Recording and producing audio for media

Tai Lieu Chat Luong RECORDING AND PRODUCING AUDIO FOR MEDIA Stanley R Alten Course Technology PTR A part of Cengage Learning Australia, Brazil, Japan, Korea, Mexico, Singapore, Spain, United Kingdom, United States Recording and Producing Audio for Media Stanley R Alten Senior Publisher: Lyn Uhl Publisher: Michael Rosenberg Associate Director of Marketing: Sarah Panella Manager of Editorial Services: Heather Talbot Marketing Manager: Mark Hughes Media Editor: Jessica Badiner © 2012 Course Technology, a part of 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 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 cengage.com/permissions Further permissions questions can be emailed to permissionrequest@cengage.com All trademarks are the property of their respective owners Development Editor: Laurie K Dobson All images © Cengage Learning unless otherwise noted Project Editors: Mark Garvey and Karen A Gill Library of Congress Control Number: 2011933249 Assistant Editor: Jillian D’Urso Editorial Assistant: Erin Pass Interior Layout Tech: Bill Hartman Cover Designer: Luke Fletcher Indexer: Kelly Talbot Editing Services Proofreader: Kelly Talbot Editing Services ISBN-13: 978-1-4354-6065-2 ISBN-10: 1-4354-6065-0 eISBN-10: 1-4354-6066-9 Course Technology, a part of Cengage Learning 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 lifelong learning solutions, visit courseptr.com Visit our corporate website at cengage.com Printed in the United States of America 15 14 13 12 11 For Claudette iv Recording and Producing Audio for Media CONTENTS Preface xii Acknowledgments xv PART I: PRINCIPLES Chapter Sound and Hearing The Importance of Sound in Production The Sound Wave .4 Frequency and Pitch Amplitude and Loudness .7 Frequency and Loudness Velocity 12 Wavelength 12 Acoustical Phase 13 Timbre 15 Sound Envelope 16 The Healthy Ear 16 Hearing Loss 18 Main Points 23 Chapter Acoustics and Psychoacoustics .25 Spatial Hearing .25 Direct, Early, and Reverberant Sound 27 Matching Acoustics to Program Material 28 Studio Design 31 Control Room Design 44 Ergonomics 44 Main Points 46 Contents v PART II: TECHNOLOGY Chapter Loudspeakers and Monitoring .51 Types of Loudspeakers 51 Loudspeaker Powering Systems 52 Selecting a Monitor Loudspeaker 54 Monitor Placement 61 Calibrating a Loudspeaker System 68 Evaluating the Monitor Loudspeaker 71 Headphones 73 Main Points 76 Chapter Microphones 79 Operating Principles 79 General Transducer Performance Characteristics 83 Directional Characteristics 84 Sound Response 88 Microphone Modeler 93 Special-Purpose Microphones 93 Wireless Microphone System .112 Microphone Accessories 117 Microphone Care 124 Main Points .125 Chapter Consoles and Control Surfaces 129 Analog and Digital Consoles .129 On-Air Broadcast Consoles 130 Production Consoles 132 Channel Strips .144 Patching 145 Console Automation 147 Digital Consoles 150 Control Surfaces 152 Main Points .157 vi Recording and Producing Audio for Media Chapter Recording 161 Digital Audio 162 Technologies and Formats 167 Tapeless Recording Systems 168 Removable-Media Recording Systems .168 Digital Audio Workstations .179 Digital Audio Networking 181 Digital Audio on Digital Videotape .183 Audio on Film .184 Main Points .185 Chapter Synchronization and Transfers 189 Time Codes 189 Synchronizing Digital Equipment 190 Frame Rates 192 Synchronizing Sound and Picture in Film 194 Transfers .195 Main Points .199 Chapter Signal Processors 201 Plug-Ins .201 Stand-Alone Signal Processors Versus Plug-Ins 202 Spectrum Processors 202 Time Processors 207 Amplitude Processors 214 Noise Processors 222 Multieffects Signal Processors .223 Other Types of Plug-Ins .224 Format Compatibility of Plug-Ins 224 Main Points .224 Contents vii PART III: PRODUCTION Chapter Sound and the Speaking Voice .229 Frequency Range 229 Sound Level .230 Distribution of Spectral Content 230 Influences of Nonverbal Speech on Meaning 230 Basic Considerations in Miking Speech .233 Main Points .237 Chapter 10 Voice-Overs and Narration 239 Voice Acting 239 Recording Voice-Overs 243 Narration 248 Main Points .249 Chapter 11 Dialogue 251 Recording