Index

Table of Contents

Introduction notes

1. Preface

2. The Author

1. Sound theory

1.1. Introduction

1.2. Sound: what is it?

1.3. Sound propagation through the air

1.4. Properties of sound

1.4.1. Frequency

1.4.2. Period

1.4.3. Wavelength

1.4.4. Amplitude

1.4.5. Phase

1.4.6. Speed

1.5. Combination of pure sinusoids

1.6. Time-Frequency representation

1.7. Harmonic content of a waveform

1.8. Basic waveforms

1.8.1. Pure sinusoid

1.8.2. Square wave

1.8.3. Sawtooth wave

1.8.4. Triangular wave

1.8.5. Hypertones

1.9. Sound envelope

1.10. Reflection, diffraction, refraction, absorption

1.10.1. Reflection

1.10.2. Reflections inside a room

1.10.3. Refraction

1.10.4. Diffraction

1.10.5. Absorption

2. Perception of sound

2.1. Introduction

2.2. Human ear

2.2.1. Outer ear

2.2.2. Middle ear

2.2.3. Inner ear

2.3. Perception of sound by the brain

2.4. Beatings

2.5. Volume and perception of frequency, distortion, masking

2.5.1. Volume and perception of frequency

2.5.2. Distorsion

2.5.3. Masking

2.6. Doppler effect

2.7. Haas effect

2.8. Isophonic curves - Equal loudness contours

2.8.1. Description of isophonic curves

2.8.1.1. Threshold of hearing (0 phons)

2.8.1.2. Threshold of pain (140 phons)

2.9. Psychoacoustics

2.9.1. Environment

2.9.2. Suppression of coloration

2.9.3. Octave illusion

2.9.4. Cocktail party effect

2.10. Localization of sound sources

2.10.1. Time differences (phase)

2.10.2. Amplitude differences

2.10.3. Harmonic content differences

2.11. Binaural fusion

2.12. Audible frequency spectrum

3. Decibels and dynamics

3.1. Introduction

3.2. The logarithmic scale

3.3. Decibels in the audio field

3.4. Inverse distance law

3.5. Combination of sound sources

3.6. Electrical quantities expressed in decibels

3.7. Standard Operating Level

3.8. Dynamic range

3.9. Phonometers

3.9.1. dB_spl measurers

3.9.2. V_u meters

3.9.3. PPM meters

4. Fundamentals of electronics

4.1. Introduction

4.2. Electricity

4.3. Electronic components

4.3.1. Resistance

4.3.2. Capacitor

4.3.3. Inductor

4.3.4. Impedance

4.3.5. Diode

4.3.6. Transistor

4.3.7. Operational amplifier

4.3.8. Transformer

4.4. Ohm's law, power, electromotive force

4.4.1. Ohm's Law

4.4.2. Power

4.4.3. Electromotive force

4.5. Electric circuits

4.6. Impedance of a circuit

5. Equalizers and filters

5.1. Introduction

5.2. Equalizers

5.2.1. Bell equalizer - Peak Bell EQ

5.2.2. Shelf equalizers - Shelving EQ

5.2.3. Parametric equalizers

5.2.4. Graphic equalizer

5.2.5. Active and passive equalizers

5.3. Filters

5.3.1. Low-pass filters and high-pass filters

5.3.1.1. Slope rate

5.3.2. Band-pass filters

6. Analogue recorders

6.1. Introduction

6.2. Functioning of analogue recorders

6.2.1. Functioning principle

6.3. Design criteria

6.4. Functioning modes

6.5. Magnetic particles

6.6. Characteristic quantities of magnetism

6.7. Transfer characteristic of a magnetic ribbon

6.8. Hysteresis cycle

6.9. Hysteresis of a moving magnetic ribbon

6.10. Bias current

6.11. Set up of an analogue recorder

6.12. Final considerations

7. Effects and signal processors

7.1. Introduction

7.2. Reverb

7.3. Delay

7.4. Phaser

7.5. Flanger

7.6. Chorus

7.7. Pitch shifter

7.8. Tremolo

7.9. Vibrato

7.10. Distorter

7.11. Exciter

7.12. Wah-Wah

7.13. Vocoder

7.14. Compressor

7.14.1. Sidechain input - Key input

7.14.2. Compression curve

7.14.3. Compressor's response to the input signal

7.14.4. Rotation point compressor

7.14.5. Multiband compressor

7.15. Uses of the compressor

7.16. De-esser

7.17. Limiter

7.18. Gate

7.18.1. Gate usages

7.19. Expander

