Audio Engineering - Dynamic Processing

Wick van den Belt
16
Free sample

Audio engineers use dynamics processors on almost any mix they make. This book will provide you  all the information you need to have to truly understand your dynamics processors making this book a very attractive way to understand your studio-gear! 
This is the first in a series of digital audio-engineering books written by Wick van den Belt, who used to be head-lecturer on various audio engineering courses.
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4.8
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Additional Information

Publisher
Wick van den Belt
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Published on
Jan 14, 2013
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Pages
73
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ISBN
9789081869706
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Best For
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Language
English
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Genres
Computers / Digital Media / Audio
Computers / Speech & Audio Processing
Music / Recording & Reproduction
Science / Acoustics & Sound
Technology & Engineering / Acoustics & Sound
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Content Protection
This content is DRM protected.
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Handbook for Sound Engineers is the most comprehensive reference available for audio engineers, and is a must read for all who work in audio.

With contributions from many of the top professionals in the field, including Glen Ballou on interpretation systems, intercoms, assistive listening, and fundamentals and units of measurement, David Miles Huber on MIDI, Bill Whitlock on audio transformers and preamplifiers, Steve Dove on consoles, DAWs, and computers, Pat Brown on fundamentals, gain structures, and test and measurement, Ray Rayburn on virtual systems, digital interfacing, and preamplifiers, Ken Pohlmann on compact discs, and Dr. Wolfgang Ahnert on computer-aided sound system design and room-acoustical fundamentals for auditoriums and concert halls, the Handbook for Sound Engineers is a must for serious audio and acoustic engineers.

The fifth edition has been updated to reflect changes in the industry, including added emphasis on increasingly prevalent technologies such as software-based recording systems, digital recording using MP3, WAV files, and mobile devices. New chapters, such as Ken Pohlmann’s Subjective Methods for Evaluating Sound Quality, S. Benjamin Kanters’s Hearing Physiology—Disorders—Conservation, Steve Barbar’s Surround Sound for Cinema, Doug Jones’s Worship Styles in the Christian Church, sit aside completely revamped staples like Ron Baker and Jack Wrightson’s Stadiums and Outdoor Venues, Pat Brown’s Sound System Design, Bob Cordell’s Amplifier Design, Hardy Martin’s Voice Evacuation/Mass Notification Systems, and Tom Danley and Doug Jones’s Loudspeakers. This edition has been honed to bring you the most up-to-date information in the many aspects of audio engineering.

 I wrote Music Theory for Producers because, as a producer, I didn’t feel that there were any books on music theory that were designed specifically for my needs.  Producers are an interesting group; they aren’t just musicians, and they aren’t just engineers.  They have to have a little bit of everything to get the job done.

This guide is a no-frills look at music theory that skips the less important details and goes straight to the essential information.  You’ll learn about rhythm, harmony, and melody, including building chord progressions and writing instrumental hooks.

The best part about this book is the song analyses.  For every section, there are several songs that are broken down in terms of the chapter topic.  With this guide, you’ll learn the theory behind:

Elevators – OutKast                             The Otherside – The Roots

Apache Rose Peacock – RHCP            Blow My High – Kendrick Lamar

Xxplosive – Dr. Dre                         Call Tyrone – Erykah Badu

Get Lucky – Daft Punk                        Let Me Watch – MF DOOM

Ms. Jackson – OutKast                     Poundcake – Drake

Hol’ Up – Kendrick Lamar          Pursuit of Happiness – Kid Cudi/Ratatat

Seventeen Years – Ratatat                   Big Poppa – Notorious B.I.G.

Stan – Eminem                                   Kids – MGMT

Breaking Away – Ratatat                      Girl – Destiny’s Child

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