Index
Note: Page numbers in italics indicate figures; those in bold indicate tables.
3-0 stereo 493, 495, 528–9, 529
3-2 stereo see 5.1-channel surround
5.1-channel surround 531–8, 533
international standards and configurations for 533, 533–5
LFE channel and use of subwoofers in 535–7
track allocations in 534
8-to-14 modulation 267
A
‘A’ curve 20
‘A format’ for Ambisonic sound 548, 548
‘A format’ signals 60
‘A’ signal 505
AAC (Advanced Audio Coding) 256
High Definition 261
AAF (advanced authoring format) 320–2, 321
AAX (Avid Audio eXtension) 388
ABR (auxiliary bass radiator) 85
absolute phase reversal 12
absorption 22
absorption coefficient 22
absorption factor 22
AC (alternating current) 13
ACIP (Audio Contribution over IP) interoperability standard 339–40
active sensing messages 432
actuators 461
A/D conversion see analog-to-digital (A/D) conversion
ADAT (Alesis Digital Audio Tape) multichannel optical digital interface 331–2, 332
Ader, Clement 519
ADL (Audio Decision List) 319–20
Advanced Audio BIFS 257
Advanced Audio Coding (AAC) 256
High Definition 261
Advanced Authoring Format (AAF) 320–2, 321
aerial(s)
diversity reception for 78, 78
helical 74
log-periodic 75
polarization of signal with 73–4
for radio microphones 68–9, 69, 73–5
siting and connection for 76–7, 77
aerial distribution amplifier 76
AESX-192 project 339
AES-3 interface 326–8, 327, 328
AES-5-1998 220
AES55-2012 330
AES67-2013 standard 339
afclip 306
after fade listen (AFL) 138
‘A’-gauge jackplug 383
AGC (automatic gain control, radio microphone receivers) 76
AIFC (Audio Interchange File Format-Compressed) 312
AIFF (Audio Interchange File Format) 312, 313
AIFF-C (Audio Interchange File Format-Compressed) 312
AKG C4141B-ULS double-diaphragm microphone 59
ALAC (Apple Lossless Audio Coding) 389
Alesis Digital Audio Tape (ADAT) multichannel optical digital interface 331–2, 332
alignment level 151
all notes off (ANO) command 427
Alnico magnets in loudspeakers 95
alternating current (AC) 13
aluminum cone for loudspeaker 96
Ambisonic panning laws 576, 576–8, 577
Ambisonic system 547–50, 548–50
loudspeaker mounting for 550
signal formats for 548–50, 548–50
signal source for 548
SoundField microphone in 573, 573–4, 574
AMEI (Association of Musical Electronics Industry) 410
amplifiers
distribution 386
power 347–57; see also power amplifiers
amplitude cues for sound source localization 37–8, 39, 40
amplitude of sound wave 2
amplitude shift keying (ASK) 71
analog information 205
analog mixer, six-channel 117–23, 118, 122, 123
azimuth alignment for 187, 188, 189
block diagram of tape recorder for 177, 178
head inspection and demagnetization for 186
magnetic recording head for 178
magnetic recording levels for 184, 184–5
magnetic recording process for 177–80, 177–81, 180
mechanical transport functions for 190, 190–2
replay equalization in 179, 179–81, 180, 180
studio recorder for 182, 182–3, 183
useful websites on 192
analog white noise 229
analog-to-digital (A/D) conversion 211–34
audio sampling in 212–13, 213, 214, 215
filtering and aliasing in 213–18, 216, 217
introduction to audio 212
oversampling in 231, 231–3, 232
quantizing in 220–1, 221–3, 224
quantizing resolution and sound quality in 221–8, 224, 225, 227
and sound quality 218–20, 602–4
anchoring of segments 294
AND operation 209
anechoic chambers 19
loudspeaker response in 597
ANO (all notes off) command 427
aperture effect 235
APIs (Application Programming Interfaces) 286, 387
apparent source width (ASW) 41
Apple Core Audio Format (CAF) 306, 317
Apple Core Audio system
MIDI interface of 419
Apple Lossless Audio Coding (ALAC) 389
Application Programming Interfaces (APIs) 286, 387
Applied Acoustic Systems Strum Acoustics GS-1 acoustic guitar synth 391, 398, 398–9
arm of record player 609–11, 611, 612, 616, 616–17
ASIO (Audio Stream Input Output) 284, 419
ASK (amplitude shift keying) 71
assignable control surfaces of digital mixers 163–4
assignment in AES64 466
Association of Musical Electronics Industry (AMEI) 410
ASW (apparent or auditory source width) 41
Asynchronous Transfer Mode (ATM) 344–5
ATA interfaces 280
ATA Packet Interface (ATAPI) 280
‘Atmokreuz’ configuration 566, 567
ATRAC data reduction system 259
attenuators
for microphone 64
AU(s) (Audio Units) 286, 388–9
for iTunes mastering 306
AU Lab 306
Audio and Music Data Transmission Protocol 342
Audio Beam 104
Audio BIFS 257
audio codecs, sound quality in 605–8, 607
Audio Contribution over IP (ACIP) interoperability standard 339–40
with digital radio microphones 72
lossless and lossy coding in 252, 252–3
need for 251
parametric audio coding for 257, 257–8
Spatial Audio Object Coding (SAOC) for 260
surround coding formats for 258–60
Audio Decision List (ADL) 319–20
audio file formats, digital see digital audio file formats and interchange
audio frequency range 3
audio groups and grouping for mixer 128, 129, 172
audio handling by digital mixers 162–3
Audio Interchange File Format (AIFF) 312, 313
Audio Interchange File Format-Compressed (AIFF-C, AIFC) 312
audio processing architectures 285–6
audio processing for computer workstations 283–7
audio processing latency 284
audio remote control
useful websites on 469
using computer networks 459–68, 462, 465
audio sampling 212–13, 213, 214, 215
audio sampling rates and video frame rates 478, 479
audio signal, changing resolution of 237–41, 239, 240
audio spectrum 3
Audio Spotlight 104
Audio Stream Input Output (ASIO) 284, 419
Audio to WAVE Droplet 306
for iTunes mastering 306
Audio Video Bridging (AVB) 340
audio workstations, timecode and video synchronization for 481–2, 482
AudioSuite 388
auditory nerve fibers 29–30, 30
of frequency 29, 29–30, 30, 31
hearing mechanism for 27–8, 28
practical implications of equal-loudness contours in 34–5
auditory source width (ASW) 41
Aural Exciter 403
AURoundTripAAC 306
autolocate 183
automatic gain control (AGC, for radio microphone receivers) 76
automatic repeat function 183
background of 154
dynamic and static systems of 162
for integrating machine control 160
voltage controlled amplifier (VCA) 154
auxiliary bass radiator (ABR) 85
auxiliary level controls 140
auxiliary (aux) sends in mixers 139, 171–2
AVB (Audio Video Bridging) 340
averaging 269
Avid Audio eXtension (AAX) 388
Avid Pro Tool systems 284
Avid Sync HD interface 482, 482
Avid/Digidesign plug-in formats 388, 388
AVnu Alliance 340
‘A’-weighted equivalent self-noise 62, 63–4
azimuth alignment 187, 188, 189
azimuth of head gap 188
B
‘B’ curve 20
‘B format’ for Ambisonic sound 548, 548
‘B format’ signals 60
‘B’ signal 505
back coating of open-reel tape 176
back electret technique 51
bad blocks 273
balance control in MIDI 437–8, 438
electronic balancing for 371, 371–2
band splitting in Dolby A system 197
bandwidth limitation, coding artefacts due to 606–7
bank select 441
banks 429
Bantam jack 386
baseband spectrum 215
in frequency perception 29, 29
bass attenuation 49
bass management in 5.1-channel surround 532–3, 535–7
bass reflex systems
enclosure volume calculations for 111–12
bass tip-up 49
bass-mid unit for two-way speaker system 88, 89
battery voltage indicator for radio microphone 70
BBC-type peak programme meter 150, 150, 151, 153
BD (Blu-Ray Disc) 276
data-reduced formats for 260–1
beat(s) 30
beat frequency 30
Beatnik Audio Engine 445
BELL 134
Berliner, Emile 174
bext chunk 316
‘B’-gauge jackplug 383
bias trap 178
bidirectional microphone 53–5, 54
big-endian order 311
Binary Format for Scenes (BIFS) 257
binary information 205
binary number systems 206–8, 206–9, 210
binaural localization 493, 494
binaural stereo
binaural techniques, pseudo- 518, 518–19
bi-phase mark 267
‘birdies’ artefact 607
Bishop, Michael 572
bit stream conversion 236
B&K (Bruel and Kjaer) head-and-torso simulator 523
B&K (Bruel and Kjaer) omni microphones 522, 522
blocks in OCA 461
Bluetooth 341
Blumlein, Alan 493
Blu-Ray Disc (BD) 276
data-reduced formats for 260–1
Bock, Stefan 303
bridges (in networks) 336
bridging switch 350
brightness controller 441
British peak programme meter 150, 150, 151, 153
broad-band sounds, loudness of 32–3
broadcast connections 342
broadcast extension chunk 316
Broadcast WAVE format (BWF) 315, 316, 318
Broadcast WAVE format polyfiles (BWF-P) 316
Bruck, Jerry 571
Bruel and Kjaer (B&K) head-and-torso simulator 523
Bruel and Kjaer (B&K) omni microphones 522, 522
BS.1534 quality scale 590, 591
BS.1116 impairment scale 590, 591
buffering 436
bus 119
bus-powered devices 343
bus/tape 136
BWF (Broadcast WAVE format) 315, 316, 318
BWF-P (Broadcast WAVE format polyfiles) 316
byte ordering 311
C
‘C’curve 20
cable(s)
for MIDI 415
signal wavelength in 375
cable capacitance 365, 365–7, 366
cable inductance 365
cable number for MIDI over USB 447–8, 448
CAF (Core Audio Format) 306, 317
Calrec 1050C microphone 66
capacitance 14
capacitor(s) 14
capturing report 316
carbon fibre cone for loudspeaker 96
cardioid microphone 55, 55–6, 56
carriage return (CR) characters 318
cartridge of record player 611–13, 614–15
