand and Ceiling 133
8.24.6 歌声效果Vocal Effects 134
8.25 背景歌声Background Vocal 135
8.26 口语单词Spoken Word 135
8.27 合唱队和管弦乐队Choir and Orchestra 135
8.28 小结Summary 136
9 效果和信号处理器Effects and Signal Processor 137
9.1 软件效果Software Effects插件程序Plug-Ins 137
9.2 均衡器Equalizer 138
9.2.1 均衡的类型Types of EQ 138
9.2.2 如何使用均衡How to Use EQ 141
9.2.3 何时使用均衡When to Use EQ 144
9.2.4 均衡的用法Uses of EQ 144
9.3 压缩器Compressor 146
9.3.1 压缩器的使用Using a Compressor 147
9.3.2 压缩器的连接Connecting a Compressor 150
9.3.3 Ballpark压缩器设定建议Suggested“Ballpark” Compressor Settings 151
9.3.4 并联压缩Parallel Compression 152
9.3.5 侧链Side chain 152
9.4 限幅器Limiter 153
9.5 噪声门Noise Gate 153
9.6 延时器：回声、声音加倍、合唱和镶边声Delay:Echo,Doubling,Chorus and Flanging 154
9.6.1 回声Echo 155
9.6.2 声音加倍Doubling 157
9.6.3 合唱Chorus 157
9.6.4 镶边声Flanging 158
9.7 混响Reverberation 159
9.7.1 混响参数Reverb Parameters 160
9.7.2 混响的连接Reverb Connections 161
9.8 预混响Preverb 161
9.9 声音增强器Enhancer 162
9.10 倍频程分频器Octave Divider 162
9.11 声音和谐器Harmonizer 163
9.12 歌声处理器Vocal Processor 163
9.13 音调校正Pitch Correction 163
9.14 电子管处理器Tube Processor 164
9.15 旋转式扬声器仿真器Rotary Speaker Simulator 164
9.16 模拟磁带仿真器Analog Tape Simulator 164
9.17 空间处理器Spatial Processor 164
9.18 话筒模仿器Microphone Modeler 165
9.19 吉他放大器模仿器Guitar Amplifier Modeler 165
9.20 失真Distortion 165
9.21 滴答声消除和噪声消除De-Click and De-Noise 166
9.22 环绕声Surround Sound 166
9.23 多功能效果处理器Multieffects Processor 166
9.24 通路条插件程序Channel Strip Plug-in 167
9.25 回顾Looking Back 167
9.26 声音质量术语Sound-Quality Glossary 168
10 调音台和混音调音台Mixers and Mixing Consoles 173
10.1 录音阶段Stages of Recording 173
10.2 调音台的功能和格式Mixer Functions and Formats 173
10.3 模拟式调音台Analog Mixer 174
10.3.1 输入部分Input Section 175
10.3.2 输出部分Output Section 181
10.3.3 监听部分Monitor Section 183
10.3.4 大型混音调音台内的一些附加功能Additional Features in Large Mixing Consoles 185
10.4 数字调音台Digital Mixer 186
10.5 软件调音台Software Mixer 187
10.6 控制器界面Controller Surface 188
11 调音台的操作Mixer Operation 189
11.1 录音任务档期准备Session Preparation 189
11.1.1 调音台与录音机的设置Set Up the Mixer and Recorder 189
11.1.2 输入至声轨的分配Assign Inputs to Tracks 191
11.1.3 录音电平的设定Set Recording Levels 191
11.1.4 监听混音的设定Set a Monitor Mix 192
11.2 进行录音Recording 192
11.3 放音Playback 193
11.4 叠录Overdubbing 193
11.5 插入补录Punching-in 194
11.6 声轨的合成Composite Tracks 195
11.7 获取更多的声轨Getting More Tracks 196
11.8 鼓声的替换Drum Replacement 196
11.9 缩混Mixdown 197
11.9.1 调音台和录音机的设置Set Up the Mixer and Recorder 197
11.9.2 抹去或删除不需要的素材Erase or Delete Unwanted Material 198
11.9.3 声像偏置Panning 198
11.9.4 每条声轨上高通滤波器的使用Use a Highpass Filter on Each Track 199
