Absorbent screens behind consoles, 477, 522
Absorbers, 117
active, 371
effect of angle of incidence, 150
in floor, 330
quarter wavelength, 17
rear wall, 590
coefficients, 109, 282, 297, 324
effects of thickness and density, 99
frequency dependence, 78
interrelation with reflexion and transmission, 49
loss in dry air, 98
wavelength dependence, 32, 103–104
Academy characteristic, 566
Acoustavoicing, 584
Acoustic centre, 457
Acoustic disturbance by mixing consoles, 5
Acoustic source, 457, 468, 525
Acoustic waves, velocity and pressure components, 32
Acoustical Manufacturing Company, 396
Acoustics, non-intuitive nature of, 6
Activated carbon, 102
Active room control, 316
Acustisol, 62
Adaptive digital filtering, 315–316
Adiabatic losses, 32
Adiabatic propagation, 102
Advertising, cost of, 396
Aesthetics, importance of, 263
Air:
absorption, 564
density, 154
non-linearity, 490
pressure relative to altitude, 155
propagation distortion, 491
weight of, 31
Air conditioning, 254–258, 527
split type, 255
Air-conditioned rooms, 257
Alphabet response, 321
Altec, 584
Ambisonics, 25
Amplifiers:
for active monitors, 506
as a constant voltage source, 606
instantaneous current capability, 487, 506
sonic differences, 501
Amplitude phase grating, 221
Amplitude reflexion grating, 112
Anechoic chambers, 17, 18, 76–77, 287, 309, 337, 565, 666
free-field responses, 287
Auratone 5C Sound Cube, 343, 406, 477–482
B-weighting, 20
Balanced and unbalanced systems, 637, 642
Balanced power, 263, 266, 626, 629
Bank and Wright, 524
Banzai Mobile Lda, 580, 585, 603–604
Bass/bass-drum, relative levels, 393, 478, 487
Batchelor, Tony, 26
BBC, 340
Belendiuk and Butler, 26
Bell laboratories, 421
Berger, Russell, 353
Bernstein, Leonard, 173
Beyer DT100, 608
Bi-directional stereo rooms, 540, 546
Bi-directionality of stereo rooms, 546
Black art:
perception of acoustics as, 325, 386
Blackwing studios, 182–183, 186, 193
Blancot, 70
Bonello, Oscar J., 124
BOP TV, 432
Brain, human, perception of speech:
Branson, Richard, xvi, xvii, 181
Briggs, Gilbert, 328, 366, 462, 490
Brownian motion, 24
Cable tubes in floors, 45
Cables for interfacing, 498, 500–501
Cables for loudspeakers, see Loudspeaker cable
Cables for power:
mains feed, 266
section size, 265
Cables, length of, 624
Camden partitioning, 649
Cannon experiments, 153
Canon wide image stereo, 400
Capacitance, 624
Capacitive interference, 629
Capitol records, 353
Capri Digital, 365
Car parking, 251
Ceiling height:
lack of, 8
Ceiling traps, (panels), 654, 656, 659, 662, 664
Central mono source, 377
Cepstrum analysis, 534
Chanting of masses, 198
Characteristic sounds:
of guitars, 171
Chess Records, 172
Chess studios, 174
Cinema theatres, 565
Class ‘A’ amplification, 494, 503
Classical music, 577
recording monitor loudspeakers, 574
Clearmountain, Bob, 478
‘Click’ tracks, 614
Close-field monitoring, 342–344, 406–407, 410, 489, 551
orientation of loudspeakers, 453
positioning of loudspeakers, 452
Cobalt, 527
Cocktail party effect, 204
Collins, Phil, 181
Colouration, 94, 120, 142, 221, 334–335, 355, 369, 438, 504, 522, 524, 531, 554
Comb filtering, 135, 293, 377–379, 448, 485, 584, 593
Community M4, 532
Complete frequency response, 457, 459
Computer modelling, 174, 196, 279, 285, 665
Concredamp, 47
Concrete density, 62
Connectors:
jacks, three pole, 635
Speakon, 616
