Audio Production and Critical Listening: Technical Ear Training (Audio Engineering Society Presents)
Language: English
Pages: 174
ISBN: 1138845949
Format: PDF / Kindle (mobi) / ePub
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.
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distance or a change in a source’s acoustic power. Chapter 3 Spatial attributes and reverberation Reverberation level. As a source moves farther away from a listener in a room or hall, the direct sound level decreases and the reverberant sound remains the same, lowering the direct-to-reverberant sound ratio. l Distance of microphones from sound sources. Moving microphones farther away decreases the direct-to-reverberant ratio and therefore creates a greater sense of distance. l Room
compressor on an audio signal, a step function is required as the input signal. A step function is a type of signal that instantaneously changes its amplitude and stays at the new amplitude for some period of time. By using a step function, it is possible to illustrate how a compressor responds to an immediate change in the amplitude of an input signal and eventually settles to its target gain. For the following visualizations, an amplitude-modulated sine wave acts as a step function (see Fig.
stereo image, because kick drum, snare drum, bass, and vocals are typically panned to the center. Guitar and keyboard parts are sometimes panned to the side, but Chapter 7 Analysis of sound overall there is significant energy originating from the center. A look at a correlation meter would confirm what is heard as well, and a recording with a strong center component will give a reading near 1 on a correlation meter. Likewise, if the polarity of one channel is reversed and the left and right
pops, 107, 108. See also noise position, microphone, 28, 57 distance from sound sources, 57 frequency resonances and, 137–138 in room, 57 spatial extent and, 57 171 positions of sound sources. See also spatial attributes power response, monitors and loudspeakers, 29–30 power spectrum, 136–137 practice modules. See Technical Ear Trainer practice modules practice recordings. See recordings for practice, recommended practicing. See technical ear training preamplifier gain, distortion prevention
develop a highly tuned awareness of subtle details present in sound recordings. Although there may not be a common language among recording engineers to describe specific auditory stimuli, those engineers working at a very high level have devised their own personal translation between the sound they hear and imagine, and the signal processing tools available. Comparing audiological exams between professional and novice engineers would likely not demonstrate superior hearing abilities in the
