Audio in media

Tai Lieu Chat Luong Upper harmonics Woodwind instruments Clarinet Bassoon French horn Brass instruments Pitchless percussion instruments Tuba Piccolo Flute Oboe Trumpet Trombone Snare drum Bass drum Cymbal Guitar Stringed instruments Cello String bass Violin Viola Human voice Soprano Alto Tenor A-440 Middle C Bass Key number 11 13 15 16 18 20 21 23 25 27 28 30 32 33 35 37 39 40 42 44 45 47 49 51 52 54 56 57 59 61 63 64 66 68 69 71 73 75 76 78 80 81 83 85 87 88 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part 10,000.0 7000.0 6000.0 Piano keyboard 5000.0 4186.0 3729.3 3951.1 3322.4 3520.0 2960.0 3136.0 2793.0 2489.0 2637.0 2217.5 2349.3 2093.0 1864.7 1975.5 1661.2 1760.0 1480.0 1568.0 1396.9 1244.5 1318.5 1108.7 1174.7 1046.5 932.33 987.77 830.61 880.00 739.99 783.99 698.46 622.23 659.26 554.37 587.33 523.25 493.88 466.16 415.30 440.00 369.99 392.00 349.23 311.13 329.63 293.66 277.18 261.63 233.08 246.94 207.65 220.00 185.00 196.00 174.61 155.36 164.81 138.59 146.83 130.81 116.34 123.47 103.83 110.00 92.499 97.999 87.307 77.782 82.407 69.269 73.416 65.406 58.270 48.999 61.735 43.654 51.913 41.203 55.000 36.708 46.249 32.703 38.891 30.868 34.648 27.500 Frequency (Hz) 29.135 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2 D2 E2 F2 G2 A2 B2 C3 D3 E3 F3 G3 A3 B3 C4 D4 E4 F4 G4 A4 B4 C5 D5 E5 F5 G5 A5 B5 C6 D6 E6 F6 G6 A6 B6 C7 D7 E7 F7 G7 A7 B7 C8 Audio in Media Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part The Wadsworth Series in Broadcast and Production Albarran, Management of Electronic Media, Fifth Edition Alten, Audio Basics Alten, Audio in Media, Tenth Edition Eastman/Ferguson, Media Programming: Strategies and Practices, Ninth Edition Gross/Ward, Digital Moviemaking, Seventh Edition Hausman/Benoit/Messere/O’Donnell, Announcing: Broadcast Communicating Today, Fifth Edition Hausman/Benoit/Messere/O’Donnell, Modern Radio Production, Ninth Edition Hilliard, Writing for Television, Radio, and New Media, Tenth Edition Hilmes, Connections: A Broadcast History Reader Hilmes, Only Connect: A Cultural History of Broadcasting in the United States, Fourth Edition Mamer, Film Production Technique: Creating the Accomplished Image, Sixth Edition Meeske, Copywriting for the Electronic Media: A Practical Guide, Sixth Edition Zettl, Sight Sound Motion: Applied Media Aesthetics, Seventh Edition Zettl, Television Production Handbook, Eleventh Edition Zettl, Television Production Workbook, Eleventh Edition Zettl, Video Basics, Seventh Edition Zettl, Video Basics Workbook, Seventh Edition Zettl, Zettl’s VideoLab 4.0 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part Audio in Media 1O t h e di t ion Stanley R Alten Syracuse University with contributions by Douglas Quin, Syracuse University Australia • Brazil • Japan • Korea • Mexico • Singapore • Spain • United Kingdom • United States Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part Audio in Media, Tenth Edition Stanley R Alten Publisher: Michael Rosenberg Development Editor: Megan Garvey Assistant Editor: Erin Bosco Editorial Assistant: Rebecca Donahue © 2014, 2011, 2008 Wadsworth, Cengage Learning ALL RIGHTS RESERVED No part of this work covered by the copyright herein may be reproduced, transmitted, stored, or used in any form or by any means graphic, electronic, or mechanical, including but not limited to photocopying, recording, scanning, digitizing, taping, Web distribution, information networks, or information storage and retrieval systems, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the publisher Media Editor: Jessica Badiner Executive Brand Manager: Ben Rivera Senior Market Development Manager: Kara Kindstrom Senior Marketing Communications Manager: Linda Yip Senior Content Project Manager: Michael Lepera For product information and technology assistance, contact us at Cengage Learning Customer & Sales Support, 1-800-354-9706 For permission to use material from this text or product, submit all requests online at www.cengage.com/permissions Further permissions questions can be emailed to permissionrequest@cengage.com Senior Art Director: Marissa Falco Manufacturing Planner: Doug Bertke Senior Rights Acquisition Specialist: Mandy Groszko Production Service/Compositor: Ideas to Images Text and Cover Designer: Gary Palmatier, Ideas to Images Cover Image: © iStockphoto.com/Domofon Library of Congress Control Number: 2012955452 ISBN-13: 978-1-133-30723-5 ISBN-10: 1-133-30723-X Wadsworth 20 Channel Center Street Boston, MA 02210 USA Cengage Learning is a leading provider of customized learning solutions with office locations around the globe, including Singapore, the United Kingdom, Australia, Mexico, Brazil, and Japan Locate your local office at international.cengage.com/region Cengage Learning products are represented in Canada by Nelson Education, Ltd For your course and learning solutions, visit www.cengage.com Purchase any of our products at your local college store or at our preferred online store www.cengagebrain.com Instructors: Please visit login.cengage.com and log in to access instructor-specific resources Printed in the United States of America 1 2 3 4 5 6 7  16 15 14 13 12 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part This is an electronic version of the print textbook Due to electronic rights restrictions, some third party content may be suppressed Editorial review has deemed that any suppressed content does not materially affect the overall learning experience The publisher reserves the right to remove content from this title at any time if subsequent rights restrictions require it For valuable information on pricing, previous editions, changes to current editions, and alternate formats, please visit www.cengage.com/highered to search by ISBN#, author, title, or keyword for materials in your areas of interest Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part To the sweetest sounds: Claudette, Ariane, and Renee Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part Brief Contents Part I Principles Sound in Production   2 Sound and Hearing   Acoustics and Psychoacoustics   25 Part II Technology 47 Loudspeakers and Monitoring   48 Microphones  73 Mixers, Consoles, and Control Surfaces   115 Recording  142 Synchronization and Transfers   162 Signal Processors   172 10 Audio and the Internet   196 Part III Production 11 The Speaking Voice, Voice-Overs, and Narration   210 209 12 Dialogue  225 13 Studio Production: Radio and Television   251 14 Field Production: News and Sports   267 15 Sound Design   306 16 Sound Effects   319 17 Music Underscoring   346 18 Production for Mobile Media   368 19 Game Sound   375 20 Music Recording   402 Part IV Postproduction 451 21 Editing  452 22 Mixing: An Overview   482 23 Premixing and Rerecording for Television and Film   493 24 Music Mixdown   510 25 Mixing for Mobile Media   534 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part I nde x EQ (equalization) module, 124 equalization (EQ), 9, 112, 174, 514–520 complementary, 516, 516 cumulative, 514, 515 mixing for mobile media, 534–536, 535, 536 module, 124 selected instruments, 518, 518, 519–520 semantics, 516–517, 518 subtractive, 515, 515 equalizer, 123, 174, 174–176 dynamic, 190 equal loudness principle, 11–13, 11–13 equivalent noise level, 82 ergonomics, 44–45 evaluating finished product, 3–4 evaluating loudspeakers, 67–69 event, music underscoring to recall or foretell, 351 exit sign effect, 501 expander, 190–191, 191 expansion, time, 455–456 extension boom, 89 extension, file formats, 202, 202 extra-sound, 320 file format Internet production, 202, 202 recorders, 149 file manipulation, Internet, 200, 200–201 file naming, 342, 461 file transfer, 169 