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| Listing of Exercises | |
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| Foreword | |
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| Preface | |
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| Acknowledgments | |
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| Introduction | |
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| Overview of Organization and Materials | |
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| Establishing an Accurate Playback of Recordings | |
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| Defining the Art of Recording: The Sound Characteristics and Aesthetic Qualities of Audio Recordings | |
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| The Elements of Sound and Audio Recording | |
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| The States of Sound | |
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| Physical Dimensions of Sound | |
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| Perceived Parameters of Sound | |
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| Summary | |
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| Exercises | |
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| The Aesthetic and Artistic Elements of Sound in Audio Recordings | |
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| The States of Sound and the Aesthetic/Artistic Elements | |
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| Pitch Levels and Relationships | |
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| Dynamic Levels and Relationships | |
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| Rhythmic Patterns and Rates of Activities | |
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| Sound Sources and Sound Quality | |
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| Spatial Properties: Stereo and Surround Sound | |
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| Conclusion | |
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| Exercises | |
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| The Musical Message and the Listener | |
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| The Musical Message | |
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| Musical Form and Structure | |
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| Musical Materials | |
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| The Relationships of Artistic Elements and Musical Materials | |
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| Equivalence and the Expression of Musical Ideas | |
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| Text as Song Lyrics | |
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| The Listener | |
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| Conclusion | |
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| Exercises | |
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| Understanding the Mix: Developing Listening and Sound Evaluation Skills | |
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| Listening and Evaluating Sound for the Audio Professional | |
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| Why Audio Professionals Need to Evaluate Sound | |
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| Talking About Sound | |
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| The Listening Process | |
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| Personal Development for Listening and Sound Evaluation | |
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| Summary | |
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| Exercises | |
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| A System for Evaluating Sound | |
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| System Overview | |
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| Sound Evaluation Sequence | |
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| Graphing the States and Activity of Sound Components | |
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| Plotting Sources Against a Time Line | |
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| Summary | |
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| Exercises | |
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| Evaluating Pitch in Audio and Music Recordings | |
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| Analytical Systems | |
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| Realizing a Sense of Pitch | |
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| Recognizing Pitch Levels | |
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| Pitch Area and Frequency Band Recognition | |
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| Melodic Contour | |
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| Exercises | |
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| Evaluating Loudness in Audio and Music Recordings | |
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| Reference Levels and the Hierarchy of Dynamics | |
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| Program Dynamic Contour | |
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| Musical Balance | |
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| Performance Intensity versus Musical Balance | |
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| Exercises | |
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| Evaluating Sound Quality | |
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| Sound Quality in Critical Listening Contexts | |
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| Sound Quality in Analytical Listening Contexts | |
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| Sound Quality and Perspective | |
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| Evaluating the Characteristics of Sound Quality and Timbre | |
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| Summary | |
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| Exercises | |
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| Evaluating the Spatial Elements of Reproduced Sound | |
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| Understanding Space as an Artistic Element | |
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| Stereo Sound Location | |
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| Distance Location | |
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| Environmental Characteristics | |
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| Space within Space | |
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| Surround Sound | |
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| Exercises | |
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| Complete Evaluations and Understanding Observations | |
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| Pitch Density and Timbral Balance | |
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| The Overall Texture | |
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| Relationships of the Individual Sound Sources and the Overall Texture | |
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| The Complete Evaluation | |
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| Using Graphs for Making Evaluations and in Production Work | |
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| Summary | |
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| Exercises | |
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| Crafting the Mix: Shaping Music and Sound, and Controlling the Recording Process | |
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| Bringing Artistic Judgment to the Recording Process | |
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| PartThree Overview | |
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| The Signal Chain | |
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| Guiding the Creation of Music | |
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| Summary | |
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| The Aesthetics of Recording Production | |
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| The Artistic Roles of the Recordist | |
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| The Recording and Reality: Shaping the Recording Aesthetic | |
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| The Recording Aesthetic in Relation to the Performance Event | |
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| Altered Realities of Music Performance | |
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| Summary | |
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| Preliminary Stages: Defining the Materials of the Project | |
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| Sound Sources as Artistic Resources, and the Choice of Timbres | |
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| Microphones: The Aesthetic Decisions of Capturing Timbres | |
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| Equipment Selection: Application of Inherent Sound Quality | |
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| Monitoring: The Sound Quality of Playback | |
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| Summary | |
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| Exercises | |
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| Capturing, Shaping and Creating the Performance | |
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| Recording and Tracking Sessions: Shifting of Focus and Perspectives | |
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| Signal Processing: Shifting of Perspective to Reshape Sounds and Music | |
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| The Mix: Composing and Performing the Recording | |
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| Summary | |
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| Exercises | |
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| The Final Artistic Processes and an Overview of Music Production Sequences | |
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| An Overview of Two Sequences for Creating a Music Recording | |
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| Editing: Rearranging and Suspending Time | |
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| Mastering: The Final Artistic Decisions | |
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| The Listener's Alterations to the Recording | |
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| Concluding Remarks | |
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| Exercises | |
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| CD Contents and Track Descriptions | |
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| Glossary | |
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| Bibliography | |
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| Discography | |
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| Index | |