11.9.5 压缩Compression 199
11.9.6 平衡的调节Set a Balance 200
11.9.7 均衡的调节Set EQ 201
11.9.8 效果的加入Add Effects 201
11.9.9 电平的调节Set Levels 202
11.9.10 对混音的评价Judging the Mix 203
11.9.11 混音期间的变更处理Changes During the Mix 204
11.9.12 混音的录音或输出Record or Export the Mix 205
11.10 在混音时常可自问的20个问题20 Questions to Ask Yourself While Mixing 206
11.11 小结Summary 208
11.11.1 录音Recording 208
11.11.2 叠录Overdubbing 208
11.11.3 缩混Mixdown 209
11.12 自动化混音Automated Mixing 209
11.12.1 自动化系统的种类Types of Automation Systems 210
11.12.2 快照与连续自动化Snapshot versus Continuous Automation 211
11.12.3 自动化混音步骤Automation Mixing Procedure 212
11.13 低保真度录音：如何修补声轨Lo-Fi Recording:How to Trash Your Tracks 212
11.13.1 低保真度频率响应Lo-Fi Frequency Response 213
11.13.2 失真Distortion 214
11.13.3 噪声Noise 215
11.13.4 泄漏声Leakage 215
11.13.5 房间声Room Sound 216
11.13.6 低保真度的审美学Lo-Fi Aesthetics 216
12 音质评价Judging Sound Quality 217
12.1 古典和流行音乐录音的比较Classical versus Popular Recording 217
12.2 流行音乐录音作品中的优良声音Good Sound in a Pop-Music Recording 218
12.2.1 优良的混音A Good Mix 218
12.2.2 宽广的频响范围Wide Range 219
12.2.3 优良的音质平衡Good Tonal Balance 219
12.2.4 干净的声音Clean Sound 220
12.2.5 清晰度Clarity 220
12.2.6 柔和度Smoothness 221
12.2.7 现场感Presence 221
12.2.8 空间感Spaciousness 221
12.2.9 快速的瞬态响应Sharp Transients 221
12.2.10 紧密的低音和鼓声Tight Bass and Drums 221
12.2.11 宽广而又细致的立体声声像Wide and Detailed Stereo Imaging 222
12.2.12 宽广而又有可控的动态范围Wide but Controlled Dynamic Range 223
12.2.13 有新意的音响效果Interesting Sounds 223
12.2.14 切合时宜的制作Suitable Production 223
12.3 古典音乐录音作品中的优良声音Good Sound in a Classical-Music Recording 224
12.3.1 优良的建声条件Good Acoustics 224
12.3.2 原声平衡A Natural Balance 224
12.3.3 音质的清晰度Tonal Accuracy 225
12.3.4 合适的远近感Suitable Perspective 225
12.3.5 精确的声像定位Accurate Imaging 225
12.4 审听的训练Training Your Hearing 226
12.5 坏声音的消除方法Troubleshooting Bad Sound 227
12.5.1 整个录音作品均为坏声音Bad Sound on All Recording 228
12.5.2 只在还音时出现坏声音Bad Sound on Playback Only 228
12.5.3 在流行音乐录音任务档期中出现的坏声音Bad Sound in a Pop-Music Recording Session 229
12.5.4 在古典乐录音作品中出现的坏声音Bad Sound in a Classical-Music Recording 234
12.6 小结Summary 237
13 数字录音Digital Recording 239
13.1 模拟与数字之间的差别Differences between Analog and Digital 239
13.2 数字录音Digital Recording 239
13.2.1 比特深度Bit Depth 242
13.2.2 采样率Sampling Rate 243
13.2.3 数据速率和存储需求量Data Rate and Storage Requirements 244
13.2.4 数字录音电平Digital Recording Level 245
13.3 时钟The Clock 246
13.4 数字音频信号格式Digital Audio Signal Formats 246
信号格式的转换Converting Signal Formats 247
13.5 比特补偿器Dither 248
13.6 抖动Jitter 249
13.7 数字的传输和拷贝Digital Transfers and Copies 250
