Index
Page numbers in italics indicate figures and tables.
absolute identification mode 44, 95
acoustical noise 9, 98, 100; see also noise
acoustic sources, sound analysis from 146–8
acoustic spaces, reverberation and 63
active listening 2
ADC see Analog-to-digital converter (ADC)
ADSR (attack, decay, sustain, and release) 83, 83 all-pass filter 30–1, 31
amplitude envelope: amplitude modulation and 87; attack, decay, sustain, and release (ADSR) and 83, 83; digital audio editing and 117–19; drums and 90–1; dynamic range control and 78; and perceptual encoder distortion 108, 109; in timbre 3
amplitude modulation, compression and 78, 87–8
amplitude quantization 106
analog-to-digital converter (ADC) 101–2
analysis see sound analysis
angular location, of sound source 60–1
asymmetrical boost and cut 37, 37–8, 38 “Attaboy” (Yo-Yo Ma, Stuart Duncan, Edgar Meyer, Chris Thile) 136
attack, decay, sustain, and release (ADSR) 83, 83 attack time: in compression 83, 83, 84, 89–90; of expander 92
audio attributes, perception of 6–8
audio editing see digital audio editing
auditory image, in sound analysis 124–5
awareness, in technical ear training 8–9
balance: in audio ear training 21; and awareness of details 8; musical expression and 77; in sound analysis 127–8; of sound sources 2; see also spectral balance; tonal balance
bandwidth 35–6, 36, 38–9, 122–3
“Be My Baby” (The Ronettes) 59
bit-crushing 82
Blumlein stereo microphone technique 62, 62 boomy 24
boost and cut responses 37, 37–8
Bristow-Johnson, Robert 36
CanOpener 17
center image 17
circumaural 17
clarity, distortion artifacts and 109
clipping: in audio ear training 21; hard 102, 104, 104–5; soft 102, 105, 105
cognitive bias 143
coherence: dynamic range and 78; between stereo channels 64
comb filtering 2
compression: amplitude modulation and 78, 87–8; attack time in 83, 83, 84, 89–90; automated level control in 86–8, 87, 88; drums and 90–1; gain function and 84, 86, 88; knee in 84; level detection timing in 84–5; overuse of 78; ratio 84; release time in 83, 84, 90; signal detection and 79; sound levels and 79–80; threshold in 84; timbral effects of 89–92; visualization of 85, 85–6, 86; vocals and 91–2
consistency, in technical ear training 10–12
contrast, in dynamic range 78
control room acoustics, spectral balance and 32–3
convolution 68
critical listening: challenge of 1; development of 1–2; see also listening
cross-fade, and source-destination technique 112–15, 113, 114
crossover distortion 103, 103 crosstalk 16, 16
custom earplugs 22
dark 7
decay time, in reverberation 68–9, 74
decibels see sound level
delay, in reverberation 65, 65–6, 66
delay time, in reverberation 69, 74
“Demons” (Imagine Dragons) 131
depth 63
descriptors, in tonal balance 24–5
detail, in headphones 17
detection, in dynamics processors 79–82, 80, 81 detection speed, in technical ear training 9–10
difference component 76
digital audio editing: amplitude envelope and 117–19; software exercise 115–19, 116, 117; sound analysis and 127; source-destination technique in 112–15, 113, 114
distance: reverberation and 59, 61; of sound sources 61
distortion 101–7, 103–5, 107; in audio ear training 21; crossover 103, 103; in electric guitar 101; fuzz 101; hard clipping 102, 104, 104–5; inherent 103; loudspeakers and 103–4; overdrive 101, 102; overload 102, 104, 104–5; peak hold and 102; perceptual encoder 103, 107–10; quantization error 102, 106, 107; soft clipping 102, 105, 105; software module exercises 107; in sound analysis 127; total harmonic 5; unintentional 101–2
Duncan, Stuart 136
dynamic range: and awareness of details 8; cohesion and 78; compression in 78, 79–80, 82–9, 83, 85–8; contrast in 78; crest factor and 79, 80, 81; defined 77; expanders and 92, 93; gates and 92, 93; limiting in 78, 82–9, 83, 85–8; manual control of 88–9; practice 94–6, 95; RMS level and 79, 80, 81; signal detection and 79–82, 80, 81; singing and 77–8; in sound analysis 126–7; sound level and 79; vocal 77–8
dynamics, in audio ear training 20
dynamics processing, and awareness of details 8
ear defenders 22
