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-Signal Flow from start to end
sound source, Microphone, audio interface, Computer, Track input, Track output, master fader, back to interface, then out to monitor system

-A Properly executed signal flow is required for a quality recording, if one step in the chain is done poorly then you will have a poor recording.

-Without proper mic placement it is nearly impossible to fix the imperfection of your recording in the mix and mastering process.

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-The science of sound waves is what allows the technology of microphones and speakers to exist. Understanding this will help us use our gear in a safe and efficient way.

-Sound is a wave that travels through a medium such as air or water, Understanding that sound is a wave will allow us to use the physics of waves to describe the qualities of sound.

-Sound is a Longitudinal wave meaning that the waves back and forth motion happens in the same direction as which the wave travels

-When a speaker outputs sound there is a stiff piece of material called a diaphragm that moves back and forth which vibrates the air around it, this makes the atoms in the air move vibrate back and forth which causes a domino effect allowing the sound to travel away from the sound source.

-A microphone has a diaphragm stretched over a metal plate, vibrations that are sent into the mic vibrate the diaphragm, electronic gear then translates these vibrations into audio data

-The pitch of a sound is determined by the frequency of the sound wave, Humans hearing rang is from 20 to 20k Hz.

-Sounds that are to high in pitch for humans to hear are called ultrasonic and sounds that are to low are called infrasonic

-The intensity of a sound wave is the waves power over its area measured in watts per meter square  (I=P/A)
Sounds that are below 1 Picowatt per square meter are generally to quiet for humans to detect them, We can hear up to about 1 watt per square meter before the intensity of the wave starts to hurt our ears.

-A decibel is a measurement for the loudness of a sound, this word comes from bels. (decibels are a tenth of a bel)

-The Doppler effect is the theory that when a sound moves towards you the pitch of the sound increases.

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- The transducer is the part of the microphone that converts the sound waves. The most common are condenser, dynamic and ribbon.

-The Polar Pattern Defines how the mic responds to sound coming from different directions.

-Frequency response is determined by the range of sound that a microphone can reproduce and hoe sensitive and consistent it is within that range.

-Dynamic microphones consists of a diaphragm, a voice coil, and a magnet. The diaphragm vibrates due to sound waves hitting it., a coil of wire attached to the back of the diaphragm vibrates along with it, as the coil moves back and forth it passes through a magnetic field created by a magnet, which generates an electrical signal that corresponds to the sound.
Dynamic mics are very durable and can withstand wind noise and challenging environments. They can also handle loud sound without distortion

-Condenser microphones consist of a thinner diaphragm and an electrically charged back plate instead of a coil and magnetic setup.
sound hits the thinner diaphragm causing it to vibrate which changes the electric field between the diaphragm and the electrically charged back plate
Self noise is only with condenser microphones

-Ribbon microphones consist of a metal ribbon placed between the poles of a magnet

-Omnidirectional microphone's polar pattern is 360 degree sphere meaning that it cant favor one source over the other(same output regardless of its orientation). omnidirectional mics can be used upside down and are great for for capturing the ambience of an environment

-Unidirectional microphones are sensitive to sound coming from one direction, so it is typically used to pick up a single sound source in loud environments. Unidirectional are less suspectable to feedback when used with a playback system, but they are affected by proximity effect(the bass or low end increases as the sound source comes closer.
the 3 unidirectional patterns are cardioid(cuts sound from the back), super cardioid(slightly sensitive to sound coming from directly behind) and  Hypercardioid (allow slightly more sound from directly behind and rejects a little more of the sides)

-Bidirectional microphones are sensitive to sound coming from the front and back of the mic, they have the narrowest pick Radis.

-Flat response mic are good for recording acoustic instruments as well as vocal groups. These mics pick up all frequencies relatively the same.

-Shaped response is more sensitive to certain frequencies than others, these mics can add clarity to certain types of recordings. Mics with reduced sensitivity in the low end are more resistant to proximity effect and low end build up.

