5.1-channel surround, 512–18
bass management, 516
international standards and configurations, 513–15
LFE channel, 515–17
limitations, 517
purpose, 512–13
signal levels, 518
subwoofers, 515–17
track allocations, 515
7.1-channel surround, 518–19
8-to-14 modulation, 260
10.2-channel surround, 520
100 volt lines:
principles, 365–6
working with, 366–8
600 ohms:
principles, 368–9
problems with, 369–70
1394 TA (Trade Association) documents, 439
A
A–B powering, 68–9
‘A’ curve, 20
‘A format’, 62
‘A’-gauge jack plug, 376
‘A’-weighting curve, 33
‘A’-weighted self-noise, 64
After Fade Listen (AFL), 130
AAF Low-Level Container Specification, 312
AAF Object Specification, 312
AAF SDK Reference Implementation, 312
AAF see Advanced authoring for
ABR see Auxiliary bass radiator
Absolute lock see Frame lock
Absolute phase reversal, 13
Absorption, 22
ABX test, 570
AC see Alternating current
AC-3 coding algorithm, 255, 528
AC-biased tape recorders, 169
Active DI boxes, 372–3
Active loudspeakers, 90–1
Active sensing messages, 422
ADAT data, format of, 329
ADL see Audio xDecision List
ADR see Automatic dialog replacement
Advanced Audio BIFS, 254
Advanced authoring format, 312–13
Aerials, radio microphone, 72–7
AES-3 interface, 323
AES-31, 309–11
frame count and timebase indicator coding in, 311
video field and timecode type indicator in, 311
AES-47 standard, 339–40
AES/EBU interface (AES-3), 323–5
AFL see After Fade Listen
AGC see Automatic gain control
AIFF-C formats, 303
Akai, 423
Alesis ADAT multichannel optical digital interface, 327
Alignment level, 143
Alternating current (AC), 13
Ambisonics, 508
A-format capsule directions, 534
C-format, 536
principles, 532–3
signal formats, 533–6
AMEI (Association of Musical Electronics Industry), 398, 439
American Society of Motion Picture and Television Engineers, 452
Amplifiers:
100 volt lines, 365
600 ohms, 368–70
balanced lines, 361
cable resistance, 358
classes, 343–4
coupling, 351
crosstalk, 349
damping factor, 350
distribution, 379
impedance, 349–50
microphone noise, 65–6
microphone sensitivity, 64–5
phase response, 350
power output, 346
signal-to-noise ratio, 349
Amplitude:
pairwise panning, 556–7
and spectral cues, 39–42
Analog and digital dynamic range, comparison of, 292
Analog anti-aliasing filter, 230
Analog controller, 414
Analog information, 203
Analog mixers, digitally controlled, 159
compact cassette, 185–7
history of, 168–70
magnetic recording levels, 178, 179
magnetic recording process, 171–5
magnetic tape, 170–1
mechanical transport functions, 184–5
tape machine alignment, 180–4
tape recorder, 176–8
test tapes, 178–80
Analog-to-digital (A/D) conversion, 210
audio sampling, 211–12, 213, 214
dither, use of, 226–9
example, 209–10
filtering and aliasing, 212–13, 215, 216–17
quantizing, 219–22
sampling frequency and sound quality, 217–19
sound quality and quantizing resolution, 222–6, 227
ANSI tape labeling specification, 314
Antinodes, 7
Aperture effect, 232–3
Aphex company, 393
API (application programming interface), 381
Apple Macintosh, 301
Application programming interface see API
ASCII text files, 302
ASIO (Audio Stream Input Output), 407
Association of Musical Electronics Industry see AMEI
ASW see Auditory source width
Asynchronous Transfer Mode (ATM), 339
ATA/IDE interfaces, 274
ATAPI (ATA Packet Interface), 274
ATM see Asynchronous Transfer Mode
ATRAC data reduction system, 256
Audio and Music Data Transmission Protocol, 439
Audio codecs, sound quality in, 585–7
Audio data reduction, 248–56
data rate, reasons for reducing, 249
data-reduced formats, 255–6
lossless and lossy coding, 249–51
MPEG, 251–5
Audio data transmissions, 338
Audio file formats, for digital workstations, 300
AAF (advanced authoring format), 312–13
AES-31 format, 309–11
AIFF and AIFF-C formats, 303, 304
disk pre-mastering formats, 313–15
EDL files and project interchange, 308–9
file formats, in general, 301–2
MPEG audio file formats, 306
MXF (media exchange format), 311–12
sound designer formats, 302–3
Audio frequency range, 4
Audio handling, 155–6
Audio interface formats, 321, 323
Audio network requirements, 332–4
Audio over ATM, 339–40
Audio over firewire (IEEE 1394), 336–7
Audio processing, for computer workstations, 276
DSP cards, 278
host-based audio processing, 279
integrated sound cards, 279–80
latency, 278
Audio sampling, 211–12, 213, 214
Audio sampling frequencies, 217
Audio signal, changing resolution of, 235–7
Audio spectrum, 4
Audio Stream Input Output see ASIO
Audio transformers, 354
Audio xDecision List (ADL), 310
AudioSuite, 382
Auditory perception, 29
equal-loudness contours, 36
frequency perception, 31–3
hearing mechanism, 30–1
loudness perception, 33–6
spatial perception, 37–46
Auditory source width (ASW), 43
Aural Exciter, 393
Autolocate, 177
Automated faders, 151
Automatic dialog replacement (ADR), 458
Automatic gain control (AGC), 75
Automatic repeat function, 177
Automation:
automated faders, grouping, 151
automation data, storing, 151–2
background, 146–7
dynamic and static systems, 154–5
fader automation, 147–51
integrating machine control, 152–3
mute automation, 151
and non-note MIDI events, 446–7
retrofitting automation, 153
total automation systems, 153–4
Auxiliary bass radiator (ABR), 85
Auxiliary level controls, 132
Averaging, 263
Avid, 309
Azimuth alignment, 182
B
‘B’ curve, 20
‘B format’, 62
‘B’-gauge jack plug, 376
‘Back electret’ technique, 53
Back-to-back cardioids, 490, 491
Bad blocks, 268
Balanced interconnection, using transformers, 361
Balanced lines, 361
working with, 362–3
Balanced resistive attenuator, 346
Balancing, electronic, 364–5
Band splitting, 193
‘Bank select’ approach, 431
Bantam jack, 379
Bar marker message, 466
Bass management, 516
Bass reflex systems, 84–5
BD-Audio, 319
Beat frequency, 32
‘Bell’ curve, 136
Bento, 302
Berliner, 168
Bias, 173
adjustment, 181
Bidirectional pattern, 55–7
BIFS see Binary Format for Scenes
Binary Format for Scenes (BIFS), 254
Binary information, 203
Binary number system, for beginngers, 204–9
Binary system, 205
Binaural recording, 480
and dummy head techniques, 501–3
Binaural vs. ‘stereophonic’ localization, 474
Binaural/headphone stereo, principles of, 480–2
‘Binaural’ techniques, 470
Bi-phase mark coding, 260, 325, 453
Bit offset, 459
Bit stream conversion, 234
Blauert, Jens, 562
Blind tests, 568–9
Blu-Ray disk, 319–20
Bluetooth, 336
Bounce, 130
Boundary microphone, 60–1
Bridge, 332
Brightness controller, 430
Broadcast mode switch, 129
Broadcast WAVE format, 307–8
Broadcasting signal chain, 210
Bruel and Kjaer manufacture, 501
Bundles, 440
Bus mode, 128
Butt edit, 282
Butt joins, 281
