Audio Production and Critical Listening, w. CD-ROM

Introduction 1 Listening 1.1 Everyday Listening 1.2 What is Technical Ear Training? 1.3 What is Timbre? 1.4 Shaping Sounds 1.5 Sound Reproduction System Configurations 1.6 The Listening Environment 2 Spectral Balance and Equalization 2.1 Types of Filters and Equalizers 2.2 Practice 2.3 Exercises 3 Spatial Attributes 3.1 Time Delay 3.2 Reverberation 3.3 Delay and Comb Filtering 3.4 Reverberation in Multichannel Audio 3.5 Description of the Software Training Module 3.6 Mid-Side Matrixing, Stereo Shuffling, and Polarity Reversal 3.7 Summary 4 Dynamic Range and Levels 4.1 Level Changes 4.2 Compressors and Limiters 4.3 Expanders and Gates 5 Distortion and Noise 5.1 Clipping and Overdrive 5.2 Noise, Hum and Buzz 5.3 Quantization Distortion: Bit Rate Reduction 6 Amplitude Envelope 6.1 Digital Audio Editing: The Source-Destination Technique 6.2 Software Exercise Module 6.3 Focus of the Exercise 6.4 Conclusions 7 Analysis of Sound 7.1 Analysis of Sound from Electroacoustic Sources 7.2 Graphical Analysis of Sound 7.3 Multichannel Audio 7.4 Selecting Listening Material 7.5 Analysis Examples 7.6 Sound Enhancers on Media Players 7.7 Analysis of Sound from Acoustic Sources 7.8 Conclusions A About the software practice modules Bibliography

As Assistant Professor of audio engineering and performing arts technology at the University of Michigan School of Music, Theatre & Dance since 2003, Jason Corey teaches courses in sound recording, technical ear training, and musical acoustics. He holds Ph.D. and M.Mus. degrees in sound recording from McGill University in Montreal and has diverse experience as a recording engineer. His research is concerned with multichannel audio recording techniques, technical ear training methods, and the development of audio processing algorithms for multichannel audio. He is a recipient of the Audio Engineering Society Educational Foundation Scholarship, as well as the Paul D. Fleck Fellowship at The Banff Centre in Banff, Canada, where he has worked as an Audio Research Associate. He has presented his research at conferences in Europe, Canada, and the United States. Serving as Chair of the AES Education Committee since fall 2004, he is actively involved in the organization of student and education events at AES conventions, as well as the AES student website. He is the founder of the University of Michigan AES Student Section, serving as its faculty advisor since 2003. In addition to being an AES member, he is also a member of the Acoustical Society of America and the International Computer Music Association.