By Stanley R. Alten
In AUDIO IN MEDIA, 10th version, Stanley Alten -- across the world famous as a pupil and specialist within the zone of audio construction -- maintains to supply scholars with an creation to the fundamental concepts and ideas helpful for audio creation in today’s media. The transparent, present illustrations and photographs and student-friendly writing in Alten’s market-leading textual content have helped professors successfully educate this operationally dependent path to hundreds of thousands of introductory audio-production scholars. accomplished, exact, and up to date, the textual content covers informational, perceptual, and aesthetic points of sound as they observe to every level of the creation technique, from making plans to post-production.
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May not be copied, scanned, or duplicated, in whole or in part. P r e f a ce istics of musical instruments, ways to mike them, and various approaches to miking ensembles for stereo and surround sound. Part IV: Postproduction Chapter 21, “Editing,” describes the techniques of digital editing. It also addresses the differences between editing sound and editing picture; organizing the edit tracks; drive and file management; the aesthetic considerations that apply to editing speech, dialogue, music, and sound effects; and the uses of transitions.
The organization facilitates reading chapters in or out of sequence, based on need and level of background, with little disruption to continuity. This edition has been reorganized to better complement subject flow. Overall the chapters are more focused, to make the distribution of content easier to locate and assign. All chapters have been updated and refined. Several of the changes are in response to reviewers’ recommendations. Each chapter is preceded by an outline of its main headings and concluded with a list of its main points.
With the exception of subwoofers, which are designed to handle low-end program material, most loudspeakers are capable of reproducing few, if any, of the first-octave frequencies. Loudspeakers capable of reproducing second-octave frequencies often do so with varying loudness levels. 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.