Dialogue in Multi- and Single-Camera Production 251 Recording Dialogue in the Field 266 How Directors Can Help the Audio Crew 275 Production Recording and the Sound Editor .276 Automated Dialogue Replacement 276 Main Points .282 Chapter 12 Studio Production: Radio and Television .285 Miking the Single Speaker in Radio 285 Radio Interview and Panel Setups .288 Radio Dramatizations 290 Miking Speech for Multicamera Television 295 News and Interview Programs 296 Panel and Talk Programs 296 Main Points .303 viii Recording and Producing Audio for Media Chapter 13 Field Production: News and Sports 305 Electronic News Gathering 305 Electronic Field Production 320 Multicamera EFP 323 Production of Sports Programs 330 Main Points .350 Chapter 14 Sound Design .353 Sound Design and the Sound Designer 353 “Ears” 354 Elements of Sound Structure and Their Effects on Perception 358 The Visual Ear 359 Functions of Sound in Relation to Picture 360 Strategies in Designing Sound .362 Designing Sound for Mobile Media 371 Main Points .373 Chapter 15 Sound Effects .375 Contextual Sound .375 Narrative Sound 375 Functions of Sound Effects 376 Producing Sound Effects 381 Live Sound Effects .386 Electronically Generated Sound Effects .399 Organizing a Sound-Effect Library 403 Spotting .404 Main Points .405 Chapter 16 Music Underscoring 407 Uses of Music in a Production 407 Music Characteristics 408 Functions of Music Underscoring 410 Music in Spot Announcements 414 Creative Considerations in Underscoring 415 Approaches to Underscoring .418 Prerecorded Music Libraries 424 Contents ix Customized Music Programs .426 Customized Musical Instrument Programs 427 Copyright and Licenses .427 Using Music from Commercial Recordings 431 Using Music from Sample CDs and the Internet 431 Organizing a Music Library 432 Main Points .433 Chapter 17 Audio for Interactive Media: Game Sound 435 Interactive Media 435 Designing Audio for Interactivity 436 System Resources 439 The Production Process .442 Example of a Video Game Sequence 457 Debugging 462 User Playback 463 Main Points .464 Chapter 18 Internet Production 467 Data Transfer Networks 467 Audio Fidelity .469 Online Collaborative Recording 476 Podcasting 478 Audio Production for Mobile Media 480 Main Points .482 Chapter 19 Music Recording 485 Close Miking .485 Distant Miking 486 Accent Miking 489 Ambience Miking 491 Six Principles of Miking 491 Drums 492 Acoustic String Instruments .502 Woodwinds 513 Brass 517 Electric Instruments 519 Virtual Instruments .525 722 Recording and Producing Audio for Media patching (consoles) computers, 147 guidelines, 146–147 overview, 145–146 plugs, 147 patterns (speech), 231–232, 236–237 PCDs (protein-coated discs), 175 perambulator booms, 252–254 perception (sound design), 358–359 performance characteristics (microphones), 83–84 periodicals (bibliography), 667 perspective booms, 257–260 effects, 376, 570 evaluating sound, 654 Foley effects, 394–395 microphones radio, 287–288, 291–292, 294–295 wireless microphones, 261 mixing, 584 film, 637 layering, 593–594 spatial imaging, 637 television, 637 phantom power (microphones), 80 phase delay (time processors), 214 phase-switching diversity, 115 speech, 234–235 phase-switching diversity, 115 phonemes, 558 piano characteristics, 509–510 equalization, 609–610 microphones, 510–513 piccolo, 514–515 pickup pattern (microphones), 84 pictures layering, 591–593 music, editing to, 577 sound editing comparison, 557 sound/picture relationship overview, 360–362 synchronizing dialogue to, 568–569 pitch, 4–7 pitch shifters, 221–222 sound design, 358–359 placement loudspeakers, 61–68 far-field monitoring, 64 near-field monitoring, 64–65 stereo, 62–64 surround sound, 65–68 music, 418 wireless microphones, 261–263 plane, breaking, 376 plant microphones, 265 plate reverberation, 210 platforms (interactive media), 443–444 play cursor (editing), 549 playback (video games), 463–464 players (television sports programs), 344 playing effects backward, 385 plosives, 244, 558 plug-ins (signal processors), 201–202, 224 plugs (patching consoles), 147 podcasts, 478–480 polar response loudspeakers, 58–60 patterns, 84–88 polarity loudspeakers, 60 microphones, 