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Audio Expert: Everything You Need to Know About Audio [Mīkstie vāki]

4.18/5 (70 ratings by Goodreads)
(Co-owner, RealTraps, USA)
  • Formāts: Paperback / softback, 668 pages, height x width: 246x189 mm, weight: 1406 g
  • Izdošanas datums: 27-Apr-2012
  • Izdevniecība: Focal Press
  • ISBN-10: 0240821009
  • ISBN-13: 9780240821009
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Audio Expert: Everything You Need to Know About AudioPalielināt
  • Formāts: Paperback / softback, 668 pages, height x width: 246x189 mm, weight: 1406 g
  • Izdošanas datums: 27-Apr-2012
  • Izdevniecība: Focal Press
  • ISBN-10: 0240821009
  • ISBN-13: 9780240821009
Citas grāmatas par šo tēmu:
Permanent link: https://www.kriso.lv/db/9780240821009.html
Keywords:

Gain a deep understanding of audio practice and theory with this easy-to-read book, illustrated with more than 400 figures and photographs. Using common sense, plain-English explanations and minimal math, author Ethan Winer helps you understand audio at the deepest, most technical level-no engineering degree necessary.

If you’re an intermediate to advanced recording engineer or audiophile, you already know the basic mechanics of how audio "works." This book will take you beyond that, weaving together audio concepts, theories of aural perception and acoustics, musical instrument physics, and basic electronics and demonstrating their relationships to one another.

Rather than merely showing you how to use audio devices like equalizers and compressors, Winer explains how they work internally and how they are spec'd and tested.

With The Audio Expert, you get:

* Videos and audio examples on the companion website (www.TheAudioExpertBook.com) that help you understand complex topics, such as vibration and resonance * Platform agnostic explanations, applying to Windows and Mac operating systems, and to most software and hardware * Practical tips, tricks, advice, and lots of myth-busting

Bonus chapters are currently available on FocalPress.com.

http://www.focalpress.com/books/audio/the_audio_expert.aspx terms=Audio+Expert

* Explains clearly the innermost details of audio hardware and software * Contains numerous practical tips, tricks, advice, and lots of myth-busting * Provides videos and audio examples on the companion website for comprehensive understanding



