Audio Production and Critical Listening: Technical Ear Training

by Jason Corey

Overview

Audio Production and Critical Listening: Technical Ear Training, Second Edition develops your critical and expert listening skills, enabling you to listen to audio like an award-winning engineer. Featuring an accessible writing style, this new edition includes information on objective measurements of sound, technical descriptions of signal processing, and their relationships to subjective impressions of sound. It also includes information on hearing conservation, ear plugs, and listening levels, as well as bias in the listening process.

The interactive web browser-based "ear training" software practice modules provide experience identifying various types of signal processes and manipulations. Working alongside the clear and detailed explanations in the book, this software completes the learning package that will help you train you ears to listen and really "hear" your recordings.

This all-new edition has been updated to include:

• Audio and psychoacoustic theories to inform and expand your critical listening practice.
• Access to integrated software that promotes listening skills development through audio examples found in actual recording and production work, listening exercises, and tests.
• Cutting-edge interactive practice modules created to increase your experience.
• More examples of sound recordings analysis.
• New outline for progressing through the EQ ear training software module with listening exercises and tips.

Product Details

ISBN-13:	9781138845947
Publisher:	Taylor & Francis
Publication date:	09/01/2016
Series:	Audio Engineering Society Presents
Edition description:	Reprint
Pages:	174
Product dimensions:	7.00(w) x 10.00(h) x (d)

About the Author

Jason Corey is an associate professor and chair of the Department of Performing Arts Technology at the University of Michigan School of Music, Theatre & Dance, where he teaches courses in sound recording, technical ear training, and musical acoustics. As an active recording, mixing, and editing engineer, he works across a range of musical genres including jazz, classical and contemporary art music, and experimental electronic music. He is author of numerous publications on topics such as technical ear training, multichannel audio, and spatial audio perception. He has served as Governor of the Audio Engineering Society (AES) from 2013 to 2015 and is currently the AES Vice-President for the Central Region, USA/Canada.

David H. Benson is a software developer and audio researcher who is currently completing a Ph.D in Sound Recording at McGill University. His research has been supported by the Quebec government’s Fund for Research on Society and Culture (FQRSC) and the Audio Engineering Society Educational Foundation (AESEF). In 2011 he was named the AESEF’s John Eargle scholar, an honor recognizing excellence in both technology and music. As a pedagogue, he was granted the Schulich School of Music’s first Outstanding Teaching Assistant Award.

Table of Contents

List of Illustrations

Introduction

Chapter 1: Listening

Chapter 2: Tonal Balance and Equalization

Chapter 3: Spatial Attributes and Reverberation

Chapter 4: Dynamic Range Control

Chapter 5: Distortion and Noise

Chapter 6: Amplitude Envelope and Audio Edit Points

Chapter 7: Analysis of Sound

Bibliography

Index