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Chapter 2 The Studio Environment

Starting with various sound sources, such as a microphone or an audio recorder, it shows the route or signal path that sound takes to ultimately be broadcast or recorded. Much of what happens in the production studio has to do with manipulating sound, whether it involves a sound signal or an audio signal. In audio production, when that sound signal is then manipulated electronically, it is called an audio signal. The high-pressure area reaches receptors in ears and the people hear the vibrations as sound, or pressure waves strike the diaphragm of a microphone, beginning the process of converting a sound signal into an audio signal. There are four key characteristics of sound that help determine why one sound is different from another: amplitude, frequency, timbre, and the sound envelope. Broadcast equipment is designed to pick up all frequencies equally well, so its response curve is considered to be flat, although few components have a truly flat frequency response curve.

2.5 Studio Sound Considerations

Reflection, Penetration, Diffusion and Absorption

Direct Sound

Dead Studio

With short reverb ring and long reverb route. Reverb ring (or reverb time) is the time that it takes for a sound to die out or go from full volume to silence. Reverb route is the path that sound takes from its source to a reflective surface and back to the original source (or a microphone, if recording).

Live Studio

With long reverb ring and short reverb route. Reverb ring (or reverb time) is the time that it takes for a sound to die out or go from full volume to silence. Reverb route is the path that sound takes from its source to a reflective surface and back to the original source (or a microphone, if recording).

Live End-Dead End (LEDE)

2.7 Studio Size and Shape

Parallel Walls

Splayed Walls

2.11 Noise and Distortion

High Signal-to-Noise Ratio

It is easy to hear the recorded sound, as there is very little unwanted static in the background in this recording: A high amount of signal, and a low amount of noise. Static can be caused by electronics, unbalanced cables, a poor recording environment, low bit-depth in digital recording, and various other elements.

Low Signal-to-Noise Ratio

It is difficult to hear the recorded sound, as there is too much unwanted static in the background in this recording: A low amount of signal, and a high amount of noise. Static can be caused by electronics, unbalanced cables, a poor recording environment, low bit -depth in digital recording, and various other elements.

Normal Loudness

This is an audio signal recorded at an appropriate level, so that it doesn't sound distorted.

Loudness Distortion

One type of distortion is loudness distortion, which can occur when a signal is recorded at a level too loud for the equipment to handle. An overdriven signal sounds ‘muddy,’ and the reproduced signal does not have the same clarity or sharpness that the original signal did.

2.14 Key Characteristics of Sound Waves

60Hz Tone

This is a sound with a frequency of 60Hz or 60 cycles per second, close to the bottom of the range of human hearing (20Hz to 20KHz).

440Hz Tone

This is a sound with a frequency of 440Hz or 440 cycles per second.

1000Hz (1KHz) Tone

This is a sound with a frequency of 1000Hz or 1000 cycles per second. For frequencies of 1000 hertz and above, the term kilokertz (KHz - 1000Hz) is often used.

Fundamental Tone and Overtones

Pure single-pitch sounds don't often occur in nature. When you hit the note A on a guitar - the single string vibrates at the perfect frequency to produce an A, but the vibration also causes the other strings to vibrate, thus adding other pitches. The guitar body also vibrates somewhat, adding more ‘overtones’. Click to listen.

Fundamentals

Fundamental & Overtones

Envelopes

A sound's wave envelope relates to its duration, or the change in volume of a sound over a period of time. Normally a sound's wave envelope goes through four specific stages as demonstrated below.

Attack, the time it takes an initial sound to build to maximum volume; Decay, the time it takes the sound to go from peak volume to a sustained level; Sustain, the time the sound holds it's volume; and Release, the time it takes a sound to die out from sustained volume to silence.

Envelopes Wave Envelopes Wave 2

2.15 Frequency Response

Audible Frequencies

Here are sounds between 20 hertz and 20 kilohertz. See if you can hear them all

Quiz

Chapter 1
Production Planning
Chapter 3
Digital Audio Production