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210123 ||| eng |
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|a 9781136115172
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| 050 |
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|a TH1725
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| 100 |
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|a Newell, Philip Richard
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| 245 |
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|a Recording studio design
|c Philip Newell
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| 260 |
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|a Oxford [England]
|b Focal Press
|c 2003
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| 300 |
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|a 1 volume
|b illustrations
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| 505 |
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|a Includes bibliographical references and index
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|a 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
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|a 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
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|a 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
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|a 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
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|a 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
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| 653 |
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|a Sound studios / Design and construction
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| 653 |
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|a Sound studios / Design and construction / fast
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| 653 |
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|a Acoustique appliquée
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| 653 |
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|a Acoustical engineering / fast
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| 653 |
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|a Acoustical engineering / http://id.loc.gov/authorities/subjects/sh85000596
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| 041 |
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|a eng
|2 ISO 639-2
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| 989 |
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|b OREILLY
|a O'Reilly
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| 776 |
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|z 0240519175
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| 776 |
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|z 9780240519173
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| 856 |
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|u https://learning.oreilly.com/library/view/~/9780240519173/?ar
|x Verlag
|3 Volltext
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| 082 |
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|a 621.3893
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|a 620
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|a 745.4
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|a 781.23
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| 520 |
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|a Philip Newell's comprehensive reference work contains pearls of wisdom which anyone involved in sound recording will want to apply to their own studio design. He discusses the fundamentals of good studio acoustics and monitoring in an exhaustive yet accessible manner.Recording Studio Design covers the basic principles, their application in practical circumstances, and the reasons for their importance to the daily success of recording studios. All issues are approached from the premise that most readers will be more interested in how these things affect their daily
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