By F. Alton Everest
Audio productions are made or damaged by way of the standard of the recording engineer's ears. the power to correctly determine sounds, establish sophisticated difficulties, and act hence to use the required repair makes the entire distinction within the caliber of the ultimate tracks and grasp. the excellent news is that those an important talents may be discovered. the power to right away establish frequencies, listen hidden distortions, and instinctively reconcile conflicts within the EQ of tools, audio parts, vocals and extra are features of these who've mastered the paintings of audio creation. the simplest engineers have informed their ears to right away realize audio difficulties that the patron and people new to recording arts might most likely no longer listen, yet that, if left unresolved, might lead to an amateurish ultimate product. For greater than twenty years, scholars of F. Alton Everest's serious Listening and Auditory conception classes have speedily constructed those abilities by utilizing the serious classes present in this ebook and at the CD. regrettably the books and CDs integrated with the direction have been frequently too dear for aspiring engineers to buy and have been usually to be had purely in faculties, universities, or tuition libraries. Now for the 1st time those critical education classes can be found with this unlock of severe Listening abilities for Audio execs. via 1000's of illustrations and an accompanying disc containing high-resolution MP3 records with approximately 5 hours of narration of the whole path, you could collect the audio discernment talents of a pro recording engineer through learning this path at your personal velocity, on your own residence.
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Additional resources for Critical Listening Skills for Audio Professionals
All the energy of this simplest of all sounds is concentrated at a single frequency and, in the case of 1000 Hz, sounds like this: RELATIVE LEVEL — dB +20 +10 0 -10 -20 20 50 100 200 500 1k FREQUENCY — Hz If we change the sine wave shape to a triangular wave shape, it sounds different. Let’s compare the 1000-Hz sine wave and the 1000-Hz triangular wave. Listen carefully for the differences in sound: 45 2k 5k 10k 20k CRITICAL LISTENING SKILLS FOR AUDIO PROFESSIONALS Talk Tech The triangular wave sounds different because of the harmonics it contains.
The operating region over which this is true is rightly called the linear region. output distortion non -lin ear Every audio system, however, has its upper limit. Trying to get 100 watts out of a 10-watt amplifier certainly results in penetration of what is called the non-linear region. Our first exercise explores the distortion resulting from what is called signal clipping. 1 53 output input CRITICAL LISTENING SKILLS FOR AUDIO PROFESSIONALS Talk Tech RELATIVE LEVEL — dB First, for orientation, we listen once more to a pure, undistorted 1000-Hz tone: All the energy of this tone is concentrated at one point in the frequency spectrum.
In the case of the ideal triangular wave, only odd multiples are involved. Taken together, these harmonics account for the difference in sound between a sine wave and a triangular wave. +10 0 -10 -20 20 50 100 200 500 1k FREQUENCY — Hz 46 CRITICAL LISTENING LESSON 5 Talk Tech Let’s refresh our memories on this difference between the 1000-Hz sine wave and the 1000-Hz triangular wave: rejected by filter RELATIVE LEVEL — dB +20 Remove the harmonics of the triangular wave and what do we have? For a little experiment, let’s put the 1000-Hz triangular wave through a filter that rejects the harmonics but allows the fundamental to pass through: +10 0 -10 -20 20 50 100 200 500 1k 2k 5k 10k 20k 5k 10k 20k FREQUENCY — Hz The 1000-Hz fundamental of the triangular wave is a simple sine wave!
Critical Listening Skills for Audio Professionals by F. Alton Everest
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