cascading 606
catchment area of parabolic microphone 58, 58
category codes 329
cathedral, digital delay in 402–3
CD(s) (compact discs) 275
mastering of 303
CD-DA 275
CD-R 275
CD-ROM 275
CD-RW 277
CEDAR applications 298, 298–9, 299
center frequency 142, 143, 144
center loudspeaker in surround sound 559, 560
center tap 65
center-track timecode 474, 475
ceramic magnets in loudspeakers 95
CF (Compact Flash) 277
‘C-format’ for Ambisonic sound 549, 549
channel(s)
in MIDI sequencing 451
channel aftertouch 429
channel coding for dedicated tape formats 266–7, 267
channel controls for mixer 136–9, 137
channel fader 127
channel grouping for mixer 128, 129, 130, 172
channel messages in MIDI 419–21
channel mode messages in MIDI 427, 427–8
channel pan 133
channel pan controller in MIDI 438
channel strip in AES64 467
chunk-based file structure 312, 313
CIN (code index number) 447–8, 448
Circle Surround 544
clapper boards 476
classical music, mixing approaches for 169
with digital audio system 226–7, 227
close mics 525
CMF (Cutting Master Format) 322
CMR (common mode rejection) 368
CMRR (common mode rejection ratio) 147, 368
code book 267
code index number (CIN) 447–8, 448
Cohen, Elizabeth 226
Coherent Acoustics system 259
end-fire and side-fire configurations with 515
left-right reversal of rear quadrant pickup with 510
and near-coincident microphone configurations 517, 517–18, 518
operational considerations with 516, 516
orientation of 508, 508–11, 510, 511
out-of-phase signals and cancellation with 510
polar pattern of 508, 508, 509
principles of 507–11, 508, 510, 511
stereo width issues with 508, 509
using MS processing on 511–15, 512–14
comb-filtering effects 401
Command Executive in AES64 463–4
command in AES64 467
Command Qualifier in AES64 463–4
common mode rejection (CMR) 368
common mode rejection ratio (CMRR) 147, 368
common mode signal 368
compact discs (CDs) 275
mastering of 303
Compact Flash (CF) 277
compiling (‘comping’) of vocal tracks 288
composite video 479
graphical representation of 3
compression driver for high-frequency horn 88
computer interconnects 334–6 334–6
computer workstations, audio processing for 283–7
concealment 269
concha resonance 38
cones for loudspeakers 95–7, 96
conference hall, digital delay in 402–3
connecting leads for record players 615–16
connectors
for MIDI 415
constant directivity horn 86
consumer interface 329, 329–30, 331
container structure 312
control arrays in AES64 466
control change messages in MIDI 424–7
control groups and grouping for mixer 128, 130
control(s) inAES64 466
control voltage (CV) and gate 409
controller messages, MIDI handling of 437–41, 438, 439
controller thinning for MIDI 424
cooling fans for power amplifiers 348, 350
Core Audio Format (CAF) 306, 317
Core Audio system
MIDI interface of 419
core signal 257
cottage loaf microphone 57, 57
counter, real-time 183
coupled cavity systems for loudspeakers 85, 86
coupling of power amplifiers 357
cps (cycles per second) 2
CR (carriage return) characters 318
CRC (cyclic redundancy check) codes 268
CRC failure 269
crossfading
in mass storage-based editing 290–2, 291, 292
in note assignment in synthesizers and samplers 434–5, 435
crossover frequency 89
crossover network for two-way speaker system 89
crosstalk
with mixers 149
with power amplifiers 354
with two-channel stereo 507
crosstalk cancelling 504
crotchet 484
CSound 256
cue mixer 141
cut-and-splice editing of digital tape recordings 271
Cutting Master Format (CMF) 322
CV (control voltage) and gate 409
cycles per second (cps) 2
cyclic redundancy check (CRC) codes 268
D
‘D’ curve 20
D/A (digital-to-analog) conversion 235, 235–6
DA-88 format 271
DAB (Digital Audio Broadcasting) 251
damping 46
damping factor of power amplifiers 356
Dante 339
DASH (Digital Audio Stationary Head) format 265, 270–1, 271
data and sync separation 266
data buffers 436
data bytes in MIDI messages 420
data fork 311
data recovery with digital tape recording 266
data reduction, audio see audio data reduction
data storage with mixer automation 159–60, 160
reference for 16
dB (decibel) ratios 16
dbx system 199
DC offsets 357
DCA (digitally controlled attenuator) 154, 162
DCLD (Downmix Channel Level Differences) 260
DCP (Digital Cinema Project) format 552
DDP (Disc Description Protocol) 303, 322–3
DDP IP stream (DDPID) file 323
DDP Map stream (DDPMS) file 323
reference for 16
decibel (dB) ratios 16
decoder in Dolby A system 197
decrackle 298
dedicated audio interfaces 325, 326
dedicated monitor mixer 146
de-esser 403
with digital radio microphones 72
delay lines 525
delta-sigma converter 233, 234, 236
demagnetization of heads 186
desk items in AES64 465
dethump 298
device control message in MIDI 437
device ID in MIDI 432
‘D-format’ for Ambisonic sound 549–50, 550
DI boxes see direct-injection (DI) boxes
dialog normalization (‘dialnorm’) 258, 259, 302
differential amplifiers 371, 371
differential component in Dolby A system 197, 197, 198
Digidesign ICON series workstation-integrated mixer 167
Digidesign plug-in formats 388, 388
digital audio
Digital Audio Broadcasting (DAB) 251
digital audio file formats and interchange 310–23
advanced authoring format (AAF) 320–2, 321
Broadcast WAVE format (BWF) 315, 316
Core Audio Format (CAF) 317
DSD-IFF 315
edit decision list (EDL) 317–18
media exchange format (MXF) 320
MPEG 317
and project interchange 317–18
RIFF WAVE (WAV) 312–15, 314, 315
digital audio interfaces 324–34
AES/EBU (AES-3) 326–8, 327, 328
for carrying data-reduced audio 329, 330
dedicated formats for 325, 326
vs. networked data interchange 324, 325
standard consumer (IEC 609583) 329, 329–30, 331
digital audio principles 203–62
analog-to-digital conversion 211–34
binary for beginners 206–8, 206–9, 210
changing resolution of audio signal (requantization) 237–41, 239, 240
digital audio signal chain 210, 210
digital vs. analog recording 204–6
digital-to-analog conversion 235, 235–6
Direct Stream Digital (DSD) 236, 237
introduction to digital signal processing 241–9, 242, 244–7
pitch shifting and time stretching 249–50
digital audio signal chain 210, 210
Digital Audio Stationary Head (DASH) format 265, 270–1, 271
digital audio synchronization 477–81
sample clock jitter and effects on sound quality in 480–1
signal synchronization in 478–80, 480
digital audio workstations, integrated control of 167, 167–8, 168
Digital Cinema Project (DCP) format 552
digital decimation filter 232, 232–3
digital information 205
assignable control surfaces of 163–4
with scene memories 148
digital noise extraction 202
Digital Radio 251
digital radio microphones 71–3
digital recording, analog vs. 204–6
digital reverberation 246, 246–7, 397, 397–8
digital signal chain, sound quality in 602–5, 604
digital signal processing (DSP) 241–9
digital filters and equalization in 243–6, 244–6
digital reverberation and other effects in 246, 246–7
dynamics processing in 247, 247–8
gain changing (level control) in 241–2, 242
in loudspeakers 113
sample rate conversion in 248–9
digital signal processing (DSP) cards 283, 284–5
digital surround sound formats 547
data recovery with 266
error correction with 267–9, 268
rotary vs. stationary heads in 264, 265
Digital Theater Systems (DTS)
Coherent Acoustics system of 259
high-resolution data reduction by 261
digital video, synchronized 458–9
digitally controlled analog mixers 166, 166
digitally controlled attenuator (DCA) 154, 162
digital-to-analog (D/A) conversion 235, 235–6
DIM 140
DIN level 185
DIN pair 517
DIN peak program meter 153
DIRECT 133
direct coupling of power amplifiers 357
Direct Stream Digital (DSD) 236, 237, 276
Direct Stream Digital raw (DSD-raw) format 332–3, 333
Direct Stream Digital-Interchange File Format (DSD-IFF) 315
Direct Stream Transfer (DST) 253, 276
direct-injection (DI) boxes 377–80
directional responses of microphones 51–7, 52, 54–7
directivity factor 19
directivity index 19
directivity of loudspeaker 101–6, 103
DirectMusic 419
DirectSound 419
DirectX audio plug-ins 389
Disc Description Protocol (DDP) 303, 322–3
disk drives
disk pre-mastering formats 322–3
dispersion of loudspeaker 101–6, 103
display of MIDI information 453–5, 454
distorted sounds, loudness of 33
distortion
in loudspeaker systems 99
distributed mode loudspeaker (DML) 83–4, 84, 106
distribution amplifiers 386
DLL (dynamic link library) 389
DLS (Downloadable Sounds) 446
DML (distributed mode loudspeaker) 83–4, 84, 106
Dolby A system 196–7, 197, 198, 200
Dolby B noise reduction system 196
Dolby C system 196
Dolby Digital encoding 258–9, 303, 304
Dolby Noise 200
Dolby noise reduction systems 196–8, 197, 198
Dolby tone 200
domestic power amplifiers 347–8
double MS technique 571, 571, 572, 572
Double Play tape 176
double-diaphragm capacitor microphone 59, 59
double-ribbon principle 50
double-tracking 247
download(s), mastering and preparing material for 305
Downloadable Sounds (DLS) 446
Downmix Channel Level Differences (DCLD) 260
driver(s)
drop-frame timecode 473
