The sound studio audio techniques for radio, television, film and recording
This classic work has inspired and informed a whole generation of artists and technicians working in all branches of the audio industry. Now in its seventh edition, The Sound Studio has been thoroughly revised to encompass the rapidly expanding range of possibilities offered by today's digital...
| Autor principal: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Amsterdam ; Boston :
Focal Press
2003.
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| Edición: | 7th ed |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627397806719 |
Tabla de Contenidos:
- Cover; Contents; Introduction; About the author; Chapter 1. Audio techniques and equipment; Studio operations; The sound control room; Studio layout for recording; Studio communications; Chapter 2. The sound medium; The nature of sound; Wavelength; Waves and phase; Waves and obstacles; Energy, intensity and resonance; Overtones, harmonics and formants; Air resonance; The voice; The human ear; Sound volume and the ear; Loudness, frequency and hearing; Chapter 3. Stereo; Two loudspeakers; Reduced loudspeaker separation; Alternatives to two loudspeakers; Hearing and stereo
- Microphones for stereoStereo compatibility; Chapter 4. Studios and acoustics; The range and function of studios; Noise and vibration; Reverberation; Coloration; Studios for speech; General-purpose sound studios; Music studios; Dead pop music studios; Television and film studios; Acoustic treatment; Using sound absorbers; The use of screens; Altering the acoustics of concert halls; Acoustic modelling of studios; Acoustic holography; Chapter 5. Microphones; Microphone properties; Directional response; The frequency response of practical microphones; Proximity effect
- Cardioid and hypercardioid microphonesSwitchable microphones; Highly directional microphones; Noise-cancelling microphones; Microphones for use in vision; Boundary microphones; Personal microphones; Radio microphones; Contact and underwater microphones; Directional characteristics of A and B stereo pairs; Windshields; Mountings; Cables and connectors; Microphone checks; Lining up a stereo pair; Chapter 6. Microphone balance; Stereo microphone balance; The balance test; Visual conventions for microphones; Multimicrophone balance; Artistic compatibility: mono, stereo and surround balances
- Chapter 7. Speech balanceMicrophones for speech; Interviewing with a hand-held microphone; Three or more voices; Studio noise; Handling a script; Speech in stereo; Boom operation; Slung and hidden microphones; Microphones in vision; Using gun microphones; Using personal microphones; Radio drama; Open-air acoustics; Stereo drama; Stereo drama problems; Audience reaction; Chapter 8. Music balance; 'Natural' balance; Music studio problems; One microphone or many?; Individual instruments and groups; Violin, viola; Cello, bass; More strings: acoustic balances; Electric guitar family; Grand piano
- Piano and soloist, two pianosUpright piano; Harp, harpsichord, celesta; Piano accordion; Harmonica; Woodwind; Saxophones; Brass; Percussion, drums; Singers: solo and chorus; The orchestra; Orchestra: spaced microphones; Pipe organ with orchestra; Orchestra with soloists or chorus; Opera; Classical music in vision; Televised opera; Popular music; Larger groups; Multimicrophone layout; Popular music in vision; Chapter 9. Monitoring and control; Quality and the ear; Loudspeakers; Monitoring layout; Control consoles and racks; Digital conversion; Automated and digital consoles; Channels
- Group and master controls
