Preface Technique 1: Preparing for Greatness Technique 2: The Song Technique 3: Preproduction Technique 4: The Environment Technique 5: The Importance of Studio Acoustics Technique 6: Control Room Monitors Technique 7: Choosing an Interface Technique 8: Managing the DAW Technique 9: Choosing the Right Microphone Technique 10: Microphone Polar Patterns Technique 11: Stereo Mic Techniques Technique 12: Miking the Kick Drum Technique 13: Miking the Snare Drum Technique 14: Miking Toms Technique 15: Overheads and Hats Technique 16: Drum Room Mics Technique 17: Equalizing Drums Technique 18: One Mic on Drums Technique 19: Two Mics on Drums Technique 20: Three Mics on Drums Technique 21: Four Mics on Drums Technique 22: Bass Guitar Dl Technique 23: Miking the Bass Cabinet Technique 24: Acoustic Guitar Technique 25: Acoustic Guitar DI Technique 26: Miking Acoustic Guitar Technique 27: Stereo Miking Acoustic Guitar Technique 28: Miking the Electric Guitar Cabinet Technique 29: Multiple Mics on Electric Guitar Technique 30: Electric Guitar Effects Technique 31: Electric Guitar Through a DI Technique 32: Stereo Electric Guitar Technique 33: Grand Piano Technique 34: Electric Piano Technique 35: Organ Technique 36: Synthesizers Technique 37: Vocal Performance Technique 38: Vocal Mic Choice Technique 39: Vocal Mic Technique Technique 40: Backing Vocals Technique 41: Vocal Groups and Choirs Technique 42: Track a Band at Home Technique 43: Tracking in a Commercial Studio Technique 44: Commercial and Home Studio Technique 45: Compression Parameters Technique 46: Using the Compressor Technique 47: Compressing Vocals and Instruments Technique 48: Gates and Expanders Technique 49: Delays Technique 50: Reverberation Glossary About the Author