235 polydirectional microphones, 99–102 polyrhythms (signal processing), 614 pop filters (microphones), 119 popping (vocals), 528 porous absorbers, 38 portable mixers (multicamera EFP), 325 postproduction, 457 power supply dialogue, 268 wireless microphones, 117 powering systems (loudspeakers), 52, 54 precedence effect, 26 pre-emphasis (mixing), 586 premixed tracks, 583 premixing See mixing preparing mixdown, 597–598 multicamera EFP, 329–330 preproduction dialogue, 267–270 ENG, 316–317 interactive media, 442 Index prerecorded collections (voice-overs), 242 prerecorded material (dialogue), 268 prerecorded music libraries, 424–426 presence (speech), 561–562 primary frequency, principles (music), 491–492 processes (ADR), 277–279 processing dialogue, 567–569 production dialogue, 270–274 effects, 395–397 ENG background sound, 319 interruptible foldback system, 320 microphones, 318 mix-minus, 320 news reports, 318–319 overroll, 319 overview, 315, 317 preproduction, 316–317 split-track recording, 319 transmission, 320 field production See field production interactive media adaptive sound, 447 artistic team, 442 assets, 445–446 composer, 442–443 demos, 443 design team, 442 dialogue, 454–456 effects, 451–452 functions, 449 game state, 448 GUIs, 449 interactive sound, 447 interactivity, 446–451 libraries, 446 music, 452–454 naming conventions, 451–452 narration, 454–456 parameters, 449–450 platforms, 443–444 postproduction, 457 preproduction, 442 programming team, 442 proof-of-concept, 443 recording, 445 recording engineer, 443 recording support specialist, 443 sound cues, 451 sound designer, 442 sprites, 446 testing team, 442 Internet See Internet music, 407–408 schedules (multicamera EFP), 324 sound evaluating, 655 importance of, sports programs announcers, 331, 349–350 auto racing, 340 bands, 345 baseball, 333 basketball, 336 bowling, 344 boxing, 341 crowd, 331–332 football, 334–335 golf, 339 gymnastics, 342–343 hockey, 337 imaging, 345 immersion, 345 microphones, 350 mixing, 345–346 overview, 330 players, 344 radio, 348–350 stereo sound, 346–347 surround sound, 347–348 tennis, 338 track and field, 342–343 width-versus-movement, 346 values, 655 video games adaptive sound, 447 artistic team, 442 assets, 445–446 composer, 442–443 demos, 443 design team, 442 dialogue, 454–456 effects, 451–452 functions, 449 game state, 448 GUIs, 449 723 724 Recording and Producing Audio for Media interactive sound, 447 interactivity, 446–451 libraries, 446 music, 452–454 naming conventions, 451–452 narration, 454–456 parameters, 449–450 platforms, 443–444 postproduction, 457 preproduction, 442 programming team, 442 proof-of-concept, 443 recording, 445 recording engineer, 443 recording support specialist, 443 sound cues, 451 sound designer, 442 sound engineer, 442 sprites, 446 testing team, 442 production consoles dBFS, 141 effects, 137 features, 132–137 master section, 142 meters, 138–141 monitor section, 143 optimizing digital levels, 141 oscillator, 143 slate, 143 talkback, 143 programming team, 442 programs bibliography, 667–668 music, 426–427 promotions music, 414–415 sound design, 368–369 proof-of-concept, 443 protecting hearing, 20–23, 75 protein-coated discs (PCDs), 175 proximity effect (microphones), 91–92 psychoacoustic processors, 207 public-address systems, 327 public service announcements (PSAs) music, 414–415 sound design, 368–369 pure tones, 15 Q quality evaluating sound, 655 speech, 235–236 voice acting, 239–240 wireless microphones, 117 quantization, 164–167 R radio microphones, 112 dramatizations, 290–295 monaural sound, 287–288 mounting, 290–291 movement, 291–292 multiple microphones, 292 panel programs, 288–290 perspective, 287–288, 291–292, 294–295 selecting, 290–291 single microphones, 290–292 single speaker, 285–288 space, 287–288 stereo microphones, 293 stereo sound, 287–288, 294 surround sound, 287–288, 294–295 talk programs, 288–290 mixing, 585–587 small-scale EFP, 321 sports programs announcers, 349–350 microphones, 350 production, 348–350 radio ENG cellular phones, 308 codecs, 310 headphones, 310–311 IP, 310 ISDN, 310 microphones, 306–308 mixers, 307–308 mobile phones, 308 mobile units, 310 overview, 