stereo jacks, short circuit, 614–615
Constant voltage distribution, 606–610
Constant voltage source, 606–607, 613, 623
Constrained layers, 52, 152, 232
Control room decay times, 4
Control rooms: in the days of mono, 328
digitally adaptive, 585
noise floors, 256
as working environments, 442
Controlled reflexion room, 341
Converters, A-D, D-A, 410, 499–500, 516, 518, 552
Cost ratios: as perceived, 40, 47, 159, 237, 255, 575
Cotton-waste felt, 125
Cox, Trevor, 283
Creativity, importance of, 120
Critical distance, 304–306, 308–309, 344–345, 406, 417
Crossover distortion, see Distortion
Kinoshita, 501
Crown effect, 43
Cycle of a sine wave, 15
D’Antonio, Dr Peter, 112, 283, 354
Damping, 34, 110, 528, 531, 583
Damping agents, 47
Davis, Chips, 353
Davis, Don and Caroline, 353
Daylight, 249
De-pressurisation of aircraft, 31
definition of, 169
Decay time, 97
Decay times of control rooms, 4
Decoupling of structures, 35
Delta function, 381
Densities of materials, 44, 46
Dialogue recording rooms, 161, 164
Dickinson, Philip J., 285
Dictionary of Acoustics, 169
Diffraction, 113
by edges of loudspeaker cabinets, 303–304
Diffusers, 110–113, 139, 368, 440–441, 547
actively driven, 221
Schroeder, 112
Diffusion, 140
by stone walls, 192
Digital equalisation artefacts, 332
Digital reverberators, 180, 184–185, 417
Digitally adaptive control rooms, 585
Dipole radiators, 92, 385, 544, 547, 550, 555
as acoustic sources, 288, 296, 302, 364
Direct sound:
importance of, 584
Directivity index, 306
Directivity response, 457, 464
Discrete Research, 531
Distortion:
absence of, 495
(in) air, see Air
(in) amplifiers, 502
crossover (zero-crossing), 504
Doppler, 525
equivalent quantities, in dB’s and percentages, 459
harmonic, 398, 400, 405, 457, 462–464, 484, 489, 493
intermodulation, 398, 462–464, 489–490, 493–494
(in) suspension systems, 464
(in) tweeters, 506
Distributed mode loudspeakers, 328, 391, 544, 547, 555–556
Dobrolyot studios, 213
Dolby, 256, 285, 538, 543, 546, 559, 563
Dolby Digital, 388, 433, 547, 556, 565
Dolby surround, 539
Domes:
damping of, 531
Domestic listening practices, 411, 418, 423
Domestic responses of loudspeakers, 309–310, 328
Door handles:
cost of, 262
Doors, glass, sliding, 233
Doors, isolation, 246
Doors, plywood, 246
Doppler effect, 525
Double distance rule, 18
Double glazing (acoustic), 233
Double leaf partitions, complexity of, 49
Double sloped wall concept, 239
Double spring systems, 68
Drum rooms, 173
DTS, 548
Dual Concentric loudspeaker, 533
see also Tannoy Dual Concentrics
DVD, 552
Ear (the), 23
Early decay time, 270
Early reflexions, 139, 439–440, 443
Edinburgh Festival Choir, 173
Eigentones, 85
Elastic limits, 70
Elasticity, 100
Electromagnetic interference, 619, 626
Electrostatic loudspeakers, 288, 302–303, 364
step function responses, 472–473
Ely cathedral, 173
EMT reverberation plates, 172
Energy/time curves (ETC’s), 273, 276, 353, 656
Equalisation for room correction, 310, 318, 599–600
limitations of use and effect, 318, 322
one-third octave, 315
position dependence of, 311
signal dependence of, 311
traditional use, 329, 332, 351
Equipment racks, see Racks
E-trap, 323
Euphonix CS3000, 586
Excess phase, 312
Experts:
when best to consult, 22
Fabrics, 167
calico, 159
Lycra and stretch, 145
Fahy, Professor Frank, 49, 664
Fantasia, 538
Feedback, 206
Ferro-fluid, 529
Fibrous absorbers, 86
