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Understanding audio : getting the most out of your ... Read More

Thompson, Daniel M.(Author).

Available copies

  • 1 of 2 copies available at Berklee College of Music.

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0 current holds with 2 total copies.

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Location Call Number / Copy Notes Barcode Shelving Location Holdable? Status Due Date
Stan Getz Library TK7881.4 .T55 2005 37684001069086 Berklee Press Collection Copy hold / Volume hold Available -
Stan Getz Library TK7881.4 .T55 2005 37684001097975 Berklee Press Collection Not holdable Lost 05/25/2021

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, ... Read More
Formatted Contents Note:
Chapter 1. The recording studio: a brief history ... Read More

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Subject: Sound > Recording and reproducing > Handbooks, manuals, etc.
Sound recording industry

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▼ MARC Record
LDR 04669cam a2200313Ia 4500
00152257
003berklee
00520141204151650.0
008050311s2005 maua 001 0 eng d
020 . ‡a0634009591
02410. ‡a9780634009594
02832. ‡aHL50449456 ‡bHal Leonard
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090 . ‡aTK7881.4 ‡b.T55 2005
1001 . ‡aThompson, Daniel M. ‡0(berklee)310673
24510. ‡aUnderstanding audio : ‡bgetting the most out of your project or professional recording studio / ‡cby Daniel C. Thompson.
24620. ‡aUnderstanding audio
260 . ‡aBoston, Mass. : ‡bBerklee Press, ‡cc2005.
300 . ‡aiii-vii, 357 p. : ‡bill.
4901 . ‡aRecording: Audio
500 . ‡aValencia Faculty reserve.
500 . ‡aMaterial for MP-114 (Teutsch)
504 . ‡aIncludes appendices, bibliographical references, and index.
5050 . ‡aChapter 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).
650 0. ‡aSound ‡xRecording and reproducing ‡vHandbooks, manuals, etc. ‡0(berklee)347971
650 0. ‡0(berklee)22244 ‡aSound recording industry
830 0. ‡aRecording: Audio. ‡0(berklee)472230
994 . ‡aC0 ‡bBKC
997 . ‡a68639
919 2. ‡c68639
903 . ‡a16837
901 . ‡a52257 ‡bISxN ‡c52257 ‡tbiblio

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