Modern Recording Techniques (5th Edition) David Miles Huber & Robert E Runstein,Focal Press.

This book would stand out by reason of its breadth of coverage alone, if it wasn't for the fact that it also scores on many other counts.It is thoroughly up-to date in covering everything from acoustics, studio design and stereo microphone techniques to software samplers, DSP plugins and hardware controllers for digital audio workstations and audio for the Internet and multimedia, all with the same easy-going clarity. Everybody reading a book like this will start from a different base of knowledge and experience. Having said that, there's always something new to learn or have clarified, so I'll simply offer some of my 'personal highlights' from this book:

* this is the first book I have seen which offered a simple explanation of what actually happens inside an analogue-to-dgital or dgital-to-analogue converter (Chapter 6 'Digital Audio Technology' , pp 184-5). I've known and taught about sampling, Nyquist's Theorem and related theory for years without ever seeing a comprehensible non-geek description of how the equipment does it, complete with sensible diagrams. Anyone owning any modern studio equipment will have lots of these things and will have thought about the differences in the way they make things sound.

*Chapter 3's coverage of Studio Acoustics & Design offers what to me felt like a good basic level of theory with a wealth of practical information which could have direct applications. At the time of writing I am being asked to set up a studio with a lot of someone else's money and this chapter will definitely be used when it comes to setting up a room.

*Chapter 8, 'Multimedia & The Web', has lots of useful basic information on file formats, streaming techniques and so on, but also manages to incorporate sensible business advice on distributing your music via the Net and copyright issues without straying from the main technical point.

*Chapter 11's coverage of 'The Audio Production Console' provides detailed images of channel and other section layouts from desks as diverse as Mackie's analogue 8-bus at the project studio level, through the Amek 5.1 to the flagship SSL 900J, showing how the same principles operate at vastly differing price levels. Other books I have used simply do not have this level of visual backup of the theoretical points being made about how EQ and other recording basics are actually implemented on real working equipment.

Taking the last point further, there is some extremely effective use of a generous supply of illustrations in this book. I can only wish I had had this book when I was teaching college courses up to 1999. It covers so many areas in such useful, though carefully handled detail, that I believe it would do very well for Music Technology courses from BTEC National Diploma, through Higher National Diploma to degree level as the 'must have' overall text. I would also recommend it highly to anyone getting into recording at the home or project-studio level as it will give you a really good grounding in the theory and industry practice which underpins the design of all that equipment and software you spend so much money on!

An added bonus is that support material is available online from the book's companion website, Modrec.com

The Microphone Book John Eargle, Focal Press.

Anyone involved in recording, PA/sound reinforcement, broadcast or film could derive a great deal from reading this book. It covers every kind of microphone used in these areas, with a general overview of microphone history and technical background which is very much to the point and not just academic wordplay. It covers microphone techniques and use for recording studios, classical concerts, live rock performance, conference and paging systems, film and television. It also usefully addresses microphone technique for surround sound, as well as the always interesting area of stereo recording technique. The classical stereo recording section includes analyses of particular concerts with the layout of orchestra, type of room and so on. It is also refreshing to see a book which bothers to talk in depth about those humble but vital accessories mic stands, booms, pop screens and so on. Highly recommended!

Sound Recording Practice John Borthwick (ed) for the Association of Professional Recording Services, Oxford University Press.

This is a very heavy serious professional level book, but covers a wide range of areas from basic electronics, studio planning and installation, mobile recording, to spoken word and classical recording practice. The edition I have is 5 years old and missing some current developments, but still helpful.

An Introduction to Digital Audio John Watkinson, Focal Press.

This book is thorough and up to date in a very important area. It deals with all the kinds of issues which people using digital equipment in a recording, broadcast or live context are faced with - conversion technologoes and sampling rates; data transmission in all the major formats such as MADI, AES/EBU, Nicam, FireWire; digital tape recorder formats; hard disk technology; data compression. It naturally covers the principles of digital audio very extensively.

Highly recommended for anyone working or studying to professional level in these areas. Not for the casual reader, naturally!

Fast Guide to Emagic Logic Stephen Bennett, PC Publishing

Very friendly and clearly written. I found this very useful when getting my head round the Environment, Logic's most 'different' feature.There are very good sections on installing and starting up use, as well as very clear descriptions of how to use the Score, Event Edit, Matrix and Hyper Editors. Stephen Bennett's section on data flow through Logic demystified the program for me more than any other information I have read since. This book was a key factor in getting me from the 'new user' stage to being able to confidently handle Logic under pressure when recording an album.

