Introduction to Audio.(Book Review)

By Peter Utz. (The Computer Music and Digital Audio Series, 20.) Middleton, WI: A-R Editions, Inc., 2003. [xii, 268 p. ISBN 0-89579-512-4. $36.95.] Illustrations, glossary, index.

Established in 1985 by founding editor John Strawn, A-R Edition's Computer Music and Digital Audio Series has released a number of noteworthy volumes. Under the direction of editor James L. Zychowicz, the series consists of a variety of resources including traditional monographs, academic textbooks, anthologies, and practical "how-to" guides. Equally diverse is the intended audience, ranging from scholars to students, composers to performers, and individuals experienced in music technology to those taking their first steps into this area. Recent volumes include David Cope's The Algorithmic Composer (vol. 16, 2000) and Howard Ferstler's The Digital Audio Music List (vol. 15, 1999). Earlier volumes, such as Ken C. Pohlmann's The Compact Disc Handbook (vol. 5, 1989, rev. ed., 1992) and Jeff Pressing's Synthesizer Performance and Real-Time Techniques (vol. 8, 1992), have become standard music technology resources.

Peter Utz's Introduction to Audio is the series' most recent addition. The series title notwithstanding, this book actually covers a wide spectrum of audio and recording technology topics. Indeed, only the final chapter out of eleven focuses on digital audio. The book's content is in line with most other standard introductory audio and recording techniques books. Unlike many of the other volumes of the series, which are primarily aimed at musicians, Introduction to Audio is written for a more general audience. As noted in the preface, the volume's primary goal is to serve as a textbook for any discipline in which students need to learn fundamentals of audio production, including music, theater, video, radio and television broadcasting, computer media, film, speech, and communications (p. x).

Covering most topics in brief ten- to thirty-page chapters (except for "Digital Audio Recording," which fills forty pages), the text follows a typical, logical progression. The first half of the book starts with a chapter on audio basics, followed by several chapters on microphones and mixers. The first half culminates with a chapter on "Amplifiers, Speakers, and Public-Address Systems." The second half of the book includes chapters on "Basics of Audio Tape Recording," "Analog Copying, Editing, and Overdubbing," and "Planning and Production," concluding with a chapter on "Digital Audio Recording." The book includes a simple glossary (a helpful addition considering the number of inherently technical terms) as well as an index. The omission of a bibliography weakens the overall usefulness of the text by failing to direct beginners to some of the excellent intermediate and advanced resources currently available.

Concentrating on practical information, tips, and suggestions, the book's core content is accurate and should be useful to individuals new to audio production concepts, tools, and skills. The description and discussion of different microphones, their selection, and placement (chaps. 2 and 3) provides essential information and technical detail without overwhelming the reader. Even intermediate students working with audio will benefit from reading sections of the book, such as the step-by-step description of proper procedures for troubleshooting an audio path (pp. 90-92). Clearly the author draws upon a wealth of practical knowledge gained through years of real-world experience.

While the material covering fundamentals of audio and music recording is standard, if a little brief, the discussions of recording and editing audio for video or public address systems is noteworthy. Many recording studio books address these common applications of audio technology only in passing. Although I have not had the opportunity to read one of Utz's numerous video production books, this is clearly an area of the author's expertise.

Although the overall order and treatment of topics is well organized and quite practical, the book falters in the final chapter. Chapter 11 reads as if it were tacked on ...