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by Philip Newell
Recording Spaces
Cover
Halftitle
Dedication
Title
Copyright
Contents
About the author
Acknowledgements
Introduction
Chapter 1 Isolation shells
1.1 Basic requirements
1.2 A typical isolation structure
1.3 Modes and resonances
Chapter 2 Neutral rooms
2.1 Large neutral rooms
2.2 Practical realisation of a neutral room
2.3 A practical design approach
2.4 Further design aims
References
Chapter 3 Variable rooms
3.1 Time for change – musician power
3.2 Introducing practical variability
Chapter 4 Live rooms – their revolutionary strengths and weaknesses
4.1 A brief history of idiosyncrasy
4.2 Drawbacks of the containment shell
4.3 Raw materials
4.4 Practical considerations
4.5 The general concept
4.6 The learning curve
Chapter 5 Stone rooms
5.1 Evolution
5.2 Construction options
5.3 Live versus electronic reverberation
5.4 The 20% rule
5.5 Reverberant rooms and bright rooms – reflexion and diffusion
5.6 Low frequency considerations
5.7 Summary
Note
Chapter 6 Orchestral rooms
6.1 Choice of venues and musician’ needs
6.2 RT considerations
6.3 Fixed studio environments
6.4 Psychoacoustic considerations and spacial awareness
6.5 Use of screens
6.6 Summary
Chapter 7 Vocal rooms
7.1 Aims
7.2 Practical constructions
7.3 Application to a practical room
7.4 Combined effects of losses
7.5 Trims
7.6 Conclusion
Chapter 8 Room combinations and operational considerations
8.1 Options and influences
8.2 Layout of rooms
8.3 Isolation considerations: doors and windows
8.4 The Geddes approach
8.5 Recording techniques for limited acoustics
8.6 A compact studio
8.7 Summary
References
Chapter 9 The studio environment
9.1 Colour, light and human sensitivities
9.2 Ventilation and air conditioning
9.3 Equalisation and foldback
Chapter 10 Limitations to design predictions
10.1 Room responses
10.2 Scale models
10.3 Computer models
10.4 Sound pulse modelling
10.5 Light ray modelling
10.6 Ripple tank modelling
10.7 Summary
References
Glossary of terms
Index
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Dedication
Recording Spaces
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