C
‘C’ curve, 20
Cable:
100 volt lines, 365–8
600 ohms, 368–70
capacitance, 359–61
resistance, 358
star-quad, 363–4
and transformer inductance, 359
Cable number, 438
Calrec 1050C microphone, 68
Calrec Soundfield, 533
Capacitor (condenser) microphone, 50, 52–3, 64
A–B powering, 68–9
Card readers, 270
Cardioid pattern, 57–8
Carson, Doug, 314
Cassette test tapes, 186
CD see Compact discs
CD-ROM standard, 315
Center for New Music and Audio Technology see CNMAT
Center loudspeaker, 539–40
Center-track timecode, 455, 456
CF see Compact Flash
Channel and mix controls, 128–31
Channel aftertouch, 419
Channel coding, for dedicated tape formats, 259–61
Channel grouping, 120–2
Channel masking, 435
Channel modes, 416–18
Channel number, 421
Channel pan, 125
Channel vs. system messages, 408, 410
Chase synchronizer, 457–8
CIN see Code index number
Cinema see Film
Circle Surround, 523–4
Clipping, 141
Clock jitter, 583
CMF (cutting master format), 294
CMR see Common mode rejection
CMRR see Common mode rejection ratio
CMX-compatible form, 309
CNMAT (Center for New Music and Audio Technology), 440
Code index number (CIN), 438–9
Coding noise, 585
Cohen, Elizabeth, 225
‘Coherent Acoustics’ system, 255
Coincident-pair principles, 487–91
Comb-filtering effects, 391, 487, 500
Common messages, 408
Common mode rejection (CMR), 139, 361
Common mode rejection ratio (CMRR), 361
‘Common mode’ signal, 361
Communication, types of, 338
Compact cassette:
alignments, 186
background, 185–6
multitrack cassette recorders, 186–7
Compact discs (CD), 260
CD-R, 316
CD-Audio, 315
CD-ROM, 316
CD-RW, 316
consumer interface, 327
and drives, 315–16
DTS, 53
Compact Flash (CF), 270
Compact stereo mixer, 115
Compansion process, 192
Complete loudspeaker systems:
three-way systems, 89–90
two-way systems, 88–9
Complex sounds, 5
Complex waveform, 5
Compliance ratio, 103
Composite video, 462
Composition package, 313
Compressed digital video, 448
Compression:
and limiting, 388
Compression driver, 87
Compressor, 388
and limiter, 387–8
Computer network:
vs. digital audio interfaces, 322
topologies, 331
Concealment, 263
Concert halls, 43
Concha resonance, 40
Condenser microphone see Capacitor microphone
Connectors, 363
Consumer channel status block, 327
Consumer electrical interface, 326
Consumer optical disk formats:
Blu-Ray disk, 319–20
compact discs and drives, 315–16
DVD, 316–18
super audio CD (SACD), 318–19
Continuous controller, 414
Control change message, 413–16
Controller messages, handling of, 428–30
Controller numbers, 414, 415, 431
Conventional PCM mode, 330
Core Audio, 407
Core MIDI, 407
Correlation meter, 144–5
Cottage loaf, 58
Coupled cavity systems, 85–6
Coupling, 351
CRC see Cyclic redundancy check
Creative Labs, 279
Critical band, 33
Crossover distortion, 343
Crossover network, 89
Crosstalk canceling, 484
CSound, 437
Current, 13
Cutting master format see CMF
Cyclic redundancy check (CRC), 263
D
‘D’ curve, 20
D/A conversion:
basic D/A convertor, 232–3
oversampling in, 233–4
D/A convertor, 232–3
DAB see Digital Audio Broadcasting
Damping, 48
Damping factor, 350
DASH see Digital Audio Stationary Head
DAT see Digital Audio Tape Data and sync separation, 261
Data byte, 409
Data networks and computer interconnects, 330–2
Data rate, reasons for reducing, 249
Data recovery, 261
Data-reduced audio, 326
Data-reduced formats, 255–6
Dbx, 195
DDP ID stream, 314
DDP Map stream, 314–15
DDP see Disk Description Protocol
DDPID file see DDP ID stream
DDPMS file see DDP Map stream
Dead spots, 76
Decca Record Company, 500
Decca Tree, 500
Dedicated monitor mixer, 138
De-esser, 393
Degenerate modes, 25
Delta-sigma conversion, 234
Demagnetization:
and head inspection, 180
Demultiplexer (Demux), 149
Denon company, 258
Depth perception:
and distance, 44–5
Device ID, 421
DI (direct injection) boxes:
active DI boxes, 372–3
overview, 370–1
passive DI boxes, 371–2
Dialog normalization (‘dialnorm’), 225, 528
Differential amplifier, 364
Differential input, 361
Differential signal, 361
Digico D5T, 157
Digidesign plug-in formats, 382
Digidesign’s ProTools system, 462
Digidesign’s TDM architecture, 278
Digital audio, 204
vs. MIDI, 399–400
storage requirements, 271
synchronization, 459–63
workstations, 159–61
Digital Audio Broadcasting (DAB), 249
Digital audio devices, interconnecting, 320–40
AES-47, 339–40
AES/EBU interface (AES-3), 323–5
audio network requirements, 332–4
audio over firewire (IEEE 1394), 336–7
audio over universal serial bus (USB), 337–9
data networks and computer interconnects, 330–2
dedicated audio interface formats, 321, 323
internet, protocols for, 334–5
proprietary digital interfaces, 327–30
standard consumer interface (IEC 60958-3), 325–7
storage area networks, 334
wireless networks, 335–6
Digital audio formats and interchange, 300
audio file formats, for digital workstations, 300–15
consumer optical disk formats, 315–20
digital audio devices, interconnecting, 320–40
Digital audio principles: analog recording, 202
analog-to-digital conversion, 209–32
audio data reduction, 248–56
audio signal, changing resolution of, 235–7
binary for beginners, 204–9
D/A conversion, 232–4
digital audio signal chain, 209
digital recording, 203
digital signal processing, 237–47
Direct Stream Digital (DSD), 234–5
pitch shifting and time stretching, 247–8
Digital Audio Stationary Head (DASH), 265
Digital audio synchronization, 459–63
digital audio signal synchronization, 461–3
requirements for, 459–60
sample clock jitter, and effects on sound quality, 463
timecode synchronization, of audio workstations, 460–1
Digital Audio Tape (DAT), 264
Digital delay line, 391–3
Digital dynamics processing, 245
Digital filtering, 246
Digital filters and equalization, 240–3
Digital information, 204
The Digital Interface Handbook, 323
Digital mixers, 155
assignable control surfaces, 156–7
audio handling, 155–6
case study, 157–9
digitally controlled analog mixers, 159
Digital multi-effects processors, 390–1
Digital noise extraction, 198
Digital Radio, 249
Digital recording, 203, 210, 257
Digital reverb, 389–90
Digital reverberation, 243–5
Digital signal chain:
sound quality in, 582–3
Digital signal processing (DSP), 106, 237–47, 504
digital filters and equalization, 240–3
digital reverberation and effects, 243–5
dynamics processing, 245
gain changing (level control), 239–40
mixing, 240
sample rate conversion, 245–7
see also DSP cards, DSP farms
Digital surround sound formats, 526–32
Digital tape formats, 264–5
Digital tape recording, 258
background to, 258–9
channel coding, for dedicated tape formats, 259–61
digital tape formats, 264–5
editing digital tape recordings, 265–6
