Cover -- Contents -- Preface -- Acknowledgments -- PART I: PRINCIPLES -- Chapter 1 Sound and Hearing -- The Importance of Sound in Production -- The Sound Wave -- Frequency and Pitch -- Amplitude and Loudness -- Frequency and Loudness -- Velocity -- Wavelenght -- Acoustical Phase -- Timbre -- Sound Envelope -- The Healthy Ear -- Hearing Loss -- Main Points -- Chapter 2 Acoustics and Psychoacoustics -- Spatial Hearing -- Direct, Early, and Reverberant Sound -- Matching Acoustics to Program Material -- Studio Design -- Control Room Design -- Ergonomics -- Main Points -- PART II: TECHNOLOGY -- Chapter 3 Loudspeakers and Monitoring -- Types of Loudspeakers -- Loudspeaker Powering Systems -- Selecting a Monitor Loudspeaker -- Monitor Placement -- Calibrating a Loudspeaker System -- Evaluating the Monitor Loudspeaker -- Headphones -- Main Points -- Chapter 4 Microphones -- Operating Principles -- General Transducer Performance Characteristics -- Directional Characteristics -- Sound Response -- Microphone Modeler -- Special-Purpose Microphones -- Wireless Microphone System -- Microphone Accessories -- Microphone Care -- Main Points -- Chapter 5 Consoles and Control Surfaces -- Analog and Digital Consoles -- On-Air Broadcast Consoles -- Production Consoles -- Channel Strips -- Patching -- Console Automation -- Digital Consoles -- Control Surfaces -- Main Points -- Chapter 6 Recording -- Digital Audio -- Technologies and Formats -- Tapeless Recording Systems -- Removable-Media Recording Systems -- Digital Audio Workstations -- Digital Audio Networking -- Digital Audio on Digital Videotape -- Audio on Film -- Main Points -- Chapter 7 Synchronization and Transfers -- Time Codes -- Synchronizing Digital Equipment -- Frame Rates -- Synchronizing Sound and Picture in Film -- Transfers -- Main Points -- Chapter 8 Signal Processors -- Plug-Ins.

Stand-Alone Signal Processors Versus Plug-Ins -- Spectrum Processors -- Time Processors -- Amplitude Processors -- Noise Processors -- Multieffects Signal Processors -- Other Types of Plug-Ins -- Format Compatibility of Plug-Ins -- Main Points -- PART III: PRODUCTION -- Chapter 9 Sound and the Speaking Voice -- Frequency Range -- Sound Level -- Distribution of Spectral Content -- Influences of Nonverbal Speech on Meaning -- Basic Considerations in Miking Speech -- Main Points -- Chapter 10 Voice-Overs and Narration -- Voice Acting -- Recording Voice-Overs -- Narration -- Main Points -- Chapter 11 Dialogue -- Recording Dialogue in Multi- and Single-Camera Production -- Recording Dialogue in the Field -- How Directors Can Help the Audio Crew -- Production Recording and the Sound Editor -- Automated Dialogue Replacement -- Main Points -- Chapter 12 Studio Production: Radio and Television -- Miking the Single Speaker in Radio -- Radio Interview and Panel Setups -- Radio Dramatizations -- Miking Speech for Multicamera Television -- News and Interview Programs -- Panel and Talk Programs -- Main Points -- Chapter 13 Field Production: News and Sports -- Electronic News Gathering -- Electronic Field Production -- Multicamera EFP -- Production of Sports Programs -- Main Points -- Chapter 14 Sound Design -- Sound Design and the Sound Designer -- "Ears" -- Elements of Sound Structure and Their Effects on Perception -- The Visual Ear -- Functions of Sound in Relation to Picture -- Strategies in Designing Sound -- Designing Sound for Mobile Media -- Main Points -- Chapter 15 Sound Effects -- Contextual Sound -- Narrative Sound -- Functions of Sound Effects -- Producing Sound Effects -- Live Sound Effects -- Electronically Generated Sound Effects -- Organizing a Sound-Effect Library -- Spotting -- Main Points -- Chapter 16 Music Underscoring.

Uses of Music in a Production -- Music Characteristics -- Functions of Music Underscoring -- Music in Spot Announcements -- Creative Considerations in Underscoring -- Approaches to Underscoring -- Prerecorded Music Libraries -- Customized Music Programs -- Customized Musical Instrument Programs -- Copyright and Licenses -- Using Music from Commercial Recordings -- Using Music from Sample CDs and the Internet -- Organizing a Music Library -- Main Points -- Chapter 17 Audio for Interactive Media: Game Sound -- Interactive Media -- Designing Audio for Interactivity -- System Resources -- The Production Process -- Example of a Video Game Sequence -- Debugging -- User Playback -- Main Points -- Chapter 18 Internet Production -- Data Transfer Networks -- Audio Fidelity -- Online Collaborative Recording -- Podcasting -- Audio Production for Mobile Media -- Main Points -- Chapter 19 Music Recording -- Close Miking -- Distant Miking -- Accent Miking -- Ambience Miking -- Six Principles of Miking -- Drums -- Acoustic String Instruments -- Woodwinds -- Brass -- Electric Instruments -- Virtual Instruments -- Vocals -- Miking Studio Ensembles -- Miking Music for Digital Recording -- Recording for Surround Sound -- Main Points -- PART IV: POSTPRODUCTION -- Chapter 20 Editing -- Digital Editing -- Basic Functions in Digital Editing -- General Editing Guidelines -- Organizing the Edit Tracks -- File Naming -- Drive Management -- Differences Between Editing Sound and Editing Picture -- Editing Speech -- Editing Dialogue -- Editing Sound Effects -- Editing Music -- Transitions -- Listening Fatigue -- Main Points -- Chapter 21 Mixing: An Overview -- Maintaining Aesthetic Perspective -- Mixing for Various Media -- Mixing Versus Layering -- Metering -- Mixing and Editing -- Main Points -- Chapter 22 Music Mixdown -- Preparing for the Mixdown -- Signal Processing.

Spatial Imaging of Music in Stereo and Surround Sound -- Basic Equipment for Mixing Surround Sound -- Mixing for Surround Sound -- Aesthetic Considerations in Surround-Sound Mixing -- Main Points -- Chapter 23 Premixing and Rerecording for Television and Film -- Premixing for Television and Film -- The Rerecording Mix -- Spatial Imaging of Stereo and Surround Sound in Television and Film -- Mixing for Mobile-Media Receivers -- Cue Sheets -- Compatibility: Stereo-to-Mono and Surround-to-Stereo -- Main Points -- Chapter 24 Evaluating the Finished Product -- Intelligibility -- Tonal Balance -- Spatial Balance and Perspective -- Definition -- Dynamic Range -- Clarity -- Airiness -- Acoustical Appropriateness -- Source Quality -- Production Values -- Main Points -- Appendix: Occupations in Audio -- Selected Bibliography -- Glossary -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- X -- Y -- Credits -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- X -- Y -- Z.