RTVF 2210 - facultyinfo.unt.edufacultyinfo.unt.edu/mirror/skv0025/schteach/Audio work t… · Web viewIf the word "John" was accented too clearly, which would indicate that a word

INTRODUCTION TO Media Arts ProductionMRTS 2210: Audio Section

AUDIO SECTION

OBJECTIVE:This section is designed to familiarize the student with basic audio theory, the use of audio equipment, and production techniques for effective applications. Digital techniques will be utilized. A major portion of class time will be devoted to “hands on” demonstration. Therefore, attendance is extremely important to enable you to complete class assignments.

Professor Name: Sharie Vance

Office Location: RTFP 180b

Email address: [email protected]

Office hours: Tuesday/Thursday 2pm-3pm or by appointment

If you are having difficulty with a portion of the course at any point during the semester, please talk to your instructor. My contact information is listed above, and is made available for you to use. Please do not hesitate to contact me if you have questions.

Whenever possible, please email for an appointment. I make note of this for your benefit, so you won't make a wasted trip to my office.

Please be aware that notification is hereby made in this syllabus that the audio portion of this course may involve potentially hazardous activities, the nature of which include working with exposure to electrically powered equipment. Accordingly, the Department of Radio, Television & Film has slated this course within category 2 (courses in which students are exposed to some significant hazards but are not likely to suffer serious bodily harm).

AUDIO DAILY ACTIVITIES (REFER TO DAILY GRID AT THE FRONT OF THIS WORKTEXT FOR SPECIFIC DATES)

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DAY 1: (DATE) ______________________General overview of studio, reservation procedures and project assignments. General description of the equipment and basic concepts relating to its use (single flow, mixing, etc.) Be prepared to review the chapter The Nature of Sound and Recording on pages A-9 through A-22.DAY 2: (DATE) ______________________Discussion of reasons for editing and editing techniques.

Audio Project #1 (digital editing assignment) is introduced.DAY 3: (DATE) ______________________Introduction to studio recording techniques. Digital editing is demonstrated and the editing assignment (Audio Project #1) is reviewed.DAY 4: (DATE) ______________________Discussion of studio recording, microphone use, and mixing techniques.

Audio project #2 (Spot Production) is introduced. DAY 5: (DATE) ______________________Lab Proficiency Test begins.

Audio Project #1 (digital editing) is due.

DAY 6: (DATE) ______________________Lab Proficiency Tests conclude.DAY 7: (DATE) ______________________On-air radio applications, film sound, and audio for television.DAY 8: (DATE) ______________________Remaining discussion of film sound is completed.

Audio Project #2 (Spot Production) is due.

DAY 9: (DATE) ______________________Audio Section Exam over basic audio procedures.

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The University of North Texas makes reasonable academic accommodation for students with disabilities. Students seeking accommodation must first register with the Office of Disability Accommodation (ODA) to verify their eligibility. If a disability is verified, the ODA will provide you with an accommodation letter to be delivered to faculty to begin a private discussion regarding your specific needs in a course. You may request accommodations at any time, however, ODA notices of accommodation should be provided as early as possible in the semester to avoid any delay in implementation. Note that students must obtain a new letter of accommodation for every semester and must meet with each faculty member prior to implementation in each class. Students are strongly encouraged to deliver letters of accommodation during faculty office hours or by appointment. Faculty members have the authority to ask students to discuss such letters during their designated office hours to protect the privacy of the student. For additional information see the Office of Disability Accommodation website at http://www.unt.edu/oda. You may also contact them by phone at 940.565.4323.

AUDIO SECTION OVERVIEWAudio Section Grade Calculation Table

PTS. TOWARD

ELEMENTS GRADE X % VALUE FINAL GRADEProject 1 X 25%

Project 2 X 25%

Lab Test X 15%

Pop Quiz Ave X 10%

SECTION EXAM

X 25%

TOTAL = SECTION FINAL GRADE

Attendance: Roll will be taken in class, and each unexcused absence will subtract 10 points from your audio section final grade. You will be marked absent if you are more than 5 minutes late for class.

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COURSE CONTENT

1. Material assigned as reading from the worktext.

2. Material discussed and distributed in class. This includes expansion on the text, and things not appearing in

the text. Material contained in "hand-outs", to anecdotes, to topics brought up in class by classmates, to explanations about activities in class, etc. may be on the test.

