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Understanding audio : getting the most out of your project or professional recording studio / by Daniel C. Thompson.

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Available copies

  • 5 copies at Berklee College of Music.

Current holds

3 current holds with 11 total copies.

Location Call Number / Copy Notes Barcode Shelving Location Holdable? Status Due Date
Main Library TK7881.4 .T55 2005 37684000989374 Library Stacks Copy hold / Volume hold On holds shelf -
Main Library TK7881.4 .T55 2005 37684001061722 Library Stacks Copy hold Checked out 02/03/2016
Valencia Main Library TK7881.4 .T55 2005 37684001067289 Valencia Stacks Copy hold / Volume hold Checked out 02/24/2016
Valencia Main Library TK7881.4 .T55 2005 37684001070923 Valencia Reference Not holdable Available -
Valencia Main Library TK7881.4 .T55 2005 37684001071017 Valencia Stacks Copy hold Checked out 02/15/2016
Valencia Main Library TK7881.4 .T55 2005 37684001071023 Valencia Stacks Copy hold Available -
Valencia Main Library TK7881.4 .T55 2005 37684001071024 Valencia Reference Not holdable Available -
Valencia Main Library TK7881.4.T55 2005 37684001071076 Valencia Stacks Copy hold / Volume hold Available -
Valencia Main Library TK7881.4 .T55 2005 37684001073414 Valencia Stacks Copy hold / Volume hold In process -
Valencia Main Library TK7881.4 .T55 2005 37684001090200 Valencia Library Reserve Desk Not holdable In process -
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Record details

  • ISBN: 0634009591
  • Physical Description: iii-vii, 357 p. : ill.
  • Publisher: Boston, Mass. : Berklee Press, c2005.

Content descriptions

General Note: Valencia Faculty reserve.
Material for MP-114 (Teutsch)
Bibliography, etc. Note: Includes appendices, bibliographical references, and index.
Formatted Contents Note: Chapter 1. The recording studio: a brief history and overview. Early recordings (p. 1) ; The modern recording studio (p. 6) ; Basic studio recording signal flow (p. 8) -- Chapter 2. The modern studio: recording studio basics. Sound source (p. 13) ; Recording console/ mixer (p. 22) ; Outboard effects (p. 24) ; Signal destinations (p. 26) ; Summary (p. 32) -- Chapter 3. Basic symbols and signal flow: the audio map. Flowcchart basics (p. 33) ; Symbols (p. 38) ; Normalled connections (p. 45) ; Applied signal flow (p. 50) ; Projects (p. 53) -- Chapter 4. Advanced signal flow: the recording console. Console architecture (p. 54) ; I/O modules (p. 56) ; Channel path/ monitor path (p. 59) ; Master section (p. 65) ; Advanced console flow (p. 68) ; EQ section (p. 82) ; Dynamics section (p. 84) ; Mixers (p. 89) ; Projects (p. 91) -- Chapter 5. Basic acoustics: what is sound? Sound and vibration (p. 92) ; Simple harmonic motion (p. 96) ; Frequency and period (p. 97) ; Wavelength (p. 104) ; Amplitude (peak vs. RMS) (p. 109) ; Complex sound (Fourier) (p. 114) ; Projects (p. 121) -- Chapter 6. Basic audio theory: Ohm's law. Electricity (p. 122) ; Impedance (p. 131) ; Ac electrical circuits (p. 140) ; Grounding (p. 144) ; Projects (p. 148) -- Chapter 7. Interconnections. Impedance (p. 150) ; Matching vs. bridging impedances (p. 153) ; Balanced vs. unbalanced (p. 159) ; Cables and interconnects (p. 162) ; Group loops (p. 166) ; System noise prevention (p. 171) ; Projects (p. 179) -- Chapter 8. Decibals: dB or not dB? Origins (p. 180) ; Logarithms (p. 180) ; Power and intensity (p. 182) ; Loudness (p. 185) ; Bels and decibels (p. 186) ; Projects (p. 191) -- Chapter 9. More dB: sound reference levels. Sound power level (dB PWL) (p. 192) ; Sound intensity level (SIL) (p. 193) ; Sound pressure level (dB SPL) (p. 195) ; Inverse square law (p. 198) ; Electrical power and voltage (p. 200) ; Origins of O dB reference (p. 202) ; Projects (p. 206) -- Chapter 10. Psychoacoustics: related dB to what we hear. The audio window (p. 207) ; Fletcher-Munson equal loudness contours (p. 209) ; Localization (p. 215) ; Stereo miking techniques (p. 218) ; Stereo sound reproduction (p. 224) ; Masking (p. 229) ; Projects (p. 235) -- Chapter 11. The audio window: relating what we hear to the gear. The audio window revisited (p. 236) ; Signal-to-noise ratio, dynamic range, and standard operating level (p. 237) ; Digital signal metering (p. 243) ; Harmonic distortion (p. 245) ; Frequency response (p. 255) ; Projects (p. 259) -- Chapter 12. Gain structures. Sytem levels (p. 260) ; Projects (p. 266) -- Chapter 13. Analog magnetic recording: it's only tape. Analog recording process (p. 267) ; Analog tape alignment (p. 272) ; Alignment procedure (p. 272) ; Reference levels (p. 279) ; Noise reduction (p. 280) ; Transport (p. 283) ; Projects (p. 285) -- chapter 14. Digital audio: every little bit counts. A/D conversion (p. 286) ; D/A process (p. 298) ; Interconnections - word clock (p. 300) ; Digital signal levels and metering (p. 301) ; Complication with digital audio (p. 302) ; High-resolution audio (p. 306) ; Projects (p. 307) 00 Chapter 15. Midi: musical instrument digital interface. MIDI connections (p. 308) ; MIDI data (p. 310) ; MIDI system setup (p. 311) ; Software synthesis (p. 314) ; Projects (p. 314) -- Chapter 16. Room and listening acoustics: where it all begins and ends. Standing waves (room modes) (p. 315) ; Speaker placement (p. 320) ; Reflections (reverberations) (p. 321) ; Control room design (323) ; Reverberation time (p. 327) ; Room treatment (p. 329) ; Diffusion (p. 332) ; Sound isolation (p. 334) ; Noise (p. 340) ; Projects (p. 341).
Subject: Sound > Recording and reproducing > Handbooks, manuals, etc.
Sound recording industry

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