error correction, 261–4
Digital Theater Systems (DTS), 255, 529–30
Digital Versatile Disc (DVD), 316–18, 518
discs and players, 295
DVD-Video, 318
mastering, 294
recordable formats, 317
Digital-to-analog see D/A conversion
DIM, 132
Direct injection boxes see DI boxes
Direct Stream Digital (DSD), 234–5, 318
bitstream generation, 235
interface data, 329
Direct Stream Transfer (DST), 251, 318
Directional response, 53–9
DirectMusic, 407
DirectShow, 382
DirectSound, 407
DirectX, 382–3
Disk controller, 268
Disk Description Protocol (DDP), 314
Disk drives, 268
Disk fragmentation, 276
Disk pre-mastering formats, 313–15
Disk-based digital systems, 454
Disk-based systems, 209, 268, 454
amplifiers, 348–9
binaural signals, 482
crossover, 343
dither, 228
DSP, 239
harmonic distortion, 576, 577–9
intermodulation, 579–80
loudspeaker, 94–5
metering, 142
MIDI, 401
mixers, 140–1
phase, 238
quantizing error, 222–3
requantization, 235–7
Distortion, in loudspeaker system, 94–5, 140–1, 348–9
Distributed mode loudspeaker (DML), 83
Distribution amplifiers, 379
Dither:
types, 228
uses, 226–9
Diversity reception, in radio microphone, 77–8
DLL (dynamic link library), 383
DLS see Downloadable sounds
DML see Distributed mode loudspeaker
Dolby B, 192–6
Dolby Digital, 255, 508, 527–9
Dolby Digital Plus, 319
Dolby matrix, 525
Dolby Noise, 196
Dolby SR-D, 528
Dolby Stereo, 520–3
Dolby Surround, 520–3
Dolby TrueHD, 320
Domestic power amplifiers, 342–4
Dooley, 501
Double-diaphragm capacitor microphone, 61
‘Double-ribbon’ principle, 52
Double-tracking, 245
Downloadable Sounds (DLS), 436, 438
Drivers and audio I/O software, 407
Drop-frame timecode, 453
DSD see Direct Stream Digital
DSD-raw, 328
DSP farms, 278
DSP see Digital signal processing
DST see Direct Stream Transfer
DTS see Digital Theater Systems
DTS-HD, 319
DTS-HD Master Audio, 320
Ducking effect, 387
Dummy head techniques, 501–3
DUMP, 130
Dutch Broadcasting Company, 497
DVD see Digital Versatile Disc
DVD formats, 317
DVD mastering, 294
DVD masters, 294
DXi, 383
Dynamic and static systems, 154–5
Dynamic crosstalk, 349
Dynamic link library see DLL
Dynamic microphone see Moving-coil microphone
enhancement, 236
and perception to human hearing, 225
and signal-to-noise (S/N) ratio, 580–1
Dynamic voice allocation, 432
Dynamics processing, 245
Dynamics section, 125–6
E
Early reflections, 26, 43, 45, 389
Earth loops, 357, 362, 363, 371, 374, 403
EBU PPM, 142
EBU see European Broadcasting Union; SMPTE/EBU timecode
Echo and reverb devices, 388–9
Echo chamber, 388
Echo effects, 444
Echo plate, 388
Echoes, 26
Edison, 168
Edit decision list (EDL), 280, 282, 285, 458
and project interchange, 308–9
Edit decision markup language (EDML), 309, 310
Edit point handling, 281–2
Editing:
CD, 287
digital tape recordings, 265–6
edit decision list (EDL), 280, 282, 308–9
mixing approaches, 161
modes, 284–6
software, 287–9
EDL see Edit decision list
EDML see Edit decision markup language
Effective radiated power (ERP), 72
Effects, in DSP, 239
Effects returns, 133
EIDE interface, 274
EIN see Equivalent input noise
Electret designs, 53
Electrical form, sound in, 12–15
Electrical recording, 169
Electromagnetic transducers, 48
Electronic balancing, 364–5
Electronic bargraph metering, 144–5
Electronic tape copy editing, 267
Electrons, 13
Electrostatic loudspeakers, 81, 82
EMagic’s Unitor8 interface, 405, 406
End-fire and side-fire configurations, 495
EQ see Equalization
Equal-loudness contours, 34, 36
binaural stereo, 484
clipping, 141
and digital filters, 240–3
of dummy heads, 502–3
filters, 137
magnetic recording, 173–5
principal EQ bands, 135–7
record, 183
spatial, 485
Equalizer section, 126–8
Equivalent input noise (EIN), 139
ERP see Effective radiated power
Error correction process, 261–4
Error handling, 263
ESbus, 458
Essence files, 311–12
European Broadcasting Union (EBU), 307, 516
European-style console see Split monitoring
Exponential crossfades, 284
extensible Music Format files see XMF files
External timecode, 460
F
Fader:
automation, 147–51
grouping, 151
Fader flip, 119
Fader law, 112
Fast release time, 387
Fast relock mode, 458
‘Faulkner’ pair, 497
Ferrite heads, 180
FET see Field-effect transistor
Fibre Channel, 334
Fidelity, 565
Field-effect transistor (FET), 50, 334
Fielder, Louis, 225
Figure-eight microphone, 55–7
File formats, 301–2
File transfer protocol (FTP), 335
Film:
5.1 channel surround, 518
7.1 channel surround, 518–19
Dolby Digital, 530
four-channel surround, 510
SDDS, 530
surround sound, 518, 521, 528, 530
three-channel surround, 509
THX system, 524
Filter action, 385
Filtering and aliasing, 212–13, 215–17
Filters, 137
and aliasing, 212–17
Bauer’s filter, 483
comb-filtering effects, 487, 500
crosstalk-canceling filters, 484
high- and low-cut filters, 137
input and output filters, 442–3
weighting, 20
weighting filters, 581
Finite impulse response (FIR) filter, 242, 243
First overtone, 7
Five-channel surround sound, 509, 556
Five-channel ‘main microphone’ arrays, 545–7
Fixed-band filters, 194
Fixed-point binary numbers, 207
Fletcher-Munson curves, 34
Floating-point binary number, 207, 208
Flutter, 581
Flutter echoes, 26
FM see Frequency modulation
FM channel code see Bi-phase mark coding
Foldback, 132–3
Formatting, 268, 268, 269, 275
Four-channel surround (3–1 stereo), 510–12
limitations, 511–12
loudspeaker configuration, 510–11
purpose, 510
Fourier analysis, 5
Fractional-ratio conversion, 246
Frame lock, 458
Frequency:
critical bandwidth, 33
directional response patterns of microphones, 54, 55, 56
directivity of speakers, 97–9
domain response, 242
equal-loudness contours, 34
perception, 31–3
radio microphones, 70
room modes, 25
sampling frequency, 217–19
shifter, 391
spatial perception, 37–40
speed of sound, 4
Frequency modulation (FM), 260
Frequency response, 140, 347, 573–7
loudspeakers, 95
mixers, 140
power amplifiers, 347–8
sound quality, 573–7
stereo misalignment effects, 487
Frequency shifter, 391
Frequency spectra:
of non-repetitive sounds, 8
of quantizing noise, 233
of repetitive sounds, 6–8
Frequency-dividing network, 89
Frequency-domain plot, 5
Front loudspeakers, 539
FTP see File transfer protocol
Full normaling, 377
Full-featured synchronizer, 458–9
Full-frame message, 467
Fundamental frequency of oscillation, 6
G
Gain, 16
level control, 239–40
Gate flapping, 198
Gated snare drum, 198
General MIDI Lite (GML), 434
General systems, 197
Genlock, 461
GML see General MIDI Lite
GPO-type sockets, 376
Graphic equalizer, 383–7
Grid editing, 444
Griesinger, David, 500
Grouping, definition of, 120
Grouping mixers, 120–2
Guitar amplifiers, 49, 51, 389
