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Full Product Details

Author:   Josh Loar
Publisher:   Taylor & Francis Ltd
Imprint:   Routledge
Weight:   2.141kg
ISBN:  

9781138716889

ISBN 10:   113871688
Pages:   586
Publication Date:   11 March 2019
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Active
Availability:   In Print  
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Table of Contents

Contents Dedication List of Figures Preface: Why This Book? Who Is This Book For? Acknowledgements Introduction: What This Book Does, and How It Works A Note on Safety Part I: What is a Sound System? What is a sound system? How does sound itself work? What are the components we need in order to get signal to our audience? Examining the fundamentals of sound, and all the standard components of a contemporary sound system. Section 1: Basics Chapter 1: The Four Standard Elements of the Analog Sound System Chapter 2: The Four Standard Elements of the Digital Sound System Chapter 3: What Is Sound?—Part 1: Acoustic Version Chapter 4: What Is Sound?—Part 2: Electric Version Chapter 5: What Is Sound?—Part 3: Digital Version Section 2: Inputs Chapter 6: Microphones (Wired) Chapter 7: Microphones (Wireless) Chapter 8: Direct Inputs (Instruments, Turntables, Etc.) Chapter 9: Playback Devices and Systems Section 3: Processing Chapter 10: Preamplifiers and Mixing Consoles Chapter 11: Effects—Part 1: Creative and Mixing Effects Chapter 12: D.S.P.: Digital Signal Processing Chapter 13: Effects—Part 2: System Calibration Effects Section 4: Amplification Chapter 14: Power Math Chapter 15: Power Amplifiers (plus a Note on Power Conditioners, Uninterruptible Power Supplies, and Distros) Section 5: Outputs Chapter 16: Speakers Chapter 17: Monitoring Systems Section 6: Computers and Sound Chapter 18: Networks and Connectivity Chapter 19: Show Control Chapter 20: Triggers, Sensors, and Customization Section 7: Communication Systems Chapter 21: Audio Com Systems Chapter 22: Paging Systems Chapter 23: Video Com—We Know It’s Not Audio, But It’s Almost Always Our Job Anyway! Section 8: Connections Chapter 24: Cable Types and Their Uses Part II: How Do You Set Up, Test, and Calibrate a Basic Sound System? How do you assemble a sound system? How do you test your gear and troubleshoot problems? Beginning designers often have to do this work themselves, and any designer needs to understand how their system fits together. Examining the installation process. Section 9: Installation Chapter 25: Signal Flow, from Installation to Verification Chapter 26: Testing and Troubleshooting Section 10: Calibration Chapter 27: Measurement Tools and Systems Chapter 28: Measurement Practices, System Calibration and Optimization Chapter 29: Acoustic Treatments and Other Solutions Part III: What Type of Sound System Do You Need? What are the special questions that need to be asked in each discipline? What are the differences in expected process? What are the schedules and special terms? Examining different sound system types by discipline. Section 11: The Basic Process of System Design Chapter 30: Understanding the Source Material Chapter 31: Understanding the Venue Chapter 32: Understanding the Audience Chapter 33: Understanding the Budget and Available Resources Chapter 34: Selecting Loudspeakers and Positions (Loudspeaker Modeling) Chapter 35: Selecting the Remaining Equipment and Plan for Operation Chapter 36: Refining Your Choices Section 12: The Different Types of Sound System Chapter 37: Concerts, Small Scale Chapter 38: Concerts, Large Scale, and Festivals Chapter 39: Theater—Straight Plays Chapter 40: Theater—Musicals Chapter 41: Conventions and Other Multi-Room Live Events Chapter 42: Performing Arts Venues and Houses of Worship for Permanent Installation Chapter 43: Supermarkets, Airports, and Other Retail Spaces Chapter 44: Theme Parks, Cruise Ships, Casinos, and Other Themed Environments Chapter 45: Recording/Mixing/Mastering Studios (Project and Commercial) for Music, Film, etc. (Including a brief note on Sound Stages for Visual Media) Chapter 46: Corporate Offices, Hotels, Restaurants, and Other Architectural Environments Chapter 47: Creative Systems—Multimedia Art Galleries, New Media, New Uses Part IV: How Do You Document and Present Your Design? What do you need to do in order to ensure you present your work professionally and effectively? Examining the process, from first meeting to final design documents. Section 13: Technical Drawing Chapter 48: Basic Technical Drawing Standards (Organizing and Labeling, Drawing Setup, Notes on Computer Drafting, etc.) Chapter 49: Plan and Elevation Views (including Rack Elevations) Chapter 50: System Block Diagrams (Audio, Control, Network Risers) Chapter 51: Mounting Details Chapter 52: Magic Sheets Section 14: Other Technical Documentation Chapter 53: Hookups and Workbooks Chapter 54: Equipment (Hardware, Cable, RF, IP, etc.) Schedules and Facilities Impact Reports Chapter 55: Budget Documents Chapter 56: Technical Narratives Chapter 57: Presentation Packaging (to Clients, Bidders, and Integrators) Section 15: Presenting Your Work to Paying Clients Chapter 58: First Presentations Chapter 59: Revisions Chapter 60: Finalizing and Signing-Off Afterword: What Comes Next—A Path Forward for The System Designer Bibliography and Further Reading Index

Reviews

[This] book can be enjoyed by newcomers and seasoned pros alike. Whether looking to start a career in audio technology, or brush up on your skills, look no further than The Sound Design Primer. - Brandon Cudequest, Journal of the Audio Engineering Society

Author Information

Josh Loar is a sound, lighting, video, and control system designer who has designed projects all over the world, from theaters, to concerts and festivals, to corporate events and conventions, to theme parks. He has worked as a professional designer for more than 20 years. He has designed and engineered systems for clients including Walt Disney Imagineering, Lotte Group, Busch Gardens, and more. He is co-chair and co-author of the upcoming ESET (Essential Skills for Entertainment Technicians) test in audio. He is chair of the USITT (United States Institute for Theatre Technology) Sound Graphics Working Group, working on issuing new and more comprehensive documentation standards for theatrical sound paperwork. He is an accomplished FOH (Front-of-House) and recording engineer, having worked with artists including Paul Simon, David Byrne, Mos Def, Rickie Lee Jones, Charlie Haden, Philip Glass, and many, many more (he has genuinely lost count). He is an educator who has been teaching at the university level for nearly a decade, at Yale School of Drama and now at Michigan Technological University. He is also a multimedia artist, musician, producer, director, and creator of lots of different kinds of weird art. He enjoys long walks in the woods, good whiskey, and the company of intelligent people. Check out his work at www.joshloar.com

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