<h3 class="h3ResourceTitle">[[*longtitle]]</h3>

<h5 class="h5ResourceCategoryLinks"><a href="#audio">AUDIO FILES</a> -- <a href="#links">LINKS</a> -- <a href="#reading">FURTHER READING</a></h5>



<h3 class="h3ResourceCategory"><a name="audio">AUDIO FILES</a> <span class="spanExampleFile">(To download all WAV examples at once: <a href="[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/Ch03/RSFTSS_Ch03_WAVs.zip`]]">3MB ZIP</a>)</span></h3>



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<li><strong>String Instrument Fingering Positions:</strong> On an orchestral stringed instrument, the same pitches can frequently be played on different strings to achieve a very characteristic tonal variation. For example, listen to this small melodic line played on three different strings of a viola: the 'A' string [[playerWavMp3Button? &exampleNumber=`03.01` &exampleFile=`Ch3/RS0301_Viola1stPosition`]]; the 'D' string, tuned a 5th lower [[playerWavMp3Button? &exampleNumber=`03.02` &exampleFile=`Ch3/RS0302_Viola4thPosition`]], and the 'G' string, tuned a 9th lower [[playerWavMp3Button? &exampleNumber=`03.03` &exampleFile=`Ch3/RS0303_Viola8thPosition`]].<br><br></li>



<li><strong>Guitar Fret Buzz:</strong> If a guitar's action (the height of the strings above the fretboard) isn't set appropriately, then it can result in 'fret buzz', where the strings rattle against the frets during performance -- as heard in this audio example [[playerWavMp3Button? &exampleNumber=`03.04` &exampleFile=`Ch3/RS0304_FretBuzz`]].<br><br></li>



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<h3 class="h3ResourceCategory"><a name="links">LINKS</a></h3>



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<li><strong>Handy Communications Gadgets:</strong> Here are a couple of affordable little mic switching boxes that both work well: Radial's passive <a href="http://www.radialeng.com/hotshotdm1.php">Hot Shot DM1</a>, designed to work with dynamic mics only, and the active <a href="http://www.orchid-electronics.co.uk/Mic_Mute_lite.htm">Mic Mute Lite</a> from Orchid Electronics, which requires phantom power to run, but which can also be used in conjunction with phantom-powered mics. Orchid Electronics were also responsible for the custom-built dual Mic Mute unit pictured on page 89 of the book.<br><br></li>

<li><strong>Automatic Software Talkback/Listen-mic Switching:</strong> Although I prefer (as discussed in the book) to have hardware switching for talkback and listen mics, and to operate them manually, if you don't have a problem with automatic software switching then check out Sound Radix's cute little freeware [[$software_SoundRadix_Muteomatic]] plug-in that can do automatic muting/unmuting in response to your DAW's transport status.<br><br></li>

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<h3 class="h3ResourceCategory"><a name="reading">FURTHER READING</a></h3>



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<li><strong>Some Real-world Small-studio Communications Systems:</strong> In section 3.2.3 of the book, I discuss general principles of small-studio communications using talkback and listen mics. To supplement this, here's a <a href="[[downloadTrackerMint? &downloadURL=`[[$sitePrefixCMT]]SiteAudio/RSFTSS/Ch3/SmallStudioCommsExamples.pdf`]]">PDF document</a> with some concrete examples of such systems, including some discussion of each setup's pros and cons.<br><br></li>



<li><strong>Further Audio Editing Advice:</strong> Try this two-part series from <i>Sound On Sound</i> magazine, which has lots of information about real-world audio-editing procedures within the computer DAW environment: <a href="http://www.soundonsound.com/sos/feb11/articles/editing-1.htm">Part 1</a> &amp; <a href="http://www.soundonsound.com/sos/feb11/articles/editing-2.htm">Part 2.</a> (The subject is also dealt with in depth in Chapters 6 &amp; 7 of my other book, <a href="[[~29]]"><i>Mixing Secrets For The Small Studio</i></a>.)<br><br></li>



<li><strong>Warwick Kemp's Track Expansion Method:</strong> If you're working within a limited trackcount without transport-synchronisation facilities (perhaps because you prefer using an analogue recorder), you can still generate slave reels using <a href="http://www.soundonsound.com/sos/jun05/articles/qa0605_1.htm">Warwick Kemp's Track Expansion Method</a>, and ingenious scheme which takes advantage of the human sensitivity to interaural time-delays.<br><br></li>



<li><strong>Working With Latency In Computer Systems:</strong> See the <a href="[[~352]]#latency">Chapter 2 resources page</a>.<br><br></li>



<li><strong>Further Information About Instrument Setup/Maintenance:</strong> The <a href="http://www.guitarrepairbench.com">Guitar Repair Bench</a> site has lots of user-friendly entry-level tutorials on setting up and maintaining electric guitars, and there are lots of great in-depth resources on the net for users of electromechanical keyboards too: <a href="http://www.fenderrhodes.com">The Rhodes Super Site</a>, the <a href="https://groups.yahoo.com/neo/groups/Wurlitzer_Elec_Piano/info">Wurlitzer Electric Piano List</a>, and the <a href="http://www.gti.net/junebug/clavinet/">Hohner Clavinet &amp; Pianet Resource Homepage</a>. If you're working with analogue synths, then the Synthesizers.com <a href="http://www.synthesizers.com/links.html">Links</a> page is a great springboard for finding out anything you need to know. Violin-maker Russell Hopper has a nice <a href="http://myorch.org/sites/default/files/Care%20and%20Maintenance%20of%20Violins%20and%20Bows.pdf">free booklet</a> about basic handling and care of orchestral string instruments, and there are also some nice supporting video presentations from him on the same subject <a href="http://myorch.org/Hopper_White_Paper_International">here</a>.<br><br></li> 



<li><strong>Rehearsal &amp; Arrangement Tips:</strong> Although this <i>Performing Musician</i> <a href="http://www.performing-musician.com/pm/feb08/articles/rehearsing.htm">magazine article</a> focuses on bands, there's a lot to be taken from it when routining with band musicians for studio overdubbing. If you're looking for arrangement ideas, there are plenty of workshops in <i>Sound On Sound</i> magazine's archives, such as their 'A Rough Guide To Song Construction &amp; Arrangement' series (<a href="http://www.soundonsound.com/sos/1997_articles/oct97/arranging1.html">Part 1</a>; <a href="http://www.soundonsound.com/sos/1997_articles/nov97/arranging2.html">Part 2</a>; <a href="http://www.soundonsound.com/sos/feb98/articles/arranging.html">Part 3</a>; <a href="http://www.soundonsound.com/sos/mar98/articles/arranging.html">Part 4</a>).<br><br></li>



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