This text is a broad-based approach to audio for Radio/TV/Film, and music recording. The emphasis is on audio for production students rather than for engineers, and the text covers informational, perceptual, and aesthetic aspects of sound as they apply to each stage of the production process–from planning to post-production.
"AUDIO IN MEDIA is the most complete and thorough audio-production textbook on the market today. It has been for many years. I have never found any textbook that can compete with it."
"Audio in Media speaks to the students as audio professionals and exposes them to the terminology and language they can expect in media-production industries, and from audio-production professionals, publications and equipment vendors."
Stanley R. Alten teaches audio production, TV/film aesthetics, writing, and criticism. Before joining the Syracuse University faculty, he worked in radio and television as a producer, writer, sound designer, performer, and station manager in numerous markets, including Philadelphia, New York, and Boston. He also has many film and record production credits and continues to be professionally active through his own production company. Alten is an internationally recognized authority in sound production. He is the author of AUDIO IN MEDIA, the leading audio-production text in North America for more than two decades. The book has been translated into Spanish, Korean, German, and Chinese. Recently, Alten authored a brief version of it titled AUDIO BASICS, also published with Cengage Learning. Other writing credits include AUDIO AND MEDIA: THE RECORDING STUDIO, which focuses on music recording. He also has written many articles for the ENCYCLOPEDIA OF RADIO, WORLD BOOK ENCYCLOPEDIA (for which he served as audio editor), and the INTERNATIONAL ENCYCLOPEDIA OF EDUCATION, 2nd Edition. He has been honored for teaching excellence by the Outstanding Educators of America, Alpha Epsilon Rho, and the National Science Foundation.
PART I: PRINCIPLES. 1. EARS. The Healthy Ear. Hearing Loss. The Educated Ear. 2. PHYSICS AND PSYCHOPHYSICS OF SOUND. The Sound Wave. Frequency and Pitch. Amplitude and Loudness. Frequency and Loudness. Masking. Velocity. Wavelength. Acoustical Phase. Timbre. Sound Envelope. 3. ACOUSTICS AND PSYCHOACOUSTICS. Direct, Early, and Reverberant Sound. Matching Acoustics to Program Material. Studio Design. Absorption, Reflection, Diffraction, and Diffusion. Variable Acoutics. Control Room Design. Ergonomics. PART II: EQUIPMENT. 4. MICROPHONES. Operating Principles. General Transducer Performance Characteristics. Directional Characteristics. Sound Response. Special-Purpose Microphones. Microphone Accessories. Microphone Care. 5. MIXERS AND CONSOLES. Mixers. Analog Consoles. Patching. Console Automation. Digital Consoles. 6. ANALOG RECORDING. Analog Audiotape Recording. Open-Reel Audiotape Recorders. Audio on Analog Videotape. Audio on Film. 7. DIGITAL RECORDING. Digital Audio. The Digital Recording/Reproduction Process. Open-Reel Digital Audiotape. Digital Audiotape Recorders. Digital Audio on Digital Videocassette Tape. Disk-Based Audio Systems. Digital Audio Networking. 8. SIGNAL PROCESSING. Spectrum Signal Processors. Time Signal Processors. Amplitude Signal Processors. Noise Signal Processors. Multieffects Signal Processors. Digital Signal Processing. 9. LOUDSPEAKERS AND MONITORING. Loudspeaker Systems. Selecting a Monitor Loudspeaker. Monitor Placement. Adjusting Monitor Sound to Room Sound. Evaluating the Monitor Loudspeaker. Headphones. PART III: SOUND DESIGN. 10. THE SOUND DESIGNER. Components of Sound Structure and Their Affects on Perception. Functions of Sound. Functions ofSound in Relation to Picture. Strategies in Designing Sound. PART IV: PRODUCTION. 11. SYNCHRONIZATION. Time Codes. Frame Rates. Synchronizing Sound and Picture on Film. Synchronizers. 12. STUDIO PRODUCTION: LIFE ON TAPE. Sound and the Speaking Voice. Basic Considerations in Miking Speech. Miking Speech in Radio. Miking Speech for Multicamera Television. Recording Speech. Studio Intercommunication Systems. 13. FIELD PRODUCTION: LIVE AND LIVE-ON-TAPE. Electronic Field Production. Multicamera EFP. 14. STAGED PRODUCTIONS. Radio Dramatizations. Production Recording in Multi- and Single-Camera Production. Field Production. 15. MUSIC PRODUCTION. Close Miking. Drums. Acoustic String Instruments. Woodwinds. Brass. Electric Instruments. Vocals. Off-Miking. Recording for Surround Sound. Miking Studio Ensembles. Miking Music for Digital Recording. Music in Television. Miking Music in Film. PART V: POSTPRODUCTION. 16. DIALOGUE, SOUND EFFECTS, AND MUSIC IN POSTPRODUCTION. Automated Dialogue Replacement. Sound Effects. Live Sound Effects. Electronically Generated Sound Effects. Music. 17. EDITING. Editing Methods. Linear Editing. Nonlinear Editing. Organizing the Edit Tracks. Techniques and Aesthetic Considerations. 18. MIXING AND RERECORDING. Mixing for Various Media. Mixing Versus Layering. Mixing for Radio. Music Mixdown. Mixing for Video and Film. Spatial Imaging of Sound. Stereo-to-Mono Compatibility. Evaluating the Finished Product. Production Values.