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Fundamentals of Audio Production
Drew O. McDaniel, Ohio University
Rick C. Shriver, Ohio University
Kenneth R. Collins, Ohio University

ISBN-10: 0205462332
ISBN-13: 9780205462339

Publisher: Allyn & Bacon
Copyright: 2008
Format: Cloth; 320 pp
Published: 07/13/2007

Suggested retail price: $76.00
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Fundamentals of Audio Production covers the entire range of audio production fields, giving special attention to digital techniques and to clear explanations of technical subjects.

 

Fundamentals of Audio Production is a comprehensive text, covering the entire spectrum of audio production activities, with particular attention to digital production techniques, which are a predominant part of this continually expanding and evolving field. Sections of the text are devoted to the recording studio, radio, audio for video, post production, field production, and live sound reinforcement.  This is an up-to-date treatment, emphasizing and focusing on the technologies that have revolutionized audio production over the past decade. Detailed, clear explanations of technical topics make them accessible to all students.

 

A team of three authors brings professional specialization and experience to provide breadth and depth. Generally, no audio production text has solved the problem of providing a complete overview of the field, possibly due to the fact that the field is quite specialized. This team approach enables Fundamentals of Audio Production to encompass all major segments of the field.

  • CD with audio examples that correlate the graphs and technical descriptions with the actual resulting sounds.
  • Digital workstation sections familiarize students with the latest technology and production techniques.
  • In-depth treatment of audio field production covers field audio, music recordings, film sound, remote radio production, and live sound reinforcement.
  • Intuitive presentation of material lets students move to a discussion of equipment only after grasping basic principles of the physics of sound and audio.

Preface: Our Philosophy

    Change is Constant

    Learn to Learn

    Listen

    What it All Means

 

Section I  Theory of Sound and Its Electronic Representation

 

Chapter 1: Sound and its Nature

    Sound from Molecular Motion

    Pitch and Frequency in Sound

    Sound Amplitude

    Sound Wave Propagation

    Sound Timbre

    Psycho Acoustics and the Principle of Equal Loudness

    Frequency and Temporal Masking

    Acoustics

    Summary

   

Chapter 2: Capturing Sound Electronically

    Magnetic and Electronic Principles

    Dynamic Transducers

    Ribbon Transducers

    Carbon Particle Transducers

    Piezoelectric Transducers

    Reversed Transducers

    

Chapter 3: Digital audio

    Digital Coding

    Digital Conversion

    Data Management

    Digital Simulation of Analog Effects

 

Section II  Sound Tools & Applications

 

Chapter 4: Microphones

    Technical Features

    Pickup Patterns

    Microphone Usage

    Specialized Microphones

    Microphone Placement

    Off-axis Coloration

    Proximity Effect

    Acoustic Phase Relationships

    Distant Miking

 

Chapter 5: Mixers

    Pre-amplification

    Peak Indicators

    Faders and Potentiometers

    Level Indicators

    Headroom

    Signal Routing

    Signal Sends

    Split and Inline Mixers

    Control Room Monitoring

    Mute and Solo

    Pan Potentiometers

    Channelized Mixers

    Mixer Automation

    Digital Consoles

    Broadcast Consoles

    Automatic Consoles

    Virtual Mixers

 

Chapter 6: Recording, Storing, and Playback of Sound

    Phonograph Recording

    Magnetic Tape Recording

    Analog Tape Technology

    Digital Recording and Storage

    Digital Tape Technology

    Solid State Recording and Storage

 

Chapter 7: Digital Audio Workstations and Computers

    Digital Audio Workstations

    Workstation Architecture

    Data Storage

    Interfacing DAWs

    DAW Software

 

Chapter 8: Audio Editors and Editing

    Purposes of Editing

    Foundations of Editing: Analog Tape

    Editing with Digital Audio Workstations

    Adjusting Levels

    Control Surfaces in Editing

 

Chapter 9: Audio Processors and Processing

    Amplification and Level Control

    Dynamic Processors

    Frequency Processors

    Temporal Processing

    Digital Signal Processing

    Noise Reduction Processors

    Forensic Sound

     