File Transfer Protocol (FTP), 206 fade-in, 458, 479 fade-out, 458, 479 far-field monitoring, 60–61, 61 feed, 206n Fukada Tree, 446 foldback, 124 full-normal connection, 134 Foley, Jack, 329, 344 full space, 58 Foley recording, 329 functions, complex interactivity, 386 Foley sound effects, 324, 329–336, 330 components and context, 334–335 examples, 331–334 miking and perspective, 335–336 preparing for recording, 336 full coat, 159, 159 fundamental frequency, F/X (effects) send, 124, 125 gain, 122 Foley stage, 330, 330 film time, 163 football, miking, 292 filter, 123–124, 176–178 formant, 192, 516 filterbank, 201 Final Destination 5, 333 “The Four Seasons” (Vivaldi) mix, 527 finite impulse response filter, 65 four-way system loudspeaker, 49 FireWire, 153, 153 frame rate, 165 glide consonant, 462 FireWire transfer, 168–169 Free Lossless Audio Codec (FLAC), 202, 203 glottal, 192 fishpole boom, 90, 228, 229–231, 231–232 free-sphere (free-field), 58 Godzilla, 329 French horn, 429, 430 Goldsmith, Jerry, 357 5.1 surround microphone system (Atmos), 104, 105 frequency, 143 assignment and use, wireless microphones, 109 crossover, 49 loudness related, 11 sampling, 143 sound, 7–9 speaking voice, 210–211, 211 wavelength related, 14, 14 golf, miking, 296 five-channel surround microphone technique, 445 fixed companding, 112, 113 fader, 116 FM mic See wireless microphone film audio, 158, 158–159, 159 mixing, 487 synchronizing sound and picture, 166–167 first harmonic, fixed-frequency equalizer, 175 fixed-frequency wireless microphone system, 109 fixed-length boom, 89 fixed microphone, 237 579 frequency-agile system, 109 frequency-hopping wireless microphone system, 109 game sequence, interactive media audio, 394–398, 399 game sound See interactive media audio game state, 384 gated reverb, 181 genre, music underscoring, 353–354 Gladiator, 333, 357 The Godfather, 357 graphic equalizer, 175, 176 graphical user interface (GUI), 386 Green Book standard, 156n The Green Mile, 334 The Grey Zone, 357–358 Griesinger, David, 63 grip, dialogue recording, 245 Grusin, Dave, 359 GUI (graphical user interface), 386 flash card, 147 frequency response curve, 81, 81–82 flash memory stick, 147 fricative, 466–467 guitar characteristics, 417 compression, 521 electric, 432–433, 433, 434, 435, 519–520 EQ values, 518 miking, 417, 418, 419 Fletcher-Munson curve, 12, 12 friction consonant, 462 guitar modeler, 435, 435 Friedman, Thomas, 205 gymnastics, miking, 299, 300 Fenton, George, 357 flute, 426, 427, 427 Fringe, 333 field intercom system, 283–285 flutter echo, 28, 180 FTP (File Transfer Protocol), 206 feedback, 182, 523 miking audiences, 263–264 feedback rate, 183 feed URI, URL, 207 feeling music underscoring to evoke, 351 threshold, 11 FLAC (Free Lossless Audio Codec), 202, 203 flanging, 183, 183–184 Flash, 203 flying-fader automation, 135 frequency response loudspeakers, 51–52, 53 microphones, 81, 81–82 Haas effect, 26 half-normal connection, 134 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part 580 I nde x half sphere (half space), 58 hidden microphone, 90 identification flag, 454 hall reverberation, 178 HID (human interface device), 128–129 identity sound effects to depict, 322 music underscoring to depict, 350 Hamasaki Square, 446 handheld microphone, 90, 261, 261 hanging microphone, 90 hard-disk recorder, 149, 150 hard knee compression, 187 hard sound effects, 324, 460 harmonic distortion, 54 total, 54, 82 harmonics, 16, 17, 178n harmony, 347–348, 348 backup vocals, 439–440 virtual, 439 haystack (EQ), 174, 174 HD Radio, 485 HDTV (high-definition television), 157, 485–486 header information, files, 202 headphone amplifier, radio MNG, 270–271, 271 headphones, 69–70 hearing loss, 69–70 noise-canceling, 69–70 radio MNG, 270–271, 271 head-related transfer function (HRTF), 26, 102 headroom, 130 headset microphone, 93, 94 head synchronization point, 167 hearing, binaural, 26 ear, 18, 19, 20, 21 sound-pressure levels, 11 spatial, 25–26 threshold, 11 hearing loss, 21–24 headphones, 69–70 preventing, 22, 22–24, 23 high-cut filter, 177, 177 High-Definition Microphone, 96, 96–97, 97 high-definition television (HDTV), 157, 485–486 high-density optical disc, 156–157 high end, compression, 521 high-end frequency, high jump, miking, 299 IEM (in-ear monitor), 70 IFB (interruptible foldback) systems, 279 IID (interaural intensity difference), 25–26 IM (intermodulation) distortion, 53–54 impedance, 73–74, 116–117 high-pass filter, 61–62, 177, 177, 268, 268 impulse response (IR), 180 hi-hat cymbals, 410, 415, 415–416, 416 incus, 18, 19 Hitchcock, Alfred, 358 hits, 109 Hoffman, Dustin, 359 Holophone microphone system, 104, 105, 273 home studio, 39–40, 42–44, 44 Honey, I Shrunk the Kids, 329 horizontal comping, 476 Horner, James, 356, 358 Howard, James Newton, 357 HRTF (head-related transfer function), 26, 102, 102 hum, 84 human interface device (HID), 128–129 humbuck circuit, 435 humbuck coil, 84 humbucking, 84 humor, creating music, 349, 349 sound effects, 322 hybrid interface, 117, 118 in-camera recording, 158 indirect narration, 223 indirect sound, 27, 27 induction, magnetic, 74, 74–75, 75 industrial headset, 22–23 in-ear monitor (IEM), 70 infinitely variable pattern microphone, 101, 101 inflection, 212, 464 infrasonic frequency, inharmonic overtone, 16 initial decay, 17, 17–18 inner ear, 18, 19, 20 in phase, 14, 15, 16 input/output (I/O) channel, 120, 122 input/output connection, 133 input/output (I/O) module, 124 input section mixers, 116 production consoles, 120–125, 122, 123, 125 hypercardioid microphone, 77, 78 input selector control, 120 hypercardioid polar pattern, 79 instrumental data, reducing data, 201 Hz (hertz), in-studio recording, 158 Herrmann, Bernard, 358, 359 ice hockey, miking, 294 hertz (Hz), ice zone mic, 107 integrated digital audio workstation, 153, 153, 155 heavy metal mix, 525 Helmholtz absorber (Helmholtz resonator), 38 Henry V, 340, 358 Insert command, 455 Integrated Services Digital Network (ISDN), 154, 155, 155, 204, 271 intelligibility, intensity, spatial hearing, 25–26 interactive media audio, 375–401 assets, 383–384 audio collection and recording, 383 audio design, 375–378, 377 audio potential, 377–378, 378 basic interactivity, 384 complex interactivity, 384–388, 387 debugging, 398–399 dialogue and narration, 392, 392–393, 395–397, 396, 397 environment, 397–398, 398 game sequence, 394–398, 399 music, 390–391, 398, 399 postproduction, 393 preproduction, 381–382 production, 383–393 sound effects, 388–390, 389, 390, 394–395, 395 system resources, 378–381, 379 user playback, 399–400 interactive sound, 376, 384–388, 387 interaural intensity difference (IID), 25–26 interaural level difference, 25–26 interaural time difference (ITD), 25–26 interface, 135 intermodulation (IM) distortion, 53–54 international sampling rate, 144 Internet, 196–208 audio fidelity, 199–204 cloud computing, 198, 198–199 compression, 201–202 connection speed, 199, 199–200 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part I nde x data transfer networks, 197–198 downloadable nonstreaming formats, 202, 203, 204 downloadable streaming formats, 204 file formats, 202, 202 file manipulation, 200, 200–201 music samples, 365 online collaboration, 204–205 podcasting, 205–207 progressive download formats, 204 jazz combo, surround-sound microphone system, 449 L-cut, 479, 479–480 jazz mix, 526 lead-in, sound effect, 323 J-cut, 479, 479–480 lead-out, music, 352 Jecklin disk, 406 lead-out, sound effect, 323 jitter, 164, 164–165 jogging, 454 John Adams, 356 lead-in, music, 352 leasing a music library, 362–365 live sound effects, 328–339 ambience, 338–339 collecting in the field, 337–338 Foley See Foley sound effects producing