Audio Production Worktext by David Reese, Lynne Gross, Brian Gross

By David Reese, Lynne Gross, Brian Gross

Supplying perception into the influence media convergence has had at the radio undefined, this new version can provide a great creation to the fashionable radio construction studio, the apparatus present in that studio, and the fundamental thoughts had to accomplish radio creation work.

New chapters addressing the fundamentals of box recording, construction making plans, and sound for video are incorporated, in addition to a renewed emphasis on not only radio creation, yet audio production.

Featuring a worktext structure adapted for either scholars and lecturers, self-study questions, hands-on initiatives, and a CD with undertaking fabric, quizzes, and demonstrations of key suggestions, this e-book deals a high-quality origin for someone who needs to grasp extra approximately radio/audio gear and construction techniques.

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15 FREQUENCY RESPONSE In audio production, we often mention the frequency response of equipment or, for that matter, the frequency response range of human hearing. In very general terms, the human ear is able to hear frequencies within the range of 20 to 20,000 cycles per second. For most of us, it’s not quite that low or that high. In any case, production equipment, such as an audio console or monitor speaker, should be able to reproduce an audio signal in that range, and most modern equipment is measured by how well it does so.

A sound’s wavelength is the distance between two compressions (crests) or two rarefactions (troughs). Sound wavelength can vary from around three-quarters of an inch for a treble sound near 16 kHz to around 36 feet for a bass sound near 30 Hz. There is an inverse relationship between wavelength and pitch, so higher-pitched sounds have a shorter wavelength. A sound’s timbre (which is pronounced “TAM-bur”), or tone, relates to the waveform of the sound. It’s the characteristic of sound that distinguishes one voice from another, even though both may be saying the same thing at the same volume and pitch.

No. One form of these laws does not exist. ) Wrong. Radio production people who can do many different things are prized. ) Yes. “Stingers” is the correct term. No. A rundown is a script form and may contain the five Ws and an H, but it is not the form most likely to contain them. ) No. A script is not a performance release. ) Correct. This is the definition for indecency. No. This is impossible. ) Yes, this is the correct answer. Yes, this is the right answer. If you answered C to any of the questions: 1c.

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