Contents -- Introduction -- PART I: THE BASICS OF LIVE RECORDING -- Chapter 1 Why Record Live? -- Why Didn't We Listen to Our Mothers? -- You Know How This Stuff Works, Right? -- Which One of These Is Different Than the Other? -- Is It Live or Is It…? -- Chapter 2 Sound in Space -- Found Space -- Identifying Acoustic Issues -- Other Acoustic Issues -- Thinking in 3D -- Control Booth? We Don't Need No Stinkin' Control Booth -- Power of the Acoustic Space -- Finding the Sweet Spot -- Chapter 3 The Key to Success: Planning -- Gathering Information -- Creating a Plan -- Preliminary Paperwork -- Site Surveys Rule! -- More Power! -- Where Do You Want This Stuff? -- These Are Your New Friends -- Planning Gear -- Chapter 4 Gig Psychology: Playing with Others -- Don't Be a Putz -- The Front-of-House Engineer -- The Monitor Mixer -- Seeing Double -- The Audience Is Listening...and Watching -- Dress Codes -- Focus on the Band -- Creating the Language -- Chapter 5 Understanding and Respecting Power and Ground -- The Basics of Audio as Electricity -- Dynamic Microphones -- Ribbon Microphones -- Condenser Microphones -- Wireless Microphone Systems -- Polar Patterns -- Consoles -- Impedance -- Alternating Current -- Understanding Ground -- Power on Location -- Testing the Power -- Other Considerations -- PART II: GEAR -- Chapter 6 Basic Gear -- Microphones: Collectors of Audio Information -- Cables: The Interconnects -- Console Preamps or Outboard Preamps? -- Give Us a Leg to Stand On -- Storage: Recording Devices -- Two-Track Safety or Reference Mix -- Power -- Other Things You Need -- Chapter 7 Where We Keep Stuff: Data Storage -- Digital versus Analog -- File Formats -- Standalone Gear versus the Computer -- The Two-Track CD Safety Mix -- No Such Thing as Overkill -- Mix Live, Mix Well, Live Well -- What if Nothing Explodes? -- Leery of the Laptop.

Keeping Track of All This Sound -- Chapter 8 Decisions, Decisions-To Wheel In or Not to Wheel In: That Is the Question -- Safe Cartage: Basic Protection -- The Wheels on the Studio Go Round and Round -- Sharing Is Good (Maybe) -- PART III: THE GIG -- Chapter 9 Recording Big (Because We Always Record Big): Clubs, Rock, Jazz, and Blues -- Microphones for the Mix -- Polar Patterns -- Critical Listening -- Microphone Placement -- Chapter 10 Recording Bigger: Large-Ensemble Recording on Location -- Common Elements -- Time and Space -- Microphone Placement and Selection -- Chapter 11 Recording Biggest: Stadiums, Sporting Events, Music Festivals, and Made-for-TV Events -- Differences in Venues -- Multiple-Venue Recordings: Festivals, Events, and Games -- Typical Sporting Events -- Doing It in HD -- Music Events -- Information Still Rules -- Other Considerations -- Chapter 12 Location Recording for Visual Media -- Making Your Case -- Working with the Director -- The Basics -- Extraneous Noise -- Prepare for the Unexpected -- Beyond Mono -- Other Considerations -- Chapter 13 Surrounded! -- Types of Surround Sound -- Basic Surround Sound Concepts -- Basic Setups -- Space as Part of the Instrument -- Space as Part of the Experience: Check Please! -- Chapter 14 Harnessing Sound -- Controlling the Uncontrollable -- Analyzing the Space -- Chapter 15 Finding Your Perch -- A Quiet Place -- Right on Top of the Performance -- Access to Clean, Plentiful Power Is a Must -- Chapter 16 Work and Play Well with Others: Interfacing with the Live Sound System -- Microphone Choices -- Splitting the Signal -- The Digital Split -- PART IV: THE DAY AFTER -- Chapter 17 What Have We Got? Can We Fix It in the Mix? -- The Night and Day After -- Let It Bleed -- Is It Live Reverb or Canned? -- Headphones versus Speakers -- Mixing -- A Good Mix -- Using Monitors -- Methodology.

Mixing in a Sphere -- Chapter 18 Editing and Sweetening -- Editing -- Cleaning Up the Mess -- Studio Overdubs -- Producers Mess It All Up -- Chapter 19 Software and Such -- Native Processing -- Transferring Data -- Impulse Response (IR) Reverbs -- How to Capture Impulses -- Use the Best Microphone Here, Too! -- Chapter 20 The Final Frontier -- Why Master? -- Duplication -- Web Distribution -- Mechanicals -- Appendix A: Popular Microphones and Their Placement -- Appendix B: Glossary -- A -- B -- C -- D -- E -- F -- G -- H -- I -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- X -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- X.