in studio, 329 production, 336–337 vocally produced, 329 LED (light-emitting diode) meter, 130, 131 live-to-recording, 210n Leigh, Janet, 358 live-to-tape, 210n length, prerecorded sound effects, 326 LKFS, 505 KB (kilobyte), 200 Kbps (kilobits per second), 199, 199–200 Leslie amplifier loudspeaker, miking, 432, 432 Internet Protocol (IP), 155, 268, 271 keyboard, compression, 521 Letters from Iwo Jima, 358 key input, 191 level control, 125–126 locale establishing, 321 music underscoring to establish, 350–351 Internet Small Computer Systems Interface (iSCSI), 153 key signature, 475, 475 interruptible foldback (IFB) systems, 279 interview, radio, 254, 254–255, 255 Jurassic Park III, 334 Katz, Bob, 132 kHz (kilohertz), LFE channel, mixing for surround sound, 528 kick (bass) drum, 409, 411–414, 413, 517, 518, 519 LFE (low-frequency enhancement), 500 KickPad, 412, 413 long shot, boom microphone, 227 loop group, 248 kilobyte (KB), 200 in the red, 130 kilohertz (kHz), intimacy, 28 knee, 187 inverse square law, 274, 275 K-system, 132 I/O (input/output) channel, 120, 122 Kunstkopf stereo, 102, 102 light-emitting diode (LED) meter, 130, 131 labial, 466–467 lighting director, dialogue recording, 245 IP (Internet Protocol), 155, 268, 271 IR (impulse response), 180 irony, 322 iSCSI, 153, 153 LAN (local area network), 197 laptop computer See also mobile media production high-definition microphones, 98–99, 99 ISDN (Integrated Services Digital Network), 154, 155, 155, 204, 271 large-scale EFP, 280, 281, 282, 282 ITD (interaural time difference), 25–26 latency, 98, 165, 200 jack, 133, 133 Japanese Broadcasting Corporation (NHK) surround microphone technique, 445 Jaws, 358 laser drop, 362–363 lavalier microphone, 91–92, 92 layered comping, 476 layering, 488–491 music, 490 perspective, 490–491 sound with picture, 488–490 location selection, dialogue recording in the field, 239 license, music, 362–363, 363–365 in the mud, 130 Lai, Francis, 358 localization, 497, 498, 498–499, 499 logarithmic curve, 458 in-the-ear monitoring, 70 I/O (input/output) module, 124 local area network (LAN), 197 library music, 360–362, 366 sound effects, organizing, 341–343 sound, interactive media audio, 383–384 kilobits per second (Kbps), 199, 199–200 limiter, 186, 190 Limit Silence command, 455 Lincoln, 336 linear curve, 458 linearity, loudspeakers, 52 linear media, sound design, 376 line level, 117 listening, 307–310 analytical, 307–308 critical, 308–309 mobile media and quality, 309–310 listening fatigue, 480 listening walk, 307 live effects, 324 live room, 28, 28 581 long-distance recording, 154, 155, 155 long-form voice-over material, 217 looping ADR, 246 background sound, 465–466 editing, 456 music, 474–475 prerecorded sound effects, 328 Lo/Ro downmixing to stereo method, 503 lossless compression, 149, 201 lossy compression, 149, 201 loudness, 11–13, 310 hearing loss, 21, 22–23 perspective contrasted, 232 speech intelligibility, 211 loudness distortion, 54 loudspeaker, 48–69 active, 49 amplifier power, 52 arrival time, 57 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part 582 I nde x loudspeaker (continued) calibrating, 65, 66, 67, 67 crossover networks, 49–51, 50 distortion, 53, 53–54 drivers, 49 dynamic range, 54, 55 evaluating, 67–69 far-field monitoring, 60–61, 61 four-way system, 49 frequency response, 51–52, 53 linearity, 52 monitor controllers, 65 monitoring stereo, 59, 59–60, 60 monitoring surround sound, 62–64, 62–64 near-field monitoring, 61, 61–62, 62 passive, 49 polar response, 54, 55–57, 56 polarity, 57–58, 58 poor-quality, monitoring with, 52, 53 powering systems, 49 selecting, 51–58 sensitivity, 54 three-way system, 49 two-way system, 49 marker, 454 metering, 491 Mars Attacks!, 329 MHz (megahertz), 109 Marti, 280 mic flag, 274 The Mask, 334 microphone, 73–114 accessories, 85–88 automated dialogue replacement, 247–248 bidirectional, 77, 77 binaural, 101–102, 102 boom See boom microphone boundary, 95, 95 cables, 85, 87, 87 capacitor (condenser), 75, 75 cardioid, 77, 77, 78 care, 88, 90–91 connectors, 87–88, 88 contact, 93, 94, 95 digital, 97 directional, 77, 77 directional characteristics, 77, 77–80, 78, 215–217, 216 dual-element, 75 dynamic, 75 earset, 93, 94 electret, 75 handheld, 90, 261, 261 hanging, 90 headset, 93, 94 hidden, 90 high-definition, 96, 96–97, 97 Holophone, 104, 105 hypercardioid, 77, 78 impedance, 73–74 infinitely variable pattern, 101, 101 lavalier (mini-mic), 91–92, 92 middle-side, 101, 101 miniature, 91–92, 92, 260 modelers, 85, 85 mounts, 88, 88–91 moving-coil, 74, 74 multidirectional (polydirectional), 99, 99–101 multiple-entry-port (variable-D), 78, 78 noise-canceling, 96 nondirectional, 77, 77 omnidirectional, 77, 77 panel and talk television programs, 260–261 masker, 201 masking, 13 Master and Commander, 334 master bus, 125 master fader, 118, 125 mastering, 482, 510 master section, production consoles, 125, 125–126 master shot, 238 master-slave configuration, 169 master use rights, 363 Material Exchange Framework (MXF), 170 The Matrix, 334 maximum sound-pressure level, microphones, 82 Mbps (megabits per second), 157 Love Story, 358 meaning nonverbal speech influences, 212–213 sound design influence, 314–316 symbolizing, 322–323 low bass, meatus, 18, 19 low-cut filter, 177, 177 mechanical rights, 363 low-end frequency, medium shot (MS), 232 low-frequency enhancement (LFE), 500 megabits per second (Mbps), 157 low midrange, compression, 521 megahertz (MHz), 109 low-pass filter, 177, 177 memory card, 147 Lt/Rt downmixing to stereo method, 503 memory recorder, 147, 147, 148, 149 MADI, 153, 153 magnetic film, 159, 159 magnetic induction, 74, 74–75, 75 makeup gain, 188 malleus, 18, 19 Mancina, Mark, 359 Mansell, Clint, 359 Marianelli, Dario, 356 melody, 347 message, voice acting, 217 metaphor, 322 meter, 126, 129–132 digital audio workstations, 132 LED, 130, 131 optimizing digital levels, 132 peak, 130, 130–132 peak program, 131–132, 132 volume-unit, 129–131 parabolic, 93, 93 plant (fixed), 237 polydirectional, 99, 99–101 pop filters, 85, 86 radio MNG, 268, 268–269, 269 recorders, 149 recording, 106–107, 107 ribbon, 74, 74–75, 75, 90 shock mounts, 85, 87 shotgun, 92–93 single-entry-port (single-D), 78, 78 SoundField, 103, 103–104, 104 sound quality, 215 sound response, 80–84 speech, 215–217 splitting, 285–286, 286 stereophonic, 100, 100–101 subcardioid, 77, 78 supercardioid, 77, 78 surround, 104, 105, 106, 106 system, 99–100, 100 television MNG, 273–274 transducer performance characteristics, 75–77 transducing elements, 74–75 tube, 75 ultracardioid, 77, 78 unidirectional, 77, 77 unidirectional (cardioid), 77, 77, 78 USB, 97–99 windscreens, 85, 86, 87 wireless See wireless microphone See also miking microphone mixer automatic, 286–287, 287 radio MNG, 270 microphone modeler, 85, 85 microphone preamplifier, 120–122, 123 microphone, voice-over, 219–220 mic-to-source distance speech, 216–217, 220 style versus, for vocals, 438–439 middle ear, 18, 19 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part I nde x middle-side (M-S) microphone, 101, 101, 278 television sports programs See sports programs, television middle-side (M-S) miking, 404–405 milking the audience, 264 middleware, 379 millisecond (ms), 26 MIDI time code (MTC), 163 mini-mic (miniature microphone), 91–92, 92, 260 proximity prone, 92, 234 transparent, 92, 234 midrange, 8–9, 521 mini plug, 158, 158 miking accent (off-miking), 407–408, 408 ambience, 408, 409 body, 234–237 close, 403–404 coincident (X-Y), 258, 404, 404–405 dialogue, 227–238 distant, 404–407 Foley recording, 335–336, 341 middle-side, 404–405 multicamera television, 259–260 multiple miking with different mounts, 238 music recording See music