305 recorders, 306–307 transmission, 308–310 WiFi, 310 range (wireless microphones), 117 rarefaction, reach (microphones), 87 reality program dialogue, 273–274 Index real-time analyzer (RTA), 68 recorders (radio ENG), 306–307 recording amplitude, 162 analog, 161 audio data rate, 166–167 bit depth, 164 Blu-ray Discs, 173–174 CDs, 168–169 DAWs, 179–181 dialogue additive ambience, 272 blocking, 252, 269–270 booms, 252–260 crew, 275–276 directors, 275–276 effects, 274 equipment, 268–269 fishpole booms, 254–257 locations, 267 microphone perspective, 261 microphone placement, 261–263 mixer, 260 multiple microphones, 263–266 noise, 267–275 perambulator booms, 252–254 perspective, 257–260 plant microphones, 265 power supply, 268 preproduction, 267–270 prerecorded material, 268 production, 270–274 reality programs, 273–274 rehearsing, 269–270 signal processing, 271 sound editors, 276 sound levels, 260, 263–265 space, 268 wireless microphones, 260–265 digital words, 164 DMDs, 175 DVDs, 169–173 DVTRs, 183 EVDs, 175 film, 184–185 formats, 167–168 frequency, 162 FVDs, 175 hard disk recorders, 176–178 HVDs, 175 interactive media, 445 Internet, 476–478 ISDNs, 181–183 memory recorders, 175–177 microphones, 111–112 mini discs, 168 oversampling, 164 overview, 161–162 PCDs, 175 quantization, 164–167 recorders (radio ENG), 306–307 recording engineer, 443 recording levels (voice-overs), 244–245 recording support specialist, 443 rerecording, 635–636 resolution, 164 samples (effects), 402 sampling, 162–164 sampling frequency, 166–167 split-track recording (ENG), 319 storage capacity, 176–179 tapeless systems, 168 technologies, 167–168 UDOs, 175 video games, 445 voice-overs acoustics, 243 backtiming, 248 breathiness, 244 comfort, 245 compression, 247 deadpotting, 248 editing, 245 effects, 246–247 microphones, 243–244 music, 246–247 narration, 248 plosives, 244 recording levels, 244–245 sibilance, 244 signal processing, 244–245 recording engineer, 443 recording levels (voice-overs), 244–245 recording support specialist, 443 recordkeeping (mixdown), 601–602 reflection, 26 studio design, 37–39 vocals, 529 regeneration (signal processing), 614 regions (editing), 549 rehearsing dialogue, 269–270 725 726 Recording and Producing Audio for Media release, 16 release time, 217 remote survey (multicamera EFP), 323–325 RENG See radio ENG repetitive measures (music), 573 replacing, 551 rerecording ADR, 280–281 mixing, 583 film, 635–636 television, 635–636 resolution music, 573 recording, 164 response (microphones), 88–93 reverberation, 27–28 signal processing, 612–613 surround sound, 625 time processors acoustic chamber reverberation, 210–211 ambience, 211 choosing, 211 convolution reverberation, 209 digital reverberation, 207–209 plate reverberation, 210 rhythm, 358 ribbon loudspeakers, 52 ribbon microphones, 80–81 ride cymbals, 493 ring-off (dialogue), 567–568 ripping CDs, 403–404 ritardando, 409 role (music), 415 room modes (studio design), 34 room tone, 561–562 rooms See studios RTA (real-time analyzer), 68 S SAC (sound absorption coefficient), 37 sample clocks, 191 sample rate, 470–471 samplefiles, 401 samples effects microphones, 402 overview, 400–401 recording, 402 samplefiles, 401 music, 431–432 signal processing, 614 sampling, 162–164 sampling frequency, 166–167 SANs (storage area networks), 181 saxophone, 514–516 scale editing, 551 mixing film, 636–637 spatial imaging, 636–637 television, 636–637 schedules (multicamera EFP), 324 Schoeps microphones, 107–108 screen plane, breaking, 376 scripts analysis (sound design), 362–368 music, 417–418 spotting, 404–405, 417–418 scrubbing, 550–551 SDDS (Sony Dynamic Digital Sound), 621 segues editing transitions, 578 effects, 380 selecting microphones (radio), 290–291 self-noise, 90 semantics, 605–607 semiconsonants, 558–559 sensitivity loudspeakers, 58 microphones, 90 servers DAWs, 180–181 Internet, 468 setting up mixdown, 599–601 shapes (studio design), 35–36 shelving, 203 shock mounts, 119–120 shotgun microphones, 94–95 shuttling, 551 sibilance, 244, 528 signal processing dialogue, 271 effects, 386 mixdown acoustics, 613–614 complementary equalization, 604 compression, 610–612 cumulative equalization, 