Acknowledgments |
|
xix | |
About the Author |
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xxi | |
Introduction |
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xxiii | |
Part 1. Audio Defined |
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1 | (132) |
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3 | (40) |
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3 | (2) |
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5 | (3) |
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Signal Levels and Metering |
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8 | (2) |
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10 | (1) |
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11 | (1) |
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12 | (1) |
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Standard Octave and Third-Octave Bands |
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12 | (1) |
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13 | (4) |
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Phase Shift and Time Delay |
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17 | (5) |
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22 | (5) |
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Fourier and the Fast Fourier Transform |
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27 | (2) |
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Sine Waves, Square Waves, and Pink Noise Oh My! |
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29 | (6) |
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35 | (2) |
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37 | (2) |
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39 | (1) |
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40 | (3) |
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Chapter 2 Audio Fidelity, Measurements, and Myths |
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43 | (24) |
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43 | (1) |
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44 | (4) |
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Lies, Damn Lies, and Audio Gear Specs |
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48 | (1) |
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49 | (6) |
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55 | (1) |
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56 | (4) |
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60 | (4) |
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64 | (1) |
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64 | (1) |
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65 | (2) |
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Chapter 3 Hearing, Perception, and Artifact Audibility |
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67 | (42) |
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Fletcher-Munson and the Masking Effect |
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69 | (2) |
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71 | (2) |
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73 | (1) |
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74 | (2) |
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Dither and Truncation Distortion |
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76 | (1) |
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Hearing Below the Noise Floor |
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77 | (1) |
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Frequency Response Changes |
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78 | (2) |
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80 | (2) |
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82 | (4) |
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86 | (1) |
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87 | (1) |
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87 | (2) |
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89 | (1) |
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90 | (3) |
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Calibrate the Preamp Gain Controls |
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93 | (1) |
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Prepare and Play the Tracks |
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94 | (1) |
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95 | (3) |
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Placebo Effect and Expectation Bias |
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98 | (1) |
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When Subjectivists Are (Almost) Correct |
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99 | (8) |
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107 | (2) |
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Chapter 4 Gozintas and Gozoutas |
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109 | (24) |
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109 | (2) |
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111 | (6) |
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117 | (7) |
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124 | (3) |
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127 | (4) |
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131 | (2) |
Part 2. Analog and Digital Recording, Processing, and Methods |
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133 | (264) |
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Chapter 5 Mixers, Buses, Routing, and Summing |
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135 | (36) |
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Solo, Mute, and Channel Routing |
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138 | (2) |
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140 | (1) |
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141 | (2) |
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143 | (1) |
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Digital Audio Workstation Software and Mixing |
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144 | (3) |
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147 | (1) |
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Connecting a Digital Audio Workstation to a Mixer |
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148 | (1) |
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149 | (3) |
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152 | (1) |
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152 | (2) |
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154 | (3) |
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Related Digital Audio Workstation Advice |
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157 | (1) |
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5.1 Surround Sound Basics |
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158 | (4) |
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162 | (2) |
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164 | (1) |
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164 | (1) |
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165 | (1) |
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166 | (1) |
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Clean and Flat Is Where It's At |
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167 | (1) |
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168 | (3) |
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Chapter 6 Recording Devices and Methods |
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171 | (40) |
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171 | (1) |
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172 | (1) |
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173 | (1) |
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Tape Pre-Emphasis and De-Emphasis |
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174 | (1) |
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175 | (1) |
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176 | (1) |
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177 | (1) |
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The Failings of Analog Tape |
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177 | (3) |
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180 | (1) |
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In the Box versus Out of the Box |
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181 | (1) |
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182 | (1) |
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183 | (2) |
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185 | (2) |
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Specific Advice on Digital Audio Workstations |
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187 | (1) |
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188 | (2) |
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Microphone Types and Methods |
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190 | (1) |
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191 | (7) |
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198 | (1) |
