Index

Locators are chapter numbers, not page numbers — this book lives as much on a screen as on paper, and chapters are the unit that survives both. A term's primary definition lives in the chapter listed first under it (that's the chapter that owns the term); later chapters use it freely. Where a concept genuinely belongs to several chapters, the locators are grouped by what each chapter does with it — so "EQ, on vocals, Ch 22, 29" means Chapter 22 teaches the move and Chapter 29 builds it into the full vocal chain. Appendix references use letters (A–I) or the appendix name. When a term blurs into a neighbor — boxy and muddy, honk and nasal — the cross-references point you sideways, because in this book the borders between concepts are neighborhoods, not walls.

The running characters and the worked track are indexed too: they're how the book teaches, so they're how you'll find your way back to a scene.

A

A/D and D/A conversion, Ch 3; converter quality and "digital harshness," Ch 2, 8 ad-libs, placement of, Ch 29 additive EQ — see EQ, subtractive vs additive ADSR — see envelope (synth) air (frequency band), Ch 4; instrument content in, Ch 22; air boosts and de-essing paired, Ch 29; see also sibilance; frequency bands aliasing, Ch 2 ambience — see reverb; room sound ambisonics, Ch 34 amplitude, Ch 1; perceived as loudness, Ch 1; as a dynamic weapon (quiet-loud), Ch 4, 16 analog modeling — see saturation; tape saturation arrangement, Ch 16; energy curve, Ch 16; as the real fix for a "mix" problem, Ch 20, 30; mute-test subtraction pass, Ch 16, 20, 30; density and contrast, Ch 16; genre audit of, Ch 18 attack (compressor) — see compression attack (transient) — see transient attenuation — see gain staging audio interface, Ch 8; gain structure on, Ch 3, 8 Auto-Tune (Cher, "Believe," 1998) — see pitch correction automation, Ch 17 (introduced), Ch 27 (mix-deep); lanes and modes, Ch 27; rides (±1–2 dB by phrase), Ch 27; breakpoints, Ch 27; section lifts (the +0.5 dB chorus trick), Ch 27; performance vs programmed, Ch 27; as arrangement, Ch 17; the cure for "lifeless," Ch 30

B

backups and session hygiene, Ch 19 balance (static mix), Ch 20; fader-only rough from silence, Ch 20; the most important 90 minutes, Ch 20; re-balance vs rescue, Ch 30 balanced vs unbalanced connections, Ch 3 band-identification drill, Ch 4 bands, frequency — see frequency bands bass trap, Ch 10; corner placement, Ch 10; why it must be thick, Ch 10 binaural, Ch 34; HRTF, Ch 34; headphone check, Ch 34 bit depth, Ch 2; 24-bit delivery, Ch 31; 24-bit session standard, Ch 2 bleed (mic), Ch 12 boomy (symptom), Ch 30; room modes as the usual cause, Ch 10, 30; see also lows; standing wave boost-bias trap, Ch 22; see also matched-loudness A/B boxy (symptom), Ch 30; 300–600 Hz, Ch 22, 30; the sweep that finds it, Ch 22, 30; the home-office signature, Ch 22; see also honk; mud Brooks, Aisha (spoken-word producer), Ch 3, 8, 22, 23, 33, 34, 37; her untreated office, Ch 10; podcast loudness targets, Ch 33; the lessons-swap with Jaylen, Ch 37 buffer size, Ch 2; latency tradeoff, Ch 2 bus, Ch 6; 2-bus (stereo master), Ch 20, 26, 31; bus architecture, Ch 28; 6-bus routing skeleton (DRUMS/BASS/SYNTHS/GTR/VOX/FX), Ch 6, 20 bus compression — see compression, glue