drop-in facilities 169
DSD (Direct Stream Digital) 236, 237, 276
DSD-IFF (Direct Stream Digital-Interchange File Format) 315
DSD-raw (Direct Stream Digital raw) format 332–3, 333
DSP see digital signal processing (DSP)
DSP Farms 284
DST (Direct Stream Transfer) 253, 276
DTS (Digital Theater Systems)
Coherent Acoustics system of 259
high-resolution data reduction by 261
DTS-HD High Resolution Audio 261, 276
dummy head techniques 522–4, 523
mastering of 303
DVD+RW 275
DVD-R 275
DVD-RAM 275
DVD-RW 275
dynamic automation systems 162
dynamic crosstalk with power amplifiers 354
dynamic link library (DLL) 389
dynamic range
of digital audio system 226–7, 227
enhancement during requantization of 237, 238
dynamic voice allocation in general MIDI 443
dynamics processing, digital 247, 247–8
dynamics section of mixer 133–4
E
ear inserts 523
early reflections 25
earth loops
with unbalanced lines 363
earth-lift facility 350
EBU (European Broadcasting Union)
ACIP recommendations of 339–40
peak program meter of 150, 150, 151, 153
echo(es) 25
flutter 25
echo chamber 396
echo plate 396
Edison, Thomas 174
edit controller in AES64 467
edit decision list (EDL) 288, 290
edit decision list (EDL) files and project interchange 317–18
edit decision markup language (EDML) 318–20, 319
edit point handling 289–90, 290
editing
of digital tape recording 271, 272
of MIDI information 453–5, 454
EDL (edit decision list) 288, 290
EDL (edit decision list) files and project interchange 317–18
EDML (edit decision markup language) 318–20, 319
effective radiated power (ERP) 70
effects channel 530
effects controllers in MIDI 439
effects returns of mixer 141
EIN (equivalent input noise) 146–7
electret designs 51
electrical form, sound in 12, 12–14, 13
electrical recording, history of 175
electromagnetic transducers 46
electronic balancing 371, 371–2
electronic bargraph metering for mixers 152, 152
electronic equalization in active loudspeakers 91
electronic tape copy editing 271, 272
electrostatic loudspeaker 82, 83
EMagic Unitor 8 interface 417, 417
enclosure for loudspeaker 80, 108–13
encoder in Dolby A system 197
end-fire configuration of stereo pair 515
envelope controllers in MIDI 441
envelopment 41
environments in MIDI sequencing 451–2, 452
equalization
in analog recording 179, 179–81, 180, 180
in digital signal processing 243–6, 244–6
of dummy heads 523
headphone 502
spatial 505
equalization (EQ) section 134–6
filters in 136
high-frequency control in 142, 142, 143, 143
hi-mid control in 142, 142–4, 143–5
of in-line multitrack mixer 125, 126
lo-mid control in 142, 142, 145
low-frequency control in 142, 142
principal EQ bands in 143–4, 143–5
of six-channel analog mixer 119
equalizer section see equalization (EQ) section
equal-loudness contours 31, 32
practical implications of 34–5
equivalent air volume of suspension
compliance (VAS) 109
equivalent input noise (EIN) 146–7
equivalent line spectra 5, 5–6
erase head on analog tape recorder 177, 177
ERP (effective radiated power) 70
error correction with digital tape recording 267–9, 268
essence files 320
note objects in 466
processor types in 467
protocol for 466
EUI (Extended Unique Identifier) 462
European Broadcasting Union (EBU)
ACIP recommendations of 339–40
peak program meter of 150, 150, 151, 153
European-style console 124–5, 125
European-type peak program meter 150, 150, 151, 153
exclusive OR (XOR) operation 209
exponential crossfade 292, 292
Extended Unique Identifier (EUI) 462
eXtensible Music Format (XMF) files 445–6
external MIDI controllers 458
external sync mode 324
externalization, sense of 38, 41
F
fader(s) 120
channel 127
electrical quality of 120
of in-line multitrack mixer 126–7
input 119
linear 120
logarithmic (‘log’) 120
master 141
monitor 127
voltage controlled amplifier (VCA) 154–8, 155, 156, 158
fader automation 154, 154–8, 155, 158
fader swapping 126–7, 136, 140
fast wind 191
FAT 32 (File Allocation Table) 282
FAT 32 (File Allocation Table) file system 318
ferrite magnets in loudspeakers 95
field-effect transistor (FET) 48
field-effect transistor (FET) mute switch 159, 159
Fielder, Louis 226
figure-eight microphone 53–5, 54
File Allocation Table (FAT 32) 282
File Allocation Table (FAT 32) file system 318
file formats, digital audio see digital audio file formats and interchange
file frame indicator 318
file transfer protocol (FTP) 338
filter(s) and filtering
in A/D conversion 213–18, 216, 217
finite impulse response (FIR) 245, 245
infinite impulse response (IIR) 245–6, 246
finite impulse response (FIR) filter 245, 245
five-channel main microphone arrays 563–6, 565–7, 567
fixed media drives 272
fixed-point binary numbers 208
FLAC (Free Lossless Audio Encoding) 261
flanging 247
practical implications of 34–5
floating point processing 284–5
floating-point binary numbers 208–9, 210
flown cluster 402
flutter and sound quality 601–2
flutter echoes 25
FM see frequency modulation (FM)
fo (free-air resonance) 109
formants 250
FORMAT chunk 314, 314, 315, 316
formatting of storage device 281, 281–2, 282
four-channel surround 529–31, 531
Fourier analysis 5
Fourier, Joseph 5
fractional-ratio conversion 248
frame count indicator 318, 319
Fraunhofer-Sonnox plug-in 305
Free Lossless Audio Encoding (FLAC) 261
free-air resonance (fo) 109
frequency balance, loudness and 34
frequency control 134
frequency domain plot 6
frequency domain response of digital filter 244, 244
frequency domain signal 14–15, 15
frequency modulation (FM) 69
frequency modulation (FM) receiver for radio microphone 69, 69, 70
frequency modulation (FM) transmitter for radio microphone 68, 69, 69, 70
frequency perception 29, 29–30, 30, 31
frequency response
of mixers 148
and sound quality 593–7, 594, 598
stereo misalignment of 507
frequency shift keying (FSK) 71
frequency shifter 399
frequency spectra
of non-repetitive sounds 7–8, 8
Fresnel, Augustin-Jean 554
front imaging in surround sound recording 566–71, 568–71
front loudspeakers in surround sound 558
FSK (frequency shift keying) 71
FTP (file transfer protocol) 338
full normaling 384
fundamental frequency of oscillation 6
fused sound 37
G
gain control
in digital signal processing 241–2, 242
gain profile in mass storage-based editing systems 292, 292
gapless, noiseless punch-in 183–4
gate flapping 201
Gaussian noise 229
General MIDI Lite (GML) 444
genlock 479
German peak program meter 151, 153
GML (General MIDI Lite) 444
good localizers 502
gramophone 174
Griesinger, David 505, 520, 525, 561–2
group codes 267
GROUP in fader automation 156, 158–9
group outputs 119
grouping in AES64 465
H
Haas effect 37
hair cells 29
HALs (hardware abstraction layers) 286, 418–19
Hamasaki, surround sound recording by 569, 569–70
hardware abstraction layers (HALs) 286, 418–19
hardware interface for MIDI 413–15
harmonic distortion, and sound quality 596, 597–9, 598, 599
harmonizer device 405
HATS (head-and-torso simulator) 523, 523
HD AAC (High Definition Advanced Audio Coding) 261
HD (high definition) audio, data-reduced formats for 260–1
HDX system 284
HE-AAC 258
head bumps 181
head demagnetization 186
head inspection 186
head movements with binaural stereo 502
head-and-torso simulator (HATS) 523, 523
headphone equalization 502
headphone(s), loudspeaker stereo over 502–5, 503
headphone stereo
head-related panning 578
head-related transfer function (HRTF) 38, 39, 40
in binaural stereo 501–2, 504, 523–4
headroom 227
in mastering 300
hearing
interactions with other senses of 40–2
heat sink area of power amplifiers 348
height of head 188
helical aerial 74
helical scanning 265
hertz (Hz) 2
hexadecimal (hex) system 208, 208, 208
HF see high-frequency (HF)
hi-com noise reduction system 199
Hierarchical Filing System (HFS) 282
High Definition Advanced Audio Coding (HD AAC) 261
high definition (HD) audio, data-reduced formats for 260–1
high resolution data-reduced formats 260–1
high-cut filters in equalization 145
high-frequency (HF) band 134
high-frequency (HF) control 142, 142, 143, 143
high-frequency (HF) shelf curve 143, 143
high-frequency splash 107
high-frequency (HF) time constant in replay equalization 180, 181
high-frequency unit 83
for two-way speaker system 88, 88, 89
high-pass filter (HPF) 131–2, 135, 144
hi-mid control 142, 142–4, 143–5
hiss, loudness of 34
hold 269
hole-in-the-middle effect 493
Horbach, Ulrich 578
horn loading for loudspeakers 86–8, 87, 88
host TDM (HTDM) plug-ins 388
host-based processing 285
HPF (high-pass filter) 131–2, 135, 144
HRTF (head-related transfer function) 38, 39, 40
in binaural stereo 501–2, 504, 523–4
HTDM (host TDM) plug-ins 388
HTTP (hypertext transfer protocol) 338
Hugonnet, Christian 496, 498, 498, 499
hum, loudness of 34
Huygens, Christiaan 498, 499, 554
Huygens-Fresnel principle 554
hybrid disc 276
hypercardioid microphone 57, 57
hypertext transfer protocol (HTTP) 338
hysteresis 201
Hz (hertz) 2
I
IDE interfaces 280
Ideal Cardioid Array 566, 567, 567
Ideale Nieren Anordnung (INA) 566, 567, 567
IEC 60958–3 interface 329, 329–30, 331
