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Guerrilla Home Recording: How to Get Great Sound from Any Studio (No Matter How Weird or Cheap Your Gear Is) [Kindle Edition]

Karl Coryat

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Produktbeschreibungen

Kurzbeschreibung

(Book). Make your small home studio sound huge! Guerrilla Home Recording is a revolutionary approach to getting great sound in a home or project studio. Author Karl Coryat breaks down the process by showing how to think in terms of three simple "dimensions of sound," and then explains step by step how this can help you achieve amazingly clean recordings with maximum impact. Best of all, you don't need the latest pro gear to do it. You'll learn: how to make even the noisiest gear dead quiet * getting instruments to sound crisp and distinct in a mix * making drum programs and sequences sound like they were played live * getting the most out of a limited number of tracks or mixer channels * blending tracks together into a professional-sounding mix * fun projects and exercises to sharpen your ear for sound * and how to avoid the most common mistakes amateur recordists make.

Synopsis

Coryat explains how to make great sounding recordings in the home studio using inexpensive gear. He breaks the recording process down into three simple dimensions of sound: dynamics, frequency content, and pan position. Sample topics include making noisy gear quiet; making instruments sound crisp and distinct in a mix; and getting the most out of a

Produktinformation

  • Format: Kindle Edition
  • Dateigröße: 4842 KB
  • Seitenzahl der Print-Ausgabe: 208 Seiten
  • Verlag: Backbeat Books (1. Dezember 2004)
  • Verkauf durch: Amazon Media EU S.à r.l.
  • Sprache: Englisch
  • ASIN: B001T4YU3O
  • Text-to-Speech (Vorlesemodus): Aktiviert
  • X-Ray:
  • Word Wise: Nicht aktiviert
  • Amazon Bestseller-Rang: #466.139 Bezahlt in Kindle-Shop (Siehe Top 100 Bezahlt in Kindle-Shop)

  •  Ist der Verkauf dieses Produkts für Sie nicht akzeptabel?

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Amazon.com: 4.5 von 5 Sternen  51 Rezensionen
56 von 57 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Advice from a patient friend 8. Februar 2007
Von Kuru - Veröffentlicht auf Amazon.com
Format:Taschenbuch|Verifizierter Kauf
The title of this book is somewhat inaccurate, since it doesn't really cover a wide variety of types of studio gear or types of recording. Rather, reading this book is more like spending several hours in the particular studio of one patient, experienced home recordist who is generous with his time in explaining, engagingly, his own set-up and how he uses it.

A problem anyone new to home recording will confront is the feeling of coming in late on the conversation: frustratingly, the manuals for even entry-level gear seem to have been written by engineers (often, Japanese engineers) who assume everyone else has been working with audio recording gear since at least 1950, just like them. And, it is always engineers, not musicians, who write the manuals. Thus, we get instruction on "attenuation" instead of being told how to produce a diminuendo, and we get pots instead of knobs.

A key benefit of this book is that it is written by a musician, and explains what the engineers are talking about in words musicians use.

This is, overall, an outstanding book for any musician assembling a home studio. The author understands, from experience, that no home studio is going to match a pro one, and that understanding how to use ordinary gear is more valuable than spending many thousands of dollars on equipment that won't achieve much benefit outside the environment of one of those pro studios. The author's specific target is a recording that will sound good to a musical listener, while realizing that a home studio will never impress (or fool) a pro sound engineer. Particularly valuable here is his advice on when to stop trying -- e.g., he is right that recording drum sets in a home studio is bound to lead to disappointment, so why spend a few more hundred or thousand dollars on a set of matching drum mikes?

The author plainly came of age in recording well before the digital era. As a result, his recommended set-up is perhaps heavier on hardware, and makes less full use of software, than a brand new set-up would. As an example, he considers a hardware mixer a core piece of equipment, and devotes considerable space to describing work-arounds to deal with the limited connections available on most (affordable) hardware mixers. Whether a hardware mixer is needed anymore if you are using mixing software is an open question (and a good way to start heated arguments on the appropriate forums). Still, understanding how to use a hardware mixer will make using mixing software much easier, since most software products aim to emulate the functions of hardware models.

The book is a nice mix of specific tips, general theory, background explanation, problem-solving, and arcanely entertaining trivia. The more detailed tips tend to be specific to rock recording, so musicians in other genres may get less out of this book. However, at the price there is plenty here to benefit any musician wanting to make home recordings.

I docked one star from my rating out of irritation with small factual inaccuracies (e.g., the author doesn't understand that the panning of a drum set can be affected by whether the drummer is left-handed) and larger limitations (e.g., the author has never learned to record with multiple mikes and therefore never explains how to do this -- his approach is strictly one track at a time.) Again, though, for the money this is a great book to have.
18 von 18 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen An Excellent Primer for the Hobbyist 1. Februar 2006
Von David A. Thomas - Veröffentlicht auf Amazon.com
Format:Taschenbuch
This book is excellent. As a musician who spent many years both performing and as a live sound engineer, I've already had a good comprehension of signal paths and equipment prior to reading this book; however, I never had much experience with recording. Recently, I decided to build a home recording/MIDI studio as a hobby. I purchased a handful of books related to home recording, most of which were either too elemental, too specific to a particular piece of gear or software, or loaded with too much theory to be of much use to me. This book hit the nail right on the head.