3. Tests. There will be 1 test at the end of this section. Additionally, audio

material will be included in the class final exam. Pop quizzes may also be administered during this section. NOTE: IF YOU MISS THE SECTION EXAM, YOU MUST CONTACT

THE INSTRUCTOR THE DAY OF THE EXAM TO ARRANGE A MAKE-UP EXAM. A death in the family OR a bona fide documented acute medical situation is required. If you arrive late to the exam, you will only be permitted to take it if no one has finished the exam.

If you are late for class and a pop quiz is in progress or has already been given, your grade for that pop quiz will be zero. Also, there are no make-up provisions for pop quizzes. You must attend class to take a pop quiz.

4.Audio Projects . A large part of this course section will involve doing assigned projects. Projects will be graded on their individual merits, but before they can be accepted for grading, they must meet certain production format standards that will described in class. Projects not meeting production format standards will be returned to you without a grade, and will receive a one-half letter grade deduction upon being resubmitted. If the resubmission is still not in the correct format, the grade for the project will be zero.

ALL PROJECTS ARE TO BE READY FOR GRADING ON THE DATE DUE AT THE START OF THE DESIGNATED CLASS PERIOD. IF A PROJECT IS NOT READY, THE GRADE FOR THAT PROJECT WILL BE ZERO. THERE WILL BE NO EXCEPTIONS. THERE ARE NO LATE PROJECTS!

If you receive less than a passing grade on the first project (lower than 70), you may make the changes suggested to you on your evaluation sheet and resubmit them for further evaluation. If you choose to take

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this option, you must resubmit a given project within one week of that project being returned to you.The highest grade that will be awarded for a resubmitted project will be a numerical grade of 70. (Resubmission is not allowed for the second project.)

PLEASE READ: ACADEMIC DISHONESTY, including but not limited to cheating and plagiarism. Please refer to the University of North Texas Undergraduate Catalog detailing matters of academic dishonesty. This is brought forth here to state that each student must do their own work, including that on individual projects.

Audio Notes Bring you own headphones. You will need closed ear (over the ear) headphones. Headphones are not available for checkout from the lab monitor. The Console: Remember that the monitoring level has nothing to do with the level your recording. The monitors are muted when you are using the microphone to prevent feedback. Thus, headphones are required when recording your voice.For most applications: All modules should be routed to Program 1. Program 1 should be selected for the control room monitor. The “A/B Select” button should be in the “A” position for all modules. That is, the buttons should not be illuminated.

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PROJECT 1 OUTLINE

Project 1 has 2 parts, both to be submitted in the designated folder at turnin.rtvf.unt.edu Each part of the project will be labeled

This part of the project will be labeled:Proj1A Last Name First Name

Part A:Digital Editing

This exercise has four parts. (Most of this material has been adapted from "Techniques of Magnetic Recording" by Joel Tall, chief tape editor for CBS.)

The very first sound should be the "This..." of the first exercise. Each subsequent exercise should be separated by five seconds of silence. A. Edit this sequence to sound as good and as possible."er...This...er...exercise in editing (cough) excuse me...is to give you experience in splice...er...editing in the digital domain." The final product should read: "This exercise in editing is to give you experience in editing in the digital domain."B. PACE. Whenever possible, cut from sound to sound. Don't cut the middle of "quiet" spots unless it can't be avoided. "John my big brother, is here in town." The phrase "my big brother" is to be cut out. Edit so that it will to read "John's here in town." NOT "John (pause) is here in town." If the word "John" was accented too clearly, which would indicate that a word with a consonant was to follow, it might be better to edit the "i" of "is" out and make it sound like a contraction, i.e., "John's here in town."C. CUTTING WITHIN SOUND. In the sentence, "Editing according to the rules we are following, it not difficult," the obvious way to eliminate the phrase "according to the rules we are following," would be to cut from just before "according" to just before "is." A better way is be to cut in the middle of the "editing" before "ing" and after "follow" in "following." Edit the sentence to read "Editing is not difficult."D.The technique in exercise D is used often, especially where a speaker mispronounces a word and corrects himself abruptly. In this exercise, the normal manner of editing does not work out well, for when the mispronounced, or garbled, word is cut out, we are left with a

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heavily accented word, but with no indication of why it was heavily accented. By cutting within sound we edit from the good part of the mispronounced word to the unaccented part of the corrected word.The president returned to Washling--WASHington by train."Cut from the middle of the "sh" sound in Washlington--" to the middle of "sh" sound in "WASH." The result is a natural "Washington" with normal accent. The final edit would read “The President returned to Washington by train.”

