- Cover
- Title
- Copyright
- Contents
- About the Author
- Acknowledgements
- Preface
- Preface to Second Edition
- Preface to Third Edition
- Introduction
- Chapter 1 General Requirements and Common Errors
- Chapter 2 Sound, Decibels and Hearing
- Chapter 3 Sound Isolation
- 3.1 Vibrational Behaviour
- 3.2 Basic Isolation Concepts
- 3.3 Practical Floors
- 3.4 Ceiling Isolation
- 3.5 Summing the Results
- 3.6 Wall Isolation
- 3.7 Lighter Weight Isolation Systems
- 3.8 Reciprocity and Impact Noises
- 3.9 The Distance Option
- 3.10 Discussion and Analysis
- 3.11 Summary
- Reference
- Bibliography
- Chapter 4 Room Acoustics and Means of Control
- Chapter 5 Designing Neutral Rooms
- 5.1 Background
- 5.2 Large Neutral Rooms
- 5.3 Practical Realisation of a Neutral Room
- 5.4 What is Parallel?
- 5.5 Reflexions, Reverberation and Diffusion
- 5.6 Floor and Ceiling Considerations
- 5.7 Wall Treatments
- 5.8 Small and Neutral
- 5.9 Trims
- 5.10 The Degree of Neutrality – An Overview
- 5.11 Dialogue Recording Rooms
- 5.12 Summary
- Reference
- Bibliography
- Chapter 6 Rooms with Characteristic Acoustics
- 6.1 Definitions
- 6.2 A Brief History of Idiosyncrasy
- 6.3 Drawbacks of the Containment Shells
- 6.4 Design Considerations
- 6.5 Driving and Collecting the Rooms
- 6.6 Evolution of Stone Rooms
- 6.7 Live versus Electronic Reverberation
- 6.8 The 20% Rule
- 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 Orchestral Rooms
- 6.13 RT Considerations
- 6.14 Fixed Studio Environments
- 6.15 Psychoacoustic Considerations and Spacial Awareness
- 6.16 Dead Rooms
- 6.17 Foley Rooms
- 6.18 Summary
- Reference
- Bibliography
- Chapter 7 Variable Acoustics
- Chapter 8 Room Combinations and Operational Considerations
- Chapter 9 The Studio Environment
- Chapter 10 Limitations to Design Predictions
- Chapter 11 Loudspeakers in Rooms
- Chapter 12 Flattening the Room Response
- Chapter 13 Control Rooms
- Chapter 15 Studio Monitoring: The Principal Objectives
- Chapter 16 The Non-Environment Control Room
- 16.1 Introduction
- 16.2 Sources of Uncertainty
- 16.3 Removing a Variable
- 16.4 Limitations – Real and Imaginary
- 16.5 Spacial Anomalies
- 16.6 Solutions
- 16.7 Stereo Imaging Constraints
- 16.8 The Concept of Stereo as Currently Used
- 16.9 Conflicts and Definitions
- 16.10 A Parallel Issue
- 16.11 Prior Art and Established Ideas
- 16.12 The Zero Option – the Origins of the Philosophy
- 16.13 Summary
- Reference
- Chapter 17 The Live-End, Dead-End Approach
- Chapter 18 Response Disturbances Due to Mixing Consoles and Studio Furniture
- Chapter 19 Objective Measurement and Subjective Evaluations
- 19.1 Objective Testing
- 19.2 The On-Axis Pressure Amplitude Response
- 19.3 Harmonic Distortion
- 19.4 Directivity – Off-Axis Frequency Responses
- 19.5 Acoustic Source
- 19.6 Step-Function Responses
- 19.7 Power Cepstra
- 19.8 Waterfalls
- 19.9 General Discussion of Results
- 19.10 The Enigmatic NS10
- 19.11 The NS10M – a More Objective View
- 19.12 The Noise of Conflict
- 19.13 Summary
- Reference
- Chapter 20 Studio Monitoring Systems
- 20.1 The Constituents of the System
- 20.2 Console Monitor Circuitry
- 20.3 Audio Cables and Connectors
- 20.4 Monitor Amplifiers
- 20.5 Loudspeaker Cables
- 20.6 Crossovers
- 20.7 Loudspeaker Cabinets
- 20.8 Loudspeaker Drive Units
- 20.9 Review
- 20.10 Summary
- Reference
- Bibliography
- Chapter 21 Surround Sound and Control Rooms
- 21.1 Surround in the Cinemas
- 21.2 TV Surround
- 21.3 Music-Only Surround
- 21.4 An Interim Conclusion
- 21.5 The Psychoacoustics of Surround Sound
- 21.6 Rear Channel Concepts
- 21.7 Perceived Responses
- 21.8 Low Frequencies and Surround
- 21.9 Close-Field Surround Monitoring
- 21.10 Practical Design Solutions
- 21.11 Other Compromises, Other Results
- 21.12 Dubbing Theatres
- 21.13 Summary
- Reference
- Bibliography
- Chapter 23 A Mobile Control Room
- Chapter 24 Foldback
- Chapter 25 Main Supplies and Earthing Systems
- Chapter 26 Analogue Audio Interfacing
- 26.1 The Origins of the Professional Interfaces
- 26.2 Jackfields (Patchbays)
- 26.3 Jacks – Two or Three-Pole?
- 26.4 Avoiding Chaos
- 26.5 Multiple Signal Path Considerations
- 26.6 Grounding of Signal Screens
- 26.7 Balanced versus Unbalanced – No Obvious Choice
- 26.8 Sixteen Options for One Cable
- 26.9 Some Comments
- 26.10 Summary
- Reference
- Bibliography
- Appendix 1
- Appendix 2
- Glossary of Terms
- Index
-
No Comment
..................Content has been hidden....................
You can't read the all page of ebook, please click here login for view all page.