Filters:
digitally adaptive, 315–316, 332
state variable, 513
Filters, decay time:
effect on RT plots, 654
time responses, 159
Financial considerations:
bad debts, 2
loans, xxiv
under-financing, 8
Fletcher-Munson contours, 13, 199
Flindell, Ian et al., 424
domestic types, 123
spot loads, 41
on weak sub-floors, 45
Floating materials: selection for given uses, 37
Floating of structures, 35
steel reinforcement, 9
Floor reflexions, 656
Flush-mounting of loudspeakers, 80–81, 312, 355, 359–361, 370, 405, 413, 429, 439, 485, 520, 545, 552, 652
Foldback, 258 via loudspeakers, 261, 605, 614
Foldback balances, 613
Foldback feed, 613
Foldback mix, 613
Foldback system:
balanced, 605
constant voltage distribution, 606–610
headphones:
avoiding, 605
mixes, 607
monitoring environment, 605
multiple, 609
stereo or mono, 610
tracking loudspeakers, 605–606
Foley, Jack, 208
Fourier transform, 15, 317, 403
Frequency: definition of, 15 description of, 14
Frequency modulation, 525
Fresnel, Augustin, 113
Front of house (FOH), 617
Frontal sound stage: importance of, 541
Fuses in loudspeaker circuitry, 508
Galaxy studios, 237
Geddes, Dr Earl, 239
Generators, three-phase, 625
Geometric control, 134
Geometrical near-field effects, 595
Gerzon, Michael, 184, 421, 468
Giddings, Philip, 646
Gilford, C. L. S., 124
Glass, laminated, 233
Glassband, Martin, 626
Glossop, Mick, 480
Gravity, 71
Grounds, signal, 643
chassis, 643
Guitars:
characteristic sounds of, 171
Haas effect, 121, 353–354, 593
Half-vibrations, 14
Harmonic distortion, see Distortion
Harris, Lara, 336
Hawkins, David, 237
Headphones:
connectors, 612
impedance, 407
perception via, 398
Hearing:
compression, 23
critical bands, 329
directional detection, 23
directivity, 385
doubling and halving of loudness, 12–14, 37
(the) ear, 23
ear canal responses –0˚ and 90˚ incidence, 27
ear drum displacement, 23
equal loudness contours, 12–13
horizontal sensitivity, 543
human auditory system, 23
integration time, 403
logarithmic nature, 12
pinnae, see Pinna(e)
sensitivity threshold, 18
variability of perception, 25
vertical discrimination, 278
Heaviside function, see Step-function responses
Helmholtz, Hermann von, 403
Helmholtz resonators, 585
see also Absorbers
Hemi-anechoic chamber, 355, 416
Heraklith, 163
Hidley Infrasound, 414
Hidley, Tom, xvi, 350, 355, 414, 431, 584–585
Hilbert transform, 276
Hirata et al., 355
Holland, Dr Keith, 376, 409, 432, 456, 482, 648, 666, 701
Holman, Tomlinson, 544–545, 547
Holophonics, 205
Horn effect, 664
Horns:
compression drivers, 533
constant directivity, 534
general rules for highest:
fidelity in mid–range, 533
spheroidal radiation from, 535
tweeters, 529
Humidity control, 256
Hydraulic closing systems, 246–247
Hysteresis, 69
IEC, 334
Impact noises, 56
In-studio foldback mixing, 610–611
Infinite baffles, 290
Information content, 322
Instantaneous current requirements, 487, 506
Interfacing cables, 498, 500–501
Interference, harmonic, 265
Interleaved studs, 152
Ishii Mizutoni rooms, 338–339, 355
Isolation:
by reflexion, 75
as a specialist subject, 60
Isolation shells, 652
repercussions of, 116, 174–175, 198, 370
Isothermal propagation, 102
ISVR (Institute of Sound and Vibration Research), 285, 337, 376, 399, 400, 432, 456–457, 482, 524, 593, 648, 650, 654, 666
Jackfield/patchbay, 609, 633, 635, 636, 640
Jeans, Sir James, 23
