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Understanding Sound From Ear to Engineer

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Understanding Sound From Ear to Engineer

Understanding Sound From Ear to Engineer takes readers on a complete journey from how sound is heard to how it is recorded, processed, and mixed in modern audio production. Covering topics from the auditory system and psychoacoustics to microphones, mixers, and digital workflows, this book blends science with real-world application. It equips aspiring audio professionals with the knowledge and skills needed to understand and shape sound in today’s audio industry.

Humanities
Author
Geoffrey Dunbar
Publisher
Pasadena City College
Source
LibreTexts
License
CC BY-SA
Language
EN
Read online Download PDF (open licence)
Contents· 138 sections
  1. 01: The Characteristics of Sound
  2. 1.01: Introduction
  3. 1.02: The Sound Wave
  4. 1.03: Frequency
  5. 1.04: Amplitude
  6. 1.05: Velocity
  7. 1.06: Wavelength
  8. 1.07: Acoustical Phase
  9. 1.08: Sound Envelope
  10. 1.09: Direct Early and Reverberant Sound
  11. 1.10: Conclusion
  12. 02: The Auditory System
  13. 2.01: Introduction
  14. 2.02: The Ear
  15. 2.03: How Hearing Works
  16. 2.04: Hearing Loss
  17. 2.05: Symptoms of Hearing Loss
  18. 2.06: Hearing Protection
  19. 2.07: Hearing Aids and Cochlear Implants
  20. 2.08: Fun Fact. How Loud Is Too Loud
  21. 2.09: Sound Pressure Level (SPL)
  22. 2.10: Tinnitus- The Ringing in the Ears
  23. 2.11: Conclusion
  24. 03: Psychoacoustics
  25. 3.01: Introduction
  26. 3.02: Properties of Sound
  27. 3.03: Frequency Spectrum
  28. 3.04: Octave Groupings
  29. 3.05: Instrument Ranges
  30. 3.06: Equal Loudness Principle
  31. 3.07: Quality of Sound (Timbre)
  32. 3.08: Binaural Hearing vs. Stereo Hearing
  33. 3.09: Conclusion
  34. 04: Audio Mixers Consoles and DAW Control Surfaces
  35. 4.01: Introduction
  36. 4.02: Faders vs. Knobs
  37. 4.03: Passive vs. Active
  38. 4.04: Function of a Mixer Console
  39. 4.05: Balance and Combine Levels
  40. 4.06: Monitoring and Metering
  41. 4.07: The Mix Bus and Bussing
  42. 4.08: Routing and Signal Flow
  43. 4.09: Major Sections of a Mixer Console
  44. 4.10: Broadcast vs. Production Consoles
  45. 4.11: Features of Most Consoles
  46. 4.12: The Audio Patchbay
  47. 4.13: Automation
  48. 4.14: DAW Control Surfaces
  49. 4.15: Conclusion
  50. 05: Audio Recording
  51. 5.01: Introduction
  52. 5.02: Digital vs. Analog
  53. 5.03: Sample Rate
  54. 5.04: Nyquist-Shannon Theory
  55. 5.05: Bit Depth (Resolution)
  56. 5.06: Quantization
  57. 5.07: Binary Code
  58. 5.08: Common Recording Systems
  59. 5.09: The Digital Audio Workstation
  60. 5.10: Audio Interface
  61. 5.11: Digital Audio Connections
  62. 5.12: Recording Media Types
  63. 5.13: MIDI and Its Use
  64. 5.14: Analog Audio Connectors
  65. 5.15: Digital Audio Networking
  66. 5.16: Conclusion
  67. 06: The Microphone
  68. 6.01: Introduction
  69. 6.02: Transducer
  70. 6.03: Impedance
  71. 6.04: Dynamic vs. Condenser vs. Ribbon
  72. 6.05: Moving Coil Principle
  73. 6.06: Ribbon Mic Principle
  74. 6.07: Condenser Mic Principle
  75. 6.08: Microphone Construction
  76. 6.09: Directional Response
  77. 6.10: Frequency Response
  78. 6.11: Mic Limitations
  79. 6.12: Proximity Effect
  80. 6.13: Humbucker Coils in Microphones
  81. 6.14: Lavalier Mic Properties and Uses
  82. 6.15: Other Varieties of Mics
  83. 6.16: Wireless Mics
  84. 6.17: Microphone Accessories
  85. 6.18: XLR Cables
  86. 6.19: Conclusion
  87. 07: Speakers and Headphones
  88. 7.01: Introduction
  89. 7.02: The Audio Signal Chain
  90. 7.03: Speaker Function
  91. 7.04: The Speaker as a Transducer
  92. 7.05: Types of Speakers
  93. 7.06: Drivers and Frequency Bands
  94. 7.07: Speaker Cabinet Design and Construction
  95. 7.08: Active vs. Passive Speakers
  96. 7.09: Polarity and Phase
  97. 7.10: Crossover Networks
  98. 7.11: Bi-Amplification
  99. 7.12: Power Amplifiers
  100. 7.13: Characteristics of Monitoring Systems
  101. 7.14: Monitoring Systems- Stereo and Mono
  102. 7.15: Headphones
  103. 7.16: Headphone Monitoring in Studios
  104. 7.17: Conclusion
  105. 08: Audio Signal Processing and Processors
  106. 8.01: Introduction
  107. 8.02: Function of a Signal Processor
  108. 8.03: Spectrum Processors
  109. 8.04: Time Domain Processors
  110. 8.05: Amplitude Processors
  111. 8.06: Noise Processors
  112. 8.07: External vs. Internal Signal Processors
  113. 8.08: Digital vs. Analog Signal Processing
  114. 8.09: Conclusion
  115. 09: The Mixing Process
  116. 9.01: Introduction
  117. 9.02: Purpose of Mixing
  118. 9.03: Layering vs. Balancing
  119. 9.04: Mixing Perspective and Panning (Music Focused)
  120. 9.05: Stages of the Mixing Process
  121. 9.06: The Mastering Process
  122. 9.07: Signal Processing in Mixing
  123. 9.08: Dynamic Range
  124. 9.09: Audio Imaging for TV and Film
  125. 9.10: Surround Sound Mixing
  126. 9.11: Conclusion
  127. 10: Audio Over the Internet
  128. 10.01: Introduction
  129. 10.02: Streaming Audio
  130. 10.03: Subscription-Based Listening
  131. 10.04: Audio File Formats
  132. 10.05: Audio File Size and Bitrate Considerations
  133. 10.06: Audio Quality vs. File Size
  134. 10.07: Podcasting
  135. 10.08: What Happened to Terrestrial Radio
  136. 10.09: Alternatives to Streaming
  137. 10.10: The Future of Audio
  138. 10.11: Conclusion