IEC level 185
IEEE 802.1 AVB 340
MIDI over 448
IEEE 1588 Precision Time Protocol (PTP) 339, 340
IFF (Interchange File Format) 312, 313
IIR (infinite impulse response) filter 245–6, 246
IM (intermodulation) distortion and sound quality 599, 600
impedance(s) 14
of mixers 148
transformers and 360–2, 361, 362
impulse response of digital filter 244, 244
in point 320
INA (Ideale Nieren Anordnung) 566, 567, 567
inductance, cable and transformer 365
inductors 14
infinite baffle systems 84, 109
infinite impulse response (IIR) filter 245–6, 246
inharmonic partials 7
in-line configuration 125–9, 126, 128
in-line console 125–9, 126, 128
in/out switch on equalizer 136
input channels of six-channel analog mixer 119, 120, 121
input faders 119
input gain controls
for radio microphone 70
input impedance of power amplifiers 355–6
input level controls on power amplifiers 351
input/output (I/O) software for MIDI 418–19
instruments in MIDI sequencing 451–2, 452
integrated machine control 160
integrated sound cards 286
interaural time difference (ITD) 35–7, 36
interchange see digital audio file formats and interchange
Interchange File Format (IFF) 312, 313
interconnection 324–45, 359–86
100 volt lines for 372, 372–4, 373
balanced lines for 367, 367–72, 369–71
data networks and computer interconnects for 334–6, 334–45, 338, 344
digital audio interfaces for 324–34, 329–33
distribution amplifiers for 386
jackfields (patchbays) for 382, 382–6, 384, 385
transformers for 360–2, 361, 362
unbalanced lines for 362–7, 363–6
interfaces
peripheral 280
intermodulation (IM) distortion and sound quality 599, 600
International Organization for Standardization (ISO) seven-layer model for open systems interconnection 336, 336
Internet Protocol (IP) address 338
Internet streaming 251
Inter-Object Cross Coherences (IOC) 260
interpolation 269
inverse-square law 18
inverter (NOT) gate 209
I/O (input/output) software for MIDI 418–19
IOC (Inter-Object Cross Coherences) 260
IP (Internet Protocol) address 338
IRT/DIN peak program meter 153
iSCSI interfaces 280
ISO (International Organization for Standardization) seven-layer model for open systems interconnection 336, 336
ITD (interaural time difference) 35–7, 36
iTunes, mastering and preparing material for 306–8
iTunes Producer 306
ITU-R listening tests 590, 591
J
electronically controlled 386
patch cords for 383
JFMG (Joint Frequency Management Group) 71, 72
jitter
in external timecode 481
and sound quality 602
jog action 297
Joint Frequency Management Group (JFMG) 71, 72
K
keygroups 433
kilobyte (Kbyte) 206
kilohertz (kHz) 2
Kirchhoff-Helmholtz integral 554
L
L (left) signal 505
lambda ((λ) 2
LANs (local area networks) 335, 335
laser pickups for record players 617
latency
audio processing 284
with digital radio microphones 72
with MIDI 436
lateral tracking with record players 609–11, 611
layers for network communication 336, 336
least significant bits (LSBs) 206
Lectrosonics digital hybrid system 72
left (L) signal 505
Letowski, Tomasz 582
level control
in digital signal processing 241–2, 242
in mastering 299–302, 300, 301
level difference stereo 496–8, 498
level, stereo misalignment of 507
LF see low-frequency (LF)
LF (line-feed) characters 318
LFE (low-frequency effects) channel 532–3, 535–7, 553
licenses for radio microphones 70–1
light pipe interface 331–2, 332
liking, sound quality and 586–7
line(s)
delay 525
line level outputs 168
linear law 120
line-feed (LF) characters 318
line/tape 136
line-up tone for radio microphone 70
listeners in 588
little-endian order 311
Livewire 339
local area networks (LANs) 335, 335
local on/off message for MIDI 427, 427
localization see sound source localization
localizers, good vs. poor 502
lock to time icon 297
logarithmic frequency scale 29
logarithmic (‘log’) law 120
Logic audio bin 289
Logic automation data 456
logic control in open-reel machines 191
Logic editor displays 454
Logic environment window 452
logic gate 209
Logic Platinum 5 arrange window 451
log-periodic aerial 75
Long Play tape 176
long-throw horn 86
loudness
of broad-band vs. narrow-band sounds 32–3
of common sounds 32
doubling of perceived 34
in mastering 299–302, 300, 301
and perceived frequency balance 34
and perceived pitch 30
loudness control 34
loudness normalization 302
equal-loudness contours in 31, 32
masking in 33
practical implications of equal-loudness contours in 34–5
loudness units related to full scale (LUFS) 302
bass reflex systems for 85, 85, 86
complete systems for 88, 88–90
coupled cavity systems for 85, 86
digital signal processing in 113
directivity (dispersion) of 101–6, 103
istortion with 99
enclosure for 80
frequency response of 99–101, 100
headphone stereo over 502–5, 503
infinite baffle systems for 84
limitations of 80
mounting and loading drive units for 84–8
panel speaker dispersion for 105–6
passive 90
phase of 106
power handling of 101
surround 530, 531, 534–5, 559–61
Thiele-Small parameters and enclosure volume calculations for 108–13
three-way systems for 90
transmission line system for 86
useful websites on 113
loudspeaker stereo
binaural vs. stereophonic localization in 493, 494
creating phantom images in 495, 495–9, 496, 498, 499
historical development of 491–5, 492
level difference (Blumlein) 496–8, 498
stereo vector summation in 496, 497
Williams curves in 499
low-cut filters in equalization 145
low-frequency (LF) band 134
low-frequency (LF) control 142, 142
low-frequency effects (LFE) channel 532–3, 535–7, 553
low-frequency (LF) shelf curve 143
low-frequency (LF) time constant in replay equalization 180, 181
low-pass filter (LPF) 131–2, 135
LP record 175
LR format 506
LR pairs and MS pairs 512–14, 512–15
LSBs (least significant bits) 206
LUFS (loudness units related to full scale) 302
M
M and S (middle and side) stereo microphone 60, 60, 61
MAC-DSD interface 333
machine control integration 160
machine synchronizers 471, 477, 477
MADI (Multichannel Audio Digital Interface) 331
magnet(s) in loudspeakers 95–6
magnetic field 178
magnetic flux 178
magnetic flux reference levels 184, 184–5
magnetic hard disks 272–4, 273
magnetic heads on tape recorder 177, 177, 178
magnetic recording equipment, history of 175
magnetic recording levels 184, 184–5
magnetic recording process 177–80, 177–81, 180
magnetic reference levels 184, 185
magneto-optical (M-O) disc formats 275
main microphone arrays for surround sound recording 563–6, 565–7, 567
main stream 323
mains hum 123
MAN(s) (metropolitan area networks) 335
Manchester codes 267
manipulation of MIDI information 453–5, 454
mass control 46
mass storage-based editing systems
crossfading in 290–2, 291, 292
edit decision list in 288, 290
edit point handling in 289–90, 290
editing modes in 292–4, 293, 294
non-linear editing in 287–8, 288, 294
programming of gain profile in 292, 292
simulation of reel-rocking in 294–5
sound files and sound segments in 288–9, 289
mass storage-based systems 272–82
magnetic hard disks as 272–4, 273
media formatting for 281, 281–2, 282
recording audio onto 277–81, 279
retrieval of information from 278, 279
master balance control in MIDI 437
master control section of mixer 140–1
master faders 141
master volume control in MIDI 437
Mastered for iTunes (MFiT) 306–8
Mastered for iTunes (MFiT) Droplet 306
level control and loudness in 299–302, 300, 301
specialized software for 298, 298–9, 299
Material Exchange Format (MXF) 320
Material Exchange Format (MXF) wrapping 552
matrixed surround sound systems 540–6
Circle Surround 544
Dolby Stereo, Surround, and ProLogic as 540–2, 541–3
maximum output level (MOL) 184, 185
mechanical metering for mixers 150, 150–1
media formatting 281, 281–2, 282
megabyte (Mbyte) 206
Memory Stick 277
memory stores, non-volatile and volatile sections of 398
Meridian Lossless Packing (MLP) 253, 260
Metal Oxide Semiconductor Field-Effect Transistor (MOSFET) in power amplifier 350
metering systems
metropolitan area networks (MANs) 335
MF (mid-frequency) peaking filter 143, 144
MFiT (Mastered for iTunes) 306–8
MFiT (Mastered for iTunes) Droplet 306
mic level trim 127
MIC/LINE switch 131
boundary or pressure-zone 58–9
capacitor or condenser 48, 50–1
cardioid or unidirectional 55, 55–6, 56
close 525
directional responses of 51–7, 52, 54–7
double-diaphragm capacitor 59, 59
as electromagnetic transducer 46
figure-eight or bidirectional 53–5, 54
hypercardioid (cottage loaf) 57, 57
moving-coil or dynamic 47, 48–9
near-coincident configurations of 517, 517–18, 518
noise specifications for 62, 63–4
polar diagrams of 51–7, 52, 54–7
powering options for 64–8, 67, 68
spaced configurations of 519, 519–22, 521, 522
specialized types of 57, 57–9, 58
for surround sound recording 562–74
tie-clip 53
Midas Heritage 3000 mixer 166, 166
middle and side (M and S) stereo microphone 60, 60, 61
mid-frequency bands (MID 1 and MID 2) 134
mid-frequency (MF) peaking filter 143, 144
all notes off (ANO) command for 427
automation of non-note events on 456, 456–7
cables and connectors for 415