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199 | (2) |
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201 | (2) |
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Additional Recording Considerations |
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203 | (3) |
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Advanced Recording Techniques |
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206 | (1) |
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207 | (2) |
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209 | (2) |
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Chapter 7 Mixing Devices and Methods |
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211 | (30) |
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211 | (2) |
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213 | (1) |
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Basic Music Mixing Strategies |
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214 | (1) |
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215 | (1) |
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215 | (1) |
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216 | (1) |
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216 | (1) |
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217 | (1) |
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218 | (1) |
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218 | (1) |
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219 | (1) |
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219 | (1) |
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219 | (1) |
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Pre and Post, Mute and Solo |
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220 | (1) |
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220 | (1) |
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221 | (1) |
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222 | (1) |
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In the Box versus Out of the Box-Yes, Again |
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223 | (1) |
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Using Digital Audio Workstation Software |
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224 | (3) |
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Slip-Editing and Cross-Fading |
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227 | (1) |
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228 | (1) |
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229 | (1) |
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230 | (1) |
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231 | (1) |
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231 | (2) |
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233 | (1) |
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233 | (1) |
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234 | (1) |
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235 | (1) |
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236 | (1) |
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237 | (1) |
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238 | (1) |
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239 | (2) |
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Chapter 8 Digital Audio Basics |
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241 | (26) |
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241 | (1) |
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242 | (2) |
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Sample Rate and Bit Depth |
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244 | (1) |
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The Reconstruction Filter |
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244 | (2) |
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246 | (1) |
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246 | (1) |
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Pulse-Code Modulation versus Direct Stream Digital |
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247 | (1) |
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248 | (2) |
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Sample Rate and Bit Depth Conversion |
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250 | (2) |
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252 | (1) |
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253 | (1) |
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Digital Converter Internals |
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|
254 | (2) |
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256 | (1) |
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Digital Signal Processing |
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257 | (1) |
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258 | (1) |
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259 | (3) |
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262 | (2) |
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264 | (1) |
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264 | (1) |
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265 | (2) |
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Chapter 9 Dynamics Processors |
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267 | (20) |
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267 | (3) |
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270 | (1) |
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270 | (1) |
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271 | (2) |
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Noise Gates and Expanders |
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273 | (2) |
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275 | (1) |
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275 | (1) |
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276 | (1) |
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Dynamics Processor Special Techniques |
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|
277 | (1) |
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Other Dynamics Processors |
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278 | (3) |
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281 | (1) |
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282 | (3) |
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285 | (2) |
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Chapter 10 Frequency Processors |
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287 | (24) |
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287 | (4) |
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All Equalizers (Should) Sound the Same |
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291 | (1) |
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292 | (1) |
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293 | (2) |
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295 | (1) |
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296 | (1) |
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Mixes That Sound Great Loud |
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297 | (1) |
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298 | (1) |
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299 | (1) |
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299 | (1) |
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300 | (2) |
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302 | (2) |
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Other Frequency Processors |
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304 | (4) |
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308 | (3) |
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Chapter 11 Time Domain Processors |
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311 | (16) |
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311 | (3) |
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314 | (8) |
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322 | (2) |
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|
324 | (3) |
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Chapter 12 Pitch and Time Manipulation Processors |
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327 | (8) |
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327 | (4) |
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331 | (1) |
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332 | (1) |
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333 | (2) |
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Chapter 13 Other Audio Processors |
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335 | (10) |
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335 | (2) |
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337 | (1) |
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337 | (3) |
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340 | (1) |
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341 | (1) |
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342 | (1) |
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343 | (2) |
