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Audio Engineering 101: A Beginner's Guide to Music Production, by Tim Dittmar
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Audio Engineering 101 is a real world guide for starting out in the recording industry. If you have the dream, the ideas, the music and the creativity but don't know where to start, then this book is for you!
Filled with practical advice on how to navigate the recording world, from an author with first-hand, real-life experience, Audio Engineering 101 will help you succeed in the exciting, but tough and confusing, music industry.
Covering all you need to know about the recording process, from the characteristics of sound to a guide to microphones to analog versus digital recording. Dittmar covers all the basics- equipment, studio acoustics, the principals of EQ/ compression, music examples to work from and when and how to use compression. FAQ's from professionals give you real insight into the reality of life on the industry.
- Sales Rank: #86600 in Books
- Published on: 2011-12-05
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 7.25" w x .50" l, 1.15 pounds
- Binding: Paperback
- 256 pages
Amazon.com Review
Amazon Exclusive: How Audio Engineering Helped Get My Band Signed By Tim Dittmar
Tim Dittmar
Working in a studio I often had access to record my own band and experiment. In the early '90s I recorded a six-song demo for a band that I was drumming with. We had only been a band for about three weeks when this demo made it into the hands of a local production company person, who at the time worked with RCA records. Although we didn’t end up with this label, the person who originally discovered us ended up managing our band and got us signed to a major label and many indie labels. It is great to have a backup plan, especially as a musician. Audio engineering is a great career option when being a musician isn't paying the bills. It allows you to still be creative and involved in the music scene. You may not get rich right away (or ever) but seeing your name on a CD you recorded is priceless.
Here are a few of the bands I currently play with:
annabella
The Hearts and The Minds
It is common for audio engineers to have their own home studio and also work out of other studios. Pictured here is a classic Trident 80B console located at Top Hat Recording studio in Austin, TX.
One of the many reasons I became an audio engineer was to record and produce my own bands and music. Here I am mixing me and my wife's band, annabella, on my studio's Toft console.
As an audio engineer you will need to find people to record. Running live sound and playing out in a band is a great way to meet potential clients every night.Here I am on tour in Athens, GA with annabella.
Review
"This beginner's guide to audio engineering presents a clear overview of the science and art of sound recording and provides readers with foundational information for getting started in audio engineering. Beginning with a discussion of sound and general recording principles, the work covers topics such as microphones, mixing consoles, signal processors, and signal flow, as well as studio session procedures and optimization. Chapters include illustrations, tips, and checklists, and the text includes an additional section with questions and answers from industry professionals."--Reference and Research Book News
About the Author
Tim Dittmar is a musician, recording and live sound engineer, producer, songwriter, and professor. Tim began his professional recording career in 1987 at Cedar Creek Recording studio in Austin, Texas. Before locating to Austin, Tim received an Associate in Arts in Radio/TV Production from Del Mar Junior College. He then spent much of the nineties touring with a punk group, recording bands, and running live sound on the infamous 6th street at various venues. He was hired in 2000 as a professor and full-time faculty member at Austin Community College where he currently teaches Audio Engineering I, Audio Engineering IV, and the Special Projects class. Tim heads up the Technical side of Commercial Music Management at the college. He has also been a returning lecturer at the University of Texas teaching Audio Production and Audio for Picture. Tim has worked in numerous studios in Austin, Los Angeles and Chicago, compiling over 300 album credits. Recording such artists as the Old 97's, Voxtrot, Dynamite Boy, King Missile and the Murdocks. In 2008 he was invited to moderate a panel at the Tape Op Conference in New Orleans where he spoke on "The State of Audio Education”. At present, he owns and operates Las Olas Recording in Georgetown, Texas. He currently tours and records with his wife in the group Annabella and can also be seen drumming with The Hearts & The Minds, Kristi Rae, and Everything's Gone Green.
Most helpful customer reviews
22 of 25 people found the following review helpful.
Great instructional guide!
By Method2Madness
DISCLAIMER: Although this was given to me through Vine to review, unlike other questionable "reviewers", I actually take the time to USE the product or READ the book. So whatever score/review the product gets, it's absolutely earned. At no time is a product given a particular review or rating simply because I fear loosing Vine status. That's not how the Vine program operates.
Anyhoo, onto the review:
Plainly put, this is a great book. Not only does the author take the time to explain, in detail, what how and why things work the way they do, he also provides illustrations for the layman. I read this cover to cover over a period of a week and honestly learned quite a bit. And I've been in audio production for years! You can definitely tell the author knows his stuff and has actually DONE what he writes about. In lieu of some authors who just compile information and later jam it all together into what barely passes as a book.
I definitely applaud the author and highly recommend this book to those wishing to learn the basics, and to a point, the higher-level operation of sound reproduction.
13 of 14 people found the following review helpful.
99 Reasons to Read Audio Engineering 101
By C. CRADDOCK
By the title, Audio Engineering 101, you know that Timothy A. Dittmar's book is going to cover that basics of Audio Engineering. Anytime you see that 101, as any community college student knows, you know it is going to be a rudimentary primer. Kind of Audio Engineering for Dummies. Some of the stuff is pretty basic, and I just kind of skimmed over it. Advice for interns, like not to tell clients how awful they sound, and don't sit around texting while rolling your eyes, etc., etc., etc..
But there is a lot of practical information and explanation of audio concepts like compression, noise gates, EQ, phlanging, and phase. I really like the microphone guide which shows various types and brands of microphones along with graphs of frequency response: Cascade Fat Head, Small-Diaphragm Condenser, Neumann U 87, or the ubiquitous Shure SM58. One chapter is a round table where questions are posed to a group of recording engineers like, what mic would you take with you on a desert island? There is a website where you can go and download audio clips that illustrate the concepts being discussed.
All in all, this is a handy book with a lot of good information that would be of interest to anyone interested in home recording or a career in audio engineering.
10 of 12 people found the following review helpful.
Interesting, somewhat useful, and pretty inconsistent
By K. Bortz
As someone who has recorded in a studio, and who has a digital recording system of his own, I gave this a try to see how it might help guide me through the recording process. First off, this book is not just about the technical end of recording - it also gives some good hints into interning, marketing, client relations, how to conduct yourself in the studio, etc. THIS portion of the book, although I will never utilize it, is pretty interesting and opened my eyes to a different side of the recording business.
The first 2/3 of the book, which actually cover recording techniques, is why I was interested in this book. Here, this book doesn't seem to know what it's target audience is. The title says "Beginner's Guide to Music Production", and some portions were actually geared to beginners - how to listen, how to place speakers, song structures, how to set up a recording room, place microphones, etc. But then some portions were exceedingly detailed - 23 pages of excruiating detail on the frequecy responses of different microphones. And the chapter on the basics of a mixing board, while covering basic information, seemed to presume an understanding of certain terminologies and processes that weren't defined (and this happened on a couple other occasions, as I remember). Maybe if the reader understood the chapter on signal flow (Chapter 8) before the chapter on mixing consoles (Chapter 6) it would help.
There are also some very basic sound clips and videos available on the internet as a companion to this book - these were referenced in the text, although the only way I knew how to access these were because the web address was on the back cover.
So, there is some good information here, but not all of it is geared toward the beginner as presumed by the title. This would be a good COMPANION reference for someone already familiar with basic recording techniques.
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