Critical Listening Skills for Audio Professionals
Audio productions are made or broken by the quality of the recording engineer's ears. The ability to properly discern sounds, identify subtle problems, and act accordingly to apply the necessary fix makes all the difference in the quality of the final tracks and master. The good news is that these crucial skills can be learned. The ability to instantly identify frequencies, hear hidden distortions, and instinctively reconcile conflicts in the EQ of instruments, audio elements, vocals and more are traits of those who have mastered the art of audio production. The best engineers have trained their ears to immediately recognize audio problems that the consumer and those new to recording arts would likely not hear, but that, if left unresolved, would result in an amateurish final product. For more than two decades, students of F. Alton Everest's Critical Listening and Auditory Perception courses have rapidly developed these skills by using the intense lessons found in this book and on the CD. Unfortunately the books and CDs included with the course were usually too expensive for aspiring engineers to purchase and were often available only in colleges, universities, or school libraries. Now for the first time these indispensable training sessions are available with this release of Critical Listening Skills for Audio Professionals. Through hundreds of illustrations and an accompanying disc containing high-resolution MP3 files with nearly five hours of narration of the entire course, you can acquire the audio discernment skills of a seasoned recording engineer by studying this course at your own pace, in your own home.
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10k 20k FREQUENCY 20k FREQUENCY—Hz Acous acoustical amplitude audible band audiogram auditory canal auditory system aural harmonics band of noise basilar membrane binaural beats binaural recording car noise centered on 1000 clipping cochlea Comb filter combination tones components consonance critical band critical bandwidth Critical Listening Critical Listening—Lesson cues curve DDEDDEDDE detect difference dissonance distortion products ear/brain eardrum effect equal-loudness contour ﬂuid following selection headphones hear high frequencies high-frequency Hz REVETVEE LVEEL increased inner ear left loudspeaker lk 2k 5k loudness mic distance microphone middle ear Musical Selection noise band non-linear Number one-third octave oval window overtones peak percent total harmonic phase pinna pitch probe tone psychoacoustical pure tone recording reﬂected result REVETIVE right loudspeaker signal signal-to-noise ratio sine wave sound energy sound level sound pressure level timbre total harmonic distortion triangular wave voice white noise