H
Haas effect, 39
HALs see Hardware abstraction layers
Hammond organ company, 388
Hardware abstraction layers (HALs), 407
‘Hard’ limiter, 388
Harmonic distortion, 576–9
Harmonics, 6–7
Harmonizer, 394
HATS see Head and torso simulator
Head and torso simulator (HATS), 502
Head inspection and demagnetization, 180
Head-related panning, 559
Head-related transfer function (HRTF), 40
Headphones:
dummy head techniques, 501–3
impedance, 115
in-the-head localization, 40
vs. loudspeaker stereo, 482–5
naturalness, 45–6
near-coincidence microphones, 496–7
spatial perception, 44
stereo, 480–2
two-channel stereo, 471
Hearing mechanism, 30–1
Heat, 19
Helical aerials, 73
Helical scanning, 259
Helmholtz absorbers, 22
Hertz (Hz), 2
Hexadecimal system, 205–6
HFS (Hierarchical Filing System), 276
Hi-com, 196
Hierarchical Filing System see HFS
High Pass Filter (HPF), 124, 136
High-quality omnidirectional microphones, 55
Higher-order ambisonics, 537
Hiss, 36, 64, 137, 191, 195, 226, 575, 581
Hold, 263
Holman, Tomlinson, 520
Home THX, 524
Horn loading, 86–7
Horn loudspeaker, 86
Host TDM see HTDM
Host-based audio processing, 279
HPF see High Pass Filter
HRTF see Head-related transfer function
HTDM (Host TDM), 382
HTTP see Hypertext transfer protocol
Hum, 36, 115, 175, 356, 371, 581
Hypercardioid microphones, 58–9
Hypertext transfer protocol (HTTP), 335
Hysteresis, 198
Hz see Hertz
I
IN connector, 402
IEC standard 61883–6, 439
IEEE 1394, 336–7
vs. MIDI, 439
IFF file chunk, format of, 304
IFF see Interchange format files
IIR filter see Infinite impulse response filter
IM distortion see Intermodulation distortion
Impedances, 140,
100 volt lines, 365–8,
600 ohms, 368–70
amplifiers, 349–50
cables, 358–61
DI boxes, 370–3
headphones, 115
loudspeakers, 92–9
mixers, 140
splitter boxes, 373–5
and transformers, 354–6
In-line design, 118–20
In-line multitrack mixer, 120
In-place solo, 130–1
In-the-head localization, 140
INA array, 548
Individual messages, 440
Inductance, 359
‘Infinite baffle’ systems, 84
Infinite impulse response (IIR) filter, 242, 243, 244
Inharmonic partials, 7
Input channels display, 157
Input filters, 442–3
Input gain control, 123
Input impedance, 349, 358, 368
Input noise, 138–9
Input section, 123–4
Insert points, 134
Insertion return socket, 376–7
Insertion send socket, 376–7
Integral synchronizers, 152
Integrated sound cards, 279–80
Integrating machine control, 152–3
Interacting authoring, 296
Interaural time delay, 40, 483
Interaural time difference, 38
Interchange format files, 303, 306–8
Interconnection, 353–80
Interface, 400–4
digital devices, 321
digital mixers, 155–9
MIDI, 400–4
workstations, 276–8
Interference:
balanced lines, 361–3
common mode rejection, 139
digital audio, 202
MIDI, 400–4
noise reduction, 190
star-quad cable, 363–4
Interleaving, 262
Intermodulation (IM) distortion, 579–80
International Standards Organization see ISO
Internet:
protocols, 334–5
Interpolation, 263
Inverse-square law, 18
IPod, 254
ISO (International Standards Organization), 253, 384
ITU-R BS.1116, 570
ITU-R BS.1534, 570
J
Jackfields:
facilities, 378–9
normaling, 376–8
overview, 375–6
patch cords, 376
Joint Frequency Management Group Ltd, 72
K
Kbyte see Kilobyte
Key pressure message, 413
Keygroups, 423
Kilobyte, 205
L
LANs see Local area networks
Laser pickups, 605
LCD see Liquid crystal displays
LCRS surround, 510
Least significant bit (LSB), 205
LEDs see Light Emitting Diodes
Legato switch controller, 418
Level difference stereo, 476, 477
Lexicon 960-L multichannel effects system, 390
LFE see Low-frequency effects
LFE channel, 515–17
Licenses, radio microphone, 71–2
Light Emitting Diodes (LEDs), 144, 402
‘Light pipe’ interface, 327
Liking, 566–7
Limiter, 388
Line input, 123
Line mode, 128
Line-up, of noise reduction systems, 196–7
Line-up tone, 196
Linear law, 112
Linear timecode data, 455
Lines and interconnection:
100 volt lines, 365–8
600 ohms, 368–70
balanced lines, 361
cable effects, with unbalanced lines, 358–61
DI boxes, 370–3
distribution amplifiers, 379
electronic balancing, 364–5
jackfields, 375–9
splitter boxes, 373–5
star-quad cable, 363–4
transformers, 354–6
unbalanced lines, 356–8
working with balanced lines, 362–3
Liquid crystal displays (LCD), 144
Listeners, 568
Listening tests, 567–8
types, 569–71
Local area networks (LANs), 331
Lock, types of, 458
Locked systems, 458–9
Logarithmic law, 112
Logic, 441
Logic control, 185
Logical operations, 208
‘Long-throw’ horn, 86
Longitudinal timecode, 405, 406
Longitudinal waves, 2
Loop, 459
Loop resistance, 358
Lossless coding, 249–51
Lossy coding, 251
Loudhailers, 87
Loudness, 33
critical bandwidth, 33
human perception, 33–6
measuring SPLs, 17
see also Amplitude
Loudspeaker stereo:
principles, 471–9
vs. headphones, 482–5
Loudspeakers, 79,
5.1 channel surround, 512–18,
100 volt lines, 365–8
Ambisonics, 533
binaural stereo, 484
cable resistance, 358
damping factor, 350
digital signal processing (DSP), 106
directivity, 97–9
distortion, 94–5
distributed mode loudspeaker (DML), 83
dummy head techniques, 501–3
electromagnetic transducers, 48
electrostatic loudspeaker, 81–2
four-channel surround, 510–11
frequency response, 347–9
impedance, 92–9
loading, 84–7
moving-coil, 80–1
multichannel panning, 555–9
naturalness, 45
performance, 92–9
reverberation time, 22
ribbon loudspeaker, 82–3
room modes, 23
sensitivity, 93–4
setting up, 99–101
subwoofers, 91–2
Thiele, 101–5
three-way systems, 89–90
two-way system, 88–9
Low bit rate coder, 252
Low-frequency effects, 513, 515, 520
Low-frequency Q, 103
Low-pass filters see LPFs
LPFs (low-pass filters), 124
LSB see Least significant bit
LTC see Longitudinal timecode
M
Machine synchronizers:
chase synchronizer, 457–8
full-featured synchronizer, 458–9
overview, 456–7
Magnetic flux reference levels, 179
Magnetic hard disks, 267–9
Magnetic recording, 171, 172, 178, 179
equalization, 173–5
Magnetic tape:
open-reel tape, 170–1
structure, 170
Magneto-optical (M-O) format, 270
Main stream, 315
Mains transformers, 354
MANs (metropolitan area networks), 331
Mark of Unicorn’s MAS, 382
Masking, 35
Mass storage media, 270–5
Mass storage-based editing system principles, 280
crossfading, 282–4
edit point handling, 281–2
editing modes, 284–6
simulation of ‘reel-rocking’, 286–7
sound files and sound segments, 281
Mass storage-based systems, 266
magnetic hard disks, 267–9
media formatting, 275–6
memory cards, 270
optical discs, 269–70
recording audio on to mass storage media, 270–5
Master control section, 132–3
Master faders, 133
Mastering and restoration:
level control in mastering, 291–3
Mathematical sampling theorem, 211