Jensen, Wolfgang W., 352–353, 355, 540, 676
Johns, Andy, 170
Jones, John Paul, 170
Keele, Don, 534
KEF loudspeakers, 336, 566–567
Kelly, Stanley, 531
Kinetic barriers, 126
Kinoshita monitors, 501–503, 511
drive requirements, 513
Kustom Konstructions, 586
LA5, 590
Lagadec, Dr Roger, 14
Laplace’s correction, 100, 102
Large-room frequency, 194, 196
Led Zeppelin, 170
Light ray models, 281
dimming of, 250
tungsten, 250
Limpness, 34
Listening rooms:
‘golden’ dimensions, 124, 333–334
Live-End, Dead-End control rooms, 228, 353, 357, 362, 437–443, 540
Live room, 229
Live room, definition of, 169
Liverpool Cathedral (Anglican), 204
Location of studios:
choices, 3
Lockwood/Tannoy monitors, 583
London Symphony Orchestra, 173
Louden, M. M., 124
Loudness:
doubling and halving of, 19
coaxial, 508
Loudspeakers:
band-pass enclosures, 393
see also Transmission line cabinets
cone decoupling, 526
cone drivers, 530
cone materials, 528
dipole, see Dipole radiators
distributed mode, (DML), 328, 391, 544, 547, 555–556
domestic on-axis responses, 309
flush-mounted, see Flush-mounting of loudspeakers
focus point, 522
horn loaded, see Horns
(as an) information channel, 404
low frequency time responses, 488
magnet systems, see Magnets
on meter bridges, 488
mounting height, 521
(as a) musical instrument, 396
panel vibrations, 520
performance below resonance, 363
reflex enclosures, 319
ribbon, 528
ring radiators, 531
sealed box responses, 319, 363, 488, 525
on stands, 522
suspension stiffness, 519
suspension systems, 464, 494, 526
voice coil resistance, 526
voice coil temperature, 527
Loudspeakers vis-à-vis microphone techniques, 577
Low frequency management, 548, 550–551
Lycra ‘stretch’ fabrics, 145, 589
Macatee, Stephen, 641–643, 645
Magnets:
Alcomax, 527
Alnico, 527
BL non-linearity, 494
material costs, 527
rare-earth, 528
Ticonal, 527
Majestic studios, xv
Manor Mobile, xvi, 580–583, 585–586, 588, 603–604
Marketing: adverse effects of, 506, 528, 535, 642
Mass control, 295
Massenburg, George, 355, 400, 480–481
Materials, characteristic sounds, 175–176, 179
McKenzie, Angus, 462
Mean free path, 96
Measurement in a reverberation chamber, 375
Membrane absorbers, 589
Memphis Minnie, 171
Meyer, 532
Microphone techniques:
Microphones, positioning and directivity considerations, 177, 201, 208, 214, 240–241
Middle/side microphone technique, 412
Mineral wool, 62
Minimum and non-minimum-phase responses, 311, 315, 584
acoustic, 600
(in) crossovers, 510
(of) equalisers, 311
Mirrored room analogy, 78–79, 96, 297
Mixing consoles:
acoustic disturbance by, 5
AMS/Neve 88R, 446
digital, 446
reflexion suppression, 447, 449, 601
axial, 85–86, 123–124, 133, 600
coincident, 124
density of, 86
distribution patterns, 88, 124, 369
energy of, 88
golden proportions for distribution of, 124, 333–334
as pathways, 84
spacing of, 87
standing wave patterns, 133
structural, 278
Modulation transfer function, 318–320, 322, 336
Monitor equalisation, 584–585, 599–600
special circumstances, 600
Monitor loudspeakers:
high mounting of, 521
mounting of, 453
Monitor systems:
high resolution, 476, 497, 500
subtle differences only heard in good rooms, 578
Monitoring environment, 605
see also Foldback system
Mono foldback, 610
Mono source (central), 377
Monopole sources, 92, 290, 293, 296, 302
Morimoto and Ando, 26
Moulton, David, 396