-More sensitive mics are higher voltage, picks up more quiet sounds, great for dynamic instruments.
a less sensitive mic are lower voltage, picks up loud or close sound sources, great for loud and live instruments.
Sensitivity of a mic can be defined by voltage and decibels
higher the number the more sensitive the mic is

-Impendence of a microphone is how much a device resists the flow of an AC signal. This is measured in ohms
A low impedance mic can be used with a cable length of 1000 feet or more with no loss of sound quality.
A high impedance should not be use with cables longer than 20 feet to avoid dull or muffled audio.

-Pad feature allows the microphone sensitivity to be more forgiving allowing a mic to not distort with a loud input.

Maximum SPL - Self Noise = Dynamic Range

-Phantom Power is a DC voltage usually between 12 and 48 volts

-Balanced cables use only one conductor
-Unbalanced cables use two conductors

-Large diaphragms are usually 1 inch
a small diaphragm is usually half an inch

-Larger diaphragm have less self noise (side addressed)
have a warmer sound due to its better capability at capturing low end.
captures a richer full body sound
great for vocal and spoken words.

-smaller diaphragms allow for a better quality and consistent polar pattern rejection. (end addressed)
also pick up transients better, good for the pluck of a guitar or scratch.
great for capturing small details and clear high mids and highs.
good for acoustic guitar, hi hat, cymbals.

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Your mic placement can and will have a huge effect to your audio quality

Knowing what address your microphone picks audio up from is crucial to getting a properly placed mic.

Proximity effect can be caused by having your source too close to the microphone, Proximity effect will cause a boost in low end frequencies. Certain techniques can be used to prevent this from happening like a low cut feature on some microphones

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When recording a vocal a few things should be taken in consideration, like the type of recording you want and the environment of the recording.

Condenser mics are commo for studio recording due to the controlled environment and the sensitivity of the microphone.
Dynamic mic are usually used for stage performances due to the low sensitivity the microphone has.
large diaphragms and small diaphragms make noticeable difference in quality. Larger diaphragms have a warmer sound to them while smaller diaphragms have a more flat frequency response resulting in a more natural sound.

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When recording acoustic guitars you will need to think about the type of recording you want, a warmer sound with lots of body, brighter sound with more scratches from the strings or a blend of both.

The sweet spot is right in front of the 12 fret angled towards the sound hole. This gives you a relatively balanced sound with a mono recording.
Recording from the bottom of the guitar or bashing the bridge will result in a warmer sound with little scratch from the strings. On the other hand recording from the right side of the sweet spot will give you a bright sound with lots of string scratch. When recording from behind the guitar you will get an even more deeper warmer sound.

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When recording in stereo you need to look out for phasing problems. Thins is caused when one of the mics are picking up sound just before the other mic. Recording stereo will give you a more wide sound, the two most common stereo techniques are x and y and spaced pair.
When recording in spaced pair you will need to follow the 3 to 1 rule which means for every foot from the sound source there needs to be 3 feet of distance from the two microphones.

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A DAW is a Digital Audio Workspace, this is the software that will edit, process, and manipulate you recordings. Choosing a DAW that is right for you will have improve your work efficiency.

To record sound into a DAW you will need to have an audio interface an interface is what converts analog or physical sound into digital sound or signal.
The audio interface is also what converts digital signal into analog signal this is used when outputting sound from your interface to your monitor system.

Setting levels or Gain Staging is a very important part of recording, if an audio signal is too loud then the signal will clip and the audio will get distorted. Leaving headroom for the mix of a studio track is also very important because as sounds stat to layer the master output will increase.

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There are four types of signal levels
-Mic level (The quietest level)
-Instrument level (The second quietest)
-Line level (The third quietest, This level is used on all professional audio equipment.)
-Speaker level (The loudest level)
lower the output signal level, the more it the signal needs to be boosted. You do this through a pre-amp.