channel aftertouch in 429
control of sound generators in 433–41
controller functions in 425, 425, 426
controller numbers for 424–5, 425, 426
data buffers and latency in 436
device ID in 432
displaying, manipulating, and editing information from 453–5, 454
drivers and I/O software for 418–19
function of sound generators in 435–6
handling of velocity and aftertouch data by 436–7
nput and output filters for 452–3
interfacing with 413, 413–19, 416–18
mixing and external control for 457–8
multi-device system for 417, 418
note assignment in synthesizers and samplers on 433–5, 434, 435
vs. Open Sound Control (OSC) 449–50
with outboard devices 405
over IEEE 1394 448
pitch bend wheel in 430
quantization of rhythm on 455–6
registered and non-registered parameter numbers in 440
running status of 423
sequencing software for 450–9, 451, 452
simple interconnection for 416, 416
standard files on 442
timing resolution with 453
useful websites on 469
voice selection on 441
MIDI channel(s) 419
MIDI channel numbers 421
MIDI Manager 419
MIDI Manufacturer’s Association (MMA) 410
active sensing 432
handling of controller 437–41, 438, 439
note on and note off 421–2, 422
pitch wheel 430
polyphonic key pressure (aftertouch) 423–4
reset 432
tune request 432
universal system exclusive 431–2
MIDI note assignment in synthesizers and samplers 433–5, 434, 435
MIDI sequencing 295
MIDI synchronization 458, 482–6
music-related timing data in 483–5, 484
MIDI timecode (MTC) 481, 484–5
mid-range driver for three-way speaker systems 90
Miller-squared channel codes 267, 267
minim 484
mix controls for mixer 136–9, 137
Mix Farms 284
mix routing switches 133
mix/channel 139
mixdown, master control for 140
mixdown phase, of music recording 123, 170
audio groups and grouping for 128, 129, 172
automation of 154–62, 155, 156, 158–61
basic operational techniques for 170–2
channel and mix controls for 136–9, 137
channel grouping for 128, 129, 130, 172
crosstalk with 149
dedicated monitor 146
digitally controlled analog 166, 166
effects returns of 141
equalization (EQ) section of 134–6, 142–5, 143, 144
frequency response of 148
impedance of 148
integration of workstations with 167, 167–8, 168
introduction to mixing approaches with 168–70
master control section of 140–1
metering systems for 149–54, 150, 152, 153
overview of typical facilities for 128–42, 131
simple six-channel analog 117–23, 118, 122, 123
stereo line input modules for 145–6
technical specifications for 146–9
mixing
in digital signal processing 242–3
MIDI 457
mixing console see mixer(s)
mixing room for two-channel vs. surround sound 557–8
MLP (Meridian Lossless Packing) 253, 260
MMA (MIDI Manufacturer’s Association) 410
MM:SS delimiter 318
M-O (magneto-optical) disc formats 275
modifiers in AES64 465
modular digital multitrack formats 271, 271
modulation index 71
MOL (maximum output level) 184, 185
monaural cues for sound source localization 38, 39
monaural transfer functions 38, 39
monitor fader 127
monitor in AES64 467
monitor phase reverse 140
monitor selection 140
MONO 140
mono mode for MIDI 428
OSFET (Metal Oxide Semiconductor Field-Effect Transistor) in power amplifier 350
most significant bit (MSB) 206
motion sensing in open-reel machines 191
Moving Pictures Expert Group see MPEG
moving-coil cartridge 615
moving-coil loudspeaker 80–2, 81
moving-coil microphone 47, 48–9
moving-magnet cartridge 614–15
MP3 (MPEG-1 Layer 3)
coding for 255
file format 317
mastering and preparing material for 305
MPEG AAC+ 258
MPEG audio file formats 317
MPEG coding 253–7, 254, 255, 255
MPEG-1 Layer 3 (MP3)
coding for 255
file format 317
mastering and preparing material for 305
MPEG-2AAC 256
MPEG-4 Structured Audio 409
MS matrixing 515
MS pairs and LR pairs 512–14, 512–15
MS processing used on coincident pairs 511–15, 512–14
MSB (most significant bit) 206
MTC (MIDI timecode) 481, 484–5
multi mode for MIDI 428
Multichannel Audio Digital Interface (MADI) 331
multichannel extension chunk 316
multichannel panning techniques 574–8
Ambisonic panning laws for 576, 576–8, 577
head-related panning as 578
pairwise amplitude panning as 575–6
multichannel stereo see surround sound
multi-core processor 285
multi-effects processors 391, 398, 398–9
multi-mic pickup 524
multimicrophone techniques for surround sound recording 572–3
multiple stimulus with hidden reference and anchors (MUSHRA) approach 590, 591
multitrack DASH machines 271, 271
further aspects of in-line design for 126–7
in-line and split configurations of 124–5, 125, 126
history of 175
MUSHRA (multiple stimulus with hidden reference and anchors) approach 590, 591
Music Instrument Digital Interface see MIDI
Music Logic mode 544
music notation software 450
Music Surround mode 544
Music XML 442
music-related synchronization 483–5, 484
music-related timing data 483–5, 484
MXF (Material Exchange Format) 320
MXF (Material Exchange Format) wrapping 552
N
NAB level 185
Nagra IV-S professional portable two-track recorder 183
narrow-band sounds, loudness of 32–3
natural audio coding 256
naturalness
in spatial hearing 43
NC (noise criterion) 20
near-coincident microphone configurations 517, 517–18, 518
audio-specific standards for 339–40
vs. digital audio interfaces 324, 325
Firewire (IEEE 1394) 325, 341–2
metropolitan area 335
personal area 325, 335, 341–5, 344
requirements for audio 336–7, 338
storage area 340
Universal Serial Bus (USB) 325, 342–4, 344
wireless 341
Neumann KU100 dummy head 523, 523
Neumann RSM 191i microphone 513–15, 514
Neumann SM69 stereo microphone 60
Neural Upmix 261
Newton, Isaac 554
NHK, surround sound recording by 569, 569–70
nibble 206
n–m stereo 489
node(s)
in MPEG-4 257
node objects in AES64 466
Gaussian 229
wind 49
noise criterion (NC) 20
noise floor 184
noise level 20
noise rating (NR) 20
for radio mic receivers 75
dbx system for 199
digital noise extraction for 202
Dolby systems for 196–8, 197, 198
line-up of systems for 199–200, 200
telcom c4 system for 199
variable pre-emphasis for 194–6
noise shaping in A/D conversion 233, 234
noise specifications for microphones 62, 63–4
noise weighting curves 600, 601
non-linear editing 287–8, 288, 294
non-note MIDI events 456, 456–7
non-registered parameter numbers (NRPNs) 440
non-repetitive sounds, frequency spectra of 7–8, 8
non-volatile section of memory stores 398
Nordic peak program meter 151, 153
normaling of jackfields 383–5, 384, 385
NOT (inverter) gate 209
note assignment in synthesizers and samplers 433–5, 434, 435
note messages in MIDI 421–2, 422
note off messages in MIDI 421–2, 422
note off velocity in MIDI 423, 437
note on messages in MIDI 421–2, 422
note on velocity in MIDI 422–3
note ranges in synthesizers and samplers 433–5, 434, 435
note stealing approaches 445
NR (noise rating) 20
NRPNs (non-registered parameter numbers) 440
NTFS 282
NTSC video frame rate 479
null LEDS on VCA faders 157
Nyquist criterion 213
O
Object Level Differences (OLD) 260
objective metrics 592
object-oriented protocol in AES64 466
OCA (Open Control Architecture) 459–61
OCA Framework (OCF) 460
Ocablock 461
OCT (Optimum Cardioid Triangle) 570
odd/even/both 133
off-axis response 597
OLD (Object Level Differences) 260
OMFI (Open Media Framework Interchange) 318
omni off message for MIDI 427
omni on message for MIDI 427–8
omnidirectional (‘omni’) microphone 52, 52–3
OMS (Open Music System) 419, 487
online delivery, mastering and preparing material for 305
Opcode Open Music System (OMS) 419, 487
Open Control Architecture (OCA) 459–61
Open Media Framework Interchange (OMFI) 318
Open Music System (OMS) 419, 487
Open Sound Control (OSC) 449–50
Open Systems Interconnection (OSI), ISO seven-layer model for 336, 336
operating system (OS)-based plug-in architectures 388
Optimum Cardioid Triangle (OCT) 570
OR operation 209
Organizationally Unique Identifier (OUI) 462
OS (operating system)-based plug-in architectures 388
OS X Audio Units 388
OSC (Open Sound Control) 449–50
oscillator 141
OSI (Open Systems Interconnection), ISO seven-layer model for 336, 336
OUI (Organizationally Unique Identifier) 462
outpoint 320
outboard devices 390, 404, 404–5
out-of-phase signals 9, 10, 43
output impedance
of power amplifiers 356
output section of six-channel analog mixer 119–20, 122, 122
in frequency perception 29, 29
overbias 187
overdub 140
overload indicator 393
oversampling
in A/D conversion 231, 231–3, 232
first 6
inharmonic 7
P
P48 standard 66
packets in data networks 334, 334–5, 337
PAD 131
pairwise amplitude panning 575–6
PAL video frame rate 479
PAM (pulse amplitude modulation) 213, 214, 215
PAN(s) (personal area networks) 325, 335, 341–5, 344
pan control 119, 121, 136, 171
panel speaker dispersion 105–6
panning
head-related 578
intensity 607
panning laws
parabolic reflector technique for loudspeaker directivity 103–4
parallel communication 207
parallel format, shift register for 207
parallel representation of quantized output of A/D converter 221, 224
parameter in AES64 465
parametric audio coding 257, 257–8