13.8 2轨数字录音机2-Track Digital Recorders 251
13.8.1 数字音频工作站The Digital Audio Workstation 251
13.8.2 可录CD机CD RecordableCD-R 252
13.8.3 手持式闪存式录音机Handheld Flash Memory Recorder 255
13.9 多声轨数字录音机Multitrack Digital Recorder 255
13.9.1 硬盘HD录音机［Hard-DiskHD Recorder］ 256
13.9.2 录音机-调音台Recorder-Mixer 256
13.9.3 三种多声轨录音系统的优缺点Pros and Cons of Three Multitrack Recording Systems 258
13.10 备份Backup 260
14 计算机录音Computer Recording 261
14.1 基本操作Basic Operation 262
14.1.1 录音和放音Recording and Playback 263
14.1.2 编辑Editing 263
14.1.3 缩混Mixdown 264
14.2 计算机The Computer 264
14.3 音频接口Audio Interfaces 265
14.3.1 声卡Sound CardPCI音频接口 266
14.3.2 火线、USB或雷电音频接口FireWire,USB or Thunderbolt Audio Interface 267
14.3.3 音频接口的性能特点Audio Interface Features 269
14.3.4 控制界面Control Surface 272
14.3.5 艾利斯火线端口Alesis FirePort 274
14.4 数字信号处理卡DSP Card 275
14.5 模拟合成放大器Analog Summing Amplifier 275
14.6 录音软件Recording Software 275
14.6.1 录音软件的功能特点Features 276
14.6.2 插件程序Plug-Ins 278
14.6.3 Avid Pro Tools工作站软件 281
14.7 多声轨录音用计算机的优化Optimizing Your Computer for Multitrack Recording 285
14.8 数字音频工作站的使用Using a DAW 285
14.8.1 连接Connections 285
14.8.2 软件的设定Software Settings 286
14.8.3 编辑要点Editing Tips 287
14.8.4 音频质量的保证要点Maintaining Audio Quality 292
14.9 音频跟随视频Audio for Video 297
15 录音任务档期、母带制作及CD刻录Session Procedures,Mastering and CD Burning 299
15.1 前期录音准备Preproduction 299
15.1.1 乐谱Istrumentation 299
15.1.2 录音顺序Recording Order 300
15.1.3 声轨分配Track Assignments 300
15.1.4 录音任务档期单Session Sheet 301
15.1.5 录制计划表Production Schedule 301
15.1.6 声轨表Track Sheet 302
15.1.7 话筒输入清单Microphone Input List 302
15.1.8 乐器分布图表Instrument Layout Chart 304
15.2 录音棚的录音前期准备工作Setting Up the Studio 304
15.3 录音控制室的录音前期准备工作Setting Up the Control Room 305
15.4 录音任务档期概要Session Overview 305
15.5 进行录音Recording 305
与演奏员们的协调Relating to the Musicians 306
15.6 叠录Overdubbing 307
15.7 录音阶段结束工作Breaking Down 307
15.8 缩混Mixdown 308
15.9 母带制作Mastering 308
15.9.1 参考用CD的刻录Burning a Reference CD 309
15.9.2 把CD外送进行母带制作加工Sending Out Your CD for Mastering 310
15.9.3 把自己的歌曲选集进行母带制作加工Mastering Your Own Album 310
15.10 母带制作后节目至CD-R盘上的转移Transferring the Mastered Programm to CD-R 314
CD-Text文字及ISRC国际标准录音码编码CD-Text and ISRC Codes 316
15.11 母版CD日志Master Log 317
15.12 版权及版税Copyrights and Royalties 318
16 MIDI与循环MIDI and Looping 319
16.1 MIDI部件MIDI Components 320
16.2 软件合成器的音乐录音Recording Music Made by Soft Synths 325
16.2.1 MIDI信号链路The MIDI Signal Chain 325
16.2.2 MIDI录音步骤MIDI Recording Procedures 327
16.3 硬件合成器的录音Recording a Hardware Synths 330
