Book description
Philip Newell's comprehensive reference work contains pearls of wisdom which anyone involved in sound recording will want to apply to their own studio design. He discusses the fundamentals of good studio acoustics and monitoring in an exhaustive yet accessible manner.Recording Studio Design covers the basic principles, their application in practical circumstances, and the reasons for their importance to the daily success of recording studios. All issues are approached from the premise that most readers will be more interested in how these things affect their daily lives rather than wishing to make an in-depth study of pure acoustics. Therefore frequent reference is made to examples of actual studios, their various design problems and solutions.
Because of the importance of good acoustics to the success of most studios, and because of the financial burden which failure may impose, getting things right first time is essential. The advice contained in Recording Studio Design offers workable ways to improve the success rate of any studio, large or small.
Table of contents
- Cover
- Halftitle
- Dedication
- Title
- Copyright
- Contents
- About the author
- Acknowledgements
- Preface
- Introduction
- Chapter 1 General requirements and common errors
- Chapter 2 Sound, decibels and hearing
- Chapter 3 Sound isolation
- Chapter 4 Room acoustics and means of control
-
Chapter 5 Designing neutral rooms
- 5.1 Background
- 5.2 Large neutral rooms
- 5.3 Practical realisation of a neutral room
- 5.4 What is parallel?
- 5.5 Reflexions, reverberation and diffusion
- 5.6 Floor and ceiling considerations
- 5.7 Wall treatments
- 5.8 Small and neutral
- 5.9 Trims
- 5.10 The degree of neutrality – an overview
- 5.11 Summary
- References
- Bibliography
-
Chapter 6 Rooms with characteristic acoustics
- 6.1 Definitions
- 6.2 A brief history of idiosyncrasy
- 6.3 Drawbacks of the containment shells
- 6.4 Design considerations
- 6.5 Driving and collecting the rooms
- 6.6 Evolution of stone rooms
- 6.7 Live versus electronic reverberation
- 6.8 The 20% rule
- 6.9 Reverberant rooms and bright rooms – reflexion and diffusion
- 6.10 Low frequency considerations in live rooms
- 6.11 General comments on live rooms
- 6.12 Orchestral rooms
- 6.13 RT considerations
- 6.14 Fixed studio environments
- 6.15 Psychoacoustic considerations and spacial awareness
- 6.16 Dead rooms
- 6.17 Summary
- References
- Bibliography
- Chapter 7 Variable acoustics
- Chapter 8 Room combinations and operational considerations
- Chapter 9 The studio environment
- Chapter 10 Limitations to design predictions
- Chapter 11 Loudspeakers in rooms
- Chapter 12 Flattening the room response
- Chapter 13 Control rooms
- Chapter 14 The behaviour of multiple loudspeakers in rooms
- Chapter 15 Studio monitoring: the principal objectives
-
Chapter 16 The Non-Environment control room
- 16.1 Introduction
- 16.2 Sources of uncertainty
- 16.3 Removing a variable
- 16.4 Limitations, real and imaginary
- 16.5 Spacial anomalies
- 16.6 Solutions
- 16.7 Stereo imaging constraints
- 16.8 The concept of stereo as currently used
- 16.9 Conflicts and definitions
- 16.10 A parallel issue
- 16.11 Prior art and established ideas
- 16.12 The zero option – the origins of the philosophy
- 16.13 Summary
- References
- Chapter 17 The Live-End, Dead-End approach
- Chapter 18 Response disturbances due to mixing consoles and studio furniture
-
Chapter 19 Objective measurement and subjective evaluations
- 19.1 Objective testing
- 19.2 The on-axis pressure amplitude response
- 19.3 Harmonic distortion
- 19.4 Directivity – off-axis frequency responses
- 19.5 Acoustic source
- 19.6 Step-function responses
- 19.7 Power cepstra
- 19.8 Waterfalls
- 19.9 General discussion of results
- 19.10 The enigmatic NS10
- 19.11 The NS10M – a more objective view
- 19.12 The noise of conflict
- 19.13 Summary
- References
- Chapter 20 Studio monitoring systems
-
Chapter 21 Surround sound and control rooms
- 21.1 Surround in the cinemas
- 21.2 TV surround
- 21.3 Music-only surround
- 21.4 An interim conclusion
- 21.5 The psychoacoustics of surround sound
- 21.6 Rear channel concepts
- 21.7 Perceived responses
- 21.8 Low frequencies and surround
- 21.9 Close-field surround monitoring
- 21.10 Practical design solutions
- 21.11 Other compromises, other results
- 21.12 Summary
- References
- Bibliography
- Chapter 22 Human factors
- Chapter 23 A mobile control room
- Appendix 1
- Appendix 2
- Appendix 3
- Glossary of terms
- Index
Product information
- Title: Recording Studio Design
- Author(s):
- Release date: April 2013
- Publisher(s): Focal Press
- ISBN: 9781136115172
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