February 2017
Beginner to intermediate
880 pages
30h 11m
English
Content preview from Recording Studio Design, 4th EditionBecome an O’Reilly member and get unlimited access to this title plus top books and audiobooks from O’Reilly and nearly 200 top publishers, thousands of courses curated by job role, 150+ live events each month,
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p.525
[The concept of the system. Common weak links. Amplifiers. Cables. Crossovers. Filter slopes. Loudspeaker cabinets and drive units. Magnet and diaphragm properties and performance. Horn loading.]
Ideally, the main control room monitoring system in any studio should be of high resolution, full audio bandwidth, low distortion and should be able to provide sufficient sound pressure level at the mixing position for all forms of music recording likely to be undertaken in the studio. As discussed in the previous chapter, there are people, some of them with great skill, flair and experience, who choose to work principally on their favourite mid- or small-sized monitor loudspeakers, but that does not negate ...
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I'm always learning. So when I got on to O'Reilly, I was like a kid in a candy store. There are playlists. There are answers. There's on-demand training. It's worth its weight in gold, in terms of what it allows me to do.