Audio Production and Critical Listening
Technical Ear Training
Owners of Audio Production and Critical Listening, some copies of the disc may have issues with the Mac version of the software. For the correct files, please visit www.taylorandfrancis.com/info/contact/
Making decisions about how and when to apply sound processing effects and recording techniques can make or break your song mix. The decisions you make come down to your listening skills--what you hear and how you perceive it. Your ability to properly discern sound, identify a problem, and act accordingly, especially when the decision needs to be made quickly, makes all the difference to the success of the final track.
Audio Production and Critical Listening develops your critical and expert listening skills, enabling you to listen to audio like an award-winning engineer. The interactive "ear training" software practice modules give you experience identifying various types of signal processes and manipulation--EQ, dynamics, reverb, distortion, delay, and more. The software sits alongside the clear and detailed explanations in the book, offering a complete learning package that will help you train your ears to listen and really "hear" your recordings.
As Assistant Professor of audio engineering and performing arts technology at the University of Michigan School of Music, Theatre & Dance since 2003, Jason Corey teaches courses in sound recording, technical ear training, and musical acoustics. He holds Ph.D. and M.Mus. degrees in sound recording from McGill University in Montreal and has diverse experience as a recording engineer. His research is concerned with multichannel audio recording techniques, technical ear training methods, and the development of audio processing algorithms for multichannel audio. He is a recipient of the Audio Engineering Society Educational Foundation Scholarship, as well as the Paul D. Fleck Fellowship at The Banff Centre in Banff, Canada, where he has worked as an Audio Research Associate. He has presented his research at conferences in Europe, Canada, and the United States. Serving as Chair of the AES Education Committee since fall 2004, he is actively involved in the organization of student and education events at AES conventions, as well as the AES student website. He is the founder of the University of Michigan AES Student Section, serving as its faculty advisor since 2003. In addition to being an AES member, he is also a member of the Acoustical Society of America and the International Computer Music Association.
1.1 Everyday Listening
1.2 What is Technical Ear Training?
1.3 What is Timbre?
1.4 Shaping Sounds
1.5 Sound Reproduction System Configurations
1.6 The Listening Environment
2 Spectral Balance and Equalization
2.1 Types of Filters and Equalizers
3 Spatial Attributes
3.1 Time Delay
3.3 Delay and Comb Filtering
3.4 Reverberation in Multichannel Audio
3.5 Description of the Software Training Module
3.6 Mid-Side Matrixing, Stereo Shuffling, and Polarity Reversal
4 Dynamic Range and Levels
4.1 Level Changes
4.2 Compressors and Limiters
4.3 Expanders and Gates
5 Distortion and Noise
5.1 Clipping and Overdrive
5.2 Noise, Hum and Buzz
5.3 Quantization Distortion: Bit Rate Reduction
6 Amplitude Envelope
6.1 Digital Audio Editing: The Source-Destination Technique
6.2 Software Exercise Module
6.3 Focus of the Exercise
7 Analysis of Sound
7.1 Analysis of Sound from Electroacoustic Sources
7.2 Graphical Analysis of Sound
7.3 Multichannel Audio
7.4 Selecting Listening Material
7.5 Analysis Examples
7.6 Sound Enhancers on Media Players
7.7 Analysis of Sound from Acoustic Sources
A About the software practice modules