parametric spatial audio coding 607–8, 608
Parity failure 269
PAS (publically available specification) 342
passive loudspeakers 90
patch cords 383
patch in MIDI 428
patchbays see jackfields
p-blasting 49
PCI (peripheral component interface) expansion bus 283
PCI Express (PCIe) bus 283
PCM (pulse code modulation) 206, 220, 227, 264
PCM-800 271
PCM-1610 adaptor 269
PCM-1630 adaptor 269
PCM-3348 open-reel digital multitrack recorder 271
PCM-7030 professional DAT machine 270
PDU (Protocol Data Unit) 460
peak input level for radio microphone 70
peak program meter (PPM) 150, 150–1, 153
peak recording level 151
peaking/shelving 134
PEAQ (Perceptual Evaluation of Audio Quality) 591
perceptual audio codecs, sound quality in 605–8, 607
Perceptual Evaluation of Audio Quality (PEAQ) 591
Perceptual Evaluation of Speech Quality (PESQ) 591
perceptual models for sound quality 591–3, 592, 593
peripheral component interface (PCI) expansion bus 283
peripheral interfaces 280
periphonic reproduction 547
permitted maximum level (PML) 151, 153
personal area networks (PANs) 325, 335, 341–5, 344
PFL (pre-fade listen) 120, 122, 170
phantom imaging
stereo 107, 495, 495–9, 496, 498, 499
phantom powering
of mixer 131
in loudspeaker set-up 106
stereo misalignment of 507
phase angle 11
phase cancellation with loudspeaker 102
phase comparator 266
phase differences 10, 10–12, 11
timing differences expressed as 36–7
phase inverting 520
phase response of power amplifiers 356–7
phase reverse (Φ) 131
phase shift keying (PSK) 71
phase-locked loop (PLL) 266
phasing/flanging effects 247
phasy quality of spatial reproduction 43
physical release media, mastering and preparing 303–5, 304
pickup arm of record player 609–11, 611, 612, 616, 616–17
pickup stylus of record player 609, 609, 610, 610
pink noise 94
and digital delay 402
in Dolby SR system 200
Pinky and Perky effect 250
pitch bend wheel in MIDI 430
pitch, loudness and perceived 30
pitch shifting 247, 249–50, 399–401, 400
Platinum Enigma 391
PLL (phase-locked loop) 266
plug 342
Aural Exciter 403
de-esser 403
examples of 391
frequency shifter 399
host-based vs. dedicated 387–8
multi-effects processors as 391, 398, 398–9
and outboard equipment 390, 404, 404–5
processing software for 284, 285
proprietary architectures for 388, 388–9
and sound quality 603
useful websites on 405
PML (permitted maximum level) 151, 153
point-to-point connections 342
polar diagrams of microphones 51–7, 52, 54–7
polar patterns, switchable 59, 59
polarization with aerials 73–4
poly mode for MIDI 428
Polyhymnia International, surround sound recording by 569
polyphonic key pressure in MIDI 423–4
poor localizers 502
POP (post office protocol) 338
pop music, mixing approaches for 169–70
port(s) for MIDI 416–17, 417, 418
portable tape recorder, professional 183, 183
portamento controller in MIDI 439
positioning of loudspeakers 107–8
post office protocol (POP) 338
post-fade auxiliary sends 172
coupling of 357
crosstalk with 354
damping factor of 356
heat sink area of 348
input level controls on 351
power bandwidth of 353
professional facilities on 348–50
resistive attenuator on 351–2, 352
root-means-square (RMS) of 353
signal-to-noise ratio of 354
useful websites on 357
power bandwidth of power amplifiers 353
power handling of loudspeaker 101
power output
powering options for microphones 64–8, 67, 68
PPM (peak program meter) 150, 150–1, 153
ppqn (pulses per musical quarter note) 410
PQ encoding 303
precalculated crossfade 291, 291
precedence effect 37
in binaural vs. stereophonic localization 494
in history of loudspeaker stereo 492
in phantom image creation 498
with spaced microphone arrays 519, 519–20, 521
Precision Time Protocol (PTP) 339, 340
pre-delay in reverb devices 397
pre-emphasis for noise reduction 194–6
pre-equalization in analog recording 179
pre-fade auxiliary sends 171
pre-fade listen (PFL) 120, 122, 170
pre/post 139
presence range 49
pressure-gradient microphone 47, 48–9
pressure-zone microphone (PZM) 58–9
primitives in AES64 466
processor in AES64 467
professional amplifier facilities 348–50
professional tape recorder 182, 182–3, 183
program change message for MIDI 428–9
project in AES64 467
project interchange, edit decision list (EDL) files and 317–18
Protocol Data Unit (PDU) 460
proximity effect 49
pseudo-binaural techniques 518, 518–19
for surround sound recording 571–2, 572
PSK (phase shift keying) 71
psychoacoustic low bit rate coder 254
PTP (Precision Time Protocol) 339, 340
publically available specification (PAS) 342
pulse amplitude modulation (PAM) 213, 224, 215
pulse code modulation (PCM) 206, 220, 227, 264
pulses per musical quarter note (ppqn) 410
punch-in, gapless, noiseless 183–4
Pure Audio Blu-Ray 276
pushing in AES64 465
PZM (pressure-zone microphone) 58–9
Q
of receivers 77
QPSK (quadrature phase shift keying) 71–2
QT (total Q of driver) 109
QTC (loudspeaker system Q) 109, 110
Quad ESL63 electrostatic loudspeaker 82, 83, 105–6
quad-core processor 285
quadraphonic reproduction 529–31, 531
quadrature phase shift keying (QPSK) 71–2
quality chunk 316
and sound quality 221–8, 224, 225, 227
quantizing in A/D conversion 220–1, 221–3, 224
quantizing resolution and sound quality 221–8, 224, 225, 227
quarter-frame MTC messages 486
quaver 484
R
R (right) signal 505
radio frequency (RF) capacitor microphone 51
aerial siting and connection for 76–7, 77
aerials for 68–9, 69, 73–5, 73–5
diversity reception for 78, 78
facilities for 70
transmission frequency of 69
useful websites on 78
RAI pair 517
RAID arrays (Redundant Array of Independent Disks) 274
Random Access Memory (RAM) buffering 278, 279
random waveforms 8
graphical representation of 3
RAVENNA 339
raw data files 312
READ in fader automation 155, 157
Real-Time Audio Suite (RTAS) 388
real-time counter 183
real-time crossfades 290–1, 291
Real-Time Protocol (RTP) 339, 449
Real-Time Streaming Protocol (RTSP) 339
Real-Time Transport Protocol (RTP) 339, 449
receiver for radio microphone 69, 69, 70
arm of 609–11, 611, 612, 616, 616–17
laser pickups for 617
lateral tracking with 609–11, 611
pickup mechanics of 609–12, 609–13
replay stylus of 609, 609, 610, 610
RIAA equalization of 613–14, 614
record resolution of MIDI sequencer 453
recording head
on analog tape recorder 177, 177, 178
inspection and demagnetization of 186
Recording Industry Association of American (RIAA) equalization 613–14, 614
record/overdub/mixdown 140
rectangular probability distribution function (RPDF) dither 229
redundancy 268
Redundant Array of Independent Disks (RAID arrays) 274
Reed-Solomon encoding 268
reel rocking, simulation of 294–5
reference levels
for decibels 16
on meters 151
early 25
simulation of 397
registered parameter numbers (RPNs) 440
release media, preparing for and understanding 302–8
release velocity in MIDI 423
remote control
useful websites on 469
using computer networks 459–68, 462, 465
removable media drives 272, 273
rendering engine and sound quality 604, 604–5
repeaters 336
repetitive sounds 5
replay equalization in analog recording 179, 179–81, 180, 180
replay head
on analog tape recorder 177, 177
inspection and demagnetization of 186
replay head effects 181
replay stylus of record player 609, 609, 610, 610
requantization 237–41, 239, 240
resampling in D/A conversion 235
reservation protocol (RSVP) 339
reset message on MIDI 432
resistive attenuator on power amplifiers 351–2, 352
resolution of audio signal, changing 237–41, 239, 240
resonant frequency 46
resource fork 311
Resource Interchange File Format (RIFF) 312–15, 314, 315
Resource Interchange File Format (RIFF) chunk 314, 314
reverberant fields 20–1, 22, 23
reverberation (reverb), digital 246, 246–7, 397, 397–8
reverberation time (RT60) 22, 23, 397
reversals in binaural audio systems 40–2
rewind 191
Rewire 487
RF (radio frequency) capacitor microphone 51
rhythmic quantization for MIDI 455–6
RIAA (Recording Industry Association of American) equalization 613–14, 614
Rich Music Format (RMF) 445
RIFF (Resource Interchange File Format) 312–15, 314, 315
RIFF (Resource Interchange File Format) chunk 314, 314
right (R) signal 505
RMF (Rich Music Format) 445
RMS (root-means-square) 353
Rogers LS5/8 high-quality active studio loudspeaker 90, 90
room gain 107
room impression 41
root-means-square (RMS) 353
rotary-head recording 264, 265
roughness 30
routers 336
routing section of mixer 132–3
RPDF (rectangular probability distribution function) dither 229
RPNs (registered parameter numbers) 440
RSVP (reservation protocol) 339
RT60 (reverberation time) 22, 23, 397
RTAS (Real-Time Audio Suite) 388
RTP (Real-Time Transport Protocol) 339, 449
RTSP (Real-Time Streaming Protocol) 339
rumble, loudness of 34
running status of MIDI 423
S
SA (Structured Audio) 256
Sabine, W.C. 22
SACD (Super Audio CD) 236, 276
SADiE audio editing system 293, 295–8, 296
sample frequency conversion 482
sample rate conversion in digital signal processing 248–9
sample slippage 325
samplers, MIDI note assignment in 433–5, 434, 435
