References and Standards by Chapter

The annotated shelf above is for slow reading. This section is the opposite—a quick map from each chapter to the primary literature and the published standards behind its claims. Full descriptions of the books appear in Suggested Reading; the technical standards and legal authorities are named in full here. Standards bodies revise their documents and the law evolves—cite the current revision or controlling authority when it matters.

Chapter 1, The Studio and Its Players — Passman, All You Need to Know About the Music Business; Massey, Behind the Glass (Backbeat Books).

Chapter 2, Sound Theory — Everest & Pohlmann, Master Handbook of Acoustics; Howard & Angus, Acoustics and Psychoacoustics (Routledge); Rumsey & McCormick, Sound and Recording: Applications and Theory (Routledge).

Chapter 3, Music Theory — Levine, The Jazz Theory Book (Sher Music).

Chapter 4, Analog and Digital Sound — Pohlmann, Principles of Digital Audio (McGraw-Hill); Rumsey & McCormick, Sound and Recording. Standards: the Compact Disc “Red Book” (16-bit / 44.1 kHz PCM); AES17 (measurement of digital-audio equipment).

Chapter 5, Microphone Basics — Eargle, The Microphone Book (Focal Press); Owsinski, The Recording Engineer's Handbook.

Chapter 6, Advanced Microphone Technique — Bartlett, Practical Recording Techniques (Routledge); Owsinski, The Recording Engineer's Handbook; Huber, Caballero & Runstein, Modern Recording Techniques.

Chapter 7, Studio Acoustics and Monitoring — Everest & Pohlmann, Master Handbook of Acoustics; Toole, Sound Reproduction: The Acoustics and Psychoacoustics of Loudspeakers and Rooms (Routledge).

Chapter 8, Cables and Patchbays — Ballou (ed.), Handbook for Sound Engineers (Focal Press); Huber et al., Modern Recording Techniques.

Chapter 9, Studio Equipment — Ballou (ed.), Handbook for Sound Engineers; Huber et al., Modern Recording Techniques.

Chapter 10, Instruments and MIDI — Huber et al., Modern Recording Techniques. Standards: the MIDI 1.0 and MIDI 2.0 specifications (The MIDI Association).

Chapters 11–14, Pro Tools (Introduction, Recording, Music Production, Audio Editing) — Avid, Pro Tools Reference Guide (current version; Avid Technology); Huber et al., Modern Recording Techniques.

Chapter 15, Equalization — Izhaki, Mixing Audio: Concepts, Practices, and Tools (Focal Press); Owsinski, The Mixing Engineer's Handbook.

Chapter 16, Dynamics Processing — Izhaki, Mixing Audio; Owsinski, The Mixing Engineer's Handbook.

Chapter 17, Time-Based Effects — Izhaki, Mixing Audio; Owsinski, The Mixing Engineer's Handbook.

Chapter 18, Pro Tools: Mixing — Owsinski, The Mixing Engineer's Handbook; Senior, Mixing Secrets for the Small Studio. Standards: Dolby Atmos for music—production and delivery specifications (Dolby Laboratories).

Chapter 19, Mastering — Katz, Mastering Audio: The Art and the Science. Standards: ITU-R BS.1770-5 (2023), Algorithms to measure audio programme loudness and true-peak audio level; ITU-R BS.1771-1; EBU R128 (with EBU Tech 3341–3344); AES TD1008 (recommendation for loudness of internet audio streaming and on-demand distribution).

Chapter 20, Post-Production, Podcasts, Live Sound & Game Audio — Viers, The Sound Effects Bible (Michael Wiese Productions); Yewdall, Practical Art of Motion Picture Sound (Focal Press). Standards: SMPTE ST 12-1 (time and control code); SMPTE ST 2095-1 (cinema B-chain calibration pink-noise signal); SMPTE ST 2067 (IMF); SMPTE ST 429 (Digital Cinema Package); SMPTE ST 428 (D-Cinema Distribution Master); ITU-R BS.775 (5.1 speaker layout); ITU-R BS.1770-5 (loudness).

Chapter 21, The Business of Audio — Passman, All You Need to Know About the Music Business. Authorities: the Copyright Act, 17 U.S.C. (esp. §§ 101, 106, 114, 115, 203); the Music Modernization Act of 2018; Community for Creative Non-Violence v. Reid (1989); Bridgeport Music v. Dimension Films (6th Cir. 2005); VMG Salsoul v. Ciccone (9th Cir. 2016); Marathon Entertainment, Inc. v. Blasi, 42 Cal. 4th 974 (2008); the California Talent Agencies Act, Cal. Lab. Code §§ 1700 et seq.; the U.S. Copyright Office (copyright.gov); The MLC (themlc.com); SoundExchange.

Chapter 22, AI and the Future of Audio — Rubin, The Creative Act: A Way of Being (Penguin Press). Because this field moves monthly, treat tool names and capabilities as snapshots—verify the current state of any platform before relying on it.