603 delay, 613–614 digital edge, 604 drums, 608–609 electronic sounds, 614 Index equalization, 602–605 feedback, 614 guitar, 609 modulation, 614 overview, 602 piano, 609–610 polyrhythms, 614 regeneration, 614 reverberation, 612–613 samples, 614 semantics, 605–607 subtractive equalization, 603 values, 607 vocals, 610 voice-overs, 244–245 signal processors amplitude processors attack time, 216–217 compressors, 215–218 de-essers, 219 expanders, 220 limiters, 218–219 makeup gain, 217 noise gates, 220–221 overview, 214–215 pitch shifters, 221–222 release time, 217 threshold, 216 multieffects signal processors, 223–224 noise processors, 222–223 overview, 201 plug-ins, 201–202, 224 spectrum processors cutoff, 203 equalizers, 202–205 filters, 206 fixed-frequency equalizers, 204–205 frequency, 203 graphic equalizers, 204–205 overview, 202 paragraphic equalizers, 205 parametric equalizers, 204–205 psychoacoustic processors, 207 shelving, 203 turnover, 203 stand-alone, 202 time processors delay, 211–214 overview, 207 reverberation, 207–211 voice processors, 224 727 signal-to-noise ratio microphones, 90 speech, 230 silence editing, 551 effects, 380–381 similar sounds, 560–561 sine waves, 15 single-entry port microphones, 85 single microphones (radio), 290–292 single speaker microphones (radio), 285–288 site survey, 323–325 size files, 470–471 studio design, 33–35 slate, 143 slipping (editing), 551 slurring, 560 small-scale EFP, 320–321 SMPTE time code, 189 S/N See signal-to-noise ratio snapping, 551 snapshot memory, 130 snare drums, 493, 499–500 soft cuts, 579 software editing, 548 software-controlled automation, 148 Sony Dynamic Digital Sound (SDDS), 621 sound acoustics See acoustics audio data rate, 166–167 Audio over Ethernet (AoE), 468 audio-leading-video, 580 audio-switching diversity, 115 average resting place, binaural, 26 compression, design See sound design direct, 27 early reflections, 27 echo threshold, 26 editing See editing effects See effects elasticity, envelopes, 16 evaluating acoustics, 655 airiness, 654 clarity, 654 definition, 654 728 Recording and Producing Audio for Media dynamic range, 654 intelligibility, 653 perspective, 654 production values, 655 quality, 655 space, 654 tone, 653–654 frequency See frequency Haas effect, 26 hearing healthy, 16–18 loss, 18–23, 75 protecting, 20–23, 75 HRTF, 26 IID, 25 isolating (studio) design, 32–33 ITD, 25 microphone response, 88–93 mixing See mixing occupations, 657–660 picture editing comparison, 557 pitch, 4–7 pitch shifters, 221–222 sound design, 358–359 precedence effect, 26 production, importance of, pure tones, 15 rarefaction, reflected, 26 reverberation See reverberation sine waves, 15 sound absorption coeffecient (SAC), 37 sound cards (DAWs), 180 sound chain, 51 sound cues, 451 sound designers, 353–354, 442 sound editors (dialogue), 276 sound engineer, 442 sound levels booms, 260 drums, 502 speech, 230 wireless microphones, 263–265 sound quality See sound quality sound transmission class (STC), 33 sound waves, sound/picture relationship, 360–362 soundfield system, 104–105 soundfiles, 548 sound-pressure level (dB-SPL), soundscapes, 354 speech See speech stereo, 26 surround sound, 26–27 timbre, 15–16 sound design, 358 vocals, 527 velocity, 12 volume See loudness waveforms, 15 wavelengths, 12 sound absorption coeffecient (SAC), 37 sound cards (DAWs), 180 sound chain, 51 sound cues, 451 sound design action dramas, 369 animation, 370–371 attack, 358 cinema verite, 369–370 commercials, 368–369 decay, 359 documentaries, 369–370 duration, 359 effects, 359 interactive media, 436–439 linear media, 436 listening analytical, 355–356 critical, 356–357 soundscapes, 354 loudness, 358 mobile media, 371–373 music, 359 overview, 353 perception, 358–359 pitch, 358–359 promotions, 368–369 public service announcements, 368–369 rhythm, 358 script analysis, 362–368 sound designers, 353–354 sound/picture relationship, 360–362 spot announcements, 368–369 synesthesia, 359–360 tempo, 358 timbre, 358 visual ear, 359–360 Index sound designers, 353–354, 442 sound editors (dialogue), 276 sound engineer, 442 sound levels booms, 260 drums, 502 speech, 230 wireless microphones, 