Book description
Recording Studio Design, Fourth Edition explains the key principles of successful studio design and construction using straightforward language and the use of practical examples appreciated by readers of previous editions. Updated to reflect new industry standards, this fourth edition addresses improvements in cinema sound, with specific attention paid to B-chain electroacoustic response and calibration.
Using over 50 years’ experience, author Philip Newell provides detail on the practical aspects of recording in various environments, not only exploring the complex issues relating to the acoustics but also providing real-world solutions. While the book contains detailed discussions about performing rooms, control rooms, and mobile studios, concepts of the infrastructures are also discussed, because no studio can perform optimally unless the technical and human requirements are adequately provided for. In this new edition, sound for cinema provides a platform for highlighting many, wider electroacoustic topics in a way that is relatively easy to visualise. The way in which sound and vision interact is an important aspect of many modern multimedia formats.
The new edition includes:
- A new Chapter 22 that will thoroughly reflect recently published SMPTE investigations which will drastically impact standards for cinema sound;
- The inclusion of new academic research and its practical applications;
- An entire new illustrated chapter on room construction principles; and
- The consolidation of ideas which were only emerging when the earlier editions were published.
Table of contents
- Cover Page
- Recording Studio Design
- Audio Engineering Society Presents (AES)
- Title
- Copyright
- Contents
- About the Author
- Acknowledgments
- Preface
- Introduction
- 1 General Requirements and Common Errors
- 2 Sound, Decibels and Hearing
-
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
- 4 Room Acoustics and Means of Control
-
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 Requirements
- 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
-
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
- 7 Variable Acoustics
-
8 Room Combinations and Operational Considerations
- 8.1 Options and Influences
- 8.2 Layout of Rooms
- 8.3 Isolation Considerations – Doors and Windows
- 8.4 The Geddes Approach
- 8.5 Recording Techniques for Limited Acoustics
- 8.6 Compact Studios in Larger Spaces
- 8.7 Review
- 8.8 Typical Isolation Door Construction
- 8.9 Rectangular Room Shells
- 8.10 Summary
- References
- 9 The Studio Environment
- 10 Limitations to Design Predictions
- 11 Loudspeakers in Rooms
- 12 Flattening the Room Response
- 13 Control Rooms
- 14 The Behaviour of Multiple Loudspeakers in Rooms
- 15 Studio Monitoring: The Principal Objectives
-
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
- 17 The Live-End, Dead-End Approach
- 18 Response Disturbances Due to Mixing Consoles and Studio Furniture
-
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 NS
- 19.11 The NS10M – a More Objective View
- 19.12 The Noise of Conflict
- 19.13 Summary
- References
- 20 Studio Monitoring Systems
-
21 Surround Sound and Multi-Channel 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
-
22 Dubbing Theatres and Cinema Sound
- 22.1 Background
- 22.2 Modern Dubbing Theatres
- 22.3 Room-to-Room Compatibility
- 22.4 The X-Curve
- 22.5 Perceived Sound Level versus Screen Size
- 22.6 Room Acoustics and Equalisation
- 22.7 The SMPTE B-Chain Report
- 22.8 Dialogue Levels and Room Equalisation
- 22.9 Problems with Standard Calibration Practices
- 22.10 Consequences of the Use of Projection Screens
- 22.11 New Methods of Calibration
- 22.12 Room for Immersive Sound Systems
- 22.13 Summary
- Acknowledgements
- References
- Bibliography
- 23 A Mobile Control Room
- 24 Foldback
- 25 Main Supplies and Earthing Systems
-
26 Analogue Audio Interfacing
- 26.1 The Origins of the Professional Interfaces
- 26.2 Jackfields (Patchbays)
- 26.3 Jacks – Two or Three-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
- 27 A Pictorial Representation of a Studio Construction
- 28 Human Factors
- Appendix 1
- Appendix 2
- Glossary of Terms
- Conversion Tables
- Index
Product information
- Title: Recording Studio Design, 4th Edition
- Author(s):
- Release date: February 2017
- Publisher(s): Routledge
- ISBN: 9781317381945
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