This part of the project will be labeled:

Proj1B Last Name First Name

Part B:Digital Editing

Edit the exercise so it flows in a conversational, "airable" form. Edit out the mistakes so that a transcription taken from your finished product would read as follows:

"Editing is a skill used extensively in the broadcast industry. It’s used to remove fluffs, to get the program timing right, and for the convenience of assembly. To edit digital audio, you need a computer loaded with an audio editing software program and a soundcard. Within the editing software, you can use the mouse and the keyboard to highlight audio for deletion or for cutting and pasting to another location. Always make certain when editing news audio, called “actualities,” that you don’t take out words that will alter the meaning of the statement. To do so is highly unethical, and could lead to legal action being taken."

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The project will be labeled:

Proj2 Last Name First Name

Project #2 Outline

Creative Commercial Production

Incorporate voices, sound effects, and music to produce one thirty second commercial, promo, or public service announcement. The spot must have a music bed with a definite beginning and ending and include at least one appropriate sound effect. The spot must run between :28-:32.

You may choose to be totally original and create your own scenarios for the commercial, or you may use the following scenarios as a guide.

Scenario 1: Worldwide Hi-Fi in Dallas is having a “Spring Price Break Sale" with 30 to 70 percent reductions on all items in their huge warehouse showroom. Worldwide Hi-Fi is known as the store with instant credit and the lowest prices in the free world!

Scenario 2: The Original Deep-dish Pizza Company is a new pizza chain in town. They feature over 57 toppings in any combination, two for one specials every Tuesday night, and free delivery. They also have on display--this week only--the world's largest anchovy!!!!

Scenario 3: Your favorite music performer or group isappearing Saturday night at Reunion Arena. The concert is the hottest ticket in town!

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The Nature of Sound and Recording

1.1 The Sound Chain

On one level, the gathering, processing, editing, recording, and

broadcasting of sound can be a very intimidating task. However, if you

think of these tasks as parts in a chain, the sound chain, they become

less intimidating and much more manageable.

In order for sound to be heard, there has to be someone to hear

it. A chain has to exist. In the earliest days of humankind, the sound

chain was quite simple: a sound existed and it was heard. As

humankind evolved, new elements were introduced into the chain. We

wanted to send sounds across great distances and to many people, so

we introduced broadcasting into the sound chain. We also wanted to

record sounds so that we could play them back or broadcast them at

later dates. We introduced recording into the sound chain.

The Sound Source

The first element in the sound chain is the source of the sound.

The means by which we gather and work sounds through the chain is

the production process and always starts with the sound source. Sound This material was prepared by Samuel J. Sauls, Ph.D., University of North Texas, Mark A. Toldstedt, Ph.D., University of Wisconsin-Stevens Point, & Brenda K. Jaskulske, M.A., University of North Texas.Used with permission. Reproduction is prohibited.

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is nothing more than a vibration. Think of your childhood and the

games you played. Did you ever take a large blade of grass, hold it

between your thumbs, press your lips to your thumbs and blow as hard

as you could? Or did you play with kazoos? If you did, then you created

a vibration. The blade of grass or the paper diaphragm in the kazoo

did nothing more than vibrate under the pressure of your blowing. The

vibration resulted in a sound, probably a loud screech or a buzzing

sound.

The Human Ear

The last element in the sound chain is the human ear. The ear is

a transducer. The ear transduces sound. It changes or converts sound

into something (impulses/ electrical signals per se) that the human

brain can understand.

The human ear is comprised of three parts: the outer ear, the

middle ear and the inner ear. As sound reaches the ear, it is

collected and directed to the auditory canal by the outer ear. The

auditory canal channels the sound to the eardrum. The sound strikes

the eardrum, forcing it to vibrate (much like the blade of grass in your

fingers or the paper in the kazoo). As the eardrum moves, it creates

vibrations in the middle ear. These vibrations are transmitted to the

inner ear, which is a spiral filled tube filled with fluid. The vibrations in

the middle ear create variations in the fluid of the inner ear. These

variations excite auditory nerve endings called cilia. The cilia send the A-10

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impulses to the brain. In short, the human ear has transduced,

converted, sound in its basic form into impulses that the brain can

understand.

