Recording studio design

General requirements and common errors

Sound, decibels, and hearing

Sound isolation

Room acoustics and means of control

Designing neutral rooms

Rooms with characteristic acoustics

Variable acoustics

Room combinations and operational considerations

The studio environment

Limitations to design predictions

Loudspeakers in rooms

Flattening the room response

Control rooms

The behavior of multiple loudspeakers in rooms

Studio monitoring: the principal objectives

The non-environment control room

The live-end, dead-end approach

Response disturbances due to mixing consoles and studio furniture

Objective measurement and subjective evaluations

Studio monitoring systems

Surround sound and control rooms

Human factors

A mobile control room

Foldback

Main supplies and earthing systems

Analogue audio interfacing

A pictorial representation of a studio construction

Human factors.

General requirements and common errors; Sound, decibels and hearing; Sound isolation; Room acoustics and means of control; Designing neutral rooms; Rooms with characteristic acoustics; Variable acoustics; Room combinations and operational considerations; The studio environment; Limitations to design predictions; Loudspeakers in rooms; Flattening the room response; Control rooms; The behaviour of multiple loudspeakers in rooms; Studio monitoring: the principal objectives; The non-environment control room; The live-end, dead-end approach; Response disturbances due to mixing consoles and studio furniture; Objective measurement and subjective evaluations; Studio monitoring systems; Surround sound and control rooms; Human factors; A mobile control room; Appendices; Glossary of terms.

General requirements and common errors; Sound, decibels and hearing; Sound isolation; Room acoustics and means of control; Designing neutral rooms; Rooms with characteristic acoustics; Variable acoustics; Room combinations and operational considerations; The studio environment; Limitations to design predictions; Loudspeakers in rooms; Flattening the room response; Control rooms; The behaviour of multiple loudspeakers in rooms; Studio monitoring: the principal objectives; The non-environment control room; The live-end, dead-end approach; Response disturbances due to mixing consoles and studio furniture; Objective measurement and subjective evaluations; Studio monitoring systems; Surround sound and control rooms; Human factors; A mobile control room; Appendices; Glossary of terms.

Ch. 1. General requirements and common errors

Ch. 2. Sound, decibels and hearing

Ch. 3. Sound isolation

Ch. 4. Room acoustics and means of control

Ch. 5. Designing neutral rooms

Ch. 6. Rooms with characteristic acoustics

Ch. 7. Variable acoustics

Ch. 8. Room combinations and operational considerations

Ch. 9. The studio environment

Ch. 10. Limitations to design predictions

Ch. 11. Loudspeakers in rooms

Ch. 12. Flattening the room response

Ch. 13. Control rooms

Ch. 14. The behaviour of multiple loudspeakers in rooms

Ch. 15. Studio monitoring: the principal objectives

Ch. 16. The non-environment control room

Ch. 17. The live-end, dead-end approach

Ch. 18. Response disturbances due to mixing consoles and studio furniture

Ch. 19. Objective measurement and subjective evaluations

Ch. 20. Studio monitoring systems

Ch. 21. Surround sound and control rooms

Ch. 22. Human factors

Ch. 23. A mobile control room

Ch. 24. Foldback

Ch. 25. Main supplies and earthing systems

Ch. 26. Analogue audio interfacing.

Cover; Recording Studio Design; Copyright; Contents; About the author; Acknowledgements; Preface; Introduction; Chapter 1 General requirements and common errors; 1.1 The general requirements; 1.2 Sound isolation and background noise levels; 1.2.1 From the inside out; 1.2.2 From the outside in; 1.2.3 Realistic goals; 1.2.4 Isolation versus artistry; 1.3 Confidence in the system; 1.4 The complete system; 1.5 Very common mistakes; 1.5.1 The need for space; 1.5.2 Height; 1.5.3 Floor loading; 1.6 Summary; Chapter 2 Sound, decibels and hearing; 2.1 Perception of sound; 2.2 Sound itself

2.3 The decibel sound power, sound pressure and sound intensity; 2.3.1 The dBA and dBC scales; 2.4 Human hearing; 2.4.1 Chacun A Son Oreille; 2.5 Summary; References; Bibliography; Chapter 3 Sound isolation; 3.1 Vibrational behaviour; 3.1.1 Relevance to isolation; 3.2 Basic isolation concepts; 3.2.1 Damping and the mass law; 3.2.2 Floating structures; 3.2.3 Floating system choices; 3.3 Practical floors; 3.3.1 Floors on weak sub-floors; 3.4 Ceiling isolation; 3.4.1 A trip through the ceiling; 3.5 Summing the results; 3.5.1 Internal reflexions; 3.6 Wall isolation

3.7 Lighter weight isolation systems3.8 Reciprocity and impact noises; 3.9 The distance option; 3.10 Discussion; 3.11 Summary; Reference; Bibliography; Chapter 4 Room acoustics and means of control; 4.1 Internal expansion; 4.2 Modes; 4.3 Flutter echoes and transient phenomena; 4.4 Reverberation; 4.4.1 Measuring reverberation time; 4.5 Absorption; 4.5.1 Speed of sound in gases; 4.5.2 Other properties of fibrous materials; 4.5.3 Absorption coefficients; 4.5.4 Porous absorption; 4.5.5 Resonant absorbers; 4.5.6 Membrane absorbers; 4.6 Q and damping; 4.7 Diffusion; 4.8 Diffraction; 4.9 Refraction

4.10 Review4.11 Summary; References; Bibliography; Chapter 5 Designing neutral rooms; 5.1 Background; 5.2 Large neutral rooms; 5.3 Practical realisation of a neutral room; 5.3.1 Floors; 5.3.2 Shapes, sizes and modes; 5.3.3 From isolation shell towards neutrality; 5.3.4 Lower frequency control; 5.3.5 Relative merits of neutrality and idiosyncrasy; 5.4 What is parallel?; 5.5 Reflexions, reverberation and diffusion; 5.6 Floor and ceiling considerations; 5.7 Wall treatments; 5.8 Small and neutral; 5.8.1 Practical constructions; 5.8.2 The journey of the sound waves; 5.8.3 The pressure zone

5.8.4 Wall losses5.8.5 Transfer of sound between high and low densities; 5.8.6 Combined effects of losses; 5.8.7 A micro-problem; 5.9 Trims; 5.10 The degree of neutrality

an overview; 5.11 Summary; References; Bibliography; Chapter 6 Rooms with characteristic acoustics; 6.1 Definitions; 6.2 A brief history of idiosyncrasy; 6.2.1 From a room to a classic; 6.2.2 Limited, or priceless?; 6.3 Drawbacks of the containment shells; 6.4 Design considerations; 6.4.1 Room character differences; 6.5 Driving and collecting the rooms; 6.6 Evolution of stone rooms; 6.6.1 Construction options