8. Connections, wires and connectors

8.1. Introduction

8.2. Optical connections

8.3. Electric connections

8.3.1. Unbalanced electric connections

8.3.2. Balanced electric connections

8.3.3. Distortion in electric connections

8.4. Connectors

9. Sound diffusion systems

9.1. Introduction

9.2. Electrodynamic loudspeaker

9.3. Resonance frequency of a loudspeaker

9.4. Efficiency of a loudspeaker

9.4.1. Pneumatic suspension Loudspeakers

9.4.2. Acoustic horn loudspeakers

9.5. Loudspeaker sensitivity and maximum applicable power

9.5.1. Loudspeaker sensitivity

9.5.2. Maximum applicable power

9.6. Impedance of a loudspeaker

9.7. Frequency response

9.8. Polar pattern of a loudspeaker

9.9. Types of loudspeakers

9.10. Piezoelectric Loudspeakers

9.11. Diffusers

9.11.1. The crossover

9.12. Types of acoustic boxes

9.12.1. Bass reflex

9.12.2. Passive cone

9.12.3. Retroactive horn

10. Microphones and miking techniques

10.1. Introduction

10.2. Electrodynamic microphone

10.3. Condenser microphones

10.4. Piezoelectric microphones

10.5. Ribbon Microphones

10.6. Polar pattern of a microphone

10.7. Omnidirectional microphones

10.8. Unidirectional microphones

10.9. Pressure gradient microphones

10.10. Double-diaphragm condenser microphones

10.11. PZM - Pressure Zone Microphones

10.12. Special microphones

10.12.1. Shotgun

10.12.2. Parabolic - Reflector microphone

10.13. Specific electric units of microphones

10.13.1. Self noise

10.13.2. Distortion

10.13.3. Sensitivity

10.14. Stereo miking techniques: Introduction

10.14.1. Stereo miking techniques: coincident microphones

10.14.2. Blumlein technique

10.14.3. XY technique

10.14.4. MS technique - Mid Side

10.15. Stereo miking techniques: near microphones

10.15.1. ORTF technique - Organization Radio Television Francaise

10.15.2. NOS Technique

10.15.3. OSS Technique - Optimum Stereo Sound

10.16. Stereo miking techniques: distant microphones

10.16.1. AB technique

10.16.2. Decca Tree

10.17. Miking of musical instruments

11. The recording studio

11.1. Introduction

11.2. Outline of a recording studio

11.3. Studio mixer

11.4. Mixer: channel strip

11.5. Mixer: groups

11.6. Mixer: master section

11.7. Effects Rack

11.8. The recorder, the computer, the monitors

11.8.1. The recorder

11.8.2. The computer

11.8.3. Monitors

11.9. PatchBay

11.9.1. Fully normalized patchbays and half-normalized patchbays

12. Working in the recording studio

12.1. Introduction

12.2. Recording

12.3. Using the aux sends during a recording session

12.4. Bouncing

12.5. Mixing

12.6. Using groups during the mixing phase

12.7. Listening to a mix

12.8. Using the aux sends during a mixing session

12.9. Level calibration in a recording studio

12.10. Mastering

13. Live sound

13.1. Introduction

13.2. Description of the equipment

13.3. Stage mixer chain

13.4. FOH mixer chain

13.5. The live mixer

13.6. Delay Towers

13.6.1. Sound reinforcement

13.7. Equipment setup

13.8. The soundcheck

13.9. The concert

13.10. The Larsen effect

14. Amplification

14.1. Introduction

14.2. The amplification chain

14.3. The amplifier

14.4. Supplied power

14.5. Amplification curve

14.6. Distortion by saturation

14.7. Other causes of distortion

14.8. Frequency response of an amplifier

14.9. Input and output impedance of an amplifier

14.10. Input characteristics

14.11. Output characteristics

14.12. Direct Injection Box aka DI box

15. Environmental acoustics

15.1. Introduction

15.2. Acoustics of small environments

15.3. Resonance modes

15.4. Behaviour of axial modes

15.5. Considerations on resonance modes within an enclosed environment

