Critical Listening Skills for Audio Professionals by F. Alton Everest

By F. Alton Everest

Audio productions are made or damaged by means of the standard of the recording engineer's ears. the power to correctly parent sounds, determine sophisticated difficulties, and act for that reason to use the required repair makes the entire distinction within the caliber of the ultimate tracks and grasp. the excellent news is that those the most important talents may be realized. the facility to immediately establish frequencies, listen hidden distortions, and instinctively reconcile conflicts within the EQ of tools, audio parts, vocals and extra are qualities of these who've mastered the paintings of audio creation. the simplest engineers have informed their ears to right away realize audio difficulties that the shopper and people new to recording arts may most probably no longer listen, yet that, if left unresolved, might lead to an amateurish ultimate product. For greater than twenty years, scholars of F. Alton Everest's severe Listening and Auditory belief classes have quickly constructed those abilities through the use of the serious classes present in this booklet and at the CD. regrettably the books and CDs integrated with the path have been frequently too pricey for aspiring engineers to buy and have been usually to be had simply in faculties, universities, or tuition libraries. Now for the 1st time those fundamental education classes can be found with this liberate of severe Listening talents for Audio pros. via countless numbers of illustrations and an accompanying disc containing high-resolution MP3 records with approximately 5 hours of narration of the complete direction, you could collect the audio discernment talents of a pro recording engineer via learning this direction at your individual speed, on your own residence.

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Coming through this radio the music would sound like this compared to the full-band reference signal which precedes and follows it: RELATIVE LEVEL — dB +20 For practice, run back over this section until you readily detect low- and high-frequency deficiencies of the familiar sounds. This is a good start toward doing the same on unfamiliar sounds for which your only reference is your memory. +10 0 -10 -20 20 50 100 200 500 1k FREQUENCY — Hz 34 2k 5k 10k 20k CRITICAL LISTENING LESSON 4 Frequency Response Irregularities Their effect on music and speech Talk Tech In previous lessons, we have heard the effect of cutting off high frequencies and cutting off low frequencies and limiting the band by cutting off both lows and highs.

To emphasize this, let’s review a bit. This is the simple 1000-Hz sine wave: RELATIVE LEVEL — dB +20 +10 0 -10 -20 20 50 100 200 500 1k 2k 5k 10k 20k 2k 5k 10k 20k 2k 5k 10k 20k FREQUENCY — Hz And this is the 1000-Hz triangular wave: RELATIVE LEVEL — dB +20 The harmonic content of a signal is the key to its distinctive sound quality. +10 0 -10 -20 20 50 100 200 500 1k FREQUENCY — Hz A 1000-Hz square wave has its own distinctive sound. All of its harmonics occur at the same odd multiples of the fundamental as with the triangular wave, but their magnitudes and time relationships are different.

First, Number 1. Number 1 has a 10-dB peak at 5000 Hz: RELATIVE LEVEL — dB +20 +10 0 -10 -20 20 50 100 200 500 1k 2k 5k 10k 20k 2k 5k 10k 20k 2k 5k 10k 20k FREQUENCY — Hz Next is Number 2. Number 2 has a 10-dB peak both at 150 Hz and 5000 Hz: RELATIVE LEVEL — dB +20 +10 0 -10 -20 20 50 100 200 500 1k FREQUENCY — Hz Now for Number 3. Number 3 has a 10-dB peak at 150 Hz and a dip at 5000 Hz: RELATIVE LEVEL — dB +20 +10 0 -10 -20 20 50 100 200 500 1k FREQUENCY — Hz 40 CRITICAL LISTENING LESSON 4 Talk Tech Number 4.

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