Transducers in the Chain

A transducer, then, is a device that converts or changes. In the

sound chain, there are many transducers. A microphone is a

transducer. It converts sound into a form of energy that can be

recorded or transmitted. A recording device is a transducer. It converts

energy from microphone into a form that can be stored. A playback

machine is a transducer. It converts stored information into a form that

can be sent to a transmitter or to a speaker. A speaker is a transducer.

It converts energy from a playback machine into sound. A transmitter

is a transducer. It converts information into broadcast energy for

transmission to receivers. A receiver is a transducer. It converts

broadcast energy, through speakers, into sound that the human ear

collects, gathers and processes.

1.2 The Sound Wave

Vibrations produced by a sound source must travel through

space in order to be heard, or transduced. Sound travels through space

in pressure waves. It helps to think of how a sound wave travels by

imagining a stone dropping into a pool of water. After the impact,

waves fan out over the water. From above, it looks like a series of A-11

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concentric circles. From the side, however, it travels as a series of

crests and troughs. The crests occur where the most of the energy of

the wave is concentrated and the troughs occur where the energy is

most diffused. In essence, all that happens is that molecules are

moved. The sound wave is similar. As the sound source vibrates, air

molecules are moved. A graphic representation of a sound wave is

known as a sine wave.

Frequency

The points at which the air molecules are concentrated or

pushed together (the crests) are points of compression (areas of high

pressure). The troughs (molecules are pulled apart) are the points of

rarefaction (areas of low pressure). The distance between each crest

is the wavelength. Wavelength is measured in cycles per second,

CPS. The number of cycles occurring within one second determines a

sounds frequency. The human ear perceives frequency as pitch (how

high or how low in frequency we hear a sound). Consequently, the

more cycles per second produced, the higher the pitch. The pitch of a

steam whistle on a train is higher than the rumbling of earthmover.

The difference is that the air escaping from the train’s steam whistle is

vibrating much faster than the vibrations caused by the earthmover’s

engine. The faster the vibrations of air, the higher the frequency and

thus, the higher the pitch. Often times, CPS is expressed in Hertz, or

Hz. One CPS is equal to one Hz. When expressing frequencies into the A-12

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thousands and millions, additional designations are used. One

thousand Hz is equal to 1 kiloHertz (1kHz). One million Hz is equal to

1 megaHertz (1 MHz). One billion Hz is equal to 1 gigaHertz (1 GHz).

The human ear is able to hear roughly between 20 Hz and

20,000 Hz (or 20 KHz). The lower frequencies, roughly between 10 Hz

and 256 Hz are the bass frequencies. These frequencies are

associated with power and “fullness.” The lower midrange

frequencies lie between 256 Hz and 2,050 Hz. These are the

frequencies that determine most of the origins of a sound. The upper

midrange frequencies range between 2,050 Hz and 5,000 Hz. These

higher frequencies are in large part responsible for the intelligibility

and presence of sound. Most of the fundamental frequencies for

speaking fall in the midrange category.

The treble frequencies fall between 5,000 Hz and 20,000 Hz.

The frequencies establish the sparkle and clarity of a sound and gives

presence to a sound.

Amplitude

The vibration of sound is characterized by not only its frequency,

but also by its perceived volume. The number of molecules displaced

by a vibration creates the amplitude or loudness of a sound. The

lateral view of the sound wave illustrates volume. As amplitude, height,

of the wave increases, the volume increases. A human’s ability to hear

variations on loudness is measured in decibels (dB). The human ear A-13

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can hear from 0 dB to 140 dB. An increase of 10 dB is perceived as

being approximately twice as loud.

The threshold of pain is 120 dB (live rock concert sound level or

jet fly by sound). The smallest amount of change the human ear can

perceive is 1 dB to 2 dB. The difference in the range between the

quietness and loudness of a sound is known as the dynamic range.

Waveform and Timbre

Just as the frequency of a sound source determines its pitch, and

the amplitude determines its volume, the actual tonal quality or color

of sound is determined by its timbre. Ask yourself: why do the sounds

of a saxophone, pipe organ, and flute, all playing the same note, sound

differently? The answer is in a sound’s timbre. Most sounds consist of

not one frequency, but of several different frequencies that may each

vary in amplitude. Combinations of such frequencies produce complex

waveforms. A graphic presentation of a sound's several frequencies

is called a waveform. The way in which we received these waveforms

determines our perception of the sound’s quality. Thus, a saxophone,

pipe organ, and flute each produce different frequency content, which

is called the timbre of a sound. A timber consists of the sounds

fundamental pitch and the overtones. The fundamental pitch is the

lowest frequency of the sound produced. Overtones are those other

frequencies generated by the sound source. All of these facets come

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together to produce a sound's harmonics. Thus, that is why we hear

sound the way we do.

