An edition of Sound Studio
(2003)
Sound Studio
Audio techniques for Radio, Television, Film and Recording
7th ed.
by Alec Nisbett
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This classic work has inspired and informed a whole generation of artists and technicians working in all branches of the audio industry. Now in its seventh edition, The Sound Studio has been thoroughly revised to encompass the rapidly expanding range of possibilities offered by today's digital equipment. It now covers: the virtual studio; 5.1 surround sound; hard drive mixers and multichannel recorders; DVD and CD-RW.Alec Nisbett provides encyclopaedic coverage of everything from acoustics, microphones and loudspeakers, to editing, mixing and sound effects, as well as a comprehensive g.
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| Edition | Availability |
|---|---|
1
Sound Studio: Audio Techniques for Radio, Television, Film and Recording
2017, Taylor & Francis Group
in English
1138412651 9781138412651
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zzzz
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2
Sound Studio: Audio Techniques for Radio, Television, Film and Recording
2003, Taylor & Francis Group
in English
1136116850 9781136116858
|
zzzz
|
3
Sound Studio: Audio techniques for Radio, Television, Film and Recording
2003, Taylor & Francis
electronic resource :
in English
- 7th ed.
0080517420 9780080517421
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aaaa
|
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4
Sound Studio: Audio Techniques for Radio, Television, Film and Recording
2003, Taylor & Francis Group
in English
1136116818 9781136116810
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zzzz
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5
Sound Studio: Audio Techniques for Radio, Television, Film and Recording
2003, Taylor & Francis Group
in English
1136116869 9781136116865
|
zzzz
|
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6
Sound Studio: Audio Techniques for Radio, Television, Film and Recording
2003, Taylor & Francis Group
in English
1281025291 9781281025296
|
zzzz
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Book Details
Table of Contents
Cover; Contents; Introduction; About the author; Chapter 1. Audio techniques and equipment; Studio operations; The sound control room; Studio layout for recording; Studio communications; Chapter 2. The sound medium; The nature of sound; Wavelength; Waves and phase; Waves and obstacles; Energy, intensity and resonance; Overtones, harmonics and formants; Air resonance; The voice; The human ear; Sound volume and the ear; Loudness, frequency and hearing; Chapter 3. Stereo; Two loudspeakers; Reduced loudspeaker separation; Alternatives to two loudspeakers; Hearing and stereo.
Cardioid and hypercardioid microphonesSwitchable microphones; Highly directional microphones; Noise-cancelling microphones; Microphones for use in vision; Boundary microphones; Personal microphones; Radio microphones; Contact and underwater microphones; Directional characteristics of A and B stereo pairs; Windshields; Mountings; Cables and connectors; Microphone checks; Lining up a stereo pair; Chapter 6. Microphone balance; Stereo microphone balance; The balance test; Visual conventions for microphones; Multimicrophone balance; Artistic compatibility: mono, stereo and surround balances.
Chapter 7. Speech balanceMicrophones for speech; Interviewing with a hand-held microphone; Three or more voices; Studio noise; Handling a script; Speech in stereo; Boom operation; Slung and hidden microphones; Microphones in vision; Using gun microphones; Using personal microphones; Radio drama; Open-air acoustics; Stereo drama; Stereo drama problems; Audience reaction; Chapter 8. Music balance; 'Natural' balance; Music studio problems; One microphone or many?; Individual instruments and groups; Violin, viola; Cello, bass; More strings: acoustic balances; Electric guitar family; Grand piano.
Group and master controls.
Microphones for stereoStereo compatibility; Chapter 4. Studios and acoustics; The range and function of studios; Noise and vibration; Reverberation; Coloration; Studios for speech; General-purpose sound studios; Music studios; Dead pop music studios; Television and film studios; Acoustic treatment; Using sound absorbers; The use of screens; Altering the acoustics of concert halls; Acoustic modelling of studios; Acoustic holography; Chapter 5. Microphones; Microphone properties; Directional response; The frequency response of practical microphones; Proximity effect.
Piano and soloist, two pianosUpright piano; Harp, harpsichord, celesta; Piano accordion; Harmonica; Woodwind; Saxophones; Brass; Percussion, drums; Singers: solo and chorus; The orchestra; Orchestra: spaced microphones; Pipe organ with orchestra; Orchestra with soloists or chorus; Opera; Classical music in vision; Televised opera; Popular music; Larger groups; Multimicrophone layout; Popular music in vision; Chapter 9. Monitoring and control; Quality and the ear; Loudspeakers; Monitoring layout; Control consoles and racks; Digital conversion; Automated and digital consoles; Channels.
Edition Notes
Description based upon print version of record.
Also available in print.
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