Multi-amplification, 508
Muncy, Neil, 641
Musical instruments, true sound of, 119
Musicians:
comfort of, 122–123, 147, 175, 200
loss of motivation, 259
unease with environment, 205–206
Mutual coupling, 294, 302, 379–380, 384–385, 389
National Electrical Code (US), 626, 629
Near-field effects, 595
Near-fields, 345
New, Anthony, 494
Newman, Tom, 171
Nodes, and anti-nodes, 177
pressure, 177
velocity, 177
Noise:
modulation related, 490
Noise criteria, 22
Noise rating, 22
Non-environment rooms, 355–356, 359, 362, 409–435, 540, 649
Non-intuitive nature of acoustics, 6
Norris–Eyring equation, 97
NS10M, 344, 406, 477, 480, 499, 516, 578
Ohm, Georg Simon, 403
Open baffles:
roll off, 524
Page, Jimmy, 170
Pan-pot dilemma, 384
Parking of cars, 251
Perception of detail, 418
Perception of speech and noise (not music), 330
Phantom sound stages, 387
Phase deafness, 403
Phase dispersion, 31
Phase, excess, 312
Phase law (of Ohm and Helmholtz), 403
Phase responses, 419
importance of, 369
Phase shifts, 94, 324, 468, 510, 516
Phases:
optimum number of for mains supplies, 264–265, 624, 626
Pin-one problem, 641
Pink Museum, 245
perceptual differences via, 26, 29
positional cues, 26
transformations, 26
Piston radiator, 307
Pit-traps, 330
Plane-wave tube, 283
Plant, Robert, 170
Planta Sonica, 189
Plywood beams, 128
PMC, 531
Polarity, 635
Poly-amplification, 508
Polyurethane foam, 44, 48, 56, 147, 231
traction limits, 51
Power conditioners, 620, 626, 630
Precedence effect, 593
Pressure amplitude response, 457, 460, 659
smoothing of plots, 288
Pressure gradient sources, 302, 385
equalisation, 151
frequency, 362
Psychoacoustics, 23
Pumice, 104
Purple, Dave, 172
Q (quality factor), 109–110, 127, 336, 664
Quad amplifiers, 478
Quad Electrostatic Loudspeaker, 472–473
Quadratic residue sequences, 139
Quadrophonics, 538
pan-pots, 543
Quested loudspeakers, 480, 602
Radian, 15
Radiation impedance, 381
Radio compatibility of mixes, 405
Rayleigh, Lord (Baron), 23, 28, 400
RCA studios, 353
Real-time analysers, 329
Rear wall absorbers, 590
Reflectors, acoustic, 201
Reflex enclosure, 319
Reflexion density, 367
Reflexion-free zones, 353, 438
Reflexions:
from mixing console, 601
Refraction, 113
Relays in loudspeaker circuitry, 508
Resonance (floors), 61–63, 65, 71
Response contouring:
at high frequencies, 461
see also X-curve
Reverberation chambers, 76, 96, 171, 185, 189, 282, 308, 375
measurement in, 375
Reverberation plates, 172
Reverberation time: equations for calculation of, 97
presentation of, 269
Reverberation times for orchestral recordings, 199
Reverberators:
acoustic, 64, 96, 171, 185, 189, 308
mechanical, 172
Rigidity, 34
Ring radiator, 531
Robinson–Dadson contours, 13, 199
Rodgers, Caroline (Puddie), 25, 353
Rolling Stones (The), 170, 172
Rolling Stones mobile studio, 170, 175, 583
Room absorption, 169
Room constant, 305
Room control, active, 316
Room correction, electronic, 322–323
Room cut-off frequency, 362–363
Room standardisation, 371
Rooms:
dead, 229
drums, see Drum rooms
live, 229
reflective and reverberant, 176
Rotating acoustic panels, 217, 219–220
Russell, Scott, 282
Ruskin, John, 640
Sabine formula, 97
Sabine, Wallace Clement, 49, 97, 281
Satellite loudspeakers, 391
Scale models, 278
Scaling limitations, 221–223, 338, 369
Schroeder integration, 654, 658
Schroeder, Professor Manfred, 112, 139, 275, 284, 403
