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

4.6   Low-frequency Q

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, signal levels and distortion

6.1   A magnetic recording head

6.2   Replay head effects

6.3   Sync replay

6.4   Magnetic reference levels

6.5   Bias adjustment

6.6   Azimuth alignment

7.1   Pre-emphasis

8.1   Analog 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   Quantizing 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   Audio processing latency

9.8   DVD discs and players

10.1   Broadcast wave format

10.2   Recordable DVD formats

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   Plug-in examples

13.2   Compression and limiting

13.3   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

15.1   Drop-frame timecode

15.2   Types of lock

15.3   Synchronizer terminology

15.4   Relationships between video frame rates and audio sampling rates

15.5   Quarter-frame MTC messages

16.1   Binaural versus ‘stereophonic’ localization

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

18.1   Effects of frequency response on sound quality

18.2   Effects of harmonic distortion on sound quality

18.3   Noise weighting curves

18.4   Jitter

18.5   Minimizing coding artifacts

A1.1   Stylus profile

A1.2   Tracking weight