Recording Studio Design

<p><em>Recording Studio Design, Fourth Edition</em> 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.</p><p>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.</p><p>The new edition includes:</p><ul> <p> </p> <li>A new Chapter 22 that will thoroughly reflect recently published SMPTE investigations which will drastically impact standards for cinema sound;</li> <p> </p> <li>The inclusion of new academic research and its practical applications;</li> <p> </p> <li>An entire new illustrated chapter on room construction principles; and</li> <p> </p> <li>The consolidation of ideas which were only emerging when the earlier editions were published.</li> </ul> <p>About the Author</p><p>Acknowledgements</p><p>Preface</p><p>Introduction</p><p>Chapter 1: General Requirements and Common Errors</p><p>Chapter 2: Sound, Decibels, and Hearing</p><p>Chapter 3: Sound Isolation</p><p>Chapter 4: Room Acoustics and Means of Control</p><p>Chapter 5: Designing Neutral Rooms</p><p>Chapter 6: Rooms with Characteristic Acoustics</p><p>Chapter 7: Variable Acoustics</p><p>Chapter 8: Room Combinations and Operational Considerations</p><p>Chapter 9: The Studio Environment</p><p>Chapter 10: Limitations to Design Predictions</p><p>Chapter 11: Loudspeakers in Rooms</p><p>Chapter 12: Flattening the Room Response</p><p>Chapter 13: Control Rooms</p><p>Chapter 14: The Behaviour of Multiple Loudspeakers in Rooms</p><p>Chapter 15: Studio Monitoring: The Principal Objectives</p><p>Chapter 16: The Non-Environment Control Room</p><p>Chapter 17: The Live-End, Dead-End Approach</p><p>Chapter 18: Response Disturbances Due to Mixing Consoles and Studio Furniture</p><p>Chapter 19: Objective Measurement and Subjective Evaluations</p><p>Chapter 20: Studio Monitoring Systems</p><p>Chapter 21: Surround Sound and Multi-Channel Control Rooms</p><p>Chapter 22: Dubbing Theatres and Cinema Sound</p><p>Chapter 23: A Mobile Control Room</p><p>Chapter 24: Foldback</p><p>Chapter 25: Main Supplies and Earthing Systems</p><p>Chapter 26: Analogue Audio Interfacing</p><p>Chapter 27: A Pictorial Representation of a Studio Construction</p><p>Chapter 28 Human Factors</p><p>Appendix 1</p><p>Appendix 2</p><p>Glossary of Terms</p><p>Conversion Tables</p><p>Index</p>