Consumer gear use -10dbv
Pro gear uses +4dbu

Sound sources that produce an instrument level signal like a guitar have a high impedance, you will need to run this signal into an input with an extremally high impedance.
Running a high impedance output into a low impedance input will result in a loss of top end frequencies.
You will need a DI box (direct injection) in order to run a high impedance signal to a low impedance input.
Active DI have a built in pre amp as passive DI doesn't.
Active DI require a power source.

Speaker level is achieved by boosting the line signal through an amp.
Never rout a speaker level output into a mic, instrument or line level input and only use speaker cables.

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The two common ways of recording electric guitar is by micing the guitar amp or through a DI

Placements
-placing the microphone directly Infront of the amp pointing at the speaker cone, this will give you a lot of treble and a bright sound.
-Placing the mic at the edge of the amp will give you a darker or warmer sound.
-Placing in-between the edge and middle of the speaker will give you the most balanced sound.
-Moving the microphone about six inches back away from the amp
-The last is off axis where you point the mic towards the left or right(not pointing at the speaker cone)
More bass than move the mic closer to the speaker.
An important concept to take into consideration is the tuning and intonation of your electric guitar. If the intonation isn't set up right then your guitar will gradually detune as you move up the neck, this will ruin a recording.

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Drum Kits come in all sizes
the size of your kit is labeled by how many pieces are in your kit  (2 pieces - how ever many pieces)
The drums are the only thing counted when using this method

Due to how the kit is set up you will have to place your microphones accordingly
keep in mind what kind of player you are recording to protect your gear

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Drums are a loud instrument and will require a little more effort to set up and mic than another instrument like vocal recording.

(1) In a one mic set up you will need to place the microphone as close to all the pieces of the kit in order to get the presence of the kit

(2) In a two mic set up you now will want to move the original mic from close to a bit further away making it an over head mic, The adding an additional kick mic.
Moving the mic away from the kit will loose its low end presence, this is why we add a kick mic.

(3) In a three mic set up we can add a room mic or an additional overhead for a stereo set up.

(4) in a four mic set up we can add a snare mic.

(5) In a five mic set up we will add a room mic

Mic placement inside of the drum you can get a beefier low end by off centering the mic and pointing at the beater.

The mic on the outside of the kit will give you the low end and the mic inside the drum will give you the attack or thud

ALWAYS CHECK FOR PHASING

When checking for phasing you will need to listen to your recorded tracks in mono
Solo your overhead mics then solo each other drum track one at a time
use a eq with a phase option to compare the sound

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The two fundamental aspects of any string instrument are, the contact of bow on string which give the high end and scratch and the Resonance of the body that brings the warms and character.

-a mic place further back acting as a room will pick up a define and clear sound that is good for a solo violin
-a mic placed closer will give a more focused and detail sound

-Placing a mic between the bridge and f hole of a cello around 18 inches away to capture a warmer low end sound

-Placing the mic off axis to the left will roll off some of the low end and bring out the details of the bow

-for finger style up right placing the mic about centered with the f hole and angled towards the bridge will capture the fingers and roll of some of the low with out losing it.

-Using a clip on condensers microphone directly to the bridge angled to the f hole since the up right bass is relatively quieter than other instruments.

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-When recording an ensemble in stereo an x y pair is perfect for capturing the performance.

-For more ambience in the recording you can use a Blum line array.

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When recording brass you will have to make sure that the mic you are recording with can handle the amount of wind pressure that brass instruments produce, if it cant then you will have to move the mic back

-Placing the mic directly in front of a trumpet will give the brightest sound
Moving the mic off axis will roll of some of the high end brightness
These rules also apply for the trombone

-The tuba is pointed upward so we will need to angle the mic downward above the tuba pointed directly towards the sound hole
if isolation isn't a issue than bringing the mic back further away from the tuba will give a more open sound

-The french horn is designed to be heard indirectly, placing the mic further back in a pleasing spot for he listener will capture a more natural sound. This mic will act like a room mic
When needing to isolate the french horn place the mic behind and above the horn to compensate for the other instruments