C

car test, Ch 30; Jaylen's founding disaster, Ch 1; as low-end-at-volume truth, Ch 30 cardioid — see polar pattern clap test, Ch 10; recording the clap test, Ch 10 clipping, Ch 2; soft clipping, Ch 26; see also true peak close mic, Ch 12 "Static Bloom" — see Static Bloom (worked track) Cole, Jaylen (bedroom producer), Ch 1 and throughout; the car disaster (founding wound), Ch 1; FL Studio, Ch 1; $80 room treatment, Ch 10; meeting Demi Wren online, Ch 19; the Glass Hours EP, Ch 39; the lessons-swap with Aisha, Ch 37 comb filtering, Ch 10; why EQ can't reach it, Ch 10; the mirror trick, Ch 10; see also phase comping, Ch 11 (introduced), Ch 15 (executed); takes, Ch 11; crossfades, Ch 15 compression, Ch 23; threshold, ratio, attack, release, knee, Ch 23; makeup gain, Ch 23; gain reduction, Ch 23; glue (bus), Ch 23, 32; pumping, Ch 23; as time manipulation (envelope shaping), Ch 23; on vocals, Ch 23, 29; serial (two-stage), Ch 29; parallel (New York), Ch 28; mix-bus over-compression epidemic, Ch 23, 33; see also limiter; sidechain console, Ch 5; console color on the 2-bus, Ch 26 contrast — see arrangement converter — see A/D and D/A conversion; audio interface copyright, Ch 36; composition vs master (the two copyrights), Ch 36; see also publishing; split sheet correlation meter — see phase critical listening, Ch 4; vs passive listening, Ch 4; the five-pass method, Ch 4; you hear with your brain, not your ears (threshold), Ch 4 crossfade — see comping crest factor, Ch 21; relationship to PLR, Ch 33

D

DAW (digital audio workstation), Ch 6; history, Ch 5; DAW-specific control names — see Appendix E; template, Ch 6 de-esser, Ch 29; before broad EQ, Ch 29, 30; sibilance address (5–10 kHz), Ch 22, 30 decay — see reverb delay, Ch 24; slap, Ch 24; eighth and dotted-eighth, Ch 24; tempo-synced, Ch 24; feedback, Ch 24; throws (vocal), Ch 29 density — see arrangement depth (front-to-back), Ch 24; depth staging, Ch 24; the cues that build it (level, brightness, dryness), Ch 4, 24 diagnostic listening, Ch 30; the symptom table, Ch 30; the three disciplines, Ch 30; see also translation DI (direct injection), Ch 12; re-amping, Ch 12 dither, Ch 2 distribution, Ch 35; distributor/DSP, Ch 35; metadata, Ch 35; see also ISRC; release strategy dB, dBFS, dB SPL — see decibel dBTP — see true peak decibel, Ch 1; dB SPL (in air), Ch 1; dBFS (in the box), Ch 2; the +10 dB "twice as loud" rule, Ch 1; the +20 dB = 10× pressure anchor, Ch 1; the four-decibel family (SPL/FS/TP/LUFS), Ch 33; full map — see Appendix B doubling, Ch 17; double-tracked width, Ch 25 drive — see saturation dynamic microphone — see microphone, types dynamic range, Ch 33; PLR, Ch 33; the "dynamics renaissance," Ch 33; see also loudness war

E

ear candy, Ch 17; call-and-response, Ch 17 ear training, Ch 4 and every chapter's Listening Lab; the anchor deck, Ch 1; the full program — see Appendix F editing grid, Ch 15; elastic/warp, Ch 15; tighten-don't-grid-flatten, Ch 15 energy curve — see arrangement envelope (sound) — see transient; see also ADSR for synths envelope (synth, ADSR), Ch 14 EQ, Ch 22; filter types (shelf, bell, high-pass, low-pass), Ch 22; Q, Ch 22; subtractive vs additive, Ch 22; high-pass discipline, Ch 22; the 200–400 Hz mud cut, Ch 22, 30; one instrument per pocket, Ch 22; matched-loudness A/B every move, Ch 22, 26, 32; on vocals, Ch 22, 29; the complementary low-end carve, Ch 22, 28; linear-phase, Ch 32; mastering, Ch 32; corrective vs the room (what EQ can't reach), Ch 10, 22; full cheat sheet — see Appendix A equal-loudness — see Fletcher–Munson exercises, how the lanes work — see Answers to Selected Exercises

F

fades and crossfades — see comping feedback (delay) — see delay feedback protocol (collaboration), Ch 19 fig-8 (figure-eight) — see polar pattern filter (synth), Ch 14; LPF/HPF/resonance, Ch 14 filter (EQ) — see EQ first reflection, Ch 10; the mirror trick, Ch 10; absorption at, Ch 10 Fletcher–Munson (equal-loudness curves), Ch 4; the quiet-mixing bass trap, Ch 4; loudness-bias self-test, Ch 4; why the loudness war worked, Ch 33; why calibrated level matters, Ch 8, 33 flutter echo, Ch 10; the clap test, Ch 10; breaking parallel surfaces, Ch 10 FM synthesis — see synthesis frequency, Ch 1; perceived as pitch, Ch 1; see also octave; harmonic frequency bands (sub / low / low-mid / mid / high-mid / air), Ch 4; the band map from memory, Ch 4; full chart — see Appendix A frequency response, Ch 8; how each playback system colors it, Ch 4, 30 further reading — see Appendix I

