Audio in Media by Stanley R. Alten

By Stanley R. Alten

In AUDIO IN MEDIA, 10th variation, Stanley Alten -- across the world well-known as a pupil and specialist within the region of audio construction -- maintains to supply scholars with an advent to the elemental innovations and rules important for audio construction in today’s media. The transparent, present illustrations and photographs and student-friendly writing in Alten’s market-leading textual content have helped professors successfully educate this operationally dependent direction to hundreds of thousands of introductory audio-production scholars. entire, exact, and up to date, the textual content covers informational, perceptual, and aesthetic features of sound as they observe to every level of the construction procedure, from making plans to post-production.

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Each element should have its position in, and yet be a natural part of, the sound’s overall spectral range and spatial arrangement. Spatial Balance and Perspective All sonic elements in aural space—stereo or surround sound—should be unambiguously localized; it should Copyright 2013 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. 4 C H A P T E R 1 – S ound in P r oduction be clear where various sounds are coming from. Their relationships—front-to-back and side-to-side—should be in proper perspective: dialogue spoken from the rear of a room should sound somewhat distant with appropriate ambience; an oboe solo should be distinct yet come from its relative position in the orchestra; a vocal should not be too far in front of an ensemble or buried in it; background music should not overwhelm the announcer; and crowd noise should not be more prominent than the sportscaster’s voice.

This situation also rarely occurs. Copyright 2013 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. 15 16 C H A P T E R 2 – S ound a nd H e a r ing 45° phase shift = 270° phase shift = b Destructive interference 2-11 Waves partially out of phase (a) increase amplitude at some points and (b) decrease it at others. decreasing amplitude, where compression and rarefaction occur at different times (see 2-11). The ability to understand and perceive phase is of considerable importance in, among other things, microphone and loudspeaker placement, mixing, and spatial imaging.

Chapter 13, “Studio Production: Radio and Television,” covers microphone and production techniques as they apply to studio programs in radio and television. Chapter 14, “Field Production: News and Sports,” concentrates on producing news and sports on-location and includes new material about mobile news gathering and the growing use of the smartphone and the computer tablet in data collection, production, and transmission. Several of the illustrations related to sports production have been updated.

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