earmuffs 22
earplugs 22
ear training see audio ear training; exercises; solfège; technical ear training
editing see digital audio editing
Eicher, Manfred 59
electric guitar: as amplified acoustic sound 13; attack time and 90; distortion in 101
electronic music 13
electronic noise 9; see also noise
“Eminence Front” (The Who) 135
endorsement heuristic 144
environment, behavior of sound in 1
equalization: analog vs. digital 38; bandwidth and 35–6, 36, 38–9; boost and cut responses in 37, 37–8; curve 25; graphic 34–5; microphone choice and 40; power of 25; real-time spectral analyzers and 27; spectral balance and 34–5; tonal balance and 24, 34; see also parametric equalizer
equalizer selection, in software 47
everyday listening 1–2; see also listening
everyday sounds exercise 11–12
exercises: audio ear training 20–1; comparing linear PCM to encoded audio 109–10; comparing loudspeakers and headphones 145–6; comparing original and remastered versions 136; comparing stereo to surround 141; decorrelated channels 58–60; editing 115–19, 116, 117; everyday sounds 11–12; graphical sound analysis 137–9, 138; hearing reverb 60–5, 62; listening to encoded audio through mid-side processing 110; listening to mid-side processing 76; negatively correlated channels 57–8; recorded music 12; sound enhancers on media players 146; speech 12; subtraction 110
exposure levels 21
extraneous acoustic sounds 98, 100
fast Fourier transform (FFT) 26, 104
feedback 97
FFT see fast Fourier transform (FFT)
file control, in software 47
filter(s): all-pass 30–1, 31; high-pass 34, 35; low-pass 34, 34, 61; reverberation and 61; shelving 39, 39; in sound analysis 122; spectral balance and 34, 34, 35, 39, 39
Fleet Foxes 59
frequency range, in software 46
frequency resolution, in software 44–5, 45 frequency response 5; in headphones 17; in microphones 39–41; off-axis 40–1, 42; parametric equalizers and 35–6, 36; spectral balance and 29–30, 30, 32
fuzz distortion 101
gain combination, in software 45–6
Geddes, Earl 5
Gibson, Eleanor 3
graphic equalizers, spectral balance and 34–5
guitar, electric: as amplified acoustic sound 13; attack time and 90; distortion in 101
headphones: loudspeakers vs. 145–6; open 18; recommendations 17–18; sound analysis from 121–8; as sound reproduction system 15–17
head-related transfer function (HRTF) 16
high-fidelity earplugs 22
high-frequency extension 17
high-pass filters: in sound analysis 122; spectral balance and 34, 35
hiss 98
“Ho Hey” (The Lumineers) 132–3
HRTF see head-related transfer function (HRTF)
hyperacusis 21
Imagine Dragons 131
in-head localization 16
interference, radio frequency 98, 100–1
“In the Country” (Jon Randall) 134
“In Your Eyes” (Peter Gabriel) 130–1
isomorphic mapping, in technical ear training 6–8
Joshua Tree, The (U2) 59
keyboard shortcuts 48
knee 84
Lee, Lidia 5
left/right channel correlation 54
Lissajous pattern 54
listening: active 2; bias in 143–5; challenge of 1; development of 1–2; everyday 1–2; see also critical listening
listening exercises see exercises
listening room acoustics, spectral balance and 32–3
localization, in-head 16
location, angular, of sound source 60–1
“Lost” (Sarah McLachlan) 133
loudness see sound level
loudspeaker(s): distortion and 103–4; headphones vs. 145–6; recommendations 18–19; sound analysis from 121–8; in spectral balance 29–32, 30–2 Lovett, Lyle 131–2
low-frequency extension 17
low-pass filters: reverberation and 61; in sound analysis in 122; spectral balance and 34, 34 Lumineers, The 132–3
Ma, Yo-Yo 136
McLachlan, Sarah 133
manual dynamic range control 88–9
masking, spatial 59
Massenburg, George 35, 85, 131-2, 134, 152
media players, sound enhancers on 146
Meyer, Edgar 136
microphones: and awareness of details 8; Blumlein technique with 62, 62; distance of, from sound sources 61; polar patterns and 41–2; proximity to sound source 41; spectral balance and, choice and placement of 39–42, 42; stereo microphone techniques 60-63, 124, 152
mid component 75
mid-side processing listening exercise 76, 110
mix level, in reverb training module 74