Karl Coryat's writing style is concise, yet thorough. He uses many examples of some unorthodox and innovative solutions that he developed to solve some common recording problems, without the aid of thousands of dollars worth of pro audio equipment. In addition, his explanations of techniques are generic enough that they can be applied to most equipment types and/or manufacturers. For example, when he explains how a technique would be accomplished in ProTools (the author's weapon of choice), he tells the reader how the same result could be accomplished in other software and/or hardware recording platforms. This was especially useful for me, since I use both Cubase and an 8-track digital recording unit.

My only complaint about this book, and it's a minor complaint, is that the author seemed to cut the "Separation" chapter a little short. The discussion of separation, which is very important to achieving a good sound, is relatively short compared to the remaining chapters. This is not to say that the chapter is not well-written - it is - however, I just feel that the author missed an opportunity to take the reader a step or two further.

I recommend this book to anyone getting into home recording, whether it be digital, analog, or both, or to anyone who records as a hobby and is looking for effective, yet inexpensive, methods to improve the quality of their recordings.
23 von 24 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen THIS IS THE BOOK FOR HOME RECORDING 11. März 2006
Von S. DOPIERALA - Veröffentlicht auf Amazon.com
Format:Taschenbuch|Verifizierter Kauf
I've purchased several books on recording, mixing, etc. and some good, some bad. This book is incredible. Especially for a beginner. I've played in bands for half my life (I'm 30 now) and always relied on studios and occasionally a 4-track recorder. Now that I'm getting into recording and building a studio, on a budget, I have many questions about gear, mixing, what goes where, how this happens . . . Anyway, its like this book read my mind and answered all the questions I had. Some experts might find this book novice but come on read the title. If you're a pro why would you (a) buy this book (b) need to buy a book on the subject at all. For those of us starting out in recording or anyone who still needs advice on the subject, this book is perfect.
31 von 35 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Good, but ... 5. November 2009
Von famous beagle - Veröffentlicht auf Amazon.com
Format:Taschenbuch
This book is good for the beginner recordist, and it does a good job of explaining the basic techniques. The problem is that it kind of has its feet in two different worlds.

It makes it clear from the beginning that it's going to treat your recorder device---whatever that may be---as a generic black box. It doesn't matter if you're recording on 4-track cassette, 8-track R2R, or a full-blown pro-tools rig he says.

Another point he makes from the beginning is the "mix as you go" concept, saying that we guerilla recordists don't have the facilities to wait until the final mix.

He also talks about using an expander to cut down the noise on your tracks. Cool!
So far, so good. It looks as though we're gonna get some good advice on how to use our "weird" gear.

However, about 1/3 to 1/2 into the book, he basically urges you to ditch analog and go digital, which is what he's done (and he'll never record any other way he says). At this point, though, you have to wonder what all his previous advice is about.

What I mean is, if you're running a full-fledged DAW system, you don't NEED to mix as you go anymore. You can setup endless, non-destructive sub-mixes if you want to conserve CPU power, but you can probably get along mixing the whole thing at the end. You'll also have endless plug-in resources for effects, so there's no need to print effects anymore (another technique he talked about in the beginning). You also wouldn't need an expander, because you'll have automated mixing resources, so you could set up your own automation to handle the noise in between phrases.

The book does give some good ideas, and for that I give it 3 stars, but it just doesn't seem to know what to do with itself. It seems as though it would have been a really good book if it were written in 1990 or, before the digital revolution had completely taken over, and any kid with a laptop can record 48 tracks if he wants to now.

In other words, if you do as he suggests and "go digital," there's really no reason to buy his book, because you won't NEED to take the shortcuts and workarounds that he teaches.
16 von 17 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Good but general 27. Dezember 2008
Von Matthew Taylor - Veröffentlicht auf Amazon.com
Format:Taschenbuch|Verifizierter Kauf
The author gives a great deal of useful information, mainly general in nature. The only thing I didn't like about the book is the way he badmouths other people who are doing home recording -- it's important, in my opinion, to remember that each of us has a different set of ears. Slagging other people's work says more about your own insecurities than their abilities. The main thing he badmouths is generally accepted studio techniques; I see the value of trying things outside the norm when using cheap equipment, but the author makes some bad recommendations based on that. For example, he gives studio monitors short shrift, and believes that headphones can be used to mix. They can, but once you've heard even a cheap set of monitors, and experience how they improve your mixes, you will never mix on headphones if you have any choice at all.

I would have enjoyed more specifics; there are some, such as good, clear discussions of EQ and compressor use -- actually, the compression advice has done more to improve my recordings than anything else. I had been afraid of over-compressing; when I lost that fear, I found I was able to use WAY more than I thought I could without killing the dynamics or making the song sound squashed. Another area where the author gets specific is in drum programming, but he attempts to discourage readers from attempting to record real drums in the same breath.

I recommend this book highly, as long as readers understand that it is only the advice of one person, and that like any advice, some is helpful and some is not. For the price, this book has a lot more helpful than unhelpful information.
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