Envelopes

Timbre is also affected by the way the envelope of a particular

sound evolves. The envelope of a sound describes the way in which the

loudness of sound wave varies from its initial attack to its very end. All

envelopes have the following characteristics: an attack, decay, a

sustain, and a release. The attack is the portion of the sound

produced after the initial action. After the attack, there is a slight

decay. This describes the initial loss in volume after the initial attack,

prior to sustaining its full volume. The sustain depicts how long the

sound remains at full amplitude. The release refers to the amount of

time necessary for a sound to go from full volume to silence. For the

most part, no two sound sources have the same envelope. The

envelope of sound is, in essence, it’s “fingerprint.” Along with timber,

the sound envelope is another reason why a saxophone, pipe organ,

and a flute all playing the same note sound differently.

1.3 Recording

Recording a sound is a process of transduction. The goal of any

recording is to store the amplitude and frequency of sound, without

destroying the timbre and envelope. Over time, many different

methods to record sounds have evolved. A-15

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The Record

The phonograph, the forerunner of the record, was invented by

Thomas Edison in 1877. By 1888, Emile Berliner had perfected the

concept of recording on to disc. By the 1920s, the record was the

standard recording device. When recording on to disc, the first step is

to make a master. Once the master is cut, a stamper is made and

used to produce thousands of copies. When producing the master, a

stylus cuts a groove into a disc made of aluminum covered with a think

layer of lacquer. When cutting into the disc, the stylus moves laterally

and vertically, depending up on the sounds amplitude and frequency.

In playback, the grooves cause vibrations in a stylus, which in a

turntable cartridge transduces the movements into the equivalent

electrical signal as originally recorded.

Analog Tape Recording

The next generation of recording utilized paper tapes or steel

wire to record audio. However, this technology was not widely

accepted because of the recording quality and, in the case of the steel

wire, the danger involved in playing steel wire at a high rate of speed.

Magnetic tape recordings were developed in World War II Germany and

yielded high quality reproductions.

Magnetic tapes are produced on a tape stock consisting of a base

material of either mylar (polyester) or acetate. The base is coated

with some type of magnetic oxide.A-16

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All oxides are made up of magnetic molecular groups called

domains. Domains may be arranged in a precise order, or pattern,

when they are exposed to a magnetic field. When unmagnetized, the

domains are arranged in random patterns.

The tape is magnetized or recorded when it is drawn past a

variable electronic magnet, called a recording head. As the current

is varied at the head, according to the sounds amplitude and

frequency, the magnetic field varies proportionately. As the tape

passes the field, the domains are arranged in a pattern determined by

that field, and thus a recording is made on the tape.

On playback, the tape is drawn across another head, the

playback head, that “reads” the magnetic fields impressed on the

tape. This, in turn, creates a varying current that is amplified and

represents the original signal recorded on the tape.

Digital Recording

In digital recording, the incoming signal is broken down into

individual pulses, with each pulse assigned a numerical value. Digital

processing breaks down the signal into tiny pieces by sampling it at

very high speeds. Sampling is much like “taking pictures” thousands of

times every second. So, the more "pictures taken," the higher the

sampling rate and the higher the frequency response. Sampling

translates the sound’s amplitude into a stream of separate pulses, a

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stream of discrete values. An encoding device quantizes each of the

discrete values by assigning a binary number.

Once converted to the digital realm, sound can be recorded into

several forms for storage. Compact discs, DVDs and Blu-ray discs

store the binary codes in a series of pits. Optical lasers are able to read

the binary codes. Hard disk systems utilize computers to convert,

process, and store the binary data.

Digital recording allows for exact copies or dubs of material,

much like a word processor allows for exact copies of files. There is no

degradation of a signal in making digital copies, as is the case in

analog duplication. This copying feature, along with ease of editing and

sound manipulation, provides distinct advantages in the digital domain

compared to analog recording.

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###

1.4 Suggestions for Further Reading

Albarran, A. & Pitts, G. (2000). The Radio Broadcasting Industry. Needham Heights, MA: Allyn & Bacon.

