Figures
1.1 Monaural or single-channel listening
1.2 Ideal two-channel stereo loudspeaker and listener placement
1.3 Stereo listening with crosstalk
2.1 The frequency content of a mix at one moment in time
2.2 The time domain (top) and frequency domain (bottom) representations of a 1 kHz sine tone
2.6 The frequency response of a signal mixed with an all-pass filtered version of itself)
2.7 The frequency response of a low-pass filter set to 1000 Hz at three different slopes)
2.8 The frequency response of a high-pass filter set to 1000 Hz at three different slopes)
2.14 A comparison of a high-frequency shelf filter and low-pass filter
3.4 A vectorscope meter showing the stereo image width and correlation of a stereo mix
3.5 A vectorscope meter showing the stereo image width and correlation of a stereo mix
3.12 A screenshot of the user interface for the spatial trainer
4.2 A square wave has equal peak and RMS levels, so the crest factor is 0
4.4 The top graph (A) shows the four components of an ADSR (attack, decay, sustain, release) amplitude envelope that describe and generate a synthesized sound; the bottom graph (B) shows an amplitude envelope for an acoustic sound, such as from a string or drum, which can have a relatively fast attack but immediately starts to decay after being struck
5.2 A sine wave with crossover distortion
5.3 A sine wave at 1 kHz that has been hard clipped
5.4 A sine wave at 1 kHz that has been soft clipped or overdriven
5.5 A sine wave at 1 kHz that has been quantized with 3 bits, giving 8 (or 2 3) steps
6.4 Clips of a music recording of four different lengths: 825 ms, 850 ms, 875 ms, and 900 ms
6.5 A screenshot of the training software
7.2 This is an example of a graphical analysis of a stereo image of a jazz piano trio recording
Table
2.1 The complete list of frequencies (in Hz) shown with octave frequencies in bold