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ABOUT THE BOOK

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

Introduction

Chapter 1: General Requirements and Common Errors

Chapter 2: Sound, Decibels, and Hearing

Chapter 3: Sound Isolation

Chapter 4: Room Acoustics and Means of Control

Chapter 5: Designing Neutral Rooms

Chapter 6: Rooms with Characteristic Acoustics

Chapter 7: Variable Acoustics

Chapter 8: Room Combinations and Operational Considerations

Chapter 9: The Studio Environment

Chapter 10: Limitations to Design Predictions

Chapter 11: Loudspeakers in Rooms

Chapter 12: Flattening the Room Response

Chapter 13: Control Rooms

Chapter 14: The Behaviour of Multiple Loudspeakers in Rooms

Chapter 15: Studio Monitoring: The Principal Objectives

Chapter 16: The Non-Environment Control Room

Chapter 17: The Live-End, Dead-End Approach

Chapter 18: Response Disturbances Due to Mixing Consoles and Studio Furniture

Chapter 19: Objective Measurement and Subjective Evaluations

Chapter 20: Studio Monitoring Systems

Chapter 21: Surround Sound and Multi-Channel Control Rooms

Chapter 22: Dubbing Theatres and Cinema Sound

Chapter 23: A Mobile Control Room

Chapter 24: Foldback

Chapter 25: Main Supplies and Earthing Systems

Chapter 26: Analogue Audio Interfacing

Chapter 27: A Pictorial Representation of a Studio Construction

Chapter 28 Human Factors

Appendix 1

Appendix 2

Glossary of Terms

Conversion Tables

Index