263–265 sound quality effects libraries, 384 Internet channels, 471 connection speed, 469–470 editing, 471 equalization, 471 file compression, 471–473 file formats, 473–476 file size, 470–471 music, 471 noise reduction, 471 overview, 469 sample rate, 470–471 vocals, 471 word length, 471 music, 426 speech, 235–236 sound transmission class (STC), 33 sound waves, sound/picture relationship, 360–362 soundfield system, 104–105 soundfiles, 548 sound-pressure level (dB-SPL), soundscapes, 354 space defining (effects), 376–377 dialogue, 268 diversity (wireless microphones), 115 evaluating sound, 654 microphones (radio), 287–288 spaced miking (music), 487–488 spatial imaging dialogue, 637–639, 643 downmixing, 645–646 DRC, 644 effects, 639 line output, 645 localization, 636–639 music, 639 normalization, 643 overview, 614–615 729 perspective, 637 scale, 636–637 speech, 637–639 stereo, 615–620, 636–639 surround sound, 616, 620–623, 640–646 speakers See loudspeakers special effects See effects spectrum (speech), 230 spectrum analyzer, 68 spectrum editing, 549 spectrum processors cutoff, 203 equalizers, 202–205 fixed-frequency, 204–205 graphic, 204–205 paragraphic, 205 parametric, 204–205 filters, 206 frequency, 203 overview, 202 psychoacoustic processors, 207 shelving, 203 turnover, 203 speech See also vocals; voice acting; voiceovers accents, 233 announcers (sports programs) radio, 349–350 television, 331 audience crowd (sports programs), 331–332 television, microphones, 299–303 voice acting, 240–241 decibels, 230 dialogue See dialogue editing ambience, 561–564 atmos, 561 backfill technique, 562 changing words, 564 close-up, 562 dentals, 564 dipthongs, 559 emphasis, 561 fricatives, 564 friction consonants, 558 glide consonants, 558–559 inflection, 561 labials, 564 looping, 563–564 730 Recording and Producing Audio for Media mnemonic, 560–561 nasal consonants, 558 overview, 558 phonemes, 558 plosives, 558 presence, 561–562 room tone, 561–562 semiconsonants, 558–559 similar sounds, 560–561 slurring, 560 split editing, 563 stop consonants, 558 unvoiced consonants, 558 voiced consonants, 558 vowels, 559 effects, 386–387 emphasis, 231 frequency range, 229–230 inflection, 231 microphones directional patterns, 236–237 distance, 237 overview, 233 phase, 234–235 polarity, 235 sound quality, 235–236 studio acoustics, 233–234 mixing film, 637–639 narration, 631–634 spatial imaging, 637–639 television, 637–639 mood, 232–233 narration commentative sound, 376 descriptive sound, 375–376 film, 631–634 interactive media, 454–456 mixing, 631–634 television, 631–634 video games, 454–456 voice-overs, 248 nonverbal, 230–233 overview, 229 pace, 232 patterns, 231–232 signal-to-noise ratio, 230 sound level, 230 spectrum, 230 speeches (multicamera EFP), 326 speed effects, 385 Internet, 469–470 split editing, 563 split-track recording ENG, 319 multicamera EFP, 327 spot announcements music, 414–415 sound design, 368–369 spotting editing, 551 effects, 404–405 scripts (music), 417–418 sprites, 446 squelch (wireless microphones), 116 stand-alone signal processors, 202 STC (sound transmission class), 33 stems (mixing), 631 stereo sound, 26 film (stereo spatial imaging), 636–639 mixing spatial imaging, 615–620, 636–639 stereo-to-mono compatibility (mixing), 647–648 music microphones, 486–489 radio microphones, 287–288, 293–294 speaker placement, 62–64 stereophonic microphones, 101 television microphones, 302–303 sports program production, 346–347 stereo spatial imaging, 636–639 stereophonic microphones, 101 stereo-to-mono compatibility (mixing), 647–648 stop consonants, 558 storage area networks (SANs), 181 storage capacity, 176, 179 streaming transfers, 198 string bass, 507–509 struck string instruments, 509–513 studios acoustics, 28–31 ASW, 30 clarity, 29 design, 37–43 dry rooms, 29 intimacy, 29 Index speech, 233–234 warmth, 29 anechoic chambers, 54 control rooms design, 44–46 loudspeakers, 73 design absorption, 37–39 acoustics, 37–43 control rooms, 44–46 diaphragmatic absorbers, 38 diffraction, 39 diffusion, 39–40 dimensions, 33–35 eigentones, 34 ergonomics, 44–46 Helmholtz absorbers, 38–39 NC, 31–32 noise, 31–32 NRC, 37 porous absorbers, 38 reflection, 