Recording spaces
Recording Spaces deals with the acoustics of rooms intended for musical performance of many styles. It discusses these spaces in terms of isolation, internal acoustics, possible techniques of use, and the way that these spaces will interact with the musicians, their instruments, and the microphones....
| Otros Autores: | |
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| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Oxford ; Woburn, Mass. :
Focal Press
1998.
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| Edición: | 1st edition |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009627282306719 |
Tabla de Contenidos:
- Cover; Recording Spaces; Copyright; Contents; About the author; Acknowledgements; Introduction; Chapter 1 Isolation shells; 1.1 Basic requirements; 1.2 A typical isolation structure; 1.3 Modes and resonances; Chapter 2 Neutral rooms; 2.1 Large neutral rooms; 2.2 Practical realisation of a neutral room; 2.3 A practical design approach; 2.4 Further design aims; References; Chapter 3 Variable rooms; 3.1 Time for change - musician power; 3.2 Introducing practical variability; Chapter 4 Live rooms - their revolutionary strengths and weaknesses; 4.1 A brief history of idiosyncrasy
- 4.2 Drawbacks of the containment shell4.3 Raw materials; 4.4 Practical considerations; 4.5 The general concept; 4.6 The learning curve; Chapter 5 Stone rooms; 5.1 Evolution; 5.2 Construction options; 5.3 Live versus electronic reverberation; 5.4 The 20% rule; 5.5 Reverberant rooms and bright rooms - reflexion and diffusion; 5.6 Low frequency considerations; 5.7 Summary; Note; Chapter 6 Orchestral rooms; 6.1 Choice of venues and musician' needs; 6.2 RT considerations; 6.3 Fixed studio environments; 6.4 Psychoacoustic considerations and spacial awareness; 6.5 Use of screens; 6.6 Summary
- Chapter 7 Vocal rooms7.1 Aims; 7.2 Practical constructions; 7.3 Application to a practical room; 7.4 Combined effects of losses; 7.5 Trims; 7.6 Conclusion; Chapter 8 Room combinations and operational considerations; 8.1 Options and influences; 8.2 Layout of rooms; 8.3 Isolation considerations: doors and windows; 8.4 The Geddes approach; 8.5 Recording techniques for limited acoustics; 8.6 A compact studio; 8.7 Summary; References; Chapter 9 The studio environment; 9.1 Colour, light and human sensitivities; 9.2 Ventilation and air conditioning; 9.3 Equalisation and foldback
- Chapter 10 Limitations to design predictions10.1 Room responses; 10.2 Scale models; 10.3 Computer models; 10.4 Sound pulse modelling; 10.5 Light ray modelling; 10.6 Ripple tank modelling; 10.7 Summary; References; Glossary of terms; Index