G

gain stage, Ch 3; every gain stage you own, Ch 3 gain staging, Ch 21; ~-18 dBFS average habit, Ch 21; headroom as a workflow, Ch 21; unity gain, Ch 21; levels are relationships, not absolutes (threshold), Ch 21 gain reduction — see compression generative audio (AI), Ch 38; see also stem separation genre conventions, Ch 18; reference deconstruction, Ch 18; the genre audit, Ch 18; two deliberate violations, Ch 18; genre-by-genre reference — see Appendix H Glass Hours (Jaylen's EP), Ch 39; see also Cole, Jaylen glue — see compression, glue groove, Ch 13; swing, Ch 13; humanization, Ch 9, 13

H

Haas effect, Ch 25 harmonic / overtone, Ch 1; harmonic recipe = timbre, Ch 1; implying a fundamental on small speakers, Ch 4, 26; odd vs even harmonics, Ch 26 harmonic distortion — see saturation harsh / harshness (symptom), Ch 30; 2–6 kHz, Ch 22, 30; the presence-vs-harshness tightrope, Ch 22; distortion stacking, Ch 30; survives quiet playback, Ch 30; see also high-mids; sibilance headphones, Ch 8; open vs closed-back, Ch 8; learning your headphones' lies, Ch 8; the binaural/headphone check, Ch 34 headroom, Ch 21; ~-6 dB peaks pre-master, Ch 21, 31; delivery specs, Ch 31; see also gain staging high-mids (frequency band), Ch 4; presence and attack, Ch 4, 22; see also harsh high-pass filter — see EQ; filter (synth) HRTF — see binaural humanization, Ch 9; velocity and timing, Ch 9, 13

I

interface — see audio interface ISRC, Ch 31 (introduced), Ch 35 (deep); UPC, Ch 35; metadata, Ch 35 isolation vs treatment, Ch 10

J

Jaylen — see Cole, Jaylen

K

knee — see compression

L

latency, Ch 2; buffer-size tradeoff, Ch 2 layering, Ch 17; doubling, Ch 17 LCR (left-center-right) panning, Ch 25 less is more (theme T2), Ch 6, 9, 13, 14, 16, 17, 19, 20, 22, 24, 26, 27, 28, 29, 31, 32, 37, 39, 40; the amateur adds, the professional subtracts, Ch 16, 20 LFO, Ch 14 lifeless (symptom), Ch 30; lives on the dynamics axis, not a frequency, Ch 30; the automation/arrangement cure, Ch 27, 30; see also automation limiter, Ch 23 (introduced), Ch 32 (stages); ceiling, Ch 32; no 2-bus limiter on the mix print, Ch 31; see also true peak; loudness line / mic / instrument level, Ch 3 linear-phase EQ — see EQ listening journal, Ch 1 and throughout; see also ear training loudness, Ch 33; LUFS (integrated / short-term / momentary), Ch 33; the gate (absolute and relative), Ch 33; matched loudness for A/B — see matched-loudness A/B; platform targets (Spotify ≈ -14, podcasts ≈ -16), Ch 33; decibel map — see Appendix B loudness war, Ch 33; the game-theory engine, Ch 33; Death Magnetic controversy, Ch 33; streaming normalization ended it (threshold), Ch 33 lows (frequency band), Ch 4; warmth and punch, Ch 4; where room modes lie hardest, Ch 10; see also sub; boomy low-mids (frequency band), Ch 4; body and the mud zone, Ch 4, 22; see also mud low-pass filter — see EQ; filter (synth)