recording near-coincident, 405, 405 news and interview television programs, 259–260 orchestras, 443 panel and talk television programs, 260–265 perspective, 232 radio dramatizations, 255–258 radio sports programs, 304 single speakers in radio, 251–254, 252, 253 six principles, 403 spaced, 405, 405, 407 speech, 213–217 stand-up news reports, 277–278, 278 stereo-miking an ensemble, 407 string quartet, 443 surround-sound, direct/ ambient, 441, 444, 444–447 mini telephone plug, 134 MIDI (Musical Instrument Digital Interface)–based automation, 135 mise-en-scène, 394 mixdown See music mixdown mobile devices as controllers, 372, 373, 374, 374 recording and audio input, 369–370, 370–372, 372 mobile news gathering (MNG), 267–279 See also radio MNG; television MNG guidelines for submissions from the field, 272 preproduction, 276–277, 277 production, 277–279 transmission and mixminus, 279 mixer, 115–117, 116, 117, 234 mobile unit radio MNG, 272 television MNG, 276 mixer/recorder, 149, 151 modeling device, 435, 435 mixing, 482–492 See also premixing and rerecording digital disc, 487 editing related, 491 film, 487 layering versus, 488–491 maintaining aesthetic perspective, 483 metering, 491 mobile media, 534–537 multimedia, 488 music See music mixdown radio, 484–485 surround sound, 500–504 television, 485–487 modulation, 523 percentage of, 130 mixing desk See console mixing in context, 496 mix-minus, 279 mix switch, 126 mnemonic editing, 463 monitor controller, 65 monitor fader, 124–125 monitoring far-field, 60–61, 61 near-field, 61, 61–62, 62 with poor-quality loudspeakers, 52, 53 stereo, 59, 59–60, 60 surround sound, 62–64, 62–64 monitor loudspeaker See loudspeaker monitor section mixers, 116 production consoles, 126 monologue, interior, songs as, 352 mood influence on meaning, 213 music underscoring to evoke, 351 MNG See mobile news gathering (MNG) Moore, Roger, 226 mobile boom, 89 morphing, 184, 185 mobile media, mixing, 534–537 Morricone, Ennio, 347, 357 mobile media production, 368–374 See also laptop computer; smartphone; tablet computer apps, 368 blogs, 368 mount, microphone, 88, 88–91 Morris, John, 360 Mouth Sounds: How to Whistle, Pop, Boing, and Honk for All Occasions and Then Some (Newman), 329 583 movement, radio dramatizations, 256 moving-coil microphone, 74, 74 moving-fader automation, 135 Moving Pictures Experts Group (MPEG), 201, 203 MP4, 201–202 MPEG (Moving Pictures Experts Group), 201, 203 MPEG-2 AAC (Advanced Audio Coding), 201, 203 MPEG-2 layer technology, 201 MPEG-4 AAC with SBR (Spectral Bandwidth Replication), 201–202 MS (medium shot), 232 M-S (middle-side) microphone, 101, 101, 278 M-S (middle-side) miking, 404–405 ms (millisecond), 26 MTC (MIDI time code), 163 μ-law, 201 MultEQ, 65 multiband compressor, 188, 189 multicamera EFP, 282–288 field intercom systems, 283–285 portable mixing systems, 283, 284 remote survey, 282–283 speech and news conference production, 285–288 multicamera television, miking, 259–260 multichannel audio digital interface (MADI), 153, 153 multichannel (surround) microphone array, 445 multidirectional microphone, 99, 99–101 multieffects signal processor, 192–193, 193 multimedia, mixing, 488 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part 584 I nde x multimicrophone technique, radio, 256–257 multipath reception, 109, 110 multiple-entry-port microphone, 78, 78 multiple (mult), 134, 285, 286, 287 multitasking, 534 multitrack editor, 453 Murch, Walter, 306, 356 music dynamic range, 348 editing, 473–477 emotional characteristics and harmonic intervals, 348 harmony, 347–348, 348 keys, compatible or consonant, 475 layering, 490 melody, 347 placement, 355 premixing for television and film, 496 spatial imaging, 499, 523 style, 348–349 tempo, 348 voice-over background, 222 musical group, arranging for studio recording, 442 Musical Instrument Digital Interface (MIDI)–based automation, 135 musical instrument programs, customized, 362 musical instruments See also specific instruments and instrument types associations, 349, 349–350, 350 music library customized, 361–362 organizing, 366 production, 360–361 music mixdown, 403, 510–533 amateur mix characteristics, 511–512 compression, 520–522 delay, 522–523 electronic sounds, 523 equalization, 514–520, 515, 516 recordkeeping, 513–514 reverberation, 522 setting up, 512–513 signal processing, 514–523 spatial imaging, 523 stereo, 523–524, 525–527 successful mix characteristics, 511 surround sound, 524, 528–529, 530, 531, 532 music recording, 402–450 accent miking, 407–408, 408 acoustic string instruments, 417–426 ambience miking, 408, 409 brass, 418–430 close miking, 403–404 coincident miking, 404, 404–405 distant miking, 404–407 drums, 408–417 electric instruments, 431, 431–435 miking ensembles, 407, 440, 441–443 miking principles, 403 near-coincident miking, 405, 405 six principles of miking, 403 spaced miking, 405, 405, 407 surround sound, 440–441, 444–449 virtual instruments, 435, 435–436, 436 vocals, 436–440, 437 woodwinds, 426–428 music time, 163 music underscoring, 346–367 approaches, 356–360 commercial recordings, 365 composing music, 362 copyrights and licenses, 362–365, 363–365 creative considerations, 352–355 customized musical instrument programs, 362 customized music programs, 361–362 functions, 349–352 interactive media audio, 390–391, 398, 399 Internet, 365 musical instruments and their associations, 349, 349–350, 350 music characteristics, 347–349 production music libraries, 360–361, 366 sample CDs, 365–366 spot announcements, 352 musique concrète, 340 mute control, 126 mute function, 124 MXF (Material Exchange Framework), 170 NHK (Japanese Broadcasting Corporation) surround microphone technique, 445 NLE (nonlinear editor), 453 node map, 392 noise pink, 237 signal-to-noise ratio, 82, 211 studio design, 29–30, 31 system, 30 white, 237 noise absorption coefficient (NAC), 37 noise-canceling headphones, 69–70 noise-canceling microphone, 96 NAC (noise absorption coefficient), 37 noise criteria (NC), 30, 31 Nagra LB two-track recorder, 149 noise gate, 191, 191–192 naming files, 342, 461 narration contrapuntal, 223 direct, 223 indirect, 223 premixing for television and film, 495–496 production, 217 noise floor, 30 noise processor, 192 noise reduction, dialogue recording in the field, 244–245 noise suppression, 96 noise-up, 109 nondestructive editing, 456 nondiegetic sound, 320 narrative, interior, songs as, 352 nondirectional microphone, 77, 77 narrative sound, 320 nondiversity receiver, 110 nasal consonant, 462 non–drop frame, 165–166, 166 NC (noise criteria), 30, 31 near-coincident miking, 405, 405 nonlinear editing, 453 near-field monitoring, 61, 61–62, 62 nonlinearity, 54 nonlinear editor (NLE), 453 needle drop, 362–363 nonstreaming format, 202, 203, 204 Newman, Fred, 329 nonvolatile memory, 147 Newman, Thomas, 356, 359 normal connection, 133 news See also electronic field production (EFP); mobile news gathering (MNG) television, 259–260 normaling, 133 news conference See speeches and news conferences, production normalization, mixing for mobile media, 536–537 Norman, Monty, 358 North by Northwest, 358 notch filter, 177–178 null bandwidth, 506 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part I nde x Nyquist frequency, 143n organ of Corti, 18, 20 Nyquist, Harry, 143n original score, 354 Nyquist theorem, 144 ORTF microphone array, 406 oboe, 426, 428 octave, off-mic, 96 off-miking, 407–408, 408 Ogg, 202, 203 Ogg Vorbis, 202 ohm, 74, 116 OMF (Open Media Framework), 453 OMF and (Open Media Framework), 170 OMFI (Open Media Framework Exchange), 453 omnidirectional microphone, 77, 77 electric guitar, 433 miking vocals, 438 multiple sound sources, 262–263 speaking voice, 216 working