Matrixed surround sound systems, 520–6
Circle Surround, 523–4
Dolby EX, 526
Dolby Stereo systems, 520–3
Dolby Surround system, 520–3
Dolby’s ProLogic system, 520–3
Maximum output level (MOL), 179, 182
Mayer SB-1 loudspeaker, 99
Mbyte see Megabyte
MCI, 146
Mechanical metering, 142–3
problems with, 143–4
Mechanical transport functions, 184–5
Media exchange format (MXF), 311–12
Megabyte, 205
Memory cards, 270
Memory Stick, 270
Meridian Lossless Packing (MLP) 318, 251, 532
Metadata, 312
Metal Oxide Semiconductor Field-Effect Transistor see MOSFET
Meter take-off point, 146
Metering, 143
Metering standards, relationship between, 145
Metering systems, 142
electronic bargraph metering, 144–5
mechanical metering, 142–4
meter take-off point, 146
relationship between different metering standards, 145
Metropolitan area networks see MANs
MFM, 260
Mic input, 123
MIC level trim, 119
Mic to mix, 128
Mic/line switch, 123
Microphone, 47
600 ohms, 368–70
Ambisonics, 532–6
balanced lines, 361–3
bass tip-up, 51
cable capacitance, 359–61
cable resistance, 358
capacitor/condenser microphone, 52–3
conversion to electrical sound waves, 13
DI boxes, 370–3
digital mixers, 155
directional responses, 53–9
directional responses and polar diagrams, 53–9
dummy head techniques, 501–3
electromagnetic transducers, 48
end-fire configuration, 495
harmonic distortion, 577–9
moving-coil/dynamic, 48–51
performance, 62–6
powering options, 66–9
radio, 69–78
ribbon, 51–2
sensitivity, 64–5
side fire configurations, 62, 495
splitter boxes, 373–5
star-quad cable, 363–4
stereo, 61–2
surround sound, 543–7
switchable polar patterns, 61
transformers, 354
two-channel stereo, 487–91
types, 59–61
Microsoft’s DirectX, 382
Midas Heritage 3000, 159
MIDI Machine Control (MMC), 398, 464
MIDI Manufacturer’s Association (MMA), 398, 439
MIDI Media Adaptation Layer for IEEE 1394, 439
MIDI see Musical instrument digital interface
MIDI TimeCode (MTC), 460, 466–7
MiniDisc coding format, 254
Mix farms, 278
Mixdown phase, 115
Mixer facilities, 122
auxiliary sends, 131
channel and mix controls, 128–31
dynamics section, 125–6
effects returns, 133
equalizer section, 126–8
input section, 123–4
master control section, 132–3
patchbay, 134
routing section, 124–5
Mixers:
automation, 146–55
basic operational techniques, 163–5
channel grouping, 120–2
dedicated monitor mixer, 138
digital mixers, 155–9
EQ explained, 134–7
facilities, 122–34
with integrated control of digital workstations, 159–61
metering systems, 142–6
mixing approaches, 161–3
multitrack mixer, 115–20
six-channel analog mixer, 109–15
stereo line input modules, 137–8
technical specifications, 138–41
Mixing, 240
approaches, 161–3
MLP see Meridian Lossless Packing
MMA see MIDI Manufacturer’s Association
MMC see MIDI Machine Control
Mobile phones, 434
Modified Discrete Cosine transform system, 254
Modular digital multitrack machine, 266
MOL see Maximum output level
Monitor fader, 120
Monitor mix, 116
Monitor mixer, 138
Monitor phase reverse, 132
Monitor selection, 132
Monitor-to-bus, 129
Monitoring, surround sound, 538–43
center loudspeaker, 539–40
front loudspeakers, 539
subwoofers, 542–3
surround loudspeakers, 540–2
two-channel and surround mixing rooms, differences, 538
MONO, 132
Mono mode, 417
MOSFET (Metal Oxide
Semiconductor Field-Effect Transistor), 344
Most significant bit (MSB), 205
Motion sensing, 185
Motorola, 301
Moving Pictures Expert Group see MPEG
Moving-coil microphone, 48–51
MPEG (Moving Pictures Expert Group), 251–5
MPEG audio file formats, 306
MPEG surround modes, 530–2
MPEG-1 layers, 253
MPEG-2 AAC, 253
MPEG-2 BC, 253
MPEG-4, 254
MPEG-4 Structured Audio, 397, 437
MPEG-Audio decoder, block diagram of, 253
MPX-MIDI data channels, 439
MS format, 486
MSB see Most significant bit
MTC see MIDI TimeCode
Mu-metal heads, 180
Multi mode, 418
Multichannel configurations, 518–20
7.1-channel surround, 518–19
10.2-channel surround, 520
Multichannel extension chunk, 307–8
Multichannel panning techniques, 555–9
Multi-mic recording, 503
Multi-path, 76
Multiple disks arrangement, in modular system, 273
Multiport interfaces, 405
Multi-timbral sound generator, 426
Multitrack cassette recorders, 186–7
Multitrack machine, 177–8
Multitrack mixer:
in-line and split configurations, 116–18
in-line design, aspects of, 118–20
overview, 115–16
MUSHRA, 570
Music Logic, 525
Music Surround modes, 525
Music-related timing data, 464–6
Musical instrument digital interface:
1.0 specification, 398
alternatives, 439–40
background, 397–8
basic principles, 400–4
beat clock, 465
channel numbers, 410
connectors and cables, 403
controller classifications, 414
controller functions, 415
data buffers and latency, 426–7
and digital audio, 399–400
files, 398
functions, of sound generators, 426
general MIDI, 432–5
hardware interface, 402
vs. IEEE 1394, 439
interfacing computer to, 404–7
Machine Control and Downloadable Sounds, 398
meaning, 398–9
message byte, 409
message format, 409–10
mixing and external control, 447
note assignment, in synthesizers and samplers, 422–5
note numbers, 411
over IEEE 1394, 439
over USB, 437–9
ports, adding, 404–7
RMID and XMF files, 435–6
Sample Dump protocol, 398
SAOL and SASL, in MPEG 4 Structured Audio, 437
Scalable Polyphonic MIDI (SPMIDI), 435
sequencing software, 441–8
Show Control, 398
sound generators, control of, 422–32
and synthetigc audio, 397
TimeCode, 398
timing data, 463–4
working of, 408–22
Mute automation, 151
MXF see Media exchange format
N
Nagra IV-S, 177
Nagra-D recorder, 265
Natural audio coding, 254
Naturalness, 566
NC see Noise criteria
Near field, 21
Near-coincident microphone configurations, 496–7
Nederlande Omroep Stichting see NOS
Negative numbers, 206
Network, extending, 332
Neumann RSM191i microphone, 494
Neumann SM69, 62
Noise:
amplifiers, 349
analog recording, 169–70
audio bit rate reduction, 249
digital audio, 230–2
digital mixers, 138–9
digital restoration software, 290
DSP, 239
dynamic range, 225
error correction in digital recording, 261–4
frequency spectra, 8
magnetic recording, 171–3
magnetic tape, 170–1
masking, 35
microphones, 64
mixers, 138–9
noise shaping, 230–2
quantizing error, 219
radio microphones, 71–8
sample rate conversion, 245–7
tape machines, 180–4
track formats, 455
see also Noise reduction system
Noise criteria (NC), 20
Noise gates, 197–8
Noise rating (NR), 20
Noise reduction system, 189
graphical representation of, 190
line-up of, 196–7
methods of, 190–6
requirement, 190
single-ended, 197–8
Noise shaping, in A/D conversion, 230–2, 233
Noise weighting curves, 581
Non-note MIDI events: and automation, 446–7
Non-registered parameter numbers (NRPNs), 431
