By Stanley R. Alten

In AUDIO IN MEDIA, 10th variation, Stanley Alten -- across the world famous as a pupil and professional within the region of audio creation -- maintains to supply scholars with an creation to the fundamental innovations and rules invaluable for audio creation 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 train this operationally established direction to hundreds of thousands of introductory audio-production scholars. accomplished, actual, and updated, the textual content covers informational, perceptual, and aesthetic points of sound as they practice to every level of the creation strategy, from making plans to post-production.

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Because the amount of level loss was too large to work with as a single unit of measurement, it was divided into tenths for more-practical application—hence the use of a logarithm or exponential to reckon measurement. Sound-Pressure Level Acoustic sound pressure is measured in terms of soundpressure level (dB-SPL) because there are periodic variations in atmospheric pressure in a sound wave. Humans have the potential to hear an extremely wide range of these periodic variations, from 0 dB-SPL, the threshold of hearing; to 120 dB-SPL, what acousticians call the threshold of feeling; to 140 dB-SPL, the threshold of pain, and beyond.

If not handled properly, phasing problems can seriously mar sound quality. Phase can also be used as a production tool to create different sonic effects (see chapter 9, “Signal Processors”). TIMBRE For the purpose of illustration, sound is often depicted as a single, wavy line (see 2-1). Actually, a wave that generates such a sound is known as a sine wave. It is a pure tone—a single frequency devoid of harmonics and overtones. Most sound, however, consists of several different frequencies that produce a complex waveform—a graphical representation of a sound’s characteristic shape, which can be seen, for example, on test equipment and digital editing systems (see 4-25b and 21-1) and in spectrographs (see 2-12).

0 © 1999 Cengage Learning. All rights reserved. Relative response (dB) 2-7 Sound-level ranges of the A, B, and C weighting networks. C H A P T E R 2 – S ound a nd H e a r ing VELOCITY ACOUSTICAL PHASE Although frequency and amplitude are the most important physical components of a sound wave, another component—velocity, or the speed of a sound wave—should be mentioned. Velocity usually has little impact on pitch or loudness and is relatively constant in a controlled environment. Sound travels 1,130 feet per second at sea level when the temperature is 70° Fahrenheit (F).

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