M

makeup gain — see compression masking (perceptual), Ch 4; upward spread, Ch 4; in the mix context, Ch 22; the mud committee, Ch 22; see also mud master / mastering, Ch 31; chain order, Ch 31, 32; quality control and translation, not magic sauce (threshold), Ch 31; cannot fix a mix, Ch 31; corrective EQ → glue → limiting in stages, Ch 32; A/B at matched loudness, Ch 32; AI mastering vs your master, Ch 38; see also loudness; limiter matched-loudness A/B, Ch 22; the four-step ritual and three verdicts, Ch 22; "matched-loudness or it didn't happen," Ch 22, 26, 32; why it matters more for boosts, Ch 22; with instruments at last (LUFS), Ch 33 metadata — see distribution; ISRC MIDI, Ch 9; velocity, Ch 9; quantize, Ch 9; piano roll, Ch 9; humanization, Ch 9 microphone, types, Ch 7; dynamic / condenser / ribbon, Ch 7; SPL handling, Ch 7; off-axis coloration, Ch 7; placement over price (Demi's voice object lesson), Ch 7, 11; budget guide — see Appendix C mid-side, Ch 25 (introduced), Ch 28 (deep); M-S cleanup, Ch 28; see also stereo width mids (frequency band), Ch 4; intelligibility, the telephone band, Ch 4; see also frequency bands mirror trick, Ch 10; see also first reflection mix / mixing, Ch 20; static balance first, Ch 20; top-down vs bottom-up, Ch 20; a mix problem is usually an arrangement problem (threshold), Ch 20 mono compatibility, Ch 20, 25; the mono fold-down, Ch 4, 25, 34; verifying width you haven't folded, Ch 25 monitor (nearfield), Ch 8; sweet spot, Ch 8; speaker positioning, Ch 8; calibrated reference level, Ch 8 mud (200–400 Hz), Ch 22; a committee, not a culprit, Ch 22; distributed small cuts, Ch 22; the founding wound (Jaylen's buried sample), Ch 1, 22; see also low-mids; masking; boxy multitrack, Ch 5; stems vs multitracks, Ch 19 mute test, Ch 16, 20, 30; convicts what solo acquits, Ch 22, 30

N

nasal — see honk nearfield monitor — see monitor non-destructive editing, Ch 6 normalization (streaming), Ch 33; turn-down vs turn-up, Ch 33; what it can and cannot change, Ch 33; the normalization toggle, Ch 33; see also loudness war null (modal), Ch 10; the null arithmetic, Ch 10; you can't EQ a hole in space, Ch 10 null test, Ch 30 (sidebar); what it proves and can't, Ch 30 Nyquist, Ch 2; what 44.1 kHz already captures, Ch 2, 4

O

octave, Ch 1; doubling of frequency, Ch 1; "same note, different floor" ("Seven Nation Army"), Ch 1 off-axis coloration — see microphone, types one-shot vs loop, Ch 13 oscillator (synth), Ch 14; waveform shapes, Ch 1, 14 overdub, Ch 5 overtone — see harmonic

P

pad, the "static bloom" patch, Ch 14; see also Static Bloom (worked track); synthesis pan law, Ch 21 (brief), Ch 25 (deep) panning, Ch 25; LCR, Ch 25; see also stereo width parallel (New York) compression — see compression Park, Theo — see Wren & Hollow patch (synth), Ch 14; the title patch designed from an init, Ch 14 phantom power, Ch 3 phase, Ch 12; multi-mic phase, Ch 12; correlation/phase meter, Ch 25; see also comb filtering piano roll — see MIDI pitch correction, Ch 15; transparent use, Ch 15; Auto-Tune debut (Cher, "Believe," 1998), Ch 15 PLR (peak-to-loudness ratio), Ch 33; what survives the level match, Ch 33; see also dynamic range; crest factor plosive, Ch 11; pop filter, Ch 7 plugin, Ch 6 polar pattern, Ch 7; cardioid / omni / figure-8, Ch 7; which wall the cardioid rejects, Ch 7, 10 pop filter — see plosive preamp, Ch 3 pre-delay — see reverb pre-save, Ch 35 presence, Ch 22; the presence-vs-harshness tightrope, Ch 22; on vocals (3–5 kHz), Ch 22, 29 producer roles, Ch 19; split sheet, Ch 36 Productive Struggle (apparatus) — appears every chapter proximity effect, Ch 7; backing off the cardioid, Ch 22 PRO (performing rights organization), Ch 36; registration, Ch 36 publishing, Ch 36; mechanical / performance / sync royalties, Ch 36; see also copyright pumping — see compression