Acknowledgments xvii
About the Author xix
Introduction xxi
Bonus Web Content xxii
Part 1 Audio Defined
1(126)
Chapter 1 Audio Basics
3(38)
Volume and Decibels
3(3)
Standard Signal Levels
6(1)
Signal Levels and Metering
6(2)
Calculating Decibels
8(1)
Frequencies
9(1)
Graphing Audio
10(1)
Standard Octave and Third-Octave Bands
11(1)
Filters
12(4)
Phase Shift and Time Delay
16(4)
Comb Filtering
20(6)
Fourier and the Fast Fourier Transform
26(2)
Sine Waves, Square Waves, and Pink Noise---Oh My!
28(6)
Resonance
34(2)
Audio Terminology
36(2)
The Null Test
38(1)
Summary
39(2)
Chapter 2 Audio Fidelity, Measurements, and Myths
41(24)
High Fidelity Defined
41(1)
The Four Parameters
42(4)
Lies, Damn Lies, and Audio Gear Specs
46(3)
Test Equipment
49(4)
Audio Transparency
53(1)
Common Audio Myths
54(4)
The Stacking Myth
58(4)
Myth-Information
62(1)
The Big Picture
63(1)
Summary
64(1)
Chapter 3 Hearing, Perception, and Artifact Audibility
65(40)
Fletcher-Munson and the Masking Effect
67(2)
Distortion and Noise
69(2)
Jitter
71(1)
Audibility Testing
72(2)
Dither and Truncation Distortion
74(1)
Hearing Below the Noise Floor
75(1)
Frequency Response Changes
76(2)
Ultrasonics
78(2)
Ringing
80(5)
Aliasing
85(1)
Phase Shift
85(1)
Absolute Polarity
86(1)
Ears Are Not Linear!
87(1)
Blind Testing
87(4)
Psychoacoustic Effects
91(3)
Placebo Effect and Expectation Bias
94(2)
When Subjectivists Are (Almost) Correct
96(7)
Summary
103(2)
Chapter 4 Gozintas and Gozoutas
105(22)
Audio Signals
105(2)
Audio Wiring
107(5)
Audio Connectors
112(6)
Patch Panels
118(3)
Impedance
121(5)
Summary
126(1)
Part 2 Analog and Digital Recording, Processing, and Methods
127(244)
Chapter 5 Mixers, Buses, Routing, and Summing
129(36)
Solo, Mute, and Channel Routing
132(2)
Buses and Routing
134(1)
Console Automation
135(2)
Other Console Features
137(1)
Digital Audio Workstation Software and Mixing
138(3)
The Pan Law
141(1)
Connecting a Digital Audio Workstation to a Mixer
142(1)
Inputs and Outputs
143(4)
Setting Record Levels
147(1)
Monitoring with Effects
147(1)
The Windows Mixer
148(2)
Related Digital Audio Workstation Advice
150(1)
5.1 Surround Sound Basics
151(4)
Summing
155(2)
Gain Staging
157(1)
Microphone Preamplifiers
158(1)
Preamp Input Impedance
159(1)
Preamp Noise
160(1)
Clean and Flat Is Where It's At
161(1)
Summary
162(3)
Chapter 6 Recording Devices and Methods
165(38)
Recording Hardware
165(1)
Analog Tape Recording
166(1)
Tape Bias
167(1)
Tape Pre-Emphasis and De-Emphasis
168(1)
Sel-Sync
169(1)
Tape Noise Reduction
170(1)
Tape Pre-Distortion
171(1)
The Failings of Analog Tape
171(3)
Digital Recording
174(1)
In the Box versus Out of the Box
175(1)
Record Levels
176(1)
Recording Methods
177(2)
Specific Advice on Digital Audio Workstations
179(1)
Copy Protection
180(2)
Microphone Types and Methods
182(1)
Micing Techniques
183(6)
The 3-to-1 Rule
189(2)
Microphone Placement
191(2)
DI = Direct Injection
193(2)
Additional Recording Considerations
195(3)
Advanced Recording Techniques
198(1)
Vari-Speed
199(1)
Summary
200(3)
Chapter 7 Mixing Devices and Methods
203(30)
Volume Automation
203(2)
Editing
205(1)
Basic Music Mixing Strategies
206(1)
Be Organized
207(1)
Monitor Volume
207(1)
Reference Mixes
208(1)
Panning
208(1)
Getting the Bass Right
209(1)
Avoid Too Much Reverb
209(1)
Verify Your Mixes
210(1)
Thin Your Tracks
211(1)
Distance and Depth
211(1)
Bus versus Insert
211(1)
Pre and Post, Mute and Solo
212(1)
Room Tone
212(1)
Perception Is Fleeting
213(1)
Be Creative!
213(2)
In the Box versus Out of the Box---Yes, Again
215(1)
Using Digital Audio Workstation Software
216(2)
Slip-Editing and Cross-Fading
218(2)
Track Lanes
220(1)
Normalizing
221(1)