monitors, in spectral balance 29–32, 30–2 Moorefield, Virgil 13
MP3s 3, 14, 104; see also perceptual encoder distortion
multichannel sound reproduction 19–21, 20; reverberation in 70; in sound analysis 139–41
negatively correlated channels 57–8
noise 98–100; acoustical 9, 98, 100; in audio ear training 21; and awareness of details 9; clicks 98–9; electronic 9; extraneous acoustic 98; grounding and 98, 99–100; hiss 98; pink 27; pops 98, 99; radio frequency interference 98, 100–1; in sound analysis 127
Nousaine, Tom 143
octave frequency practice 51
off-axis frequency response 40–41, 42 Olive, Sean 14, 144
overload distortion 102, 104, 104–5
panning: in audio ear training 21; in multichannel sound reproduction 19–20; sound analysis and 125
parametric equalizer 6; analog vs. digital 38; spectral balance and 34–9, 36–8; see also equalization
peak hold 102
perception: isomorphic mapping and 6–8; of spatial attributes 58–60
perceptual encoder distortion 103, 107–10
pink noise 27
Polarity, between stereo channels 64
practice: dynamic range control 94–6, 95; reverb training 73–4; technical ear training 42–52, 43, 45, 47
preamplifier, and awareness of details 8
predelay time, in reverberation 69, 74
processing: and awareness of details 8; in technical ear training 5
Producer as Composer, The: Shaping the Sounds of
Popular Music (Moorefield) 13
Q: in equalization 34, 35–6, 36, 37, 38–9; in software 46
quantization error distortion 102, 106, 107 Quesnel, René 14
radio frequency interference (RFI) 98, 100–1
Randall, Jon 134
real-time spectral analyzers (RTAs) 26, 26–7, 27 recorded music exercise 12
recording, effects of 5
recordings: live music vs. 120; for practice 50, 96
relative polarity, between stereo channels 64
release, of note 83
release time: of compressor 83, 84, 90; of expander 92
remastered, original vs. 136
reproduction system configurations 14–21, 15, 16, 20
Return to Flat mode 44
reverberation: acoustic spaces and 63; Blumlein microphone technique and 62, 62; building blocks of 65, 65–70, 66, 67; coherence and 64; convolution in 68; decay time 68–9, 74; delay time in 69, 74; difference component in 76; distance and 59, 61; distortion artifacts and 109; effects of 1–2, 53; exercise 60–5, 62; hearing 60–5, 62; importance of 58–9; level 61; low-pass filters and 61; mid component in 75; mid-side matrixing and 74–6, 75; in multichannel audio 70; parameter settings, choice of 59–60; predelay time in 69, 74; presets, digital 69–70; relative polarity and 64; reverberation in digital 66–8, 67; role of 58–9; side component in 76; software training module 71, 71–4, 73; in sound analysis 125–6; sound sources and 53, 60–1, 61–2; sound stages and 63; spaciousness and 63; spatial continuity and 64–5; spatial extent and 61–2, 62; stereo image characteristics and 64; sum component in 75; time delay in 65, 65–6, 66; width and 62; see also spatial characteristics
RFI see radio frequency interference (RFI)
richness 101
Ronettes, The 59
RTAs see real-time spectral analyzers (RTAs)
sampling rate 46, 87, 95, 99, 141–2
sensory bias 143
shaping tonal balance 28, 28–42, 30–2, 34–9, 42 sharpness, distortion artifacts and 109
shelving filters, spectral balance and 39, 39
side component 76
signal detection, in dynamics processors 79–82, 80, 81
signal levels, and awareness of details 8
Sigur Rós 59
single-channel sound reproduction 14, 15
smearing, time 109
social bias 144
software: distortion training module 107; editing training module 115–19, 116, 117; practicing with 42–52, 43, 45, 47; reverb training module 71, 71–4, 73
solfège 3
sound analysis: from acoustic sources 146–8; auditory image in 124–5; balance in 127–8; bandwidth in 122–3; bias in 143–5; center channel in 139–40; distortion in 127; dynamic range in 126–7; edits in 127; examples 128–37; expectation bias and 143–4; filters in 122; graphical 137–9, 138; from headphones 121–8; headphones vs. loudspeakers 145–6; high-res audio in 141–2; level changes in 126–7; from loudspeakers 121–8; loudspeakers vs. headphones 145–6; multichannel audio in 139–41; noise in 127; reverberation in 125–6; sensory bias and 143; social bias and 144; spatial impression in 125–6; spectral balance in 123–4; spoken voice in 136–7; stereo image in 121–2, 124; surround channels in 140–1; time-based effects in 125–6; watermarking and 142–3
