Fact File Directory

1.1     Ohm’s law

1.2     The decibel

1.3     The inverse-square law

1.4     Measuring SPLs

1.5     Absorption, reflection and RT

1.6     Echoes and reflections

2.1     Critical bandwidth

2.2     Equal-loudness contours

2.3     Masking

2.4     The precedence effect

2.5     Reflections affect spaciousness

3.1     Electromagnetic transducers

3.2     Dynamic microphone – principles

3.3     Ribbon microphone – principles

3.4     Capacitor microphone – principles

3.5     Bass tip-up

3.6     Sum and difference processing

3.7     Microphone sensitivity

3.8     Microphone noise specifications

3.9     Phantom powering

3.10   Frequency modulation

4.1     Electrostatic loudspeaker – principles

4.2     Transmission line system

4.3     Horn loudspeaker – principles

4.4     A basic crossover network

4.5     Loudspeaker sensitivity

5.1     Fader facts

5.2     Pan control

5.3     Pre-fade listen (PFL)

5.4     Audio groups

5.5     Control groups

5.6     Variable Q

5.7     Common mode rejection

5.8     Clipping

5.9     Metering and distortion

6.1     A magnetic recording head

6.2     Replay head effects

6.3     Sync replay

6.4     NAB and DIN formats

6.5     Magnetic reference levels

6.6     Azimuth alignment

6.7     Bias adjustment

7.1     Pre-emphasis

8.1     Analogue and digital information

8.2     Negative numbers

8.3     Logical operations

8.4     Sampling – frequency domain

8.5     Audio sampling frequencies

8.6     Parallel and serial representation

8.7     Dynamic range and perception

8.8     Quantising resolutions

8.9     Types of dither

8.10   Dynamic range enhancement

8.11   Crossfading

9.1     Rotary and stationary heads

9.2     Data recovery

9.3     Error handling

9.4     RAID arrays

9.5     Storage requirements of digital audio

9.6     Peripheral interfaces

9.7     Broadcast WAVE format

9.8     Recordable DVD formats

9.9     Audio processing latency

10.1   Plug-in examples

10.2   DVD discs and players

10.3   Computer networks vs digital audio interfaces

10.4   Carrying data-reduced audio

10.5   Extending a network

11.1   Amplifier classes

11.2   Power bandwidth

11.3   Slew rate

12.1   The transformer

12.2   Earth loops

12.3   XLR-3 connectors

13.1   Compression and limiting

13.2   Simulating reflections

14.1   MIDI hardware interface

14.2   MIDI connectors and cables

14.3   MIDI message format

14.4   Registered and non-registered parameter numbers

14.5   Standard MIDI files (SMF)

14.6   Downloadable sounds and SoundFonts

14.7   Quarter-frame MTC messages

15.1   Drop-frame timecode

15.2   Types of lock

15.3   Synchroniser terminology

16.1   Binaural versus ‘stereophonic’ localisation

16.2   Stereo vector summation

16.3   The ‘Williams curves’

16.4   Transaural stereo

16.5   Stereo misalignment effects

16.6   Stereo width issues

16.7   End-fire and side-fire configurations

17.1   Track allocations in 5.1

17.2   Bass management in 5.1

17.3   What is THX?

17.4   Higher-order Ambisonics

17.5   Loudspeaker mounting

17.6   Surround imaging

A1.1   Frequency response – subjective

A1.2   Harmonic distortion – subjective

A1.3   Noise weighting curves

A2.1   Stylus profile

A2.2   Tracking weight