1.2 A typical isolation structure
2.2 Practical realisation of a neutral room
2.3 A practical design approach
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
5.3 Live versus electronic reverberation
5.5 Reverberant rooms and bright rooms – reflexion and diffusion
5.6 Low frequency considerations
6.1 Choice of venues and musician’ needs
6.4 Psychoacoustic considerations and spacial awareness
7.3 Application to a practical room
7.4 Combined effects of losses
Chapter 8 Room combinations and operational considerations
8.3 Isolation considerations: doors and windows
8.5 Recording techniques for limited acoustics
Chapter 9 The studio environment
9.1 Colour, light and human sensitivities
9.2 Ventilation and air conditioning