16.4 MIDI“无声”的故障诊断“No Sound”MIDI Troubleshooting 331
16.5 使用键盘工作站的录音REcording with a Keyboard Workstation 332
16.6 使用鼓机及合成器的录音Recording with a Drum Machine and Synth 333
16.7 效果的使用Using Effects 333
16.8 循环基底的录音Loop-based Recording 334
16.8.1 制作自己的循环Making your Own Loops 335
16.8.2 循环的种类Types of Loops 335
16.8.3 使用循环的工作Working with Loops 336
16.8.4 循环资料库Loop Libraries 336
16.8.5 循环的创建软件Loop Creation Software 337
17 流行音乐的实况录音On-location Recording of Popular Music 339
17.1 用扩声调音台的录音Record off the Board 339
17.2 用手持式数字录音机的录音Record with a Handheld Digital Recorder 340
17.2.1 使用的设备Gear 340
17.2.2 录音任务档期的准备Preparing for the Session 340
17.2.3 演出之前At the Gig 341
17.2.4 不带扩声的录音任务档期A Recording Session with No PA 342
17.2.5 演出之后After the Gig 343
17.3 使用4声轨录音机的录音Record with a 4-Tracker 343
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 344
17.4.1 连接Connections 345
17.4.2 监听Monitoring 347
17.4.3 电平的设定Setting Levels 347
17.5 话筒信号的分配Splitting the MIC Signals 348
话筒信号分配器的使用 Using Splitters 349
17.6 在录音车内的多声轨录音Multitrack Recording in a Truck 350
17.7 录音任务档期的准备Preparing for the Session 350
17.7.1 制作前碰头会Preproduction Meeting 350
17.7.2 现场勘察Site Survey 351
17.7.3 话筒清单MIC List 351
17.7.4 声轨表Track Sheet 352
17.7.5 框图Block Diagram 353
17.7.6 设备清单Equipment List 353
17.8 为更简易设置的准备工作Preparing for Easier Setup 354
17.8.1 保护箱Protective Cases 354
17.8.2 话筒装配夹Mic Mounts 355
17.8.3 多芯电缆及线缆Snakes and Cables 355
17.8.4 机柜的连线Rack Wiring 356
17.8.5 其他要点Other Tips 356
17.9 录音任务档期的进行：设置At the Session:Setup 357
17.9.1 电源分配系统Power Distribution System 357
17.9.2 供电电源Power Source 358
17.9.3 多个声音系统的内部连接Interconnecting Multiple Sound Systems 359
17.9.4 连接Connections 359
17.9.5 线缆的运行Running Cables 360
17.9.6 录音调音台的设置Recording-Console Setup 360
17.10 话筒技术MIC Techniques 361
17.10.1 电吉他的接地方法Electric Guitar Grounding 361
17.10.2 听众话筒Audience Microphones 362
17.11 声音检查及录音Sound Check and Recording 363
17.12 装备拆卸Teardown 364
17.13 无时差录音发布Same-day RecordingDistribution 364
18 古典音乐的实况录音On-location Recording of Classica Music 365
18.1 设备Equipment 365
18.2 场地的选择Selecting a Venue 367
18.3 录音任务档期设置Session Setup 367
18.3.1 话筒的架设Mounting the MICs 368
18.3.2 连接Connections 369
18.3.3 监听Monitoring 370
18.4 话筒的摆放Microphone Placement 370
18.4.1 拾音距离Distance 370
18.4.2 立体声声像分布的控制Stereo-Spread Control 371
18.4.3 独唱歌手的拾音及补点话筒Soloist Pickup and Spot Microphon 373
18.5 电平的设定Setting Level 374
18.6 一场音乐会的录音Recording a Concert 375
18.7 编辑Editing 375
19 网络音频及在线协作Web Audio and Online Collaboration 377