Sealed box, 319
Shaw, E. A. G., 27
Shoebox halls, 198
Shufflers, 421
Signal processing artefacts, 397, 404
Sine wave:
amplitude and phase components, 14, 15
perfect, 250
Small room reflexion density, 367–369
Soares, Luis, 432
Sofas, 451
Soffits, 360
Sonodec, 258
Sound, 14
perception of, 26
Sound intensity, 19
Sound level meter, 20
Sound power, 18
Sound pressure relative to decibels, 19
Sound propagation:
adiabatic, 102
isothermal, 102
Sound pulse modelling, 281
Sound spectrum, 29
Southampton University, see ISVR (Institute of Sound and Vibration Research)
Space:
owners wish to, see it all, 126, 369
requirements, 6
Spacial separation, 610
Specialist manufacturing, demise of, 451
Specific heat of air, 102
Speed of sound:
in air, 16
frequency dependence, 31
in other materials, 33
resonant frequency, 36
stiffness, 36
Staff, importance of, 5
Standardisation of rooms, 333–335
patterns, 133
Stationary waves,see Standing waves
Step-function responses, 457, 468, 482–483
of electrostatic loudspeakers, 472–473
Steradians, 19
Stereo foldback, 610
Stereophonic sound reproduction, 411
Stradivari, 280
Stud walls, 126
interleaved, 152
Studio headphone, 608
see also Beyer DT100
Studio monitor systems:
not for enjoyment, 404
Sub-woofer, 391–394, 548–550, 600, 602–603
dipole, 550
multiple, processed, 550
stereo, 394
temporal misalignment, 392
Surround sound, 361, 386, 394, 418, 538, 544
channel delay, 556
Dolby, 539
mastering for, 552
pan-pots, 543
ten channels, 543
(for) TV, 539
use of dipole radiators, 389, 547
TAD monitors, 511
Tannoy, 467
factory, 501
Tannoy Dual Concentrics, 467–468, 583
Tannoy monitors, 479
Tape One, 586
Technical earth, 618
Tennis racquet analogy, 371
Teopler, 281
Thomas, Chris, 478
Tiles, used for acoustic variability, 142
Time base whistles, 228
Time Delay Spectrometry, 353
of small rooms, 222
Tio Pete studios, 226, 648, 663
Toilet paper, 478
see also Loo roll
Toole and Olive, 401, 407, 576–577
Toole, Floyd, 411, 423–424, 426, 550
Total power response, 375, 464, 597
Townhouse studios, xxiv, 172, 181, 219, 396, 584, 677
Toyashima, Sam, 218, 355, 358, 431, 540, 677
Tracking loudspeakers, 605–606, 614
Transformers, balancing (audio), 637, 643
Transmission, 33
flanking, 55
Transmission line cabinets, 524, 583
Tuning, 5
Turbulence, 526
Tweeters, horn-loaded, 529
Uninterruptible power supplies (UPSs), 265
Usable load, 63
Uzzle, Ted, 279
Valve amplifiers, 403, 494, 506
Variable acoustics, tile system, 142
Variacs, 250
Velocity component of wave motion, 83
Vented enclosures, 524
duct size considerations, 254
over-pressure, 252
speed control, 254
system noise maxima, 254
water coils, 256
Vertical discrimination, 278
Vibration conduction via ground, 40
Video monitors, 451
Virgin Records, 172
Viruter, 163
Viscous losses, 103
Vocal recordings, 146
Voishvillo, Dr Alexander, 489–490, 493
Volume/velocity sources, 295, 302, 525
Wally Heider studios, 353
Walter, Alistair, 593, 650, 664
Walthamstow Town Hall, 173
Waterfall plots, 277, 473, 482–483, 652, 654
Watkinson and Salter, 404
Wave number, 16
Waveform distortion, 403
Wavelength, 16
Wedges, fibrous, 17
Westlake monitors, 584
laminated glass, 233
Wonder, Stevie, 431
Woodcemair, 163
Woodman, Bill, 531
Workhouse studios, 172
Worm and snake analogy, 90
Wrightson, Jack, 353, 424, 437
Yamaha NS10M,see NS10M
Zuccarelli, Hugo, 204