distance, 81 omnidirectional polar pattern, 79 Omniffusor, 39 on-air broadcast console, 118–119, 119 oscillator, 126 ossicle, 18, 19 Ottman, John, 359 outer ear, 18, 19 Out of Africa, 358 out of phase, 14, 15, 16 output, camcorders, 275 output section, mixers, 116 oval window, 18, 19 overdubbing, 416–417 overhead cymbals, 410, 416, 519 overlapping, 323, 352 overload distortion, 54 overload indicator, 122 overload, microphones, 82 overroll, 279 oversampling, 144 Overtype command, 455 pace influence on meaning, 213 music underscoring to set, 351 setting, 322 The Pacific, 356 one-eighth sphere, 59 pad, 122 one-quarter sphere, 59 The Page Master, 329, 334 online collaboration, 204–205 paging systems, 284 on-mic, 77 Open Media Framework (OMF), 453 Open Media Framework (OMF and 2), 170 Open Media Framework Exchange (OMFI), 453 operating mode, consoles, 135–136 Optimod, 485 Orange Book standard, 155–156 orchestra miking, 443 signal delegation, 447 pain, threshold, 11 panel programs, radio, 254, 254–255, 255 panel programs, television, 259–265 audience response, 264–265, 265 controlling multiple sound sources, 261–263 microphone choice, 260–261 miking the audience, 262–264, 263–264 pan pot, 123, 123, 125 parabolic microphone, 93, 93 paradox, 322 paragraphic equalizer, 176, 177 585 patch bay (patch panel), 132–133 perspective, 3–4 aesthetic, maintaining when mixing, 483 boom microphone, 232–234, 233, 234 layering, 490–491 loudness contrasted, 232 matching, 472 miking single speakers in radio, 253–254 radio dramatizations, 256, 257, 258, 259 sound, 320 spatial imaging of stereo, 498 patch cord, 133, 133 perspective miking, 232 patching, 132–134, 133 computer, 134 guidelines, 134 plugs, 133, 134, 134 PFL (prefader listen), 124, 125 parametric equalizer, 175, 176 parameters, complex interactivity, 386 party effect, 483 passive crossover network, 50, 50 passive loudspeaker, 49 Paste command, 455 PCM (pulse-code modulation), 18 PCMCIA (Personal Computer Memory Card International Association) card, 147 peak indicator, 122 phantom power, 74, 120 phase, acoustics in speech studio, 214, 215 phase coherence switch, 126 phase reversal, 122 phase shift, 214 phase shifter, 184 phasing, 184, 184 phon, 13 peak meter, 130, 130–132 phoneme, 461–463, 462, 463 peak program meter (PPM), 131–132, 132 phone plug, 158, 158 peak/RMS mode, 188 piano, 423–426 characteristics, 423 equalizing, 518, 520 miking, 423, 423–426, 426 virtual, 435 peer-to-peer configuration, 169 perambulator boom, 89, 227–228 percentage of modulation, 130 perception, elements of sound, 310–311 phono (RCA) plug, 158, 158 PianoMic system, 424 piccolo, 427 picture See video pink noise, 237 The Perfect Storm, 358 pinna, 18, 19 performer comfort, 221 pinning, 130 performing rights, 363 pitch, 8–9, 310 periscope microphone mount, 91 pitch shifting, 184–186, 185, 186 permanent threshold shift, 21 placement of loudspeakers, 58, 58–64, 59 Personal Computer Memory Card International Association (PCMCIA) card, 147 plain old telephone service (POTS), 271 plant microphone, 237 plasma display, 131, 131, 132 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part 586 I nde x plate reverberation, 179–180, 180, 181 Portman, Rachel, 357 platform, interactive media audio development, 382 postfader, 124 playbar, 454 play cursor, 454 player, 204 play head, 454 playing speed, prerecorded sound effects, 327–328 plosive, 220, 462 plucked string instrument, 417–419 characteristics, 417 miking, 417–419, 418, 419 plug-ins, 173 format compatibility, 194 signal processors, 173, 193–194 stand-alone signal processors versus, 173–174 post-delay, 522–523 postfader cue, 124 postproduction editing See editing interactive media audio, 393 mixing See mixing; music mixdown; premixing and rerecording POTS (plain old telephone service), 271 power supply, wireless microphones, 112 PPM (peak program meter), 131–132, 132 mobile news gathering, 276–277, 277 planning for dialogue recording in the field, 238–240 prerecorded material dialogue recording in the field, 239 voice collections, 218, 219 prerecorded sound effects, 324–328 advantages, 324, 325, 326 disadvantages, 326–327 manipulating, 327–328 playing backward, 328 sampling frequency, 328 prereverb delay, 183 predelay, 181, 522 presence, 464 See also ambience microphone choice for speech, 215 reverberation, 182 pre-emphasis, 112, 484 presence range, prefader, 124 presidential patch, 286, 287 prefader cue, 124 press bridge, 285, 286, 287 podcast, 118 prefader listen (PFL), 124, 125 press mult box, 286, 287 podcasting, 205–207 premix, 493 Primacoustic FlexiFuser, 42 podcatcher, 207 premixed track, 482 primary frequency, polarity acoustics in speech studio, 214–215 loudspeakers, 57–58, 58 premixing and rerecording, 120, 493–509, 494 CALM Act, 504–505, 505 dialnorm, 504, 504 dynamic range control, 505, 506 mixing for surround sound, 500–504 premixing for television and film, 493, 495–496 rerecording logs, 505, 506 rerecording mix, 496–497 spatial imaging of stereo, 497–499 spatial imaging of surround sound, 499–500 stereo-to-mono compatibility, 507, 507–508 surround-to-stereo compatibility, 508, 508 produced sound effects, 324 plug, patch cords, 133, 134, 134 plugs See connectors polarity reversal, 122 polar response diagram, 78–80, 79–81 polar response, loudspeakers, 54, 55–57, 56 polar response pattern, 77 pole vault, miking, 299 polydirectional microphone, 99, 99–101 polyrhythm, 523 pommel horse, miking, 300 pop filter, microphones, 85, 86 popping, 438, 438 porous absorbers, 37, 37 portable mixing system, 283, 284 portable sound filter, 439 A Prairie Home Companion, 329 precedence effect, 26 preproduction interactive media audio, 381–382 production console, 120–126, 121 input section, 120–125, 122, 123, 125 master section, 125, 125–126 monitor section, 126 production meeting, 283 production music library, 360–361 advantages, 360, 361 disadvantages, 360–361 production recording, 225 production schedule, 283 production sound effects, 336–337 production source music, 347 production value, program material, matching acoustics/ psychoacoustics, 28–29, 28–30 programming team, interactive media audio, 381 program sound receiver, 284 progressive download format, 204 project studio, 39–40, 42–44, 44 promo, 352 proof-of-concept, interactive media audio, 381–382 props, dialogue recording, 245 proximity effect, 83, 83–84, 84 proximity-prone mini-mic, 92, 234 Psycho, 358 psychoacoustic processor, 178 psychoacoustics See acoustics/ psychoacoustics public-address pickup, 285 pulse-code modulation (PCM), 18 pure tone, 16 Q (quality factor), 175 quadratic residue diffuser, 35 quantization, 145, 146, 147 quantizing noise, 145n ¼-inch phone plug, 134 radio dramatizations See dramatization, radio HD Radio, 485 interviews, 254, 254–255, 255 mixing, 484–485 panel programs, 254, 254–255, 255 pre-emphasis, 484 small-scale EFP, 280 sports programs, 304 studio production See studio production in radio radio frequency (RF), 109 interference, 121 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part I nde x radio mic See wireless microphone radio MNG, 268–272 headphones, 270–271, 271 microphone mixers, 270 microphones, 268, 268–269, 269 mobile units, 272 recorders, 269, 269–270, 270 transmission, 271–272, 272 radio studio, 28 Rahman, A R., 359 Raiders of the Lost Ark, 338 rarefaction, 7, rate, phasing, 184 RCA/phono plug, 158, 158 reach, 80 read mode, consoles, 136 RealAudio, 201 reality programs, dialogue recording in the field, 243–244 recording See also premixing and rerecording analog, 142–143, 143 dialogue See dialogue recording; dialogue recording in the field digital See digital recording Foley, 329 in-camera, 158 in-studio, 158 