sampling, audio 212–13, 213, 214, 215
sampling frequency
in digital audio signal synchronization 478–80
SANs (Storage Area Networks) 340
SAOC (Spatial Audio Object Coding) 260, 330
SAOL (Structured Audio Orchestra Language) 256
SAS (Serial Attached SCSI) interfaces 280
SASL (Structured Audio Score Language) 256
SATA (Serial ATA) 280
sawtooth wave, equivalent line spectra for 5
SBR (Spectral Band Replication) 258
scalable polyphonic MIDI (SPMIDI) 444–5
scene memories, digital mixers with 148
Schoeps CMC-5 microphone 66
Schoeps KFM6U sphere microphone 518, 518–19
for surround sound recording 571–2, 572
SCMS (Serial Copy Management System) 330
scrub action 297
SCSI (Small Computer Systems Interface) 280, 341
SD (Secure Digital) 277
SDDS (Sony Dynamic Digital Sound) 259
SDDS (Sony Dynamic Digital Sound) cinema system 538
SDIF (Sound Description Interface Format) 332–3, 333
SDK (software development toolkits) 387
SECAM video frame rate 479
Secure Digital (SD) 277
Seemix Seeport compact stereo mixer 123
segment-based form, storage of automation data in 456–7
self-noise, ‘A’-weighted equivalent 62, 63–4
semibreve 484
semi-professional tape recorder 182
semiquaver 484
sensitivity
of power amplifiers 351–2, 352
of six-channel analog mixer 119
sensors in OCA 461
sequencing software (sequencers) for MIDI 450–9, 451, 452, 454, 456
Serial ATA (SATA) 280
Serial Attached SCSI (SAS) interfaces 280
Serial Copy Management System (SCMS) 330
serial format, shift register for 207
serial representation of quantized output of A/D converter 221, 224
session initiation protocol (SIP) 340
session master 169
shadowing effect of head 38, 39
sharpness of frequency tuning of receivers 77
shelving 134
short time Fourier transform (STFT) 250
Shure VP88 stereo microphone 60
sidebands 215
side-fire configuration of stereo pair 515
sigma-delta converter 233, 234, 236
signal cancellation 77
signal strength indicator for radio microphone 70
signal synchronization 471–2, 478–80, 480
signal wavelength in cable 375
signal-to-noise (S/N) ratio
of power amplifiers 354
of quantized signal 226, 227, 228
simple dipole aerial 73, 73–4, 74
simple harmonic motion 3
simple mail transfer protocol (SMTP) 338
sine wave
equivalent line spectra for 5
graphical representation of 3, 3
waveform of 4
single-ended noise reduction 201–2
sinusoidal sound waveform see sine wave
SIP (session initiation protocol) 340
six-channel analog mixer 117–23
input channels of 119, 120, 121
miscellaneous features of 121–3
output section of 119–20, 122, 122
slate facility on mixer 120, 141
slew rate distortion of power amplifiers 354, 355
Small Computer Systems Interface (SCSI) 280, 341
Small, Richard 108
SME Series V pickup arm 616
SMFs (standard MIDI files) 442
SMPTE peak program meter 151
SMPTE standards for carrying data-reduced audio 330
SMTP (simple mail transfer protocol) 338
S/N ratio see signal-to-noise (S/N) ratio
snapshot in AES64 465
Society of Motion Picture and Television Engineers see SMPTE
software development toolkits (SDK) 387
sone(s) 34
song pointer positions (SPPs) 483, 484–5
Sonnox-Fraunhofer plug-in 305
Sony DMR-4000 digital master recorder 269
Sony Dynamic Digital Sound (SDDS) 259
Sony Dynamic Digital Sound (SDDS) cinema system 538
Sony PCM-800 271
Sony PCM-1610 adaptor 269
Sony PCM-1630 adaptor 269
Sony PCM-3348 open-reel digital multitrack recorder 271
Sony PCM-7030 professional DAT machine 270
Sony/Philips digital interface (SPDIF) 329
in electrical form 12, 12–14, 13
in free and reverberant fields 19–21, 23
frequency spectra of non-repetitive 7–8, 8
frequency spectra of repetitive 6–7, 7
sound absorbent material in speaker box 112–13
sound cards 283
integrated 286
sound controllers in MIDI 439, 439–41
Sound Description Interface Format (SDIF) 332–3, 333
sound generators
MIDI control of 433–41, 434, 435, 438, 439
sound objects 256
sound pressure level (SPL) 16, 19, 20, 62
sound pressure level (SPL) meter 20
aspects of audio system performance affecting 593–608
in digital signal chain 602–5, 604
dynamic range and signal-to-noise ratio and 600, 600–1
frequency response and 593–7, 594, 598
harmonic distortion and 596, 597–9, 598, 599
intermodulation (IM) distortion and 599, 600
levels of abstraction of 582, 583
listening tests for 587–91, 591
objective vs. subjective 581–3, 584
perceptual models for 591–3, 592, 593
quantizing resolution and 221–8, 224, 225, 227
vs. sound character 582
spatial attributes of 583, 584
timbral attributes of 583, 584
wow, flutter and jitter and 601–2
sound source localization 35–43
amplitude and spectral cues in 37–8, 39, 40
binaural vs. stereophonic 493, 494
distance and depth perception in 42–3
effects of reflections on 39–40, 41
interactions between hearing and other senses in 40–2
naturalness in 43
precedence effect in 37
resolving conflicting cues in 42
sound variation controller in MIDI 439–41
sound wave(s)
amplitude of 2
displaying characteristics of 14–15, 25
speed of 4
sound waveform (s)
frequency spectra of non-repetitive 7–8, 8
frequency spectra of repetitive 6–7, 7
graphical representation of 3, 3
SoundBlaster series 286
Soundcraft Sapphyre in-line mixer 128
SoundField microphone for surround sound recording 573, 573–4, 574
SoundField Research microphone 60
SoundField ST250 microphone 60, 60
SoundFonts 446
spaced microphone configurations 519, 519–22, 521, 522
spaciousness, reflections and 41
spatial ambience in surround sound recording 566–71, 568–71
spatial attributes of sound quality 583, 584
spatial audio coding 607–8, 608
Spatial Audio Object Coding (SAOC) 260,330
spatial equalization 505
amplitude and spectral cues in 37–8, 39, 40
distance and depth perception in 42–3
effects of reflections on 39–40, 41
interactions between hearing and other senses in 40–2
naturalness in 43
precedence effect in 37
resolving conflicting cues in 42
sound source localization in 35
SPDIF (Sony/Philips digital interface) 329
speaker(s) see loudspeaker(s)
Spectral Band Replication (SBR) 258
spectral cues for sound source localization 37–8, 39, 40
spectral envelope 250
Spectral Recording (SR) 197–8, 200
SpectraPulse system 72
SPG (sync pulse generator) 480
for surround sound recording 571–2, 572
SPL (sound pressure level) 16,19, 20, 62
SPL (sound pressure level) meter 20
split configuration 124–5, 125
split voltage rails 357
SPMIDI (scalable polyphonic MIDI) 444–5
spot erasure 184
spot frequencies 189
SPPs (song pointer positions) 483, 484–5
spring reverb 396
square wave, equivalent line spectra for 5
SR (Spectral Recording) 197–8, 200
SSL Matrix mixer 167, 167–8, 168
standard MIDI files (SMFs) 442
Standard Play tape 176
standing wave ratio (SWR) for aerial siting 76
static automation systems 162
stationary-head recording 264, 265
status bytes in MIDI messages 420
stereo
binaural or headphone 500–2, 501
defined 489
history of 175
n-m 489
three-channel 493, 495, 528–9, 529
transaural 503, 504; see also surround sound
two-channel stereo
stereo console recorder 182, 282
stereo line input modules for mixers 145–6
stereo misalignment effects 506, 507
stereo pairs
end-fire and side-fire configurations of 515
equivalence of MS and LR 512–14, 512–15
two channels of 505
stereo vector summation 496, 497
stereo width issues 508, 509, 516, 516
stereophonic localization 493, 494
stereophony see stereo
STFT (short time Fourier transform) 250
stiffness 46
Storage Area Networks (SANs) 340
storage requirements of digital audio 277–8
straight-to-stereo techniques 168–9
stream(s) 296
streaming, mastering and preparing material for 305
Structured Audio (SA) 256
Structured Audio Orchestra Language (SAOL) 256
Structured Audio Score Language (SASL) 256
Strum Acoustics GS-1 acoustic guitar synth 391, 398, 398–9
Studen A807-TC professional open-reel two-track analog tape recorder 182
studio recorder 182, 182–3, 183
stylus of record player 609, 609, 610, 610
subcode stream 323
subjective grades 592
subnets 335
in 5.1-channel surround 532–3, 535–7
in surround sound monitoring 561–2
sum and difference format 505–7
used on coincident pairs 511–15, 512–14
sum-and-difference stereo microphone 60, 60, 61
summing localization model of stereo reproduction 495–6, 496, 497
Super Audio CD (SACD) 236, 276
surround channel 530
surround coding formats 258–60
surround loudspeakers 530, 531, 534–5, 559–61
surround mixing techniques 168–9
defined 528
multichannel panning techniques in 574–8, 576, 577
useful websites on 579
surround sound configurations 528–39
5.1-channel (3-2 stereo) 531–8, 533
four-channel (3-1 stereo, LCRS, quadraphonic) 529–31, 531
three-channel (3-0) stereo as 493, 495, 528–9, 529
surround sound monitoring 557–62
center loudspeaker in 559, 560
front loudspeakers in 558
surround loudspeakers in 559–61, 560
surround sound recording techniques 562–74
Ambisonic or SoundField microphone principles for 573, 573–4, 574
five-channel main microphone arrays in 563–6, 565–7, 567
principles of microphone technique in 562–3
