{"id":55,"date":"2025-04-18T17:32:44","date_gmt":"2025-04-18T17:32:44","guid":{"rendered":"https:\/\/staging.routledgelearning.com\/cccm\/?p=55"},"modified":"2025-06-25T16:33:05","modified_gmt":"2025-06-25T16:33:05","slug":"chapter-14","status":"publish","type":"post","link":"https:\/\/staging.routledgelearning.com\/cccm\/chapter-14\/","title":{"rendered":"Chapter 14"},"content":{"rendered":"\n

Recording and Editing Live Instruments<\/h2>\n\n\n\n

In this chapter, you will explore the world of live recording with a focus on instrument-specific stereo miking techniques. Recording session setup tips are provided as well, which involve concepts such as headphone mixes, low latency features, and sound barriers. Near the end of the chapter, you will be introduced to common ways in which producers capture and edit multiple takes during the recording process, including comping, cycle recording, punch recording, and creating fades and crossfades.\u00a0<\/p>\n\n\n\n

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Figures<\/h3>\n\n\n\n
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\"A\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.1 A complete cycle of sound wave<\/figcaption><\/figure>\n\n\n\n
\"Phase\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.2 Phase relationships between recording signals<\/figcaption><\/figure>\n\n\n\n
\"The\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.3 The 3-to-1 rule<\/figcaption><\/figure>\n\n\n\n
\"Coincident\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.4 Coincident and near-coincident X-Y configurations<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\"The\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.5 The Blumlein (Figure 8) technique<\/figcaption><\/figure>\n\n\n\n
\"MS\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.6 MS microphone technique <\/figcaption><\/figure>\n\n\n\n
\"Spaced\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.7 Spaced pair technique and the 3-to-1 rule<\/figcaption><\/figure>\n\n\n\n
\"Recording\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.8 Recording options for acoustic guitar<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\"Recording\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.9 Recording individual vocals<\/figcaption><\/figure>\n\n\n\n
\"Recording\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.10 Recording individual brass instruments<\/figcaption><\/figure>\n\n\n\n
\"Recording\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.11 Recording individual woodwind instruments with bells<\/figcaption><\/figure>\n\n\n\n
\"Recording\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.12 Recording individual straight-shaped woodwinds<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\"Recording\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.13 Recording amplified guitars<\/figcaption><\/figure>\n\n\n\n
\"Punch\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.14 Punch recording in Pro Tools<\/figcaption><\/figure>\n\n\n\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.15 Cycle recording in Logic Pro<\/figcaption><\/figure>\n\n\n\n
\"Cycle\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.16 Cycle recording an isolated passage in Logic Pro<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.17 A take folder in Logic Pro with multiple quick swipes<\/figcaption><\/figure>\n\n\n\n
\"Fade\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.18 Fade options in Pro Tools<\/figcaption><\/figure>\n\n\n\n
\"Crossfades\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
14.19 Crossfades in Logic Pro<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Flashcards<\/h3>\n\n\n\n

Click on the word to get the definition<\/p>\n\n\n\n

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