Audio in Media / Edition 6by Stanley R. Alten
Pub. Date: 07/28/2001
Publisher: CENGAGE Learning
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. See more details below
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.
- CENGAGE Learning
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- Product dimensions:
- 7.48(w) x 9.45(h) x (d)
Table of ContentsPART 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.
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