19.1 数据流与下载Streaming versus Downloading 377
19.2 数据压缩Data Compression 377
19.3 与网页有关的音频文件Web-Related Audio Files 378
19.4 上网须知What You Need 380
19.5 如何上传压缩过的音频文件How to Upload Compressed Audio Files 381
19.6 把你的音乐放置到你的网页上的方法Putting Your Music on Your Web Site 384
19.7 通过共享文件的协作Collaborating by Sharing Files 385
在家庭录音室录音、在商用录音棚混音Record at Home，Mix in a Commercial Studio 386
19.8 寻求录音棚音乐人、制片人及录音师Finding Studio Musicians，Producers and Engineers 388
附录A dB或非dBdB or not dB 389
A.1 定义Definition 389
A.2 声压级Sound Pressure Level 389
A.3 信号电平Signal Level 390
A.3.1 dBm 391
A.3.2 dBu 391
A.3.3 dBv 392
A.3.4 dBV 392
A.3.5 信号电平的变化Change in Signal Level 392
A.4 VU表、零VU及峰值指示表The VU Meter,Zero VU and Peak Indicators 393
A.5 平衡与非平衡设备电平的比较Balanced versus Unbalanced Equipment Levels 394
A.6 平衡与非平衡设备的接口连接Interfacing Balanced and Unbalanced Equipment 394
A.7 话筒灵敏度Microphone Sensitivity 396
附录B 多声轨录音用计算机的优化Optimizing Your Computer for Multitrack Recording 397
B.1 提升硬盘驱动器运行速率的方法Speeding Up Your Hard Drive 397
B.2 处理速率的增加Increasing Processing Speed 399
B.3 中断的预防Preventing Interruptions 400
B.4 缓存器容量的设定Setting the Buffer Size 402
B.5 等待时间的最小化Minimizing Latency 402
B.6 其他要点Other Tips 403
B.7 Windows Vista与Windows 7 405
B.8 多声轨录音用苹果机的优化Optimizing Mac for Multitrack Recording 406
附录C 阻抗Impedance 407
C.1 什么是阻抗What is Impedance？ 407
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？ 407
C.3 要用什么样的话筒阻抗？What About Microphone Impedance？ 408
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？ 408
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？ 409
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？ 409
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？ 410
C.8 小结Summary 410
附录D 幻象电源说明Phantom Power Explained 411
D.1 定义Definition 411
D.2 独立幻象电源的使用方法Using a Standalone Supply 412
D.3 使用注意事项Cautions for Use 412
D.4 直流偏置供电DC Bias 412
附录E 推荐深入学习的途径Where To Learn More 413
E.1 书籍和音像资料Books and Videos 413
E.1.1 图书馆The Library 413
E.1.2 专业音频书籍Pro Audio Books Plus 413
E.1.3 大型音乐书店Music Books Plus 413
E.1.4 混音书籍Mix Books 413
E.1.5 howaudio.com网站 413
E.1.6 焦点出版社Focal Press 414
E.1.7 Amazon.com在线书店 414
E.2 录音杂志Recording Magazines 414
E.3 专业音频杂志Pro Audio Magazines 414
E.4 消费者音频杂志Consumer Audio Magazines 415
E.5 指南、小册子及其他文献Guide Brochures and Other Literature 415
E.6 有关录音院校的介绍Guides to Recording Schools 415
E.7 互联网Internet 416
E.8 录音设备目录Recording Equipment Catalogs 417
E.9 经验Experience 417
E.10 开创录音生涯Starting a Career in Recording 417
术语表Glossary 419
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