sound enhancers, on media players 146
sound level: in compression 84–5, 86–8, 87, 88; compression and 79–80; direct 61; dynamic range and 79; hearing conservation and 21–2; in sound analysis 126–7; spectral balance and 33–4
sound source: acoustic, sound analysis from 146–8; amplified acoustic 13; angular location of 60–1; balance of 2; distance of 61; dynamic range control practice and 95; microphone proximity to 41; modified and manipulated acoustic 13; purely acoustic 13; purely electronic 13; reverberation and 53, 60–1, 61–2; in reverb training module 72; in software 46–7; spatial attributes and 54; spatial extent of 61–2, 62; width of 54, 62
sound stages, reverberation and 63
source see sound source
source-destination technique 112–15, 113, 114 space: in audio ear training 21; spatial attributes and 54
spaciousness 63
spatial characteristics: analysis of perceived 58–60; and awareness of details 8; decorrelated channels and 58–60; goniometer and 54–7, 55, 56, 57; left/right channel correlation and 54; negatively correlated channels and 57–8; perception of 58–60; reverberation and 53; sound sources and 54; stereo image characteristics and 64
spatial extent, of sound sources 61–2, 62
spatial impression, in sound analysis 125–6
spatial masking 59
speakers see loudspeaker(s)
spectral balance: and awareness of details 8; control room acoustics and 32–3; equalization and 34; frequency response and 29–30, 30, 32; high-pass filters and 34, 35; indirect factors in 28, 28; listening room acoustics and 32–3; loudspeakers in 29–32, 30–2; low-pass filters and 34, 34; microphone choice and placement in 39–42, 42; off-axis frequency response and 40–1; parametric equalization and 34–9, 36–8; polar patterns and 41–2; shelving filters and 39, 39; in sound analysis 123–4; sound level and 33–4; studio monitors in 29–32, 30–2; in timbre 3; see also tonal balance
spectral content, in timbre 3
speech: conversation 21–3; timbre in 3–4; see also spoken voice
speech exercise 12
speed of detection, in technical ear training 9–10
spoken voice, in sound analysis 136–7; see also speech
step function, in compression visualization 85
stereo image: characteristics 64; coherence in 64; relative polarity in 64; in sound analysis 121–2, 124; spatial continuity in 64–5
stereo width 17
“Strong Enough” (Sheryl Crow) 129–30
studio monitors, in spectral balance 29–32, 30–2 “Suite” (Tord Gustavsen Quartet) 134–5
sum component 75
supra-aural 17
“Sweet Jane” (Cowboy Junkies) 128–9
symmetrical boost and cut 37, 37
system configurations 14–21, 15, 16, 20
technical ear training: awareness in 8–9; consistency in 10–12; detection speed in 9–10; focuses of 4; goals of 5–6; isomorphic mapping in 6–8; practice with software 42–52, 43, 45, 47; processing in 5; reverb training module 71, 71–4, 73; solfège vs. 3; timbre and 3–4; see also exercises
THD see total harmonic distortion (THD)
Thile, Chris 136
third-octave frequencies 52
timbral control 4
timbre 1; attack time and 89–90; in audio ear training 20; and awareness of details 8; compression and 89–92; defined 3; factors in 3; release time and 90; in speech 3–4
timbre solfeggio 3
time delay, in reverberation 65, 65–6, 66
time limit, in software 48
time smearing 109
tinnitus 21
tonal balance: and awareness of details 8; defined 24; descriptors in 24–5; real-time spectral analyzers in 26, 26–7, 27; shaping 28, 28–42, 30–2, 34–9, 42; in sound analysis 123–4; sound levels and 33–4; see also spectral balance
Toole, Floyd 144
total harmonic distortion (THD) 5
two-channel sound reproduction 15, 15
U2 59
Unforgettable Fire, The (U2) 59
vocals: compression and 91–2; dynamic range 77–8; and manual dynamic range control 89; pops in 98, 99; see also spoken voice
vowel sounds, octave frequencies and 49–50
warmth 101
Who, The 135
Woszczyk, Wieslaw 124