Editing and Comping
222(1)
Rendering the Mix
223(1)
Who's on First?
224(1)
Time Alignment
225(1)
Editing Music
225(1)
Editing Narration
226(1)
Re-Amping
227(1)
Backward Audio
228(1)
Mastering
229(1)
Save Your Butt
230(1)
Summary
231(2)
Chapter 8 Digital Audio Basics
233(24)
Sampling Theory
233(1)
Quantization
234(2)
Sample Rate and Bit Depth
236(1)
The Reconstruction Filter
236(2)
Oversampling
238(1)
Bit Depth
239(1)
Pulse-Code Modulation versus Direct Stream Digital
240(1)
Digital Notation
240(2)
Sample Rate and Bit Depth Conversion
242(2)
Dither and Jitter
244(1)
External Clocks
245(1)
Digital Converter Internals
246(3)
Bit-Rate
249(1)
Digital Signal Processing
250(1)
Latency
250(1)
Floating Point Math
251(2)
Digital Audio Quality
253(2)
Summary
255(2)
Chapter 9 Dynamics Processors
257(20)
Compressors and Limiters
257(3)
Using a Compressor
260(1)
Common Pitfalls
260(1)
Multiband Compressors
261(2)
Noise Gates and Expanders
263(2)
Noise Gate Tricks
265(1)
Expanders
265(1)
But
266(1)
Dynamics Processor Special Techniques
267(1)
Other Dynamics Processors
268(3)
Compressor Internals
271(1)
Time Constants
272(2)
Summary
274(3)
Chapter 10 Frequency Processors
277(24)
Equalizer Types
277(4)
All Equalizers (Should) Sound the Same
281(1)
Digital Equalizers
282(1)
EQ Techniques
283(2)
Boosting versus Cutting
285(1)
Common EQ Frequencies
286(1)
Mixes That Sound Great Loud
286(2)
Complementary EQ
288(1)
Extreme EQ
289(1)
Linear Phase Equalizers
290(2)
Equalizer Internals
292(2)
Other Frequency Processors
294(4)
Summary
298(3)
Chapter 11 Time Domain Processors
301(16)
Echo
301(3)
Reverb
304(8)
Phasers and Flangers
312(2)
Summary
314(3)
Chapter 12 Pitch and Time Manipulation Processors
317(8)
Pitch Shifting Basics
317(4)
Auto-Tune and Melodyne
321(1)
Acidized Wave Files
322(1)
Summary
323(2)
Chapter 13 Other Audio Processors
325(10)
Tape-Sims and Amp-Sims
325(2)
Other Distortion Effects
327(1)
Software Noise Reduction
327(3)
Other Processors
330(1)
Vocal Removal
331(2)
Summary
333(2)
Chapter 14 Synthesizers
335(36)
Analog versus Digital Synthesizers
335(1)
Additive versus Subtractive Synthesis
336(3)
Voltage Control
339(1)
Sound Generators
339(1)
Modulators
340(2)
Filters
342(1)
MIDI Keyboards
343(1)
Beyond Presets
344(4)
Alternate Controllers
348(2)
Samplers
350(4)
Software Synthesizers and Samplers
354(1)
Sample Libraries
354(2)
Creating Sample Libraries
356(1)
Key and Velocity Switching
357(3)
Sampler Bank Architecture
360(1)
FM Synthesis
361(3)
Physical Modeling
364(1)
Granular Synthesis
364(1)
Prerendering
365(1)
Algorithmic Composition
366(2)
Notation Software
368(1)
Summary
368(3)
Part 3 Transducers
371(68)
Chapter 15 Microphones and Pickups
373(26)
Microphone Types
374(1)
Dynamic Microphones
375(3)
Dynamic Directional Patterns
378(4)
Ribbon Microphones
382(2)
Condenser Microphones
384(4)
Condenser Directional Patterns
388(1)
Other Microphone Types
389(1)
Phantom Power
390(2)
Microphone Specs
392(1)
Measuring Microphone Response
392(2)
Microphone Modeling
394(1)
Guitar Pickups and Vibrating Strings
395(2)
Summary
397(2)
Chapter 16 Loudspeakers and Earphones
399(40)
Loudspeaker Basics
399(3)
Loudspeaker Drivers Types
402(5)
Loudspeaker Enclosure Types
407(7)
Subwoofers
414(3)
Enclosure Refinements
417(1)
Crossovers
417(3)
Active versus Passive Speakers
420(1)
Room Acoustics Considerations
421(1)
Loudspeaker Impedance
422(4)
Loudspeaker Isolation
426(1)
Loudspeaker Polarity
426(2)
Earphones
428(1)
Loudspeaker Specs
428(6)
Accurate or Pleasing?
434(2)
Summary
436(3)
Part 4 Room Acoustics, Treatment, and Monitoring
439(126)
Chapter 17 Acoustic Basics
441(28)
Room Orientation and Speaker Placement
442(4)
Symmetry
446(1)
