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 RAID arrays
   9.4 Consumer optical disk formats
   9.5 Storage requirements of digital audio
   9.6 Peripheral interfaces
   9.7 Audio processing latency
   9.8 Apple’s MFIT tools
 10.1 Broadcast WAVE format
 10.2 Computer networks vs digital audio interfaces
 10.3 Carrying data-reduced audio
 10.4 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 Relationships between video frame rates and audio sampling rates
 15.3 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 Loudspeaker mounting
 17.5 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 artefacts
A1.1 Stylus profile
A1.2 Tracking weight
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