Q

Q (EQ bandwidth) — see EQ quantize, Ch 9; humanization as the counterweight, Ch 9 quiet test, Ch 4, 30; the whisper test, Ch 4; the balance skeleton, Ch 30

R

ratio — see compression re-amping, Ch 12 reference tracks (theme T4), Ch 1, 4, 5, 6, 10, 11, 16, 18, 20, 21, 23, 25, 27, 30, 32, 33, 35, 37, 39; the gap is your to-do list, Ch 4, 30; building the playlist, Ch 4; reference cartography (measured loudness), Ch 33 region / clip, Ch 6 release (compressor) — see compression release strategy, Ch 35; 4-week lead time, Ch 35; the launch campaign, Ch 37 resonance (synth filter) — see filter (synth) reverb, Ch 24; types (room / plate / hall / spring), Ch 24; pre-delay, Ch 24; decay, Ch 24; wet/dry, Ch 24; three shared spaces (tight room / plate / long tail), Ch 24; see also delay; depth ribbon microphone — see microphone, types rides — see automation riser, Ch 14, 17 room mode — see standing wave room sound, Ch 10; your room is part of your monitoring chain (threshold), Ch 10; treatment vs isolation, Ch 10; the budget treatment pass, Ch 10 RT60, Ch 10; the clap-test survey, Ch 10 royalties — see publishing

S

sample rate, Ch 2; 48 kHz session standard, Ch 2; the 96 kHz "air" myth, Ch 2, 4 sampler vs synth (as instruments), Ch 9 sampling (technique), Ch 13; legality pointer, Ch 13, 36; clearance, Ch 36 saturation, Ch 26; harmonic distortion (odd/even), Ch 26; tape/tube/transistor color, Ch 26; soft clipping, Ch 26; drive, Ch 26; on the 808 for small speakers, Ch 22, 26; the harmonics-vs-mud tradeoff, Ch 26; see also tape saturation send/return vs insert, Ch 6 session, Ch 6; setup (48 kHz / 24-bit), Ch 2; file/folder hygiene and naming, Ch 2; consolidation and backup, Ch 19 session interchange, Ch 19; version control, Ch 19; stems, Ch 19 sibilance, Ch 11; 5–10 kHz, Ch 22, 30; the de-esser, Ch 29; see also air; harsh sidechain, Ch 28; kick/bass, Ch 28 signal chain, Ch 3; mapping the full path, Ch 3; see also gain stage sine / square / saw, Ch 1; the four waveforms by ear and analyzer, Ch 1; see also oscillator small (symptom), Ch 30; lives on the translation axis, not a frequency, Ch 30; the quiet and phone tests, Ch 30; see also translation soft clipping — see saturation song sections, Ch 16; intro/verse/pre/chorus/bridge/outro, Ch 16; the song map, Ch 16 soundstage, Ch 4; three axes (width, depth, height-by-frequency), Ch 4; stage cartography, Ch 4 spatial audio, Ch 34; Atmos (objects vs channels), Ch 34; binaural, Ch 34; ambisonics, Ch 34; what stems you'd deliver, Ch 34 spectrum analyzer, Ch 1, 4; guess-before-you-look discipline, Ch 4; blind to the dynamics/translation symptoms, Ch 30 split sheet, Ch 36; the Jaylen/Demi/Theo scene, Ch 36 SPL handling — see microphone, types standing wave / room mode, Ch 10; f ≈ 565 ÷ L, Ch 10; axial modes and stacking, Ch 10; the mode map, Ch 10; see also null; boomy Static Bloom (worked track), Ch 1 and every Project Checkpoint; 96 BPM, A minor, Ch 1; production Jaylen Cole, vocal Demi Wren, guitar Theo Park, Ch 1; the title pad designed, Ch 14; ~34 tracks → 6 buses, Ch 20; the split sheet, Ch 36; goes live, Ch 39 stem separation (AI), Ch 38; see also generative audio stems vs multitracks, Ch 19; exporting for an outside ear, Ch 19; remix bait, Ch 37 stereo width, Ch 25; LCR, Ch 25; double-tracked width, Ch 25; mid-side, Ch 25, 28; mono-compatibility, Ch 25; the Haas effect, Ch 25 sub (frequency band), Ch 4; felt more than heard, Ch 4; 808 fundamentals, Ch 4; the sub hunt, Ch 1; see also lows subtractive synthesis — see synthesis swing — see groove sweet spot — see monitor synthesis, Ch 14; subtractive, Ch 14; FM, Ch 14; wavetable, Ch 14; the subtractive walkthrough (the title patch), Ch 14; see also oscillator; filter (synth); envelope (synth)