Non-repetitive sounds, frequency spectra of, 8
Normaling, at jackfield insertion points, 376–8
NOS (Nederlande Omroep Stichting), 497
Note assignment, 425–6
Note off velocity, 412
Note on and note off messages, 410–11
NR see Noise rating
NRPNs see Non-registered parameter numbers
Nudge, 459
Null LEDs, 149
Nyquist criterion, 211
O
Object Specification, 312
Objective sound quality, 562–3
Octaves, 31
Odd/Even/Both (mixer control), 125
Ohm’s law, 14
OMFI see Open Media Framework Interchange
Omni microphones, 55
Omni outriggers, 500
Omnidirectional microphone, 54–5
OMS see Opcode’s Open Music System
Opcode’s Open Music System (OMS) 468, 407
Open Media Framework Interchange (OMFI), 309
Open Sound Control (OSC), 440
Open systems interconnection (OSI), 332
Open-reel digital multitrack recorder, 266
Open-reel quarter-inch tape, 170–1
Operational techniques, 163–5
level setting, 163–4
using audio groups, 165
using auxiliary sends, 164
Optical discs, 269–70
Optical Storage Technology Association see OSTA
Opto-isolator, 402
Orange Book standard, 316
ORTF pair, 497
OS X Audio Units, 382
OS X Core Audio standard, 407
OSC see Open sound control
Oscillator, 133
Oscilloscope, 15
OSI see Open systems interconnection
OSTA (Optical Storage Technology Association), 316
OUT connector, 402
Out-of-phase phenomenon, 45
Outboard devices, connection of, 393–4
Outboard equipment:
compressor/limiter, 387–8
digital delay line, 391–3
digital multi-effects processors, 390–1
digital reverb, 389–90
echo and reverb devices, 388–9
frequency shifter, 391
graphic equalizer, 383–7
miscellaneous devices, 393
Outboard processors, 394
Output filters, 442–3
Output impedance, 350
Output noise, 139–40
Oversampling:
in A/D conversion, 229–30, 231
in D/A conversion, 233–4
Overtones, 7
P
P48 standard, 68
PA systems see Public Address systems
Pad, 123
Paging system, 367
Pairwise amplitude panning, 556–7
PAL television, 453
Palladium, 379
PAM see Pulse amplitude modulation
Pan, 128
Pan control, on mixer, 112–13
Pan-pot, 486
‘Pan-potting’, 477
PANs (personal area networks), 331
Parabolic microphone, 60
Parallel and serial form, quantized output of A/D convertor in, 222
Partials, 6
Passive DI boxes, 371–2
Patch cords, 376
Patchbay, 134
see also Jackfields
PCI see Peripheral component interface
PCM see Pulse code modulation
PCMCIA, 274
PDM see Pulse density modulation
Peak program meter (PPM), 142, 142
Peak recording level, 143, 179, 226, 581
Peaking, 126
PEAQ see Perceptual Evaluation of Audio Quality
Perceptual Evaluation of Audio Quality, 572
Perceptual Evaluation of Speech Quality (PESQ), 572
Peripheral component interface (PCI), 277
Peripheral interfaces, 274
Permalloy heads, 180
Personal area networks see PANs
PESQ see Perceptual Evaluation of Speech Quality
PFL see Pre-fade listen
Phantom images:
5.1-channel surround, 517
creation, 475–9
quadraphonics, 533
Phase, 8–12
loudspeakers, 99–11
stereo misalignment effects, 487
stereo vector summation, 477
Phase comparator, 261
Phase lock, 458
Phase meter, 144–5
Phase response, 350
Phase reverse, 123–4
Phon, 19
Phonograph, 168
Physical MIDI ports, 437
Pilot tone, 177
Pink noise, 8
Pit Signal Processing (PSP), 295
Pitch bend wheel, 419–20
Pitch shifting and time stretching, 247–8
Pitch wheel message, 419–20
Platinum Enigma, 384
‘Plug-in’ processing software, 278
user interfaces, 384
PMCD (pre-master CD), 314, 315
Polar diagrams, 53–9
Poly mode, 418
Polyphonic key pressure messages, 413
Polyphony, 425–6
POP see Post office protocol
Portastudio, 186
Post-fade aux, 164
Post office protocol (POP), 335
Post-roll, 459
Power amplifiers, 341
coupling, 351
domestic power amplifiers, 342–4
professional amplifier facilities, 344
specifications, 345–50
Power bandwidth, 347
Power handling, 95–7
Power output, 346–7
PPM see Peak program meter
ppqn see Pulses per musical quarter note
PQ encoding, 294
Precedence effect, 39
Pre-delay, in reverb device, 389
Pre-emphasis, 191
Pre-fade aux, 164
Pre-fade listen (PFL), 114
Pre-master CD see PMCD
Pre-roll, 459
Pressure-gradient microphones, 51
Pressure-zone microphone (PZM), 60–1
Professional amplifier facilities, 344
Professional analog tape recorder, 171
Professional open-reel two-track analog tape recorder, 176
Professional portable tape machine, 177
Professional portable two-track recorder, 177
Program change message, 418–19
ProLogic system, 520–3
Pro-MPEG forum, 311
Propellerhead Systems, 468
Proprietary digital interfaces, 327–30
ProTools, 441
ProTools plug-ins, 278
Proximity effect, 50
Pseudo-binaural techniques, 496
PSP see Pit Signal Processing
Public address (PA) systems, 80
Public address systems, 81, 344, 368
Pulse amplitude modulation (PAM), 212, 213
Pulse code modulation (PCM), 219, 248, 249, 258
PCM-1610, 264
PCM-1630, 264
PCMCIA, 274
Pulse density modulation (PDM), 235
Pulse width modulation, 343
Pulses per musical quarter note (ppqn), 397, 464
Pure tones, 5
PZM see Pressure-zone microphone
Q
Quadraphonic reproduction, 533
Quantising resolutions, 227
Quantizing error, 219
Quarter-frame MTC message, 467
QuickTime, 448
R
Radio microphones, 69–78
RAID see Redundant Array of Inexpensive Disks
RAM buffering, 272
Random errors, 262
Reactance, 14
Real Networks, 334
Real Time Audio Suite see RTAS
Real-time crossfades, 282
Real-time messages, 410
Real-time streaming protocol (RTSP), 335
Real-time transport protocol (RTP), 335
RealAudio, 334
Record alignment, 181–4
Record resolution, 443
Recording machines, 168–9
Rectangular probability distribution function (RPDF), 228
Recursive filter, 243
Red Book standard, 315
Redundant Array of Inexpensive Disks (RAID), 268, 269, 334
Redundant data, 262
Reed-Solomon encoding, 263–4
Reel-rocking, 286–7
Reflection, 11
Reflections affect spaciousness, 43
Registered parameter numbers, 431
Release media, preparing for and understanding, 293–6
Release velocity see Note off velocity
Removable disk drive system, 268
Repeater, 332
Repetitive sounds, frequency spectra of, 6–8
Replay alignment, 180–1
Replay equalization time constants, 174
Replay head, 175
Replay-head wear, 180
Reservation protocol see RSVP
Reset message, 422
Resistance and capacitance (RC), 174
Restoration, 290
Retrofitting automation, 153
Reverb device, 384
Reverberation and echo devices, 394
Reverberation time (RT), 22, 389
RF (radio frequency) capacitor microphone, 53
Rhythmic quantization, 445
Rich Music Format (RMF), 435
Rifle microphone, 59–60
RMF see Rich Music Format
RMID, 435–6
RMS see Root-mean-square
Room gain, 10
Root-mean-square (RMS), 347
Rotary-head system, 259
Router, 332
Routing section, 124–5