Alten, S. R. (2013). Audio In Media. Boston: Wadsworth Publishing Company.

Bartlett,B., & Bartlett, J. (2009) Practical Recording Techniques. (Fifth ed.) Burlington: Elsevier.

Boyd, A. (2008). Broadcast Journalism: Techniques of Radio and Television News. (Sixth ed.) Boston: Focal Press.

Geller, V. (2011). Beyond Powerful Radio: A Communicator's Guide to the Internet Age. Burlington: Focal.

Geller, V. (2007). Creating Powerful Radio: Getting, Keeping and Growing Audiences. Burlington: Focal.

Hausman, C., Benoit, P., Messere, F. & O'Donnell, L. (2003). Announcing. (5th ed.). Boston: Wadsworth Publishing Company.

Hausman, C., Messere, F., Benoit, P., & O'Donnell, L. (2013). Modern Radio Production. (9th ed.). Boston: Wadsworth Publishing Company.

Hedrick, T. (2000). The Art of Sportscasting. Lanham: Rowman and Littlefield.

Holman, T. (2010) Sound For Film and Television.(Third ed.). Burlington: Elsevier.

Huber, D. M., & Runstein, R. A. (2011). Modern Recording Techniques. (Seventh ed.). Boston: Focal Press.

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Hyde, S. (2009). Television & Radio Announcing. (Eleventh ed.). New York: Pearson.

Katz, B. (2013). Mastering Audio: The Art and the Science (Second Ed.). Burlington: Focal.

Keith, M. C. (1997). The Radio Station. (Fourth ed.). Boston: Focal press.

Keith, M. C. (2000). Talking Radio: An Oral History of American Radio in the Television Age. Armonk, NY: M.E. Sharpe, Inc.

Keith, M. C. (2001). Sounds in the Dark: All-Night Radio in American Life. Ames: Iowa State University Press.

LoBrutto, V. (1994). Sound-on-Film: Interviews with Creators of Film Sound. Westport, Conn.: Praeger Publishers.

McCluskey, J. J. (1998). Advising, Managing and Operating a Successful Student/Noncommercial Radio Station. Needham Heights, MA: Simon & Schuster Custom Publishing.

McCluskey, J. J. (1998). Starting a Student/Noncommercial Radio Station. Needham Heights, MA: Simon & Schuster Custom Publishing.

Mcleish, R. (2005). Radio Production. (Fifth ed.). Boston: Focal Press.

Moyes, B. (1988). Successful Radio Promotions. Washington D.C.: National Association of Broadcasters.

Moylan, W. (1992). The Art of recording; The Creative resources of music production and audio. New York: Ban Nostrand Reinhold.

Nelson, M. (1995). The Cutting edge of audio production & audio post-production. White Plains, NY: Knowledge Industry Publications.

Nisbett, A. (1993). The Sound Studio. (Fifth ed.). Oxford: Focal Press.

O'Donnell, L. (1998). Announcing: Broadcast Communicating Today. (Fourth ed.). Belmont: Wadsworth Publishing.

Pohlmann, K. (2000). Principles of digital audio. A-20

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(Sixth ed.) New York: McGraw-Hill.

Roberts, T. E. (1992). Practical Radio Promotions. Boston: Focal press.

Sadow, C. (1998). On the Air: Listening to Radio Talk. New York: Cambridge University Press.

Sauls, S.J. (2000). The Culture of American College Radio. Ames, IA: Iowa State University Press.

Sonnenschein, D. (2001). Sound Design: The Expressive Power of Music, Voice, and Sound Effects in Cinema. Studio City: Michael Wiese Productions.

Thom, R. (1989). AudioCraft: An Introduction to the Tools & Techniques of Audio Production. Washington D.C.: National Federation of Community Broadcasters.

Toole, F. (2008) Sound Reproduction: The Acoustics and Psychoacoustics of Loudspeakers and Rooms. Burlington: Elsevier.

.Winer, E. (2012). The Audio Expert: Everything You Need To Know About Audio. Waltham: Elsevier.

Yewdall, D.L. (2012). Practical Art of Motion Picture Sound. Waltham: Elsevier.

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RTVF 2210 - facultyinfo.unt.edufacultyinfo.unt.edu/mirror/skv0025/schteach/Audio work t… · Web viewIf the word "John" was accented too clearly, which would indicate that a word