T

takes — see comping tape saturation (concept), Ch 5, 26; Queen's tape-generation losses on "Bohemian Rhapsody," Ch 5; see also saturation template (DAW), Ch 6; track layout and color code, Ch 6; template v2 from lessons learned, Ch 40 themes, the four recurring — see ears over gear (T1); less is more (T2); tradeoff, every decision is a (T3); reference tracks (T4) T1 — see ears over gear T2 — see less is more T3 — see tradeoff T4 — see reference tracks Theo — see Wren & Hollow threshold (compressor) — see compression threshold concepts (apparatus): digital isn't stairsteps, Ch 2; brain-not-ears, Ch 4; room is your monitoring chain, Ch 10; mix problem = arrangement problem, Ch 20; levels are relationships, Ch 21; compression manipulates time, Ch 23; mastering is QC, not magic, Ch 31; normalization ended the loudness war, Ch 33 throws (vocal), Ch 29; see also delay thin (symptom), Ch 30; the muddy/thin oscillation, Ch 30; see also lows timbre, Ch 1; the harmonic recipe plus the envelope, Ch 1; the timbre safari, Ch 1 tradeoff, every decision is a (theme T3), Ch 2, 3, 7, 9, 11, 12, 13, 14, 15, 17, 21, 23, 25, 26, 28, 31, 33, 34, 35, 36, 38; name the cost of every move, Ch 22, 26 track, Ch 6; naming convention, Ch 2, 6 transient, Ch 1; the attack, Ch 1; what carries instrument identity, rhythm, and punch, Ch 1; reversed-piano blooms, Ch 1; transient surgery, Ch 1 translation, Ch 30; the intact core that survives every system, Ch 1, 30; the testing panel (car/phone/earbuds/quiet/next-room), Ch 30; the attribution test (mix or system?), Ch 30; beyond stereo, Ch 34; see also diagnostic listening treatment (acoustic), Ch 10; vs isolation, Ch 10; the $0 repositioning pass, Ch 10; thickness is the purchase, Ch 10; budget studio setups — see Appendix D true peak (dBTP), Ch 33; ≤ -1 dBTP ceiling, Ch 33; inter-sample overs, Ch 32, 33; true-peak detection on the limiter, Ch 32 tube color — see saturation

U

unbalanced — see balanced vs unbalanced unity gain — see gain staging UPC — see ISRC

V

velocity, Ch 9; velocity layers, Ch 13; humanization, Ch 9, 13 version control, Ch 19; see also session interchange virtual instrument, Ch 9 vocal chain, Ch 29; subtractive EQ → de-ess → serial compression → presence EQ → saturation → throws, Ch 29; vocal-sits-everywhere verification, Ch 29; component moves — see EQ; compression; de-esser voice cloning (ethics), Ch 38 VU / average vs peak, Ch 21; see also gain staging; crest factor

W

warp / elastic audio — see editing grid waveform, Ch 1; perceived as timbre, Ch 1; the four shapes, Ch 1; see also sine / square / saw; oscillator wavelength, Ch 1; 343 m/s ÷ frequency, Ch 1; why the wall eats the hi-hats, Ch 1; why a blanket kills flutter but not boom, Ch 10 wavetable synthesis — see synthesis wet/dry — see reverb width — see stereo width Wren & Hollow (recording band — Demi Wren + Theo Park), Ch 7, 11, 12, 16, 19, 36; the $2,400 studio weekend they hated, Ch 7; Demi's voice as a placement object lesson, Ch 7, 11; Theo on Reaper, one condenser + one SM57, Ch 7; the seven-banjo-overdubs fight, Ch 16; Demi sings the guest vocal on "Static Bloom," Ch 19; the split-sheet scene, Ch 36

Y

"YOUR track" (the reader's progressive project), every chapter's Project Checkpoint; choosing the song, Ch 1; the listening journal, Ch 1; the DAW template, Ch 6; the manifesto, Ch 5; release and retrospective, Ch 39, 40

If a term sent you to a chapter and the chapter sent you to a record — to a sound you could actually hear — the index did its one job. Everything in this book was always pointed at the same place: not the page, the speaker.