Chapter 1 General Requirements and Common Errors
1.2 Sound Isolation and Background Noise Levels
1.2.4 Isolation versus Artistry
Chapter 2 Sound, Decibels and Hearing
2.3 The Decibel: Sound Power, Sound Pressure and Sound Intensity
3.2.1 Damping and the Mass Law
3.3.1 Floors on Weak Sub-Floors
3.4.1 A Trip Through the Ceiling
3.7 Lighter Weight Isolation Systems
3.8 Reciprocity and Impact Noises
3.10.1 Fibrous and Cellular Springs – Thicknesses and Densities
3.10.2 The General Situation with Masses and Springs
3.10.3 Measured Characteristics of Various Suspension Materials
3.10.4 Calculation of Resonance Frequency
Chapter 4 Room Acoustics and Means of Control
4.2.1 The Summing of Modes and Reflexions
4.3 Flutter Echoes and Transient Phenomena
4.4.1 Measuring Reverberation Time
4.5.2 Other Properties of Fibrous Materials
Chapter 5 Designing Neutral Rooms
5.3 Practical Realisation of a Neutral Room
5.3.3 From Isolation Shell Towards Neutrality
5.3.5 Relative Merits of Neutrality and Idiosyncrasy
5.5 Reflexions, Reverberation and Diffusion
5.6 Floor and Ceiling Considerations
5.8.2 The Journey of the Sound Waves
5.8.5 Transfer of Sound Between High and Low Densities
5.8.6 Combined Effects of Losses
5.10 The Degree of Neutrality – An Overview
Chapter 6 Rooms with Characteristic Acoustics
6.2 A Brief History of Idiosyncrasy
6.2.1 From a Room to a Classic
6.3 Drawbacks of the Containment Shells
6.4.1 Room Character Differences
6.5 Driving and Collecting the Rooms
6.7 Live versus Electronic Reverberation
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
6.12.1 Choice of Venues, and Musicians’ Needs
6.14 Fixed Studio Environments
6.15 Psychoacoustic Considerations and Spacial Awareness
Chapter 8 Room Combinations and Operational Considerations
8.1.1 Demands from Control Rooms
8.3 Isolation Considerations – Doors and Windows
8.3.3 Multiple Glazing Considerations
8.3.4 High Degrees of Isolation
8.3.5 The Optimum Amount of Isolation
8.5 Recording Techniques for Limited Acoustics
8.5.1 Moving Musicians and Changing Microphones
8.8 Typical Isolation Door Construction
Chapter 9 The Studio Environment
9.1.2.1 Low-consumption lighting
9.2 Ventilation and Air-Conditioning
9.2.2 Air-Conditioning Systems and General Mechanical Noises
9.4 Colours and General Decoration
Chapter 10 Limitations to Design Predictions
10.1.1 The Envelope of the Impulse Response and Reverberation Time
10.7 Measurement of Absorption Coefficients
10.7.1 General Limitations to Precision
Chapter 11 Loudspeakers in Rooms
11.1 From the Studio to the Control Room
11.3 Room Reverberation and the Critical Distance
11.5.1 Minimum and Non-Minimum Phase
11.5.2 Digital Correction Techniques
11.5.3 Related Problems in Loudspeakers
11.5.4 Summary of Correct Applications of Equalisation
11.5.5 The Modulation Transfer Function and its Implications for Electronic Room Correction
Chapter 12 Flattening the Room Response
12.1 Electronic Correction Concerns
12.2.1 Beyond the Standard Room
12.6 On Listening Rooms in General
13.1 The Advent of Specialised Control Rooms
13.1.1 Geometrically Controlled Rooms
13.1.2 Directional Dual Acoustics
13.7 Aspects of Small Control Room Designs
13.7.1 Conflicting Requirements
Chapter 14 The Behaviour of Multiple Loudspeakers in Rooms
14.6 Limitations, Exceptions and Multi-Channel Considerations
Chapter 15 Studio Monitoring: The Principal Objectives
Chapter 16 The Non-Environment Control Room
16.4 Limitations – Real and Imaginary
16.7 Stereo Imaging Constraints
16.8 The Concept of Stereo as Currently Used
16.9 Conflicts and Definitions
16.11 Prior Art and Established Ideas
16.12 The Zero Option – the Origins of the Philosophy
Chapter 17 The Live-End, Dead-End Approach
17.3 Working and Listening Environments
Chapter 18 Response Disturbances Due to Mixing Consoles and Studio Furniture
18.1 The Sound of Mixing Consoles
18.3 Computer and Video Monitoring
18.5 Effects Units and Ventilation
Chapter 19 Objective Measurement and Subjective Evaluations
19.1.1 Pressure Amplitude Responses
19.2 The On-Axis Pressure Amplitude Response
19.3.1 Intermodulation Distortion
19.4 Directivity – Off-Axis Frequency Responses
19.9 General Discussion of Results
19.11 The NS10M – a More Objective View
19.11.1 Specifications and Measurements
19.11.2 Discussion of Results vis-à-vis Subjective Perception
Chapter 20 Studio Monitoring Systems
20.1 The Constituents of the System
20.2 Console Monitor Circuitry
20.3 Audio Cables and Connectors
20.6.3 Crossover Characteristics
20.7.3 Mounting Practices and Bass Roll-Offs
20.8.1 Low Frequency Driver Considerations
20.8.2 Efficiency and Sensitivity
20.8.3 Magnet Systems and Cone Materials
20.8.4 High Frequency Loudspeakers
20.8.5.3 Mid-range horn loudspeakers
20.8.5.4 Ribbons, Heil air-motion transformers and manger drivers
Chapter 21 Surround Sound and Control Rooms
21.5 The Psychoacoustics of Surround Sound
21.7.1 The Simple Discrete Source
21.7.2 The Multiple Distributed Source
21.7.3 Dipole Surround Loudspeakers
21.8 Low Frequencies and Surround
21.8.1 Music-Only Low Frequencies
21.8.2 Processed Multiple Sub-Woofers
21.9 Close-Field Surround Monitoring
21.10 Practical Design Solutions
21.10.1 The Choice of Rear Loudspeakers
21.11 Other Compromises, Other Results
21.12.1 Room-to-Room Compatibility
21.12.3 Sound Level versus Screen Size
21.12.4 Room Acoustics and Equalisation
21.12.5 Dialogue Levels and Room Equalisation
22.1 The Ambiance of the Occasion
22.2 The Subjectivity of Monitoring
22.3 Conditioning and Expectations
22.4 Lack of Reference Points in Human Judgements
22.5 Studios and Control Rooms
Chapter 23 A Mobile Control Room
23.1 The Problems to be Solved
23.1.1 Electronic Control Limitations
23.5 Directivity and Total Power
23.6.1 The Appropriate Equalisation
24.2 Constant Voltage Distribution
Chapter 25 Main Supplies and Earthing Systems
25.4 Line Filters and Power Conditioners
Chapter 26 Analogue Audio Interfacing
26.1 The Origins of the Professional Interfaces
26.2.1 Balanced to Unbalanced Problems
26.3 Jacks – Two or Three-Pole?
26.5 Multiple Signal Path Considerations
26.6 Grounding of Signal Screens
26.7 Balanced versus Unbalanced – No Obvious Choice
18.118.2.240