Studio Acoustics

PART I. BASICS -

1. Introduction

2. Studio Planning

3. Sound Insulation

4. Reverberation

5. Air-Conditioning System Noise Limits

6. Sound-Retardant Windows and Doors

7. Instrument Isolation for Multiple Track Recording

8. Studio Testing

9. Plumbing Noise Control

10. Vibration Isolation

11. Suspended Acoustic Ceiling

12. Elevators

13. Interior Decor of Studios

14. Sound Power Versus Sound Pressure

PART II. STUDIOS -

15. Control Rooms

16. ADR Studios

17. Re-Recording Studios

18. Reverberation Chambers

19. Motion Picture and TV Stages

20. Music Recording Studios

21. Review Rooms

22. Future Sound-Recording Studios

23. Canopied Amphitheaters

PART III. ELECTROACOUSTICS -

24. Microphone Properties

25. Loudspeaker Sensitivity

26. Electronic Light Dimmers

- Index

Sound recording studios are often built like showcases, either to attract clientele or to provide a distinctive image for the industry. They are, thus, like people, in that no two of them are alike. Yet, all such structures have to have certain common acoustic elements if they are to function to the best artistic and economic advantages.

The enclosures must be sufficiently quiet, exhibit proper reverberatory conditions (often required to be adjustable), be devoid of parallelisms between hard surfaces, have no sound-focusing concave surfaces, be free of vibrations from external and internal sources, etc. It is for the purpose of providing first design principles of sound recording studios that this book has been prepared, so that for any given size structure, satisfactory vocal and instrumental recording conditions can be established therein. All equations involving physical quantities are given both in the English and the MKS system of measurement.

Also, when the description of existing studios includes linear dimensions, their metric equivalents follow in parenthesis, as is also done for such quantities as surface density (mass per unit area) and sound absorption.