37–39 room modes, 34 SAC, 37 shapes, 35–36 sound isolation, 32–33 STC, 33 TL, 33 variable acoustics, 39–43 effects, 386 ensembles (microphones), 531–533 room tone, 561–562 style music, 410, 415, 576 vocals, 529 subcardioid microphones, 84 subtractive equalization, 603 successful mixdown, 598 supercardioid microphones, 84 surround sound, 26–27 calibrating speakers, 70–71 film spatial imaging (mixing), 640–646 surround sound-to-stereo compatibility, 649 microphones, 102–108, 534–541 radio, 287–288, 294–295 television, 302–303 731 mixdown AC-3, 621 aesthetics, 627–629 bass management, 625–626 channels, 624–625 downmixing, 620, 627 DTS, 621 equipment, 621 formats, 621 LFE, 621 multichannel mixing, 621 reverberation, 625 SDDS, 621 spatial imaging, 616, 620–623 tracks, 626 upmixing, 620 speaker placement, 65–68 television microphones, 302–303 spatial imaging (mixing), 640–646 sports program production, 347–348 surround sound-to-stereo compatibility, 649 sustain, 16 sweetening (mixing), 631 symbolism (effects), 379 synchronizing, 189 dialogue to picture, 568–569 digital equipment, 190–192 drivers, 192 film, 194–195 jitter, 191–192 latency, 192 time codes, 194–195 synesthesia, 359–360 synthesizers, 399 system microphones, 99–100 system resources (interactive media), 439–442 T talk programs (microphones) radio, 288–290 television, 296–303 talkback (production consoles), 143 tapeless recording systems, 168 technologies, recording, 167–168 732 Recording and Producing Audio for Media television ENG camcorders, 312, 314–315 inverse square law, 314 microphones, 312–314 mobile units, 315 overview, 311–312 transmission, 315 microphones audience, 299–303 boom microphones, 298 ENG, 312–314 hand microphones, 297–298 interview programs, 296 mini-microphones, 297 news programs, 296 overview, 295 panel programs, 296–303 stereo sound, 302–303 surround sound, 302–303 talk programs, 296–303 mixing, 587–588 ambience, 634 Aural Exciter, 633 cue sheets, 646–647 de-esser, 633 dialogue, 631–634, 637–639, 643 DME, 631 downmixing, 645–646 DRC, 644 edit masters, 631 effects, 634–635, 639 line output, 645 localization, 636–639 mobile media, 646 music, 635, 639 narration, 631–634 normalization, 643 overview, 631 perspective, 637 rerecording, 635–636 scale, 636–637 speech, 637–639 sports programs, 345–346 stems, 631 stereo spatial imaging, 636–639 stereo-to-mono compatibility, 647–648 surround sound spatial imaging, 640–646 surround sound-to-stereo compatibility, 649 sweetening, 631 worldizing, 634 small-scale EFP, 321 sports programs announcers, 331 auto racing, 340 bands, 345 baseball, 333 basketball, 336 bowling, 344 boxing, 341 crowd, 331–332 football, 334–335 golf, 339 gymnastics, 342–343 hockey, 337 imaging, 345 immersion, 345 mixing, 345–346 players, 344 stereo sound, 346–347 surround sound, 347–348 tennis, 338 track and field, 342–343 width-versus-movement, 346 tempo music, 409, 573 sound design, 358 tennis program production, 338 testing team (interactive media), 442 testing video games, 462–463 texture, 409, 576 three-way system loudspeakers, 53 threshold (amplitude processors), 216 tight board (mixing), 586 timbre, 15–16 sound design, 358 vocals, 527 time editing, 552 music, 413 time codes, 189–190, 194–195 time processors delay delay time, 212 digital delay, 212 feedback, 212 flanging, 213 Index morphing, 214 phasing, 214 uses, 212–213 overview, 207 reverberation acoustic chamber reverberation, 210–211 ambience, 211 choosing, 211 convolution reverberation, 209 digital reverberation, 207–209 plate reverberation, 210 time signatures (music), 573 timing (effects libraries), 383 titles (effects libraries), 384 TL (transmission loss), 33 tom-toms, 493, 498–499 tone evaluating sound, 653–654 music, 415 track and field program production, 342–343 tracking, 552 tracks editing, 555–556 premixed, 583 surround sound, 626 transducers, 51 transfers analog-to-analog, 195–196 analog-to-digital, 196 digital-to-digital, 196–198 dubbing, 195 effects, 199 file transfers, 198 overview, 195 streaming, 198 video, 199 wild time code, 197 transient distortion, 57 transients, 83 transitions audio-leading-video, 580 crossfades, 578–579 cutting, 578 effects, 