Table of Contents
- 1. Sound theory
- 1.1. Introduction
- 1.2. What is sound?
- 1.3. Propagation of sound through the air
- 1.4. Properties of Sound
- 1.5. Combination of pure sinusoids
- 1.6. Time-Frequency representation
- 1.7. Harmonic content of a wave form
- 1.8. Wave forms
- 1.8.1. Pure sinusoid
- 1.8.2. Square Wave
- 1.8.3. Saw-tooth 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 within 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, distorsion, Masking
- 2.5.1. Volume and perception of frequencies
- 2.5.2. Distorsion
- 2.5.3. Masking
- 2.6. Doppler effect
- 2.7. >Haas effect
- 2.8. Equal loudness countours
- 2.8.1. Description of equal loudness countours
- 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
- 3.1. Introduction
- 3.2. 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 decibel
- 3.7. Standard Operating Level
- 3.8. Dynamic Range
- 3.9. Phonometers
- 3.9.1. dBspl measurers
- 3.9.2. Vu 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. Electronic circuits
- 4.6. Impedance of a circuit
- 5. Equalizers and Filters
- 5.1. Introduction
- 5.2. Equalizers
- 5.2.1. >Equalizers
- 5.2.2. Shelf equalizers
- 5.2.3. Parametric equalizers
- 5.2.4. Graphic equalizers
- 5.2.5. Active and passive equalizers
- 5.3. Filters
- 5.3.1. High-pass and Low-pass Filters
- 5.3.1.1. Slope
- 5.3.2. Band-pass filters
- 6. Analogue Recorders
- 6.1. Introduction
- 6.2. Functioning of analogue recorders
- 6.3. Projecting criteria
- 6.4. Functioning modalities
- 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. Setup
- 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. Distorsor
- 7.11. Exciter
- 7.12. Wah-Wah
- 7.13. Vocoder
- 7.14. Compressor
- 7.14.1. Sidechain input
- 7.14.2. Compression curves
- 7.14.3. Compressor response to the input signal
- 7.14.4. Rotation point compressor
- 7.14.5. Multiband compressor
- 7.15. Using the compressor
- 7.16. De-esser
- 7.17. Limiter
- 7.18. Gate
- 7.19. Expander
- 8. Connections, wires and connectors
- 8.1. Introduction
- 8.2. Optical connections
- 8.3. Electric connections
- 8.4. Connectors
- 9. Sound diffusion systems
- 9.1. Introduction
- 9.2. Functioning principals
- 9.3. Resonant frequency of a loudspeaker
- 9.4. Efficiency
- 9.5. Sensitivity and applicable power of a loudspeaker
- 9.5.1. Sensitivity of a loudspeaker
- 9.5.2. Applicable power
- 9.6. Impedance of a loudspeaker
- 9.7. Frequency response
- 9.8. Polar patter of a loudspeaker
- 9.9. Subwoofer, woofer, midrange, tweeter
- 9.10. Piezoelectric loudspeakers
- 9.11. Diffusors
- 9.11.1. The Crossover
- 9.12. Acoustic box types
- 9.12.1. Bass reflex
- 9.12.2. Passive cone
- 9.12.3. Folded frequency 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 microphones
- 10.10. Capacitor microphones with double diaphragm
- 10.11. PZM microphones
- 10.12. Special microphones: shotgun and parabolic
- 10.13. Specific electric quantities 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
- 10.15. Stereo miking techniques: near coincident microphones
- 10.15.1. ORTF technique
- 10.15.2. NOS technique
- 10.15.3. OSS technique
- 10.16. Stereo miking techniques: distant microphones
- 10.16.1. AB technique
- 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: channels
- 11.5. Mixer: groups
- 11.6. Mixer: master section
- 11.7. >Effects rack
- 11.8. Recorder, computer, monitors
- 11.8.1. The recorder
- 11.8.2. The computer
- 11.8.3. The monitors
- 11.9. PatchBay
- 12. Working in a 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 a recording session
- 12.7. Listening to a mix
- 12.8. Using the aux sends during a mixing session
- