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Recording Studio Design by Philip Newell

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Chapter 5

Designing neutral rooms

The need for neutral rooms. What constitutes ‘neutral’. The concept and construction of large neutral rooms. The effect of shape on modal patterns. The effect of a room on a musical performance. Acoustic parallelism. Achieving neutrality in small rooms. Practical construction of a small neutral/dead room. Sound paths within a complex acoustic control structure. The pressure zone. Transfer of sound between high and low density media. Remnant micro-resonances.

In the chapters so far we have looked at what a studio needs to be able to achieve; some of the properties of sound and hearing; the means of providing isolation; the internal acoustic behaviour of an isolation shell; and the means at our disposal to attempt ...

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