Recording Studio DesignPhilip Newell's comprehensive reference work contains pearls of wisdom which anyone involved in sound recording will want to apply to their own studio design. He discusses the fundamentals of good studio acoustics and monitoring in an exhaustive yet accessible manner. Recording Studio Design covers the basic principles, their application in practical circumstances, and the reasons for their importance to the daily success of recording studios. All issues are approached from the premise that most readers will be more interested in how these things affect their daily lives rather than wishing to make an in-depth study of pure acoustics. Therefore frequent reference is made to examples of actual studios, their various design problems and solutions. Because of the importance of good acoustics to the success of most studios, and because of the financial burden which failure may impose, getting things right first time is essential. The advice contained in Recording Studio Design offers workable ways to improve the success rate of any studio, large or small. |
Contents
Chapter 1 General requirements and common errors | 1 |
Chapter 2 Sound decibels and hearing | 12 |
Chapter 3 Sound isolation | 31 |
Chapter 4 Room acoustics and means of control | 63 |
Chapter 5 Designing neutral rooms | 107 |
Chapter 6 Rooms with characteristic acoustics | 151 |
Chapter 7 Variable acoustics | 192 |
Chapter 8 Room combinations and operational considerations | 204 |
Chapter 16 The NonEnvironment control room | 375 |
Chapter 17 The LiveEnd DeadEnd approach | 402 |
Chapter 18 Response disturbances due to mixing consoles and studio furniture | 410 |
Chapter 19 Objective measurement and subjective evaluations | 421 |
Chapter 20 Studio monitoring systems | 462 |
Chapter 21 Surround sound and control rooms | 503 |
Chapter 22 Human factors | 524 |
Chapter 23 A mobile control room | 531 |
Chapter 9 The studio environment | 227 |
Chapter 10 Limitations to design predictions | 245 |
Chapter 11 Loudspeakers in rooms | 260 |
Chapter 12 Flattening the room response | 295 |
Chapter 13 Control rooms | 314 |
Chapter 14 The behaviour of multiple loudspeakers in rooms | 339 |
the principal objectives | 361 |
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Common terms and phrases
absorbent absorption achieve acoustic allow amplifiers angle Audio become building cause ceiling Chapter characteristics close concept considered construction control room crossover decay dependent diffuse direct discussed distance distortion drive effect energy engineers equalisation equipment exist fact field filter flat floor frequency response front give harmonic hear high frequencies important increase isolation layer less listening live loud loudspeakers low frequency lower material means Measurement microphone modes monitor systems monitoring mounted musicians nature neutral noise output panels perceived performance perhaps phase placed plots position possible pressure problems produce radiation range rear recording reduce reference reflective reflexions relatively resonant response reverberation shown in Figure shows side signal situation sound space stereo structure studio subjective surfaces surround tend things typical usually wall wave wavelength