Sound Synthesis and Sampling Martin Russ, Focal Press

I used this book extensively when teaching courses on theory and practice of synthesis. It covers every form of synthesis I have ever come across and explains it all clearly. It would be a good buy if you want to get the best use out of all that expensive kit you've bought! There is a lot of good stuff in here about general theory of accoustics and audio as we ll as specifics about different synthesis techniques. I came into synthesis the other way round from many people - rather than being 'raised on analogue' in the music mag writer's cliche, I actually learned how to push buttons and use a tiny LCD screen to get sounds out of 6-operator algorithms on a DX7 in the late 80s before I'd ever seriously used a low pass resonant filter on an an analogue synth. This book was therefore very helpful in rounding out my basic understandings with some clearly explained theory. I know that many of my Higher National Certificate/Diploma students bought it on my recommendation and seemed happy with it.

Computer Sound Design - Synthesis Techniques and Programming Eduardo Reck Miranda, Focal Press

This book is a primer for an ever -growing area - that of virtual or computer-based synthesis, which has the potential to take synthesis into new and interesting directions well beyond the attempt to faithfully recreate MiniMoog basslines in software. Areas such as physical modelling techniques, granular synthesis (definitely in my view one of the most exciting ways of generating radically new sounds), pulsar synthesis and other approaches are covered in cogent detail. There is a solid chapter on real-life case studies. The book is accompanied by a CD-ROM with a wide range of relevant software for both the Windows and Mac OS platforms, with fully working and demo software and tutorial examples.

This is really a general guide for students in this area or for those people interested in developing new software themselves, perhaps as plugins for various sequencer platforms, though these these formats themselves are not dealt with. That said, it's clear, readable and detailed without being wordy or heavy.

Good Vibrations - A History of Record Production Mark Cunningham, Castle Communications

Tells the story of rock and pop recording in the UK and the US from the 50s onwards, with a lot of detail on classic albums from to 60s and 70s, especially the Beatles' work with George Martin, the Beach Boys' classic recordings such as Pet Sounds, Pink Floyd's Dark Side of The Moon and many others. There is a lot of valuable stuff in here. But (and, as they say, it's a big but) I'd like more detail on Motown and other black labels; there is nothing at all on the enormously interesting and influential Jamaican music scene, which has had a huge effect on modern dance music; there's only one mention of a mainland European producer (Connie Plank) and internationally influential German acts such as Kraftwerk and Tangerine Dream are completely ignored. Basically, reading this book could make one imagine that nobody outside of the US and UK made any interesting music to the mid 90s, which leads one to wonder how French studios got so good that Sting would want to use them or interesting-sounding acts such Les Negresses Vertes could emerge; what about the vibrant Brazilian or Japanese music scenes?

The Art of Record Production Richard James Burgess, Omnibus Press

An impressively clear outline of what producers do, relationships with artists, labels, management, lawyers and much more.There are good interviews with some articulate people in various sides of the industry and Burgess writes from his own extensive experience as band member, session musician and very successful producer in his own right. Well structured, easy to read, easy to reference and return to.

Confessions Of A Record Producer Moses Avalon, Miller Freeman Books

This is a wonderful book, vey funny but also detailed and informative. Its subtitle is 'How to survive the scams and shams of the music business' Its chapter headings include 'Master Fraud', 'Sneaky Lawyer Stuff' and 'Miscellaneous Myths and Untruths'. Read this book before you start taking yourself (or anyone else in the music business) too seriously!

Moses Avalon is a pseudonym, which is understandable when you read the book! He has an interesting-looking book out on contracts which I haven't seen yet.

Audio for Single Camera Operation Tony Grant, Focal Press Media Manuals

This is a really handy little book, written in a no-nonsense straightforward manner, covering all aspects of basic audio work when working with standard camcorders in the studio or on location. It deals with working a single operator just with the audio recording facilities of the camcorder and also with use of mixers, gun and clip mics. Audio basics, timecode, digital audio, basics of live broadcast practice are all effectively covered.

There is also plenty of useful material on professional practice in many areas, including health and safety issues, insurance, call sheets and other organisational details and a wealth of commonsense tips which come from years of experience on the job.

I have been fortunate to work with a good friend with a patient attitude and a solid BBC training on my ventures into location sound recording, but this book would have helped give me a lot of confidence had I had it at the time. Highly recommended!