By Stanley R. Alten
In AUDIO IN MEDIA, 10th variation, Stanley Alten -- the world over well-known as a student and professional within the sector of audio creation -- keeps to supply scholars with an advent to the elemental strategies and rules useful for audio construction in today’s media. The transparent, present illustrations and images and student-friendly writing in Alten’s market-leading textual content have helped professors successfully train this operationally established path to millions of introductory audio-production scholars. accomplished, actual, and updated, the textual content covers informational, perceptual, and aesthetic features of sound as they practice to every degree of the creation strategy, from making plans to post-production.
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18 C H A P T E R 2 – S ound a nd H e a r ing A bowed violin string, for example, has a more dynamic sound overall than does a plucked violin string. If you take a piano recording and edit out the attacks of the notes, the piano will start to sound like an organ. Do the same with a French horn, and it sounds similar to a saxophone. Edit out the attacks of a trumpet, and it creates an oboelike sound. ANALOG AND DIGITAL SOUND With respect to sound, it might be useful to say a few words here about analog and digital audio.
Upper bass—third and fourth octaves (80 to 320 Hz). Most of the lower tones generated by rhythm and other support instruments such as drums, piano, bass, cello, and trombone are in this range. They establish balance in a musical structure. Too many frequencies from this range make it sound boomy; too few make it thin. When properly proportioned, pitches in the second, third, and fourth octaves are very satisfying to the ear because we perceive them as giving sound an anchor, that is, fullness or bottom.
Boost than does sound at 100 dB-SPL to obtain equal loudness. Therefore the frequency balances you hear at 100 dB-SPL will be different when you hear the same sound at 70 dB-SPL. In a recording or mixdown session, if the loudness level is high during recording and low during playback, both bass and treble frequencies could be considerably reduced in volume and may be virtually inaudible. The converse is also true: if sound level is low during recording and high during playback, the bass and treble frequencies could be too loud relative to the other frequencies and may even overwhelm them.
Audio in Media by Stanley R. Alten