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345 | (36) |
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Analog versus Digital Synthesizers |
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345 | (1) |
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Additive versus Subtractive Synthesis |
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346 | (3) |
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349 | (1) |
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349 | (1) |
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350 | (2) |
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352 | (1) |
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353 | (1) |
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354 | (3) |
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357 | (3) |
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360 | (3) |
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Software Synthesizers and Samplers |
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363 | (1) |
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364 | (1) |
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Creating Sample Libraries |
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365 | (2) |
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Key and Velocity Switching |
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|
367 | (1) |
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Sampler Bank Architecture |
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368 | (2) |
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370 | (3) |
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373 | (1) |
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374 | (1) |
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374 | (1) |
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375 | (1) |
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376 | (3) |
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379 | (2) |
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|
381 | (16) |
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381 | (1) |
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382 | (1) |
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383 | (1) |
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384 | (1) |
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385 | (3) |
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388 | (1) |
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389 | (2) |
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391 | (1) |
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392 | (2) |
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|
394 | (3) |
Part 3. Video Production |
|
397 | (22) |
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Chapter 16 Video Production |
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|
399 | (20) |
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|
399 | (2) |
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|
401 | (1) |
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|
402 | (3) |
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Synchronizing Video to Audio |
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405 | (1) |
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406 | (1) |
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407 | (2) |
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409 | (2) |
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411 | (1) |
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Cello Rondo and Tele-Vision Examples |
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|
412 | (2) |
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414 | (1) |
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414 | (1) |
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415 | (1) |
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416 | (1) |
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|
417 | (2) |
Part 4. Transducers |
|
419 | (78) |
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Chapter 17 Microphones and Pickups |
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421 | (26) |
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422 | (1) |
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423 | (3) |
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Dynamic Directional Patterns |
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426 | (3) |
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429 | (3) |
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432 | (4) |
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Condenser Directional Patterns |
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436 | (1) |
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437 | (1) |
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438 | (2) |
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440 | (1) |
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Measuring Microphone Response |
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|
441 | (2) |
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|
443 | (1) |
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Guitar Pickups and Vibrating Strings |
|
|
444 | (1) |
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|
445 | (2) |
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Chapter 18 Loudspeakers and Earphones |
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|
447 | (50) |
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|
447 | (3) |
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450 | (5) |
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Loudspeaker Enclosure Types |
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455 | (7) |
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462 | (2) |
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464 | (1) |
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465 | (2) |
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Active versus Passive Speakers |
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|
467 | (2) |
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Room Acoustics Considerations |
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469 | (1) |
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470 | (3) |
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473 | (8) |
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481 | (1) |
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482 | (1) |
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482 | (6) |
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488 | (4) |
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|
492 | (2) |
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|
494 | (3) |
Part 5. Room Acoustics, Treatment, and Monitoring |
|
497 | (138) |
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Chapter 19 Acoustic Basics |
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|
499 | (36) |
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Room Orientation and Speaker Placement |
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|
500 | (4) |
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|
504 | (1) |
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|
505 | (7) |
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Won't All That Absorption Make My Room Sound Dead? |
|
|
512 | (2) |
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Calculating Reflection Points |
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|
514 | (3) |
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Angling the Walls and Ceiling |
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|
517 | (1) |
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518 | (3) |
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521 | (1) |
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522 | (4) |
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526 | (1) |
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527 | (6) |
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533 | (2) |
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Chapter 20 Room Shapes, Modes, and Isolation |
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|
535 | (28) |
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|
536 | (1) |
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537 | (2) |
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Modes, Nodes, and Standing Waves |
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|
539 | (1) |
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540 | (2) |
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542 | (3) |
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545 | (2) |
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One Room versus Two Rooms |
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547 | (1) |
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548 | (1) |
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|
549 | (3) |
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|
552 | (1) |
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Isolation and Noise Control |
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|
552 | (5) |
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557 | (1) |
