Sound Recording Practice

Sound Recording Practice

Sound Recording Practice

Sound Recording Practice


In this invaluable book, a broad range of contributors--musicians, acousticians, electronic engineers, and broadcasters--share their specialized expertise on the equipment used to record, transmit, and reproduce speech and music and the operational techniques that have evolved over half a century in the sound recording industry. This fourth edition, newly revised and comprehensive, emphasizes the array of new technologies and techniques such as rapid advances in recording techniques, computer-controlled equipment, new digital recording formats, and the proliferation of consumer audio/video media. Addressing the user rather than the designer or manufacturer, Sound Recording Practice offers a stimulating, informative, and comprehensive guide to each aspect of recording.


It is a pleasure for me to write the foreword for this, the fourth edition of Sound Recording Practice. For almost two decades this handbook has uniquely defined the principles and standards of recording studio technicalities. It has remained the favourite manual of every recording industry technical library, and has justifiably become the standard by which other technical books in this field are judged.

The hastening intricacies of technological development in recent years have emphasized that such manuals can rapidly become dated and therefore fail to communicate to the reader the very latest information regarding modern equipment and practices. For this reason the Board of the APRS instructed our knowledgeable and energetic editor John Borwick to update the handbook and to include new chapters written by the most distinguished technical authors. I trust that you will agree that this task has been expertly carried out with the proper degree of hands-on knowledge and precision.

Throughout the last twenty years, the recording industry has expanded in response to the increased software market providing for the many varied new sound carriers demanded by the consumer. Recording studios have responded with improved technical facilities and quality standards, consequently providing greater flexibility to the engineer, producer, and artist. Digital techniques in particular are now rapidly changing the face of the industry. The lower costs of semi-professional equipment capable of matching the performance of high-grade studio equipment has meant that digital multitrack techniques are now readily and economically available to the home-based user. Sampled music of every kind can be used to enhance recordings and create new ones, which can be engineered virtually from the comfort of one's armchair!

The next few years will be extremely critical for the sound recording industry. Studios will need to achieve even higher standards of technical expertise and choose their equipment even more carefully than before. Wise investment and controlled costing will enable the best to progress to a more fruitful future. Poor investment and the lowering of standards may cause others to go to the wall. Investing in this book will at least ensure that the reader is well armed for the battles ahead, with an improved knowledge of the very latest recording techniques. I hope that everyone will derive maximum benefit and enjoyment from reading this book.

DAVID J HARRIES (Director, Air Studios, Lyndhurst Hall) Chairman, Association of Professional Recording Services . . .

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