Chapter 10: Monitors and Loudspeakers

    Dynamic Loudspeakers

    Loudspeaker Enclosures

    Electrostatic Loudspeakers

    Planar Magnetic Loudspeakers

    Active Loudspeakers

    Crossover Networks

    Loudspeaker Monitor Placement

    Live Sound Speaker Placement

    Listener Fatigue

    Some Technical Considerations

 

Section III  Production Settings and Techniques 

 

Chapter 11: Transporting Sounds

    Copper Wire Technology

    Microwave Technology

    Satellite Technology

    Fiber Optic Technology

    Digital Wired Technology

    Internet-Based Technology

    Podcasting

    Broadcast Technology

 

Chapter 12: Live Sound Reinforcement

    Feedback Control

    Microphone Usage

    Tuning a Sound System

    Loudspeakers and Monitors in Live Sound Systems

    Pre-performance Setup

    Level Management

    Live recording procedures

    Troubleshooting Ground Loops

    Audio Connectors

    Load Impedance Matching

    A Final Observation

 

Chapter 13: Radio Station Operations

    Radio’s Origins

    The On-Air Control Room/Studio

    The Radio Console

    Microphones in the Radio Studio

    Additional Control Room Equipment

    Additional In-Studio Information Sources

    The Radio Production Studio

    Radio News Facilities

    Radio Production Techniques

    Digital Cart Systems

     

Chapter 14: Field Recording

    Pre-production Preparation

    Acoustics in the Field

    Recording Music Outside the Studio

    Stereo Recording Methods

    Mic Techniques for the Field

    Location Recording for the Screen

    Capturing Sound Effects

 

Chapter 15: Multi-track Recording

    Engineers and Producers in Multi-track Recording

    An Historical Perspective

    Laying Basic Tracks

    Microphone Placement in Multi-track Sessions

    Overdub Techniques

    Mixdown Sessions

    Using Effects

    Record-keeping

 

Chapter 16: Sound for Pictures

    Recording Dialogue

    Sound Effects

    Music for Film and Video

    Time Code Synchronization

    Digital Systems for the Screen

    Specialized Film Audio Systems

    Video Game Audio

 

Chapter 17: Editing, Sweetening, and Post-Production

    Mastering Techniques

    Equalization in Mastering

    Processing in Mastering

    Making Copies from Masters

    Concluding Thoughts

 

Postscript: Protect Your Hearing

    The New Technology Landscape

    Intellectual Property Rights

    The State of the Field

 

Glossary

Index

 

Fundamentals of Audio Production, 1/e

Drew O. McDaniel, Ohio University

Rick C. Shriver, Ohio University

Kenneth R. Collins, Ohio University

 

Fundamentals of Audio Production covers the entire range of the audio production field with special attention to digital techniques and clear explanations of technical subjects.

 

Fundamentals of Audio Production offers an up-to-date treatment of the entire spectrum of audio production activities with an emphasis on current digital production techniques that have revolutionized the field over the last decade. Individual sections of the text provide clear, detailed explanations of the recording studio, radio, audio for video, post production, field production, and live sound reinforcement.  The author team brings to the text a diversity of professional specializations to provide a truly comprehensive overview of the audio production field.

 

Features:

  • CD with audio samples that connect graphs and technical descriptions with the actual resulting sounds.
  • Digital workstation sections familiarize students with the latest technology and production techniques.
  • In-depth treatment of audio field production covers music recordings, film sound, remote radio production, and live sound reinforcement.
  • Intuitive presentation of material lets students move to a discussion of equipment only after grasping basic principles of the physics of sound and audio.

Reviewer Quotations:

 

"The authors do a good job of explaining the purpose of editing before getting into the mechanics of computer-based systems. That's a good approach because students need to have at least a basic understanding of the process before undertaking a project." - C. Collin Pillow, Arkansas State University

 

"I like the 'not-so in-depth' approach of the authors...all things considered, it's straightforward, to the point, and readable." -- Sam Lovato, Colorado State University

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