separate treatment of front imaging and ambience in 566–71, 568–71
Circle Surround 544
digital 547
Dolby Stereo, Surround, and ProLogic 540–2, 541–3
Wave Field Synthesis (WFS) 554–7, 555
swept mid 143
switchable polar patterns 59, 59
Switched Ethernet 337
SWR (standing wave ratio) for aerial siting 76
sync pulse generator (SPG) 480
sync word 473
of audio/MIDI/video computer applications 487, 487–8
drop-frame timecode for 473
recording timecode for 474–6, 475, 476
sample frequency 472
SMPTE/EBU timecode for 472–4, 474
timecode and video, for audio workstations 481–2, 482
synchronized digital video 458–9
synchronous discharge limit 29–30
synthesizers, MIDI note assignment in 433–5, 434, 435
synthetic audio 409
system common messages in MIDI 421
system exclusive (sysex) messages in MIDI 421, 430–2
system in AES64 467
system messages in MIDI 419–21, 430–2
system Q — loudspeakers (QTC) 109, 110
system real-time messages in MIDI 421, 483
T
tape echo 396
tape recorder(s)
azimuth alignment of 187, 188, 189
digital see digital tape recording
head inspection and demagnetization for 186
history of 175
mechanical transport functions of 190, 190–2
tape-based copy editing 293, 293–4, 294
Tascam Digital Interconnect Format (TDIF)-1 331, 332
Tascam HS-2 277
TC Electronic M3000 Digital Reverb and Effects Processor 397
TC Electronic System 6000 multi-effects processor 398
TC Works Master X series 298–9, 300
TCP/IP (Transmission Control Protocol/Internet Protocol) 338
TDIF (Tascam Digital Interconnect Format)-1 331, 332
TDM plug-ins 388
TDM system 284
telcom c4 noise reduction system 199
temperature and digital delay 402
temporal smearing 607
text stream 323
THD (total harmonic distortion) 598–9
Thiele, A.N. 108, 504–5, 570, 570–1, 571
Thiele-Small parameters 108–13
third-harmonic distortion 598–9
three-channel stereo 493, 495, 528–9, 529
three-element Yagi aerial 74–5, 75
three-way speaker systems 90
Thunderbolt 280
Ticonal magnets in loudspeakers 95
TID (transient intermodulation distortion) of power amplifiers 354
tie-clip microphone 53
timbrai attributes of sound quality 583, 584
timbre controller in MIDI 441
time constants, replay equalization and 179–81, 180
time domain impulse response of digital filter 244, 244
time-based cues in spatial perception 35–7, 36
timecode
for audio workstations 481–2, 482
drop-frame 473
Vertical Interval 474
timecode address 472
timecode type indicator 318, 319
time-domain plot 6
timing resolution of MIDI sequencer 453
tone control section see equalization (EQ) section
toothcomb effect 403
total automation systems 161, 161
total harmonic distortion (THD) 598–9
total Q of driver (QT) 109
Total Recall 161
TPDF (triangular probability distribution function) dither 229
track(s) in MIDI sequencing 451
track routing switches 132
track subgroup 127
tracking weight of record players 611, 612
track-laying phase of music recording 123
transfer (XFER) endpoints 447
and impedances 360–2, 361, 362
inductance in 365
limitations of 362
principles of operation of 361
transient distortion of power amplifiers 354
transient intermodulation distortion (TID) of power amplifiers 354
Transmission Control Protocol/ Internet Protocol (TCP/ IP) 338
transmission frequency of radio microphone 69
transmission line 375
transmission line system for loudspeakers 86
transmitter for radio microphone 68, 69, 69, 70
transport in AES64 467
transverse scanning 265
triangular probability distribution function (TPDF) dither 229
Triple Play tape 176
triple stimulus with hidden reference approach 590, 591
True Total Reset 161
truncation of audio samples 239, 239–40
truth table 209
tune request in MIDI 432
tweeter(s) 83
for two-way speaker system 88, 88, 89
two-channel microphone techniques 507–22
coincident pair principles in 507–11, 508, 510, 511
end-fire and side-fire configurations in 515
near-coincident configurations in 517, 517–18, 518
operational considerations with coincident pairs in 516, 516
spaced configurations in 519, 519–22, 521, 522
stereo width issues in 508, 509
using MS processing on coincident pairs in 511–15, 512–14
two-channel panning laws 524–5
two-channel signal formats 505–7
binaural recording and dummy head techniques for 522–4, 523
binaural vs. stereophonic localization in 493, 494
creating phantom images in 495, 495–9, 496, 498, 499
defined 489
historical development of 491–5, 492
level difference (Blumlein) 496–8, 498
loudspeaker over headphones (and vice versa) 502–5,503
microphone techniques for 507–22
misalignment of signals in 506, 507
principles of binaural or headphone 500–2, 501
principles of loudspeaker 491–9
spot microphones and panning in 524–5 stereo vector summation in 496, 497
summing localization model of 495–6, 496, 497
theoretical vs. practical aspects of 490–1
Williams curves in 499
two’s complement numbers 207
two-way speaker system 88, 88–90
U
UART (universal asynchronous receiver-transmitter) for storing automation data 160, 160
UDP (user datagram protocol) 338, 339
UHF frequencies 70
UHJ (Universal HJ) format 547
UHJ (Universal HJ) hierarchy for Ambisonic sound 549, 549
alternative interconnection for 363, 364
cable inductance with 365
cable capacitance with 365, 365–7, 366
and earth loops 363
simple interconnection for 363, 363
unidirectional microphone 55, 55–6, 56
universal asynchronous receiver-transmitter (UART) for storing automation data 160, 160
Universal HJ (UHJ) format 547
Universal HJ (UHJ) hierarchy for Ambisonic sound 549, 549
universal non-commercial messages in MIDI 431
universal non-real-time messages in MIDI 431
universal real-time messages in MIDI 431
Universal Serial Bus (USB) interfaces 280, 325, 342–4, 344
Universal Synthesizer Interface (USI) 410
universal system exclusive messages in MIDI 431–2
UPDATE in fader automation 156, 157, 158, 158
upward pitch shift 401
USB (Universal Serial Bus) interfaces 280, 325, 342–4, 344
user bits 473
user datagram protocol (UDP) 338, 339
USI (Universal Synthesizer Interface) 410
V
variable pre-emphasis for noise reduction 194–6
VAS (equivalent air volume of suspension compliance) 109
VCA (voltage-controlled amplifier) automation 154–8, 155, 156, 158
VCA (voltage-controlled amplifier) groups and grouping for mixer 128, 130
VCO (voltage-controlled oscillator) 266
velocity data, MIDI handling of 436–7
velocity information for MIDI 422–3
version chunk 312
Vertical Interval Timecode (VITC) 474
vertical polarization with aerials 74
VHF frequencies 70
video field indicator 318, 319
video frame rates, audio sampling rates and 478, 479
video tape recorders (VTRs) 264
virtual reality modeling language (VRML) 257
Virtual Studio Technology (VST) plug-in architecture 389
visual cues for sound source localization 40–2
VITC (Vertical Interval Timecode) 474
vocal tracks, compiling (‘comping’) of 288
voice coil for loudspeaker 97
voice selection in MIDI 441
Voice-over Internet Protocol (VoIP) 340
volatile section of memory stores 398
voltage gain 17
voltage-controlled amplifier (VCA) automation 154–8, 155, 156, 158
voltage-controlled amplifier (VCA) groups and grouping for mixer 128, 130
voltage-controlled oscillator (VCO) 266
volume unit (VU) meter 150, 150–1, 153
VRML (virtual reality modeling language) 257
VST (Virtual Studio Technology) plug-in architecture 389
VTRs (video tape recorders) 264
VU (volume unit) meter 150, 150–1, 153
W
Walder, Pierre 496, 498, 498, 499
WANs (wide area networks) 335, 336
Watkins Electronic Music (WEM) company, parabolic reflector technique of 104
Wave Field Synthesis (WFS) 493, 554–7, 555
Waveform Audio File Format (WAVE, WAV) 312–15, 314, 315
WCLK (word clock) signal 324–5, 479
WDM (Windows Driver Model) 419
weighting filters 20
WEM (Watkins Electronic Music) company, parabolic reflector technique of 104
West, Allen Mornington 224, 230
West, Jim 576
WET function 139
WFS (Wave Field Synthesis) 493, 554–7, 555
white noise 8
analog 229
wide area networks (WANs) 335, 336
Wi-Fi (wireless Ethernet) 341
Williams curves 499
in five-channel microphone arrays 565, 568
near-coincident pairs based on 517, 517
Williams, Michael 499
wind noise 49
Windows Driver Model (WDM) 419
Wired Ethernet 337
wireless Ethernet (Wi-Fi) 341
wireless guide download for radio microphone 70
wireless microphones see radio microphones
wireless networks 341
wireless personal area network (WPAN) 341
Wittig, Curt 571
woodles 181
woofer for two-way speaker system 88, 89
word clock (WCLK) signal 324–5, 479
workstation, mixer integration with 167, 167–8, 168
workstation sync interface 482, 482
world wide web (WWW) 338
WORM (Write-Once-Read-Many) discs 276
wow
WPAN (wireless personal area network) 341
wrap of head gap 188
Wright, Matt 449
WRITE in fader automation 155, 157
Write-Once-Read-Many (WORM) discs 276
WWW (world wide web) 338
X
‘X’ signal 505
XFER (transfer) endpoints 447
XLR connectors
for microphones 68
XMF (extensible Music Format) files 445–6
XML-tagged formats 318
XOR (exclusive OR) operation 209
Y
‘Y’ signal 505
Z
zenith of head 188
zones 336