long-distance, 154, 155, 155 music See music recording voice-overs, 219–223 repetitive measures in music, 474 reverse-angle audio, 302 repetitive strain (stress) injury (RSI), 45 rewritable CD (CD-RW), 156 recording engineer, interactive media audio, 381 reverb, accented, 522 recording microphone, 106–107, 107 recording support specialist, interactive media audio, 381 receiver diversity, 109 recording systems, 145–155 digital audio workstations, 151 hard-disk recorders, 149 memory recorders, 147 recorder/interface/ controller, 151 smartphone and tablet recorder apps, 151 receiver switching diversity, 110, 111 recordkeeping, music mixdown, 513–514 receiver, wireless microphones, 108 record-level control, 275 recordable compact disc (CD-R), 155–156 Red Book standard, 156 real time, 163 real-time analyzer (RTA), 65, 66 receiver combining diversity, 110, 111 recorder hard-disk, 149, 150 memory, 147, 147, 148, 149 mixer/recorders, 149, 151 radio MNG, 269, 269–270, 270 recorder/interface/ controller, 151, 152 smartphone, 151 storage capacity, 149, 151 tablet, 151 587 recovery time, 188 redundant mono microphone mount, 91 reflected sound, 26 reflection, vocals, 438, 439 regeneration, 182, 523 rehearsing, dialogue recording in the field, 240 release, 17, 17–18 release time, 188, 521 remote, 267 reverse reverb, 181 Replace command, 455 RF (radio frequency), 109 interference, 121 Requiem for a Dream, 359 rhythm, 310 rerecording, 482 See also premixing and rerecording rhythm instruments, compression, 521 rerecording log, 505–506 rerecording mix, 493 resolution, 145, 474 resonance, 32–33, 33, 34 reverb chamber, 179 reverb density, 181 reverberant sound, 27, 27 reverberant studio, 28 reverberation, 27, 27, 178–182 acoustic chamber, 180 ambience, 182 choosing a reverb system, 182 common effects, 181–182 convolution, 180–181, 181 digital, 170, 178–180 echo related, 27–28 gated, 181 hall, 178 matching acoustics to program material, 28–29 mixing for surround sound, 528 music mixdown, 522 plate, 179–180, 180, 181 reverb (echo) chamber, 179 reverse, 181 room, 178–179 signal processing, 522 surround-sound mixing, 528 surround-sound mix of a vocal, 531 typical times, performance spaces, 29 ribbon microphone, 74, 74–75, 75, 90 bowed string instruments, 421 electric guitar, 432 radio dramatizations, 256 richness, microphone choice for speech, 215 ride cymbals, 410 “The Ride of the Valkyries” (Wagner), 356 ride pattern, 410 riding the gain, 130 ring, miking, 300 ring-off, 469–470 ripping, 342 ritardando, 348 RMS (root mean square), 188 Robinson-Dadson curve, 12, 12 RoboBoom, 88 rock mix, 525 room acoustics, 36–38 room correction system controller, 65, 67 room dimensions, 32–34, 33, 34 room mode, 33 room reverberation, 178–179 room shape, 34, 35, 36, 36 room tone, 28, 464 See also ambience reverberation, 182 root mean square (RMS), 188 reverberation plate, 179–180, 180, 181 Rota, Nino, 357 RPU (remote pickup), 280 recorder/interface/controller, 151, 152 remote pickup (RPU), 280 remote survey, 282–283 reverberation time, 27, 180, 181–182 recorder select switch, 126 remote truck, 281, 282 reverb send, 124 rotary encoder, 138 RSI (repetitive strain [stress]) injury, 45 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part 588 I nde x RSS feed, 206–207 segued music, 352 RTA (real-time analyzer), 65, 66 selecting a loudspeaker, 51–58 SaaS See Software as a Service (SaaS); Storage as a Service (SaaS) SAAS (Stereo Ambient Sampling System) stereo boundary mic, 95 SAC (sound absorption coefficient), 37 self-noise, 82 semantics, equalization, 516–517, 518 semicircular canals, 18 semiconsonant, 462 semitone, 192 send switch, 126 spectrum, 173, 174–178 stand-alone versus plug-in, 173–174 time processors See time processor signal-to-noise ratio (S/N), 82, 211 silence, 323 Silence of the Lambs, 359 silent film, 158 silicon insert earplugs, 22 sample CD, music, 365–366 sensitivity loudspeakers, 54 microphones, 82 sample clock, 163 sequencer, 340 samplefile, 340–341 server, 153, 155, 197 sampler, 340 Seven, 359 sampling, 143–144, 144, 340–341 7.1 surround sound, 52, 64 single-microphone technique, radio, 255–256 SFX See sound effects (SFX) single-system recording, 272 sampling frequency (sampling rate), 143 memory recorders, 147 prerecorded sound effects, 328 sound quality, 200 Shaiman, Marc, 356 Siracusa, Joe, 329 shared system resources, 379, 379 Six Feet Under, 354 safe mode, consoles, 136 SAN (storage area network), 153, 155 satellite news gathering, 267 Save command, 514 Saving Private Ryan, 359 saxophone, 426, 428, 521 scale, spatial imaging of stereo, 497 shock mount, microphones, 85, 87 slap back echo, 183 Shore, Howard, 359 short-form voice-over material, 217 shotgun microphone, 92–93 shuttling, 454 sibilance, 220, 438, 438 sidechaining, 188–189 Scarlet Book standard, 156n signal delegation, orchestra, 447 Schwartz, Tony, 463 screen plane, breaking, 320 script analysis, 313–316 scrubbing, 454 SCSI, 153, 153 SDDS (Sony Dynamic Digital Sound), 159 Secure Digital (SD) memory card, 147 segue, 323, 478 single-entry-port microphone, 78, 78 60 percent/60-minute rule, 69 sidechain input, 191 Schoeps surround microphone system, 104, 106, 106 single-D microphone, 78, 78 shelving, 174, 174 scaling, 455 Schifrin, Lalo, 357 sine wave, 16 signal processing dialogue recording in the field, 241–242 music mixdown, 514–523 prerecorded sound effects, 328 speaking voice, 220–221 signal processor, 172–195 categories, 172–173 dynamic (amplitude), 173, 186–192 effects-happy, 172 multieffects, 192–193, 193 noise, 173, 192 plug-ins, 173, 193–194 slate, 166, 166–167 slate feature, 126 sliding window, 200 slipping, 455 Slumdog Millionaire, 359 Small Computer Systems Interface (SCSI), 153 small-scale EFP, 280 SmartMedia, 147 smartphone See also mobile media production recorder apps, 151 recording, 370, 371, 372 smartphone connector, 272 SmartSound Sonicfire Pro, 362 SMPTE time code, 162–163 snapping, 455 soft cut, 479 soft knee compression, 187 soft sound effects, 324, 460 Software as a Service (SaaS), 198–199 software-controlled automation, 135 solo, 125 solo control, 124 Solti, Georg, 356 Sony Dynamic Digital Sound (SDDS), 159 Sony/Philips Digital Interface (S/PDIF), 153 The Sopranos, 354 sound acoustical phase, 14, 15, 16, 16 amplitude and loudness, 9, 9–11 analog, 18 digital, 18 electrical form, 116–117, 117 evaluating finished product, frequency and loudness, 11–13 frequency and pitch, 7–9 importance in production, 2–3 multiple sources, controlling, 261–263 production, shape or envelope, 17, 17–18 stereo See stereo sound surround See surround sound timbre, 16–17, 17 unwanted, dialogue recording in the field, 239 velocity, 14 wavelength, 14, 14 snapshot control, 135 sound absorption coefficient (SAC), 37 snapshot memory, 118 soundbar, 486 snare drum, 409, 414–415, 415, 518, 519 sound card, 153, 380 S/N (signal-to-noise ratio), 82, 211 sound cue, interactive media audio, 388 sound chain, 48 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part I nde x sound design, 306–318 action drama, 316–317 analytical listening, 307–308 animation, 317–318 cinéma vérité documentary, 317 critical listening, 308–309 “ears,” 307 functions of sound in relation to picture, 311–312 influence on meaning, 314–316 mobile media and quality, 309–310 script analysis, 313–316 sound designers, 306–307 sound elements and their effects on perception, 310–311 spot announcements, 316 strategies, 312–318 visual ear, 311 sound designer, 306–307, 381 Sound Devices 788T recorder, 150 sound editor, dialogue recording, 245 sound effects (SFX), 319–345 ambience, 324 building, 471–472 contextual sound (diegetic), 319–320 design, 324, 460 dialogue recording in