RPDF see Rectangular probability distribution function
RSVP (reservation protocol), 335
RT see Reverberation time
RTAS (Real Time Audio Suite), 382
RTP see Real-time transport protocol
RTSP see Real-time streaming protocol
Rumble, 36
Running status, 412–13
S
SA see Structured Audio
Sabine, W.C., 22
SACD Authoring software, 294
SACD see Super Audio CD
SADiE:
editing system, 285
editor displays, 288
SACD text authoring screen from, 296
workstations, 287
Sample clock jitter, and effects on sound quality, 463
Sample rate conversion, 245–7
Sampler, 422–3
Sampling, 209
digital filters, 240–2
frequency domain, 214
interleaving, 262
sample rate conversion, 245–7
Sampling frequency and sound quality, 217–19
SAN see Storage area networks
SAOL (Structured Audio Orchestra Language), 254, 437
SAS interfaces see Serial Attached SCSI interfaces
SASL (Structured Audio Score Language), 437
Sawtooth wave, 6
Scalable Polyphonic MIDI (SPMIDI), 435
Schoeps CMC-5 microphone, 68
Schoeps KFM6U microphone, 498, 498
SCMS see Serial Copy Management
System Screening braid, 357
SCSI (Small Computer Systems Interface), 274, 336
SD see Secure Digital
SDDS see Sony Dynamic Digital Sound
SDIF, 328
SDK see Software development toolkits
Secure Digital (SD), 270
Self-noise, 64
Semi-automatic editing functions, 444
Sensitivity, 345–6
definition, 94
of loudspeaker, 93–4
Sequencer’s synchronization, 447
Sequencer’s timing resolution, 443
Sequencing software, 441
automation and non-note MIDI events, 446–7
displaying, manipulating and editing information, 443–5
input and output filters, 442–3
MIDI mixing and external control, 447
quantization of rhythm, 445
synchronization, 447
synchronized digital video, 448
timing resolution, 443
tracks, channels, instruments and environments, 441–2
Serial Attached SCSI (SAS) interfaces, 274
Serial Copy Management System (SCMS), 327
Session master, 161
Shannon, 211
Shelving, 126
Shelving curve, 135
Short time Fourier transform (STFT), 247
Shure VP88, 62
Side-fire configuration, 495
Sideband, 214
Signal levels, 143
Signal-to-noise ratio, 349, 580–1
SIL see Sound intensity level
Simple harmonic motion, 3
Simple interconnection, of MIDI, 404
Simple mail transfer protocol (SMTP), 335
Simple sounds, 5
Simple unbalanced interconnection, 357
Simple waveform, 5
Simulcast, 128
Sine wave, 3
Single-ended noise reduction system, 197–8
digital noise extraction, 198
general systems, 197
noise gates, 197–8
Single port MIDI interface, 405
Sinusoidal waveform, 5
Six-channel analog mixer, 109
overview, 109–11
Slate, 133
Slew rate, 348
Sliding-band filters, 194
Slow relock mode, 458
Small Computer Systems Interface see SCSI
SMF see Standard MIDI files
SMPTE drop-frame, 453
SMPTE see Society of Motion Picture and Television Engineers
SMPTE/EBU timecode, 452–4, 455
data format of, 454
SMTP see Simple mail transfer protocol
Snare drum, 198
Society of Motion Picture and Television Engineers (SMPTE), 452–4
Software development toolkits (SDK), 381
‘Soft’ limiter, 388
SOLO, 130
Sone, 36
Song position pointers (SPPs), 464, 466
Sony DMR-4000 digital master recorder, 264
Sony Dynamic Digital Sound (SDDS), 256, 530
Sony PCM-3348, 266
Sony PCM-7030 professional DAT machine, 264
Sony PCM-800, 266
Sony’s PCM-1610, 264
Sony’s PCM 1610/1630 format, 313
Sony’s PCM-1630, 264
Sony’s PCM-F1, 258
Sound cards, 277
Sound character, 562
Sound designer formats, 302–3
Sound Designer I, 302
Sound Designer II, 302–3
Sound field, 21, 51, 471, 473, 503
and sound segments, 281
Sound generators, control of, 422
controller messages, handling of, 428–30
MIDI data buffers and latency, 426–7
MIDI functions, of sound generators, 426
MIDI note assignment, in synthesizers and samplers, 422–5
polyphony, voice and note assignment, 425–6
velocity and aftertouch data, handling of, 427–8
voice selection, 430–2
Sound intensity level (SIL), 18
Sound pressure level (SPL), 17, 64
measuring, 20
Sound quality, 561
attributes, 563–5
in audio codecs, 585–7
audio system performance affecting aspects, 573
in digital signal chain, 582–5
evaluation methods, 567
and fidelity, 565
and liking, 566–7
and naturalness, 566
objective quality, 562–3
perceptual models, 571–3
and quantizing resolution, 222–6, 227
and sampling frequency, 217–19
subjective quality, 562–3
Sound scenes, 254
Sound segments, 281
Sound stage width, 43
Sound wave, 15
characteristics, 2–4
SoundBlaster series, 279
Soundfield Research microphone, 62
SoundField ST250 microphone, 62
SoundFonts, 436
Spaced diversity, 77
Spaced microphone configurations, 498–501
Spaciousness, 43, 471, 549, 587
Spatial ambience, 549
Spatial equalization, 485
Spatial perception, 37
amplitude and spectral cues, 39–42
distance and depth perception, 44–5
interaction between hearing and other senses, 42–4
naturalness, in spatial hearing, 45–6
resolving conflicting cues, 44
sound source localization, 37
time-based cues, 37–9
Speed of sound, 4
SPG see Sync pulse generator
SPL see Sound pressure level
Splash, 100
Splice editing, 265
Split monitoring, 116–18
Splitter boxes, 373–5
SPMIDI see Scalable Polyphonic MIDI
‘Spoked wheel’ effect, 213
Spot erase, 177
Spot microphones, 503–5
and two-channel panning laws, 503–5
SPPs see Song position pointers
Spring reverb, 388
SSL Pro-Convert, 309
Stage box, 379
Stand-alone timecode generator, 455
Standard consumer interface (IEC 60958-3), 325–7
Standard linear fades, 283
Standard MIDI files (SMF), 433
Standard play tape, 170–1
Standard two-channel interface frame, format of, 324
Standing wave ratio see SWR
Star-quad cable, 363–4
Stationary heads, 259
Status byte, 409
Stereo:
console recorder, 176
jack, 376
line input modules, 137–8
microphone, 61–2
misalignment effects, 487
mix outputs, 120
mix path, 118
mixer, 115
surround sound, 512
two-channel stereo, 469
vector summation, 477
width issues, 489
Stereophonic localization, 474
STFT see Short time Fourier transform
Storage:
Blu-Ray disc, 319–20
CD, 315–16
DVD, 316–18
super audio CD (SACD), 318–19
Storage area networks (SAN), 334
Straight-to-stereo mixing, 161–2
Streaming interfaces, 322
Streicher, 501
Structured Audio (SA), 254
Structured Audio Orchestra Language see SAOL
Structured Audio Score Language see SASL
Studer A807-TC, 176
Studio recorder, 176–7
Subcode stream, 315
Sub-ID, 422
Subjective sound quality, 562–3
Subwoofers, 91–2, 515–17, 542–3
Sum and difference processing, 63
‘Sum and difference’ format, 485, 486
‘Sumand-difference’ stereo microphone, 62
Super Audio CD (SACD), 234, 318–19
‘Super Clock’ signal, 462
Supercardioid microphones, 551
SuperMAC, 329
Surround imaging, 544–5
Surround loudspeakers, 540–2
Surround sound, 507