379–380 fade-in, 579–580 fade-out, 579–580 music, 413 segues, 578 soft cuts, 579 video-leading-audio, 580 transmission ENG, 320 radio ENG, 308–310 small-scale EFP, 321 television ENG, 315 transmission loss (TL), 33 wireless microphone range, 117 transmitter microphones, 112 treble, 5–7 triamplification, 54 trombone, 517–518 trumpet, 517–518 tuba, 517–519 tube microphones, 82 tuning drums, 494 turnover (spectrum processors), 203 tweeters, 53 two-way system loudspeakers, 53 U UDOs (ultra density optical discs), 175 UHF (ultra high frequency), 113–114 ultracardioid microphones, 84 ultrasonic frequency, underscoring See music underwater microphones, 111–112 undoing, 551 unidirectional microphones, 84 unvoiced consonants, 558 upmixing, 620 USB microphones, 110–111 V values (equalization), 607 variable acoustics, 39–43 variable capacitance, 81–82 variable-frequency systems, 114–115 velocity, 12 vertical approach (editing music), 576 VHF (very high frequency), 113–114 video, transfers, 199 video games See also interactive media debugging, 462–463 example assets, 457–458 dialogue, 458–461 effects, 457–458 environment, 461–462 music, 462–463 733 734 Recording and Producing Audio for Media overview, 435–436 playback, 463–464 production adaptive sound, 447 artistic team, 442 assets, 445–446 composer, 442–443 demos, 443 design team, 442 dialogue, 454–456 effects, 451–452 functions, 449 game state, 448 GUIs, 449 interactive sound, 447 interactivity, 446–451 libraries, 446 music, 452–454 naming conventions, 451–452 narration, 454–456 parameters, 449–450 platforms, 443–444 postproduction, 457 preproduction, 442 programming team, 442 proof-of-concept, 443 recording, 445 recording engineer, 443 recording support specialist, 443 sound cues, 451 sound designer, 442 sound engineer, 442 sprites, 446 testing team, 442 testing, 462–463 video-leading-audio, 580 videotapes (bibliography), 667–668 viola, 507–509 violin, 506–509 virtual consoles, 130 virtual instruments, 525–526 visual ear, 359–360 vocals See also speech; voice acting; voiceovers acoustics, 529 backup vocals, 530 breathiness, 528 choirs, 530–531 dynamic range, 527–528 equalization, 610 harmony, 530 isolating, 530 mic-to-source distance, 529 overview, 526–527 popping, 528 reflections, 529 sibilance, 528 sound quality, 471 style, 529 timbre, 527 voice acting See also speech; vocals; voiceovers audience, 240–241 characters, 241–242 message, 240 overview, 239 quality, 239–240 word values, 241 Voice over Internet Protocol (VoIP), 439 voice processors, 224 voiced consonants, 558 voice-overs See also speech; vocals; voice acting automating, 242–243 prerecorded collections, 242 recording acoustics, 243 backtiming, 248 breathiness, 244 comfort, 245 compression, 247 deadpotting, 248 editing, 245 effects, 246–247 microphones, 243–244 music, 246–247 narration, 248 plosives, 244 recording levels, 244–245 sibilance, 244 signal processing, 244–245 VoIP (Voice over Internet Protocol), 439 voltage-controlled automation, 148 volume See loudness vowels, 559 Index W WANs (wide-area networks), 468 warmth (acoustics), 29 waveforms, 15, 548–549 wavelengths, 12 weather (effects), 390–391 web sites, 668 See also Internet weighting networks, 11 wide-angle cardioid microphones, 84 wide-area networks (WANs), 468 width-versus-movement, 346 WiFi, 310 wild time code, 197 windscreens, 118–119 wireless microphones analog, 117 antenna, 117 audio-switching diversity, 115 companding, 116 dialogue, 260–265 multiple, 263 perspective, 261 placement, 261–263 sound levels, 263–265 digital, 117 diversity reception, 115–116 dropout, 115 equalization, 116 fixed-frequency systems, 114–115 frequency, 113–115 multipath, 114 non-diversity receivers, 116 overview, 112–113 phase-switching diversity, 115 power supply, 117 quality, 117 space diversity, 115 squelch, 116 transmission range, 117 variable-frequency systems, 114–115 woodwinds, 513–516 woofers, 53 word clocks, 191 words editing speech, 564 length (sound quality), 471 values (voice acting), 241 word clocks, 191 worldizing, 634 X–Y X-Y miking, 486–487 Z zero crossing, 554 zooming, 551 735 Like the Book? 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