the field, 244 electronic, 324 electronically generated See electronically generated sound effects Foley See Foley sound effects functions, 320–323 hard (cut), 324, 460 interactive media audio, 388–390, 389, 390, 394–395, 395 library, organizing, 341–343 live See Foley sound effects; live sound effects moving, 394–395, 395 naming files, 342, 342–343 narrative sound (descriptive), 320 premixing for television and film, 496 prerecorded See prerecorded sound effects producing, 324 production, 336–337 soft, 324, 460 spatial imaging of stereo, 499 spotting, 343–344 transient, 394 types, 324 voice-over background, 222 sound engineer, interactive media audio, 381 sound envelope, 17, 17–18 SoundField microphone, 103, 103–104, 104 soundfile, 152, 453 sound film, 158–159 sound frequency spectrum, sound isolation, 30–32, 32 sound library, interactive media audio, 383–384 sound mixer, 226 sound perspective, 320 sound-pressure level (dB-SPL), 10, 11 maximum, microphones, 82 maximum daily exposure, 23 sound quality prerecorded sound effects, 327 wireless microphones, 112 sound response, microphones, 80–84 soundscape, 307 sound transmission class (STC), 31–32 soundwalk, 307, 338 sound wave, 6–7, source music, 347 source quality, space defining, 320–321 miking single speakers in radio, 253–254 spaced miking, 405, 405, 407 spatial balance, 3–4 spatial hearing, 25–26 spatial imaging music, 523 stereo, 497–499 surround sound, 499–500 S/PDIF, 153, 153 speaker select switch, 126 speaking voice, 210–217 frequency range, 210–211, 211 miking, 213–217 nonverbal speech influences on meaning, 212–213 sound level, 211 spectral content distribution, 211, 212 speech miking, 185–188 See also speech miking 589 speech miking, 185–188 directional patterns, 187 mic-to-source distance, 188 microphones, 187 phase and polarity, 185 sound quality, 187 speech studio acoustics, 185 speech patterns, 212–213 Speed, 359 speed-up pitch-shifting, 185 Spielberg, Steven, 336 split-band compressor, 188, 189 split editing, 465, 466 split-track recording, 278–279 spectral content distribution of speech, 211, 212 sports field production, 288–304 auto racing, 297 baseball, 291 basketball, 293 bowling, 301 boxing, 298 crowd sound, 257–272 football, 292 golf, 296 ice hockey, 294 radio sports, 272–275 tennis, 295 track and field/gymnastics, 299–300 spectrum analyzer, 65 sportsizing, 301 spectrum editing, 454, 454 sports programs, radio, 304 miking, 304 special effects, altering audio in transferring for, 170 special-effects tech, 245 spectrum processor, 173, 174–178 equalizers, 174, 174–176 filters, 176–178 psychoacoustic, 178 speech, editing, 461–467 speeches and news conferences, production, 285–288 automatic microphone mixers, 286–287, 287 multiple pickups, 286, 287 precautions, 287–288 public-address pickups, 285 setting up microphones, 285, 285 splitting microphones, 285–286, 286 sports programs, television, 288–304 action, 290, 291–301 announcers, 288, 289 bands, 290 crowd sound, 288–289 mixing elements, 290, 301 players, 290 stereo sound, 301–302, 302, 303 surround sound, 302–304 spot announcement, 316, 352 spotting, 313, 343–344, 354–355, 455 spotting sheet, 343 spread-spectrum wireless microphone system, 109 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part 590 I nde x squelch, 112 streaming transfer, 169 standard television (STV), frequency response, 485 string instruments bowed, 419–422, 432 compression, 522 plucked, 417–419 standing wave, 180 stapes, 18, 19 Star Trek Insurrection, 334 Star Wars, 333 STC (sound transmission class), 31–32 St Elmo’s Fire, 334 stereocilia, 18, 20 stereo localization, 407 stereo microphone mount, 91 stereo microphone technique, radio, 257–258 stereo miking distant, 404–407 ensembles, 407 See also music recording; sports programs, television stereophonic microphone, 100, 100–101 stereo shotgun microphone, 100, 100–101 stereo sound, 26 audience reaction, 265 downmixing to, 503–504, 528–529 monitoring, 59, 59–60, 60 music mixdown, 523–524, 525–527 spatial imaging, 497–499 television sports programs, 301–302, 302 stereo-to-mono compatibility, 507, 507–508 Stevens, Michael, 358 stick, 166, 166–167 stochastic process, 376 stop consonant, 462 stop frequency, 174 string quartet, miking, 443 stripe coat, 159, 159 studio design, 29–38 noise, 29–30, 31 room acoustics, 36–38 room dimensions, 32–34, 33, 34 room shape, 34, 35, 36, 36 sound isolation, 30–32, 32 studio production in radio, 251–258 dramatizations, 255–258 interview and panel setups, 254, 254–255, 255 miking single speakers, 251–254, 252, 253 studio production in television, 258–265 multicamera, 258–259 news and interview programs, 259–260 panel and talk programs, 260–265 STV (standard television), frequency response, 485 style editing music, 476–477 music, 348–349 music underscoring, 353 subcardioid microphone, 77, 78 subtractive equalization, 515, 515 subwoofer, 62, 500 surround-sound microphone system adjustable, for small ensembles, 446 drums, 448 jazz combos, 449 surround-sound miking direct, 448, 449, 449 direct/ambient, 441, 444, 444–447 television sports programs, 291, 292, 294, 295, 298, 302–304 See also music recording surround-sound technique, radio, 258 surround-to-stereo compatibility, 508, 508 sustain, 17, 17–18 sweetening, 493 sweet spot, 59, 60 synchronization, 162–167 delay to tempo, 523 dialogue to picture, 470, 471 digital equipment, 163–165 frame rates, 165–166 sound and picture in film, 166–167 time codes, 162–163, 166, 166–167 supercardioid microphone, 77, 78 synchronization rights, 363 supercardioid polar pattern, 79 synesthesia, 311 supra-aural headphones, 69 storage area network (SAN), 153, 155 surround channels, mixing for surround sound, 500–504, 528 Storage as a Service (SaaS), 198 surround microphone, 104, 105, 106, 106 storage capacity, recorders, 149, 151 surround sound, 26 audience reaction, 265 mixing, 500–504 streaming, 202 monitoring, 62–64, 62–64 music mixdown, 524, 528–529 music recording, 440–441, 444–449 television sports programs, 302–304, 303 spatial imaging, 499–500 Synclavier, 334 synthesized sound effects, 339, 339–340 synthesizer, 339, 521 system microphone, 99–100, 100 system noise, 30 system resources, interactive media audio, 378–381, 379 tablet computer See also mobile media production controller, 372, 373, 374 recorder apps, 151 recording, 370, 371 television MNG, 275–276 tail synchronization point, 167 talkback, 126 talk programs, television, 260–265 audience response, 264–265, 265 controlling multiple sound sources, 261–263 microphone choice, 260–261 miking the audience, 262–264, 263–264 Tascam DR-07mkII recorder, 148 Taxi Driver, 358 telco drop, 280 television digital, 486n high-definition, 157, 485–486 mixing, 485–487 multicamera EFP See multicamera EFP panel programs See panel programs, television small-scale EFP, 280 sports programs See sports programs, television standard, frequency response, 485 studio production See studio production in television talk programs See talk programs, television television MNG, 272–276 camcorder audio inputs, outputs, and controls, 274–275, 275 camcorders, 272–273, 273 computer tablets, 275–276 microphones, 273–274 transmission and mobile units, 276 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part I nde x tempo, 310, 348 preserving when editing, 474 synchronizing delay to, 523 temporal fusion, 26 temporary threshold shift (TTS), 21 10.2 surround sound, 64, 64 The Ten Commandments, 359 tennis, miking, 295 testing team, interactive media audio, 381 texture, 348 editing music, 476–477 THD (total harmonic distortion), 54, 82 The Thin Red Line, 359 Thom, Randy, 311 three-to-one rule, 214 three-way system loudspeaker, 49 threshold, 521 echo, 