15.6. Reverberation time of an environment

15.7. Absorption coefficient

15.8. Reflection coefficient

15.9. Sound absorption techniques

15.10. Passive acoustic panels

15.11. Active acoustic panels

15.12. Sound diffusion techniques

15.13. Criteria for designing a recording studio

15.14. LEDE control room

15.15. Measuring criteria for background noise

15.16. Acoustics of large environments

15.17. Acoustics of large environments: reverberation time

15.18. Acoustics of large environments: hall's absorption and reflection

15.18.1. Absorption

15.18.2. Absorption by the air

15.18.3. Undesired effects

16. Noise

16.1. Introduction

16.2. Narrowband noise

16.2.1. HVAC

16.2.2. Electromagnetic emissions

16.2.3. Interferences

16.2.4. Vibrations

16.3. Broadband noise

16.3.1. Thermal noise

16.3.2. White noise

16.3.3. Pink Noise

16.3.4. Brown Noise

16.4. Distortion and Total Harmonic Distortion

16.5. Noise reduction

16.5.1. Reduction of narrowband noise

16.5.2. Reduction of electromagnetic interferences

16.5.3. Broadband noise reduction

16.6. Noise reduction systems

16.7. Noise reduction systems: Dolby A

16.8. Noise reduction systems: other Dolby systems

16.8.1. Dolby B

16.8.2. Dolby C

16.8.3. Dolby SR

16.8.4. Dolby S

16.8.5. Dolby HX

16.8.6. Dolby HX Pro

16.8.7. Other NR systems

17. Synchronization

17.1. Introduction

17.2. What is a time code?

17.3. SMPTE time code

17.4. Recording of the SMPTE

17.5. SMPTE Time code: the frame format

17.6. MTC - MIDI Time Code

18. Digital Audio

18.1. Introduction

18.2. Binary Algebra

18.3. Sampling

18.4. Quantization

18.5. Quantization noise

18.6. Dynamic

18.7. Quantization circuit

18.8. Ideal physics and real physics

18.9. Oversampling

18.10. Digital/Analogue conversion

18.11. Overall outline of the sampling process

18.12. Digital audio signal manipulation

18.13. Analogue effects simulation

18.14. Digital compression

18.15. Audio data compression

18.16. Considerations on audio data compression

18.17. Hard Disc Recording

18.18. Digital recording and mixing

18.19. Audio card characteristics

19. Digital Audio Media

19.1. Introduction

19.2. Magnetic digital media

19.2.1. Rotating head media

19.2.2. Fixed head supports

19.3. Optical Media

19.3.1. Tracking

19.3.2. CD printing

19.3.3. Data format of a CD

19.3.4. Definitions of CD formats: the Grovening Books

19.3.5. DVD

19.3.6. Blu-ray Disc

19.4. Magneto-optical supports

19.4.1. The MiniDisc

20. The Midi Protocol

20.1. Introduction

20.2. MIDI protocol specifications

20.3. MIDI system configurations

20.3.1. Daisy chaining

20.3.2. Daisy chaining with a sequencer

20.3.3. MIDI THRU Splitter Box configuration

20.3.4. Configuration with extended MIDI Interfaces

20.4. MIDI Messages

20.4.1. Channel voice messages

20.4.2. Channel mode messages

20.4.3. System messages

20.4.3.1. System common

20.4.3.2. System real time

20.4.3.3. System Exclusive

20.5. General MIDI

21. 3D Audio

21.1. Introduction

21.2. The Surround System

21.3. Dolby motion picture matrix encoder

21.3.1. Encoding

21.3.2. Decoding

21.3.3. Dolby Motion Picture Matrix encoding characteristics

21.4. Dolby Pro Logic and Dolby Digital

21.4.1. Mixing in Dolby Pro-Logic with a normal mixer

21.5. Summary of the main surround systems

21.6. Binaural recording and reproduction techniques

21.6.1. Binaural recording techniques

21.6.2. Binaural reproduction techniques

21.7. Q-Sound

21.8. RSS - Roland Sound Space system

21.9. Ambisonics

A. Grandezze fisiche

B. General MIDI - Format Specifications

B.1. Standard Instruments specifications

B.2. Percussion Instruments specifications