More than simply the book of the award-winning DVD set, Art & Science of Sound Recording, the Book takes legendary engineer, producer, and artist Alan Parsons’ approaches to sound recording to the next level. In book form, Parsons has the space to include more technical background information, more detailed diagrams, plus a complete set of course notes on each of the 24 topics, from “The Brief History of Recording” to the now-classic “Dealing with Disasters.” Get a taste for what Parsons is all about in the excerpt below!
Hello there! Is this hello for the very first time, or have you got the video series as well? If the former, we also produced a video series entitled Alan Parsons’ Art & Science of Sound Recording, and this book is both based upon and an extension of territory we covered in the videos. We hope you will find one to be a good companion to the other. Alan Parsons’ Art & Science of Sound Recording—The Book is a complete rewrite and reappraisal of the original video version. Because it is a book and not an audio-visual experience, we’ve been able to examine all of the topics in greater detail. With the videos we strove to keep you visually and aurally entertained. Now, you can be reading this at home, or in a busy Starbucks, or on a plane . . . you can read one page at a sitting, or one chapter, or just dive in here and there using the index or the glossary. Ingest the words, look at the pictures and diagrams, and if something is not clear first time around, well, read it again. It’ll make sense eventually; promise. The great thing about a book is that you can go at your own pace. Plus it’s the ultimate in nonlinear formatting. You can flip from here to page 145 in less than a heartbeat. Eat your heart out, modern media! (Readers of the ebook version possibly have the best of all worlds, of course.)
For the book, we have kept the same basic tone as the video. We hope it is both intriguing for the new- comer to recording and interesting to the seasoned professional. We’ve dug a little deeper into all aspects of recording technology. Chapter 1, “A Brief History of Recording,” may still be a relatively brief version, but it’s now not quite so “on a pinhead.”
A question that often cropped up on the video series was, “How do I use the videos? What order should I view them in?” Sensing potential for the same line of enquiry here, here’s what we recommend you do.
This book does have a logical flow of chapters. First we look at how sound is created and how it behaves, before moving onto the different sources, components, and equipment involved in making and reproducing sound recordings. With these pieces of the puzzle in play, we then look at all the processes involved in manipulating sound recordings, such as EQ, reverbs, delays, compression, and so on. Then we look at how the various types of sound sources respond to the various processes and how they are best applied for particular sonic needs.
The rubber truly hits the road when human beings are tossed into the mix and we actually have to record real live musicians sitting there right in front of us. We look at drummers, guitarists, bass players, singers, choirs, keyboard players . . . all of whom can have very different mindsets, roles, temperaments, and functionalities.
Finally, even though the word “mix” is now more of a formality than the “performance” process it used to be in the days of analog technology, the mix is still the point where decisions and choices have to be made. And that, in itself, is an art and a science.
So if you can, read this book from here . . . right through to the end—at least once.
Learning anything—especially something as nuanced as sound recording—is a journey, and that journey is half the fun. You can fly from Paris to Istanbul, or you could take in the delights of Lausanne, Milan, Venice, Belgrade, and Sofia along the way by traveling on the Orient Express—same destination, but a very different experience.
As with the Orient Express, a top-to-toe read of this book will introduce you to topics you may not fully appreciate the first time around. But you can always come back to Venice and look at its sights and virtues. Although we will try not to dazzle you with clever-sounding words and concepts, important messages can be missed if you speed by too quickly.
Finally, a great debt of gratitude is owed to the many engineers, producers, and artists we interviewed for the video series, whose words of wisdom are included here. Music is so often best when it’s a team sport, and although there are actually some incontrovertibly bad ideas (e.g., don’t try recording a kick drum with a ribbon mic), sound recording is definitely NOT a place for closed minds.
Experimentation—within some context of tried and tested sound practices—should always be on the menu.
You’re in good company. So enjoy your journey.