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558 | (2) |
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|
560 | (3) |
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Chapter 21 Acoustic Treatment |
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|
563 | (50) |
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Acoustic Treatment Overview |
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|
563 | (1) |
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564 | (1) |
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565 | (1) |
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|
566 | (1) |
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|
567 | (1) |
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568 | (2) |
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Material Thickness and Density |
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570 | (2) |
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572 | (1) |
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Wave Velocity, Pressure, and Air Gaps |
|
|
573 | (1) |
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574 | (2) |
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|
576 | (6) |
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|
582 | (4) |
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586 | (5) |
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Treating Listening Rooms and Home Theaters |
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|
591 | (3) |
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|
594 | (1) |
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|
595 | (2) |
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Treating Live Recording Rooms |
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|
597 | (1) |
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598 | (2) |
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|
600 | (1) |
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Treating Odd Shaped Rooms |
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|
601 | (1) |
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602 | (3) |
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605 | (6) |
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|
611 | (2) |
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Chapter 22 Room Measuring |
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|
613 | (22) |
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|
613 | (1) |
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|
613 | (3) |
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|
616 | (1) |
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Configuring Room EQ Wizard |
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|
616 | (2) |
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|
618 | (2) |
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620 | (2) |
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|
622 | (1) |
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|
T60 | |
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|
622 | (1) |
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|
623 | (2) |
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Using the Real Time Analyzer |
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|
625 | (1) |
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|
626 | (1) |
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|
626 | (3) |
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|
629 | (3) |
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|
632 | (1) |
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|
633 | (2) |
Part 6. Electronics and Computers |
|
635 | (102) |
|
Chapter 23 Basic Electronics in |
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|
60 | (639) |
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|
639 | (1) |
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|
639 | (2) |
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Volts, Amps, Watts, and Ohms |
|
|
641 | (2) |
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|
643 | (3) |
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|
646 | (1) |
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|
647 | (1) |
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|
648 | (1) |
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649 | (2) |
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|
651 | (4) |
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655 | (1) |
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656 | (1) |
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657 | (3) |
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660 | (2) |
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Active Solid-State Devices |
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662 | (2) |
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|
664 | (1) |
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665 | (1) |
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666 | (1) |
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|
667 | (1) |
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668 | (3) |
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|
671 | (3) |
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674 | (2) |
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|
676 | (2) |
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Op-Amp Circuits with Gain |
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|
678 | (3) |
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681 | (1) |
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|
682 | (4) |
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|
686 | (2) |
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|
688 | (2) |
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|
690 | (1) |
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|
691 | (1) |
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|
692 | (4) |
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|
696 | (3) |
|
Chapter 24 Test Procedures |
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|
699 | (16) |
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701 | (1) |
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|
701 | (1) |
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|
702 | (1) |
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|
703 | (3) |
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|
706 | (3) |
|
Disproving Common Beliefs |
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|
709 | (1) |
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|
709 | (4) |
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713 | (2) |
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|
715 | (22) |
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|
715 | (4) |
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|
719 | (1) |
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|
720 | (2) |
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|
722 | (1) |
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If It Ain't Broke, Don't Fix It |
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|
723 | (1) |
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|
723 | (1) |
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|
724 | (2) |
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|
726 | (1) |
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|
727 | (4) |
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|
731 | (2) |
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|
733 | (1) |
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Custom Error Page with Redirect |
|
|
733 | (1) |
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|
734 | (1) |
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|
735 | (2) |
Part 7. Musical Instruments |
|
737 | (32) |
|
Chapter 26 Musical Instruments |
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|
739 | (30) |
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|
740 | (3) |
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|
743 | (1) |
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The Harmonic Series Is Out of Tune |
|
|
743 | (2) |
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|
745 | (1) |
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|
746 | (1) |
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|
747 | (4) |
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|
751 | (1) |
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|
751 | (1) |
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|
752 | (2) |
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|
754 | (1) |
|
Solid Body Electric Guitars |
|
|
754 | (1) |
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|
755 | (2) |
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|
757 | (1) |
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|
757 | (1) |
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|
758 | (2) |
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|
760 | (1) |
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|
761 | (2) |
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|
763 | (2) |
|
Mozart, Beethoven, and Archie Bell |
|
|
765 | (1) |
|
|
766 | (3) |
Index |
|
769 | |