Download Sound Studio: Audio techniques for Radio, Television, Film by Alec Nisbett PDF

By Alec Nisbett

This vintage paintings has encouraged and proficient a complete new release of artists and technicians operating in all branches of the audio undefined. Now in its 7th variation, The Sound Studio has been completely revised to surround the swiftly increasing variety of percentages provided by means of today's electronic apparatus. It now covers: the digital studio; 5.1 encompass sound; hard disk mixers and multichannel recorders; DVD and CD-RW.<BR id="CRLF"><BR id="CRLF">Alec Nisbett presents encyclopaedic insurance of every little thing from acoustics, microphones and loudspeakers, to enhancing, blending and sound results, in addition to a finished glossary.<BR id="CRLF"><BR id="CRLF">Through its six past variants, The Sound Studio has been used for over forty years as a typical paintings of reference on audio ideas. For a brand new iteration, it hyperlinks all of the most sensible ideas again to their roots: the unchanging guiding rules that experience lengthy been saw over quite a lot of comparable media and crafts. <BR id="CRLF"><BR id="CRLF">The Sound Studio is meant for an individual with an inventive or technical curiosity in sound - for radio, tv, movie and track recording - yet has rather powerful insurance of audio in broadcasting, reflecting the author's prolific profession.

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Extra info for Sound Studio: Audio techniques for Radio, Television, Film and Recording

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The frequencies corresponding to the octaves on a piano progress in the ratios 1:2:4:8:16:32:64:128. The logarithms (to base 2) of these numbers are in a much simpler progression ± 0, 1, 2, 3, 4, 5, 6, 7 ± and these equal intervals are exactly how we perceive the musical scale. Frequency is not the only thing that the ear measures in this way: changes of sound volume follow the same peculiar rule. Sound volume and the ear The hairs on the basilar membrane vibrate in different degrees, depending on the loudness of the original sound.

For listeners off the centre line C, the growing difference in distance rapidly `kills' the stereo, due to the Haas effect. Listening position 1 (with the narrower spacing of speakers) has the same loss of stereo effect as position 2 (with the broader spacing). A second requirement is that the loudspeakers be matched in volume and frequency response. If the volume from one is set to be greater than that from the other, the centre is displaced and the sound stage distorted. If the difference reaches 20 dB, the centre is displaced to the extreme edge of the sound stage.

1' (for `one-tenth of the full frequency range') simply provides deep (and potentially loud) bass ± typically 120 Hz and below ± from a single, more powerful `subwoofer' loudspeaker. This can therefore be of a separate design from the other five, which in turn benefit by their isolation from its more extreme excursions and excessive harmonics. The ears make little use of frequencies below 120 Hz to localize sound sources, so a single speaker is sufficient for the sub-bass from any direction. It will usually be off-centre (because the centre line is at a node of many low frequencies), and often at the front, but otherwise position does not matter much, provided nobody gets too close.

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