Reflection Points
447(8)
Calculating Reflection Points
455(1)
Angling the Walls and Ceiling
456(2)
Low Frequency Problems
458(1)
Reverb Decay Time
459(3)
Stereo Monitoring
462(3)
Surround Monitoring
465(1)
Summary
466(3)
Chapter 18 Room Shapes, Modes, and Isolation
469(28)
Modal Distribution
470(1)
Room Ratios
471(2)
Modes, Nodes, and Standing Waves
473(1)
ModeCalc Program
474(2)
Room Anomalies
476(3)
Odd Room Layouts
479(2)
One Room versus Two Rooms
481(1)
Vocal Booths
481(2)
Surface Reflectivity
483(3)
Calculating Reflections
486(1)
Isolation and Noise Control
486(5)
Air Leaks
491(1)
Room within a Room
492(2)
Summary
494(3)
Chapter 19 Acoustic Treatment
497(46)
Acoustic Treatment Overview
497(1)
Buy or Build?
498(1)
Flutter Echo
499(1)
Absorb or Diffuse?
500(1)
Rigid Fiberglass
500(2)
Absorption Specs
502(1)
Material Thickness and Density
503(3)
Acoustic Fabric
506(1)
Wave Velocity, Pressure, and Air Gaps
506(3)
Bass Traps
509(1)
DIY Bass Traps
510(5)
Free Bass Traps!
515(1)
Diffusers
516(5)
Treating Listening Rooms and Home Theaters
521(2)
Bass in the Place
523(3)
Front Wall Absorption
526(1)
Treating Live Recording Rooms
527(2)
Hard Floor, Soft Ceiling
529(1)
Variable Acoustics
530(1)
Treating Odd Shaped Rooms
531(1)
Treating Large Venues
532(3)
Room Equalization
535(6)
Summary
541(2)
Chapter 20 Room Measuring
543(22)
Why We Measure
543(1)
How We Measure
543(3)
Room Measuring Software
546(1)
Configuring Room EQ Wizard
547(2)
Using Room EQ Wizard
549(1)
Interpreting the Data
550(1)
Waterfall Plots
551(2)
RT60 Reverb Time
553(1)
Energy Time Curve
553(2)
Using the Real Time Analyzer
555(1)
Measuring Microphones
555(2)
Microphones Comparison
557(3)
The Results
560(2)
Calibrating Loudspeakers
562(2)
Summary
564(1)
Part 5 Electronics and Computers
565(58)
Chapter 21 Basic Electronics in 60 Minutes
567(40)
Ground
567(2)
Volts, Amps, Watts, and Ohms
569(2)
Electronic Components
571(3)
Capacitor Upgrades
574(1)
Inductors
575(1)
Power Ratings
576(1)
Solenoids
577(2)
Transformers
579(3)
Switches
582(1)
Diodes
583(1)
Parasitic Elements
584(3)
Active Solid-State Devices
587(2)
Amplifier Damping
589(1)
Negative Feedback
590(1)
Power Supplies
591(1)
Passive Filters
592(1)
Amplifiers
593(3)
Active Filters
596(1)
Digital Logic
596(5)
Practical Electronics
601(1)
Splitters and Pads
601(2)
Phone Patch
603(1)
Summary
604(3)
Chapter 22 Test Procedures
607(16)
Frequency Response
609(1)
Ringing
609(1)
Harmonic Distortion
610(1)
IM Distortion
611(2)
Null Tests
613(3)
Disproving Common Beliefs
616(1)
Oscilloscopes
617(3)
Summary
620(3)
Part 6 Musical Instruments
623(30)
Chapter 23 Musical Instruments
625(28)
Instrument Types
626(2)
Sympathetic Resonance
628(1)
The Harmonic Series Is Out of Tune
629(2)
Equal Temperament
631(1)
"Wood Box" Instruments
632(2)
Bowed Instruments
634(3)
The Bow
637(1)
The Stradivarius
637(2)
Plucked Instruments
639(1)
Amplification
640(1)
Solid Body Electric Guitars
640(1)
Blown Instruments
641(2)
Flutes
643(1)
Single Reeds
643(1)
Double Reeds
644(2)
Brass Instruments
646(1)
Percussion Instruments
647(2)
The Piano
649(2)
Mozart, Beethoven, and Archie Bell
651(1)
Summary
651(2)
Index 653
Ethan Winer has, at various times, worked as a studio musician, computer programmer, circuit designer, recording engineer, composer/arranger, technical writer, and college instructor. He's had nearly 100 feature articles published in audio and computer magazines including Mix, PC Magazine, Electronic Musician, EQ Magazine, Audio Media, Sound on Sound, Keyboard, Pro Sound News, and Recording. In 2002 he started the company RealTraps to manufacture bass traps and other acoustic treatment, which he continues to this day.