Index

Absorption coefficients, 109–10, 113–15

Absorption, window vs brick wall, 114

Air:

speed of sound in, 13, 109

weight of, 121

API, 64

Axial modes, 25, 39–40

BBC ceiling tiles, 44

Bedford, David, 144

Bernstein, Leonard, 64

Berry, Chuck, 63

Bi-directional rooms, 132, 140–1

Blackwing Studios, 78–80, 82, 87, 89

Bonham, John, 62, 68

Branson, Richard, 76

Bright rooms, 69, 83, 86

Cannon experiment, 119–20

CBS ‘Masterworks’, 64

CBS Studios, 158

Chambers, George, 68

Chess Records, 63–4

Cocktail-party effect, 100

Collins, Phil, 77

Comb filtering, 40

Comfort of musicians, 53

Composers, 94

Concredamp, 4

Constrained layers, 13–14, 118

Damping, 181

Dangerous compromises, 16–17

Daniel, Francis, 95

Daylight, effect on well-being, 151–2

Deadsheets, 13

Decibels, definition of, 177

Diddley, Bo, 63

Diffusers, 58

active, 58

Diffusion, 40–1

Directivity of microphones, 181–2

Discosette Studios, 84–5

Dobrolyot Studios, 148

Domestic/studio acoustic differences, 70

Drum booths, 76

Early reflexions, 42, 141–2

Eastlake Audio, 137–8, 145

Ecclesiastial chanting, 95

Echoes, 58

Edinburgh Festival Choir, 64

Eigentones, 19

Ely Cathedral, 64–5

EMT, 63–5

Equalisation considerations, 157

Equal loudness contours, 95–7

ETC, 165–6, 171

generation of, 169–70

Familiarity with rooms, 73

Fletcher-Munson curves, 95–6

Floated floors, 11–12

Floor decoupling techniques, 108

Foam/adhesive, traction resistance, 15

Foam/plasterboard, absorption characteristics, 15

Foldback, 101–2, 157–61

Forced tone, 31

Frequency, 17–18, 180–1

Geddes, Dr Earl, and derivations, 134, 138–40

Gerzon, Michael, 81

Glass, thickness considerations, 135–7

Glossop, Mick, 76

Granada, 6, 16

Granite, 78, 83, 85

Guitars; Gretch, Fender, 63

Hardwood, environmental considerations, 44

Hawkins, David, 138

Headley Grange, 61–2, 65–8

Headphones, open vis-à-vis closed, 160

Heyser, Richard, 169

Hidley, Tom, 76

Hilbert transform, 169

Holophonics, 100–1

Hugg, Mike, 64

Humidity, effects of, 156–7

Impedance matching/mismatching, 4–5

Impulse response, 166–9

Inexpensive recording, 156

Isolation, degree independent of budget, 138

Johns, Andy, 61–2, 68

Johns, Glyn, 68

Jones, John Paul, 62

Key, effects on room response, 34

King, Ben E., 68

King John, 145

Kingsway Hall, 65–7

LA5, 13

LA10, 13

Laplace, Marquis de, 110, 112–13

Large room frequency, 92

Lateral reflexions, 53–4

Late reflexions, 42

Led Zeppelin, 49, 61–2, 68

Liverpool Anglian Cathedral, 99–100

Lockwood loudspeakers, 160

London Symphony Orchestra, 64

McKenna, Mick, 145

Mahler, Gustav, 64–5

Majestic Studios, 77

Mann, Manfred, 64–5

Manor Mobile, The, 144–5

Manor Studios, The, 76, 131, 151

Materials, inherent sounds of, 69, 75

Matrix H, 145

Meek, Joe, 49

Microphone directivity, 181–2

Microphones:

field of pick–up, 60

placement, 54, 71, 98–9, 116, 141, 144, 160

Modal resonances, 17, 26

Modes, 17, 24–5, 71, 90, 92

Morgan Studios, 50

Natural modes, 17

Near-field, 27

Neutrality, concept of, 23

Newman, Tom, 62, 151

Newton, Isaac, 108–10, 112–13, 173

Newton/m², 177

Noisetec, 13, 28

Objective assessment, 182

Oblique modes, 25

Oldfield, Mike, 62, 76–7, 100, 144–5

Olympic Studios, 49, 61

Orchestras, need for space, 98

Oxfordshire sandstone, 78

Padgham, Hugh, 77

Page, Jimmy, 62, 68

Parallelism, 36, 89

Pascals, 177

Perceptual mechanisms, 100–1

Phase confusion, 145–6

Pink Museum, The, 149–50

PKB2, 28, 30, 124

Placoplatre, 6

Plant, Robert, 62, 68

Planta Sonica, 83–4

Plaster, effect of drying of, 80, 82–3

Plywood beams, 30–1

Pressure zone, 90–1, 117–18

Psychoacoustics, definition of, 182

Purbeck stone, 78

Purple, Dave, 63

Pye Studios, 3, 160

Q (quality factor), 25, 30

Quadratic residue sequences, 41

Radcliffe, Eric, 80

Radio frequency interference, 3

Ratio of specific heats, 113

Recorded Sound Studios, 3

Reflexions, 22, 41–2, 84–5, 88, 103

Regiestudios, 84–7, 89

Resonances, 17, 90

Resonant modes, 17, 20

Revac, 13

Reverberation, 41–2, 83

Reverberation chambers, 63, 81

Reverberation time, 18, 21–2, 95–7, 163–4

Reverberators, digital, 77, 80–1

Richard, Keith, 61

Ripple tank models, 175

Robinson-Dadson curves, 95, 97

Rolling Stones, The, 49, 61–3

Rolling Stones’ mobile, 61, 68, 144–5

Room build-up, and prevention of, 58–9, 141–2, 144

Room simulators, 77

RPG, 41, 58

Russel Scott, 175

Sabine, Wallace, 175

Scaling problems, 58

Schoeps, 70

Schroeder, Manfred, 41

Schroeder plots, 168–70

generation of, 163, 165–7, 170–1

Screens, acoustic, 102

Separation, 75

Shambles Studio, 87

Shoe-box halls, 94, 96

Shure SM57, 70

Silo Studio, 64–5

Slap-back, 41

Sliding glass doors, 135–6

Small-room boxiness, 90, 106

Sound, 16–17

SoundField microphones, 81, 98–9

Spector, Phil, 49

Speed of sound:

in air, 17, 86

in gases in general, 109, 113

SSL, 77

Staggered studs, 118

Standing waves and resonances, 181

Stockhausen, 65

Stradivarius, 65, 173

Stretch fabrics, 125–6

String sections, 21

Studio Monitoring Design, 130, 173

Subjective assessment, 182

Submarines, 4–5

Tangential modes, 25, 39–40

Tcha Tcha Tcha Studios, 133, 142

Teopler, 175

Timebase whistles, 130

Tortuosity, 113

Townhouse Studios, 64, 68, 76–8

Toyashima, Sam, 57

True sound of an instrument, 21

Twenty-four track recording, 50, 75

Twenty per cent rule, 57, 82

Ukrainian Air Force Studio, 47

Uzzle, Ted, 173, 175

Variacs, 152–3

Ventilation, flow differentials, 154–5

Very low level artifacts, 124

Virgin Records/Studios, 64, 76, 144–5

Viscous losses, 113

Visibility, inter–room, 129

Visibility of real–estate, 28, 70

Walthamstow Town Hall, 65

Waterfall plots, 170–1

Wavelength, 17–18

Weighted curves (dB), 178–9

Who, The, 49

Window tunnels, 136–7

Wolf notes, 31

Worcester Cathedral, 144–5

Workhouse Studios, 64

York stone, 66, 78

Zero-voltage switching, 153

Zucharelli, Hugo, 100