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Guerrilla Home Recording, Second Edition Paperback – July 1, 2008

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Product Details

  • Paperback: 252 pages
  • Publisher: Hal Leonard; 2 edition (July 1, 2008)
  • Language: English
  • ISBN-10: 1423454464
  • ISBN-13: 978-1423454465
  • Product Dimensions: 10.8 x 8.3 x 0.6 inches
  • Shipping Weight: 1.5 pounds (View shipping rates and policies)
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (49 customer reviews)
  • Amazon Best Sellers Rank: #380,263 in Books (See Top 100 in Books)

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Customer Reviews

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See all 49 customer reviews
Overall, a great read and really helpful if you are just beginning to learn how to record or have weird gear.
Amazon Customer
This is a very well written and easy to understand book for both beginners and already experienced recording engineers and producers.
Todd Silva
..."Get the book by Karl Coryat called GUERRILLA HOME RECORDING ! ... That's all you'll need for a while." ... I mean it.
The Aeolian Kid

Most Helpful Customer Reviews

55 of 56 people found the following review helpful By Kuru on February 8, 2007
Format: Paperback Verified Purchase
The title of this book is somewhat inaccurate, since it doesn't really cover a wide variety of types of studio gear or types of recording. Rather, reading this book is more like spending several hours in the particular studio of one patient, experienced home recordist who is generous with his time in explaining, engagingly, his own set-up and how he uses it.

A problem anyone new to home recording will confront is the feeling of coming in late on the conversation: frustratingly, the manuals for even entry-level gear seem to have been written by engineers (often, Japanese engineers) who assume everyone else has been working with audio recording gear since at least 1950, just like them. And, it is always engineers, not musicians, who write the manuals. Thus, we get instruction on "attenuation" instead of being told how to produce a diminuendo, and we get pots instead of knobs.

A key benefit of this book is that it is written by a musician, and explains what the engineers are talking about in words musicians use.

This is, overall, an outstanding book for any musician assembling a home studio. The author understands, from experience, that no home studio is going to match a pro one, and that understanding how to use ordinary gear is more valuable than spending many thousands of dollars on equipment that won't achieve much benefit outside the environment of one of those pro studios. The author's specific target is a recording that will sound good to a musical listener, while realizing that a home studio will never impress (or fool) a pro sound engineer. Particularly valuable here is his advice on when to stop trying -- e.g.
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18 of 18 people found the following review helpful By David A. Thomas on February 1, 2006
Format: Paperback
This book is excellent. As a musician who spent many years both performing and as a live sound engineer, I've already had a good comprehension of signal paths and equipment prior to reading this book; however, I never had much experience with recording. Recently, I decided to build a home recording/MIDI studio as a hobby. I purchased a handful of books related to home recording, most of which were either too elemental, too specific to a particular piece of gear or software, or loaded with too much theory to be of much use to me. This book hit the nail right on the head.

Karl Coryat's writing style is concise, yet thorough. He uses many examples of some unorthodox and innovative solutions that he developed to solve some common recording problems, without the aid of thousands of dollars worth of pro audio equipment. In addition, his explanations of techniques are generic enough that they can be applied to most equipment types and/or manufacturers. For example, when he explains how a technique would be accomplished in ProTools (the author's weapon of choice), he tells the reader how the same result could be accomplished in other software and/or hardware recording platforms. This was especially useful for me, since I use both Cubase and an 8-track digital recording unit.

My only complaint about this book, and it's a minor complaint, is that the author seemed to cut the "Separation" chapter a little short. The discussion of separation, which is very important to achieving a good sound, is relatively short compared to the remaining chapters. This is not to say that the chapter is not well-written - it is - however, I just feel that the author missed an opportunity to take the reader a step or two further.

I recommend this book to anyone getting into home recording, whether it be digital, analog, or both, or to anyone who records as a hobby and is looking for effective, yet inexpensive, methods to improve the quality of their recordings.
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23 of 24 people found the following review helpful By S. DOPIERALA on March 10, 2006
Format: Paperback Verified Purchase
I've purchased several books on recording, mixing, etc. and some good, some bad. This book is incredible. Especially for a beginner. I've played in bands for half my life (I'm 30 now) and always relied on studios and occasionally a 4-track recorder. Now that I'm getting into recording and building a studio, on a budget, I have many questions about gear, mixing, what goes where, how this happens . . . Anyway, its like this book read my mind and answered all the questions I had. Some experts might find this book novice but come on read the title. If you're a pro why would you (a) buy this book (b) need to buy a book on the subject at all. For those of us starting out in recording or anyone who still needs advice on the subject, this book is perfect.
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31 of 35 people found the following review helpful By famous beagle on November 4, 2009
Format: Paperback
This book is good for the beginner recordist, and it does a good job of explaining the basic techniques. The problem is that it kind of has its feet in two different worlds.

It makes it clear from the beginning that it's going to treat your recorder device---whatever that may be---as a generic black box. It doesn't matter if you're recording on 4-track cassette, 8-track R2R, or a full-blown pro-tools rig he says.

Another point he makes from the beginning is the "mix as you go" concept, saying that we guerilla recordists don't have the facilities to wait until the final mix.

He also talks about using an expander to cut down the noise on your tracks. Cool!
So far, so good. It looks as though we're gonna get some good advice on how to use our "weird" gear.

However, about 1/3 to 1/2 into the book, he basically urges you to ditch analog and go digital, which is what he's done (and he'll never record any other way he says). At this point, though, you have to wonder what all his previous advice is about.

What I mean is, if you're running a full-fledged DAW system, you don't NEED to mix as you go anymore. You can setup endless, non-destructive sub-mixes if you want to conserve CPU power, but you can probably get along mixing the whole thing at the end. You'll also have endless plug-in resources for effects, so there's no need to print effects anymore (another technique he talked about in the beginning). You also wouldn't need an expander, because you'll have automated mixing resources, so you could set up your own automation to handle the noise in between phrases.

The book does give some good ideas, and for that I give it 3 stars, but it just doesn't seem to know what to do with itself.
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