5.1-channel surround (3–2 stereo), 512–18
Ambisonics, 532–7
digital surround sound formats, 526–32
four-channel surround (3–1 stereo), 510–12
matrixed surround sound systems, 520–6
monitoring, 538–43
multichannel configurations, 518–20
multichannel panning techniques, 555–9
recording techniques, 543–55
systems, 520
three-channel (3–0) stereo, 509–10
Surround sound microphone technique, 543–5
Swept mid, 136
Switch controller, 414
Switchable polar patterns, 61
SWR (standing wave ratio), 75
Sync lock see Phase lock
Sync pulse generator (SPG), 462
Sync replay, 178
Sync word, 453
digital audio synchronization, 459–63
machine synchronizers, 456–9
and MIDI, 463–7
recording timecode, 454–6
SMPTE/EBU timecode, 452–4, 455
synchronizing audio/MIDI computer applications, 468
Synchronized digital video, 448
Synchronizer terminology:
bit offset, 459
drop-in and drop-out, 459
loop, 459
nudge, 459
offset, 459
post-roll, 459
pre-roll, 459
Synchronizing audio/MIDI computer applications, 468
Synthesizer, 423
Synthetic audio, 397
System exclusive message, 420–1
‘System real-time’ messages, 464
System vs. channel messages, 408, 410
T
Take-up reel, 185
Talkback, 132–3
Tape counter, 185
Tape echo, 389
Tape machine alignment:
head inspection and demagnetization, 180
record alignment, 181–4
replay alignment, 180–1
Tape mode, 128
Tape recorder:
alignment, 181–3
analog, 176–8
cable capacitance, 360
cable resistance, 358
dynamic range, 580
harmonic distortion, 576
mechanical transport functions, 184
multitrack machine, 177–8
noise reduction, 189–98
studio recorder, 176–7
Tape speed, 259
Tape-based copy editing, 286
Tascam’s interfaces, 327
tc Electronics System 6000 multi-effects processor, 391
TC Works Master X series:
mastering dynamics plug-in interface, 292
‘TC Works’ PowerCore, 382
TCP/IP (Transmission Control Protocol/Internet Protocol), 335
TDIF data and LRsync signal, format of, 328
TDM see Time Division Multiplex
TEAC company, 186
Technical specifications, of mixer, 138
crosstalk, 141
distortion, 140–1
frequency response, 140
impedance, 140
input noise, 138–9
output noise, 139–40
Telcom c4, 195–6
Test tapes, 178–80
Text stream, 315
Theater, 91
jackfield, 375
sound mixers, 124
Thiele, 101–5
Third-harmonic distortion, 179, 579
Three-channel (3–0) stereo, 509–10
Three-way loudspeaker system, 89
Threshold level, 387
THRU connector, 402
THX system, 524
TID see Transient intermodulation distortion
Timbre controller, 430
Time Division Multiplex (TDM), 278, 282
Time-domain plot, 5
Time domain response, 242
Time signature message, 466
Timecode:
synchronization, 460–1
tape recording, 454–6
Timing clock, 465
Timing resolution, 443
Toole, Floyd, 565
Total automation systems, 153–4
Total harmonic distortion, 141, 579
TPDF see Triangular probability distribution function
Track, 441–2
Track routing switches, 124
Track subgroup, 119
Track-laying phase, 115
Transaural processing, 484
Transducers, 576
echo plate, 388
loudspeaker, 80
spring reverb, 388
Transfer rate, 271
Transformers, 355
circuits, 355
and impedances, 354–6
limitations, 356
Transient distortion, 348–9
Transient intermodulation
distortion (TID), 348–9
Transmission line system, 58
Transversal filter, 242
Transverse scanning, 259
Transverse wave motion, 2
Triangular probability distribution function (TPDF), 228
True Total Reset, 154
TTL level, 462
Tune request, 422
Two-channel and surround mixing rooms, differences, 538
Two-channel format, 471
Two-channel microphone techniques, 487
coincident-pair principles, 487–91
near-coincident microphone configurations, 496–7
operational considerations with coincident pairs, 495–6
pseudo-binaural techniques, 496
spaced microphone
configurations, 498–501
using ms processing on coincident pairs, 491–5
Two-channel signal formats, 485–7
Two-channel stereo, 469
binaural recording and dummy head techniques, 501–3
binaural/headphone stereo, principles of, 480–2
loudspeaker stereo, principles of, 471–9
loudspeaker stereo vs. headphones, 482–5
spot microphones and two-channel panning laws, 503–5
two-channel microphone techniques, 487–501
two-channel signal formats, 485–7
Two-element aerials, 74
Two-way speaker system, 88
Two’s complement, 206
Type 1 transmissions, 338
Type 2 transmissions, 338
Type 3 transmissions, 338
U
UDP (user datagram protocol), 335
UDP see User datagram protocol UHF band, 72
UHJ see Universal HJ
Unbalanced interconnection, 357, 357, 358
Unbalanced lines, 356–8
cable effects with, 358–61
Unbalanced resistive attenuator, 346
Unidirectional pattern, 57–8
Uniform resource locator see URL
Universal HJ (UHJ), 533
Universal noncommercial messages, 421
Universal non-real-time messages, 421
Universal real-time messages, 421
Universal Serial Bus (USB), 274, 337–9, 405, 437, 438–9
audio cluster descriptor, channel identification in, 340
Implementers Forum, 437
vs. MIDI, 437–9
Universal Synthesizer Interface see USI
Universal sysex messages, 421
Universal system exclusive messages, 421–2
Unix operating system, 276
URL (uniform resource locator), 440
USB see Universal Serial Bus User datagram protocol (UDP), 335
USI (Universal Synthesizer Interface), 398
V
Variable pre-emphasis, 190–2
Variable Q, 127
VCA grouping, 120
VCA see Voltage controlled amplifier
VCO see Voltage controlled oscillator
Velocity and aftertouch data, handling of, 427–8
Velocity information, 411–12
Vertical Interval Timecode see VITC
Vertical polarization, 73
Vibrating source, 1–2
Vibrating systems, 48
Video:
sync, 454
Vienna decoders, 537
Virtual reality modeling language see VRML
Virtual Studio Technology see VST
VITC (Vertical Interval Timecode), 454
Vocal:
level, 387
Voice, 425–6
Voice selection, 430–2
Voltage controlled amplifier (VCA), 120, 146, 147, 148, 157
Voltage controlled oscillator (VCO), 261
VRML (virtual reality modeling language), 254
VST (Virtual Studio Technology), 383
VU (volume unit) meter, 142, 142
W
WANs (wide area networks), 331
Wave field synthesis, 473
WAVE-format extensible, 306
WAVE PCM file, contents of FORMAT chunk in, 306
non-repetitive, 8
random, 8
Wavelength, 4, 23, 54, 56, 72, 100
Wavetable synthesis, 423
WCLK see Word clock
WDM see Windows Driver Model
Weighting filters, 20
Windows Driver Model (WDM), 407
Windows Multimedia Extensions, 448
Wireless networks, 335–6
Wireless personal area network (WPAN), 336
Woodles, 175
Word clock (WCLK), 462
WORM discs, 270
Wow, 581
WPAN see Wireless personal area network
Wrap, 182
Wright, Matt, 440
Writeable DVD, 316
X
XLR-3 connectors, 363
XLR-type connectors, 109, 110, 378, 403, 454
XMF (extensible Music Format) files, 435–6
XSAN, 334
Y
Z
Zenith, 182
Zero level, 17
ZIPI, 440