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음향과 음악녹음
음향과 음악녹음 Acoustics and Music Recording
판매가격 : 25,000
적립금 :0
출시일 :2013-03-11
저자 :윤오성
발행인 :韓宗修
발행처 :사운드미디어
수량 :



음향과 음악녹음
Acoustics and Music Recording
윤오성

 

추천의 글 ······························································································································ 003
저자의 말 ······························································································································ 009


제1장 음향학
소리란?·································································································································· 012
소리의 전달 과정 ··············································································································· 013
Wave란? ································································································································ 013
파의 종류······························································································································· 014
소리의 특성··························································································································· 017
파장(Wavelength)················································································································· 018
주기(Period) ························································································································· 019
푸리에의 정의/ 스펙트럼분석(FFT) ················································································ 021
순음(Sine Wave) ················································································································· 022
가청주파수 ··························································································································· 025
소리의 3요소························································································································· 025
소리의 세기(dB, Phon, Sone) ························································································· 026
음압의 증가··························································································································· 031
엔벨로프 곡선(Envelope, ADSR) ··················································································· 032
위상(Phase)·························································································································· 034
정재파(Standing Wave) ····································································································· 036
회절(Diffraction) ··················································································································· 038
굴절(Refraction) ··················································································································· 041
반사(Reflection)···················································································································· 044
맥놀이 현상(Beat) ··············································································································· 046
도플러 현상(Doppler Effect)······························································································· 047
칵테일파티효과(Cocktail Party Effect) ··········································································· 049
마스킹(Masking) ·················································································································· 049
방음 ·········································································································································· 051
근접효과(Proximity Effect)··································································································· 051

 


제2장 음악학
음(音)이란?····························································································································· 052
음색(Timbre) ·························································································································· 053
음색지수(音色指數) ·············································································································· 053
하모닉스 ································································································································· 054
포먼트(Formant)····················································································································· 058
소음성분 ································································································································· 061
잔류효과(Residual Effect, Virtual Effect) ········································································ 062
음고(Just Noticeable Difference)······················································································· 062


차례
피타고라스 음률과 평균율 ·································································································· 063
임계대역(Critical Band)······································································································· 067
귀의 특성································································································································· 068
마이크의 특성과 귀의 차이점······························································································ 071
콤 필터(Comb-Filter) ··········································································································· 072
선행효과(Haas Effect, Precedence Effect)····································································· 074
허음상(Phantom Image) ······································································································ 075


제2장 이펙터
리버브(Reverberation)·········································································································· 077
직접음(Direct Sound)············································································································ 081
Dry/ Wet····································································································································· 081
초기 반사음(Early Reflection, First Reflection Sound)·················································· 082
초기 감소시간(Early Decay Time)······················································································ 083
잔향(Reverberation)················································································································ 083
초기 지연시간(Pre Delay)····································································································· 083
사이즈(Size)····························································································································· 086
Shape·········································································································································· 086
Spread········································································································································· 087
Diffuse ········································································································································ 088
Hi cut / Roll off·························································································································· 089
저음 보강(Bass Ratio) ··········································································································· 089
리버브의 종류··························································································································· 090
컴프레서Compressor ············································································································· 093
Threshold···································································································································· 096
Attack··········································································································································· 098
Ratio············································································································································· 102
Release······································································································································· 103
사이드체인(Side Chain)········································································································· 105
디엣서(De ?Esser)··················································································································· 106
딜레이(Delay) ··························································································································· 108
이퀄라이저(Equalizer)············································································································ 110
게이트(Gate)······························································································································ 113


Acoustics and Music Recording


제4장 마이크테크닉
마이크란? ·································································································································· 115
다이나믹 마이크······················································································································· 116
콘덴서 마이크··························································································································· 119
U 87 마이크································································································································ 120
지향패턴(Polar Pattern)·········································································································· 121
압력형·········································································································································· 122
압력차형······································································································································ 123
Distnace Factor(거리계수)····································································································· 124
무지향성(Omni Direction)······································································································· 125
단일 지향성(Cardioid)············································································································· 126
양지향성 마이크(Bidirectional)····························································································· 128
임계거리(Critical Distance, Hall Radius)············································································ 128
녹음방식······································································································································ 130
1. 시간차방식(Spaced Pair Stereophonic) ······································································· 130
1-1. AB방식································································································································ 130
2. 레벨차방식(Intensity Stereophonic)················································································ 132
2-1. X-Y방식 ····························································································································· 132
2-2.Blumlein 방식 ····················································································································· 133
2-3. MS방식 ······························································································································ 134
3. 혼합형방식(Near-Coincident Stereophonic)································································· 135
3-1. ORTF 녹음방식·················································································································· 136
3-2. NOS방식 ····························································································································· 138
3-3. 데카트리(Decca Tree)방식 ··························································································· 138

 