26 feeling, 11 hearing, 11 pain, 11 choosing reverberation system, 182 convolution reverberation, 180–181, 181 delay, 182–183, 183 digital reverberation, 178–180, 179 flanging, 183, 184 morphing, 184, 185 phasing, 184, 184 pitch shifting, 184, 185 plate reverberation, 179–180, 180, 181 reverberation, 178–182 time compression/ expansion, 185–186, 186 time signature, 474 timing, prerecorded sound effects, 326 tinnitus, 21 tiny telephone plug, 134 TL (transmission loss), 31 To Die For, 359 tom-tom, 409, 414, 414, 518, 519 transition editing, 477–480 music underscoring to unify, 352 unifying, sound effects, 323 transmission radio MNG, 271–272, 272 small-scale EFP, 280 television MNG, 276 591 ultra-high frequency (UHF), 109 ultrasonic frequency, unbalanced audio cable, 134, 134 unbalanced line cable, 85 underscore music, 347 underscoring See music underscoring transmission loss (TL), 31 underwater mic, 107, 107 transmission range, wireless microphones, 109, 110 Undo/Redo command, 455 transmission system, wireless microphones, 109 transmitter mic See wireless microphone transmitter, wireless microphones, 107, 108 unidirectional microphone, 77, 77 unidirectional polar pattern, 79 uniform resource identifier (URI), 207n transparent mini-mic, 92, 234 uniform resource locator (URL), 207n transparent sound, 144 unity gain, 188, 536 transposing, 185 Universal Serial Bus (USB), 97–98 treble, tremolo, 348, 432 unusable dialogue, 470 tonal balance, trim, 122 tone, music underscoring, 353 Trim command, 455 unwanted sound, dialogue recording in the field, 239 trombone, 429, 429 upbeat, 474 threshold shift, hearing loss, 21 total harmonic distortion (THD), 54, 82 trumpet, 429, 429 upcut, 261 track and field, miking, 299 update mode, consoles, 136 thumb drive, 147 TTS (temporary threshold shift), 21 Thunderbolt, 153, 153 track assignment, mixing for surround sound, 501, 501 Thunderbolt transfer, 169 tie line, 134 tight board, 485 timbre, 16–17, 17 sound design, 310 vocals, 437 time code address, 163 time code synchronization, 162–163, 166, 166–167 time compression/expansion, 455–456 time display, 456 time, music underscoring to fix, 351 time processor, 173, 178–186 acoustic chamber reverberation, 180 Track Grouping command, 456 track sheet, 513 transducer, 49 See also loudspeaker performance characteristics, 75–77 transducing element, microphones, 74–75 transfer, 167–170 analog-to-analog, 167, 167 analog-to-digital, 167–168 digital-to-digital, 168–169, 169, 170 transient, 76, 335 transient distortion, 54 tuba, 429, 429, 430 tube microphone, 75 tune, 347 turnover frequency, 174 tweeter, 49, 52 upmixing, 500 upper bass, upper midrange, 8–9, 521 URI (uniform resource identifier), 207n 24p, 165 URL (uniform resource locator), 207n 2-pop, 167 USB, 153, 153 two-track editor, 453 USB 2.0/USB 3.0, transfers, 169 two-way system loudspeaker, 49 USB microphone, 97–99 tympanum, 18, 19 USB microphone converter, 98, 98 UHF (ultra-high frequency), 109 user playback, interactive media audio, 399–400 ultracardioid microphone, 77, 78 utility person, 226 ultracardioid polar pattern, 79 Valkyrie, 359 variable bit rate (VBR), 202 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part 592 I nde x variable capacitance, 75, 75 variable companding, 112, 113 variable-D microphone, 78, 78 VBR (variable bit rate), 202 VCA (voltage-controlled amplifier), 135 velocity, 14 versatility, microphone choice for speech, 215 vertical comping, 476 very high frequency (VHF), 109 vibrato, 348, 432 video layering sound with, 488–490 recording audio for, 158 sound functions in relation to picture, 311–312 video games, 375 See also interactive media audio video-leading-audio edit, 479, 479–480 viola, 420, 421, 422 violin, 420, 421, 422 virtual console, 118, 128, 129 virtual drums, 436 virtual harmony, 439 virtual instruments, 435, 435–436, 436 equalizing, 520 isolating the vocalist, 439, 439 mic-to-source distance versus style, 438–439 miking, 436–440, 437 reflections, 438, 439 surround-sound mix, 531 timbre, 437 virtual harmony, 439 vocoder, 192 voice acting, 217–219 audience, 217 character, 218 message, 217 narration, 223 prerecorded voice collections, 218, 219 recording, 219 voice quality, 217 word values, 218 voice-over (VO), 217 automating, 218–219 background, 222 recording, 219–223 vocally produced sound effects, 329 vocals acoustics, 438 backup harmony, 439–440 breathing, popping, and sibilance, 438, 438 choirs, 440, 440 compression, 521, 522 dynamic range, 437–438 warmth, 28 watt (W), 52 waveform, 16 editing, 453–455, 453–456 Waveform Audio Format (WAV), 341 Waveform Audio Format (WAV) file, 168, 169, 203 wavelength, 14, 14 WAV (Waveform Audio Format), 341 WAV (Waveform Audio Format) file, 168, 169, 203 Wayne, John, 330 web feed, 206n weighting network, 13, 13 whip antennas, 110 voice quality, 217 White Book standard, 156n VoIP (Voice over Internet Protocol), 98, 197, 268 white noise, 237 voltage-controlled amplifier (VCA), 135 volume indicator, 130 vocal processor, 520, 520 wardrobe, dialogue recording, 245 voice processor, 192–193 Virtual Reference Monitoring (VRM), 52, 53, 271, 484 VO See voice-over (VO) War Horse, 333 Welker, Frank, 329 virtual piano, 435 visual ear, 311 WAN (wide area network), 197 Voice over Internet Protocol (VoIP), 98, 197, 268 voltage-controlled automation, 135 virtual track, 152 WALL-E, 333, 359–360 wet sound, 178 wide-angle cardioid microphone, 77, 78 wide area network (WAN), 197 width-versus-movement approach, 302, 302 volume-unit (VU) meter, 129–131 Wi-Fi, 271 Vorsis AirAura, 485 Williams five cardioid (surround) mic array, 445 VRM (Virtual Reference Monitoring), 52, 53, 271, 484 VU (volume-unit) meter, 129–131 W (watt), 52 Wagner, Richard, 356 walkie-talkie, multicamera EFP, 285 walla, 248, 320 wild time code, 168 Williams, John, 358 WiMAX connection, 271 windscreen, microphone, 85, 86, 87 wireless fidelity (Wi-Fi), 268 wireless microphone, 107, 107–113 antennae, 108 audio circuitry, 112, 113 basic architectures, 108 body miking, 234–237 diversity reception, 109–110, 111, 112 frequency assignment and use, 109 microphones, 108, 108 power supply, 112 receivers, 108 sound quality, 112 transmission range, 109, 110 transmission systems, 109 transmitters, 107, 108 WMA, 203 woodwinds, 426–428 characteristics, 426 miking, 426–428, 427, 428 woofer, 49, 52 word, changing in editing speech, 466–467 word clock, 163 word length, 145, 200 word value, voice acting, 218 work surface, 128–129, 136, 136, 137, 138, 139 The World Is Flat (Friedman), 205 worldizing, 339 Woszcyk surround microphone technique, 445 write mode, console, 135–136 XLR connector, 87–88, 88, 158 X-Y miking, 258, 404, 404–405 Yellow Book standard, 156n Young Frankenstein, 360 zero crossing, 458 Zimmer, Hans, 357, 359 Zoom H2n recorder, 148 Zoom R16 recorder/interface/ controller, 152 zooming, 455 Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part First octave Frequency 20 (Hz) Second octave 40 Third octave 80 Fourth octave 160 Power Fifth octave 320 Sixth octave 640 Seventh octave 1,280 2,560 R h yt h m 125 5,120 Tinny sound 250 Tenth octave 10,240 20,480 B ri l l i anc e sound Full sound 62 Ninth octave P re s e nc e Hornlike Frequency (Hz) Eighth octave 500 1,000 Sibilant sound 2,000 Bright sound 4,000 8,000 16,000 Muddy Thick Punchy bass Impact Slam Aural characteristics as frequencies are boosted + Presence Full extended bottom Edgy Warm Solidity Harsh Boxy Boomy Sibilant Fat bass Sweet Nasal Bass Bright – Airy Midrange Treble Dull Thin Aural characteristics as frequencies are attentuated Extended top Sweet Warm Copyright 2013 Cengage Learning All Rights Reserved May not be copied, scanned, or duplicated, in whole or in part