- Cover
- Title Page
- Copyright
- Contents
- About the author
- Acknowledgements
- Preface
- Preface to Second Edition
- Introduction
- Chapter 1: General requirements and common errors
- Chapter 2: Sound, decibels and hearing
- Chapter 3: Sound isolation
- 3.1. Vibrational behaviour
- 3.2. Basic isolation concepts
- 3.3. Practical floors
- 3.4. Ceiling isolation
- 3.5. Summing the results
- 3.6. Wall isolation
- 3.7. Lighter weight isolation systems
- 3.8. Reciprocity and impact noises
- 3.9. The distance option
- 3.10. Discussion and analysis
- 3.11. Summary
- Reference
- Bibliography
- Chapter 4: Room acoustics and means of control
- Chapter 5: Designing neutral rooms
- 5.1. Background
- 5.2. Large neutral rooms
- 5.3. Practical realisation of a neutral room
- 5.4. What is parallel?
- 5.5. Reflexions, reverberation and diffusion
- 5.6. Floor and ceiling considerations
- 5.7. Wall treatments
- 5.8. Small and neutral
- 5.9. Trims
- 5.10. The degree of neutrality – an overview
- 5.11. Dialogue recording rooms
- 5.12. Summary
- References
- Bibliography
- Chapter 6: Rooms with characteristic acoustics
- 6.1. Definitions
- 6.2. A brief history of idiosyncrasy
- 6.3. Drawbacks of the containment shells
- 6.4. Design considerations
- 6.5. Driving and collecting the rooms
- 6.6. Evolution of stone rooms
- 6.7. Live versus electronic reverberation
- 6.8. The 20% rule
- 6.9. Reverberant rooms and bright rooms – reflexion and diffusion
- 6.10. Low frequency considerations in live rooms
- 6.11. General comments on live rooms
- 6.12. Orchestral rooms
- 6.13. RT considerations
- 6.14. Fixed studio environments
- 6.15. Psychoacoustic considerations and spacial awareness
- 6.16. Dead rooms
- 6.17. Foley rooms
- 6.18. Summary
- References
- Bibliography
- Chapter 7: Variable acoustics
- Chapter 8: Room combinations and operational considerations
- Chapter 9: The studio environment
- Chapter 10: Limitations to design predictions
- Chapter 11: Loudspeakers in rooms
- Chapter 12: Flattening the room response
- Chapter 13: Control rooms
- Chapter 14: The behaviour of multiple loudspeakers in rooms
- Chapter 15: Studio monitoring: the principal objectives
- Chapter 16: The Non-Environment control room
- 16.1. Introduction
- 16.2. Sources of uncertainty
- 16.3. Removing a variable
- 16.4. Limitations, real and imaginary
- 16.5. Spacial anomalies
- 16.6. Solutions
- 16.7. Stereo imaging constraints
- 16.8. The concept of stereo as currently used
- 16.9. Conflicts and definitions
- 16.10. A parallel issue
- 16.11. Prior art and established ideas
- 16.12. The zero option – the origins of the philosophy
- 16.13. Summary
- References
- Chapter 17: The Live-End, Dead-End approach
- Chapter 18: Response disturbances due to mixing consoles and studio furniture
- Chapter 19: Objective measurement and subjective evaluations
- 19.1. Objective testing
- 19.2. The on-axis pressure amplitude response
- 19.3. Harmonic distortion
- 19.4. Directivity – off-axis frequency responses
- 19.5. Acoustic source
- 19.6. Step-function responses
- 19.7. Power cepstra
- 19.8. Waterfalls
- 19.9. General discussion of results
- 19.10. The enigmatic NS10
- 19.11. The NS10M – a more objective view
- 19.12. The noise of conflict
- 19.13. Summary
- References
- Chapter 20: Studio monitoring systems
- Chapter 21: Surround sound and control rooms
- 21.1. Surround in the cinemas
- 21.2. TV surround
- 21.3. Music-only surround
- 21.4. An interim conclusion
- 21.5. The psychoacoustics of surround sound
- 21.6. Rear channel concepts
- 21.7. Perceived responses
- 21.8. Low frequencies and surround
- 21.9. Close-field surround monitoring
- 21.10. Practical design solutions
- 21.11. Other compromises, other results
- 21.12. Dubbing theatres
- 21.13. Summary
- References
- Bibliography
- Chapter 22: Human factors
- Chapter 23: A mobile control room
- Chapter 24: Foldback
- Chapter 25: Main supplies and earthing systems
- Chapter 26: Analogue audio interfacing
- 26.1. The origins of the professional interfaces
- 26.2. Jackfields (Patchbays)
- 26.3. Jacks – 2 or 3 pole?
- 26.4. Avoiding chaos
- 26.5. Multiple signal path considerations
- 26.6. Grounding of signal screens
- 26.7. Balanced versus unbalanced – no obvious choice
- 26.8. Sixteen options for one cable
- 26.9. Some comments
- 26.10. Summary
- References
- Bibliography
- Appendix 1
- Appendix 2
- Appendix 3
- Appendix 4
- Glossary of terms
- Index
Appendix 3
Figure A3.1 View towards the rear of the Jensen designed control room at Sintonia, Madrid, Spain, showing the exposed entrances to the sawtooth absorbers on the side wall
Figure A3.2 View towards the front on the Sintonia control room, showing only the reflective surfaces on the side wall
Figure A3.3 The Sam Toyashima designed control room in Studio 4 at the Townhouse, London, UK
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