제5장 악기론
보컬(Vocal)································································································································· 141
보컬녹음······································································································································ 142
보컬의 컴프레서························································································································ 144
보컬마이킹 ································································································································· 145
코러스(Chorus)·························································································································· 149
피아노(Piano) ···························································································································· 153
비올라의 좌석 배치에 따른 분류····························································································· 166
스트링의 Re-Amp ····················································································································· 168
바이올린과 비올라(Violin&Viola)··························································································· 169
첼로와 콘트라베이스(Cello&Contrabass) ·········································································· 172
클라리넷(Clarinet)······················································································································ 174
플룻(Flute) ··································································································································· 177
피콜로(Piccolo)··························································································································· 179
오보에(Oboe) ······························································································································ 180
바순(Bassoon)····························································································································· 182
브라스(Brass) ····························································································································· 183


차례
1장 음향학 008
트럼본(Trombone)······················································································································· 184
호른(French Horn)······················································································································· 186
트럼펫(Trumpet)··························································································································· 187
색서폰(Saxophone)···················································································································· 189
드럼(Drum)···································································································································· 191
드럼의 역사·································································································································· 191
드럼 막(Membrane)의 구성 ···································································································· 192
드럼녹음의 선행조건················································································································· 194
드럼 테크닉·································································································································· 194
킥 드럼(Kick Drum)····················································································································· 198
스네어 드럼(Snare Drum) ········································································································ 202
탐탐(Tom Tom) ··························································································································· 208
오버헤드(Over Head)················································································································· 209
드럼의 오버헤드 마이킹············································································································· 211
하이햇(Hi hat)······························································································································ 213
Md 421 mic··································································································································· 215
어쿠스틱 기타(Acoustic Guitar) ····························································································· 216
전자기타(Electric Guitar)·········································································································· 218

 


제6장 음악믹싱
좋은 사운드란? ·························································································································· 222
믹스준비······································································································································· 223
모니터레벨··································································································································· 224
모니터 스피커····························································································································· 225
모노 밸런스(Mono Balance) ································································································· 228
패닝(Panning)··························································································································· 230
이어트레이닝/이미지트레이닝································································································ 230
러프믹스(Rough mix)··············································································································· 231
킥 드럼의 레벨셋팅·················································································································· 232
페이더 디자인(Fader Design)································································································ 234
CH in / CH out?························································································································ 234
오토메이션(Automation)·········································································································· 235
오토튠(Auto-tune)····················································································································· 238
디더링(Dithering)······················································································································· 239
음압전쟁(Loudness war) ······································································································· 240
보컬믹싱 예································································································································· 242
감사의 글 ···································································································································· 246
저자프로필·································································································································· 247
참고문헌······································································································································ 249

Acoustics and Music Recording

009
저자의 말
K-Pop의 열풍이 거세게 몰아치고 있다. 실용음악이라는 학문이 인기학과가 된지도 오래다. 음향과 음악은 항상 바늘과 실 같은 존재이다. 프로툴스, 로직, 큐베이스, 누엔도, 소나 등 컴퓨터를 기반으로 하는 다양한 소프트웨어와 하드웨어의 보급으로 인하여 음악 시장에도 변화가 일어났다. 그 중 하나가 엔지니어와 프로듀서의 경계가 점차 사라져가고 있다는 점이다. 이제는 만능 멀티 플레이어가 되어야 한다. 과거 아날로그 장비로 녹음 할 당시에는 작곡, 작사, 편곡, 녹음이 분업화 되어 엔지니어의 실력은 신비감으로 인식 되었다. 하지만 현재의 디지털 시대에서는 작, 편곡자가 엔지니어의 성역까지 들어와서 훨씬 뛰어난 역량을 발휘 하기도 한다. 이러한 이유로 이제는 엔지니어에게 더 많은 음악적, 음향적인 지식과 창의적인 감각을 요구하게 되었다. 또 하나는 누구나 손쉽게 음악을 제작할 수 있게 되었다. 어느 정도의 사양을 갖춘 컴퓨터만 있으면 자신의 음악을 만들 수 있게 된 반면 창작도구의 보편화에 비해 창작물의 음향적, 음질적 완성도를 좌우할 수 있는 지식이나 기술적인 요소들이 충분히 교육되거나 알려지지 않아 어떤 면에서는 다소 질(質)적 저하도 가져왔다.


저자의 말 010
이 책에서는 음향과 음악을 전공하는 학생들뿐만 아니라 작곡가, 편곡가 및 전문 음향인들까지 음악 작업에 있어 필요한 음향의 기초부터 음악적인 면까지 필자가 그 동안 경험했던 내용들을 위주로 실용적인 관점에서 다루려고 노력 하였다. 이처럼 기본적인 음향적 / 음악적 기초가 없으면 음악믹싱 및 녹음작업에 필요한 응용력 및 창의력을 발휘하기 힘들다. 음악 작업에는 정답이 없다. 무엇보다 가장 중요한 것은 자신의 귀를 믿으며 “경험이 최고의 스승이다” 라는 진리를 잊지 안고 노력한다면 분명 훌륭한 사운드를 만들 수 있을 것이다. 이 한 권의 책이 독자 여러분들께 조그마한 도움이 되었으면 하는 마음으로 출간하게 되었다. 끝으로 글과 그림까지 직접 그리다 보니 많은 시간이 필요하게 되었으며 비록 전문가의 그림에 비해 미흡한 점이 많이 있겠지만 필자 나름대로의 의미 전달을 하려고 노력 하였다는 점에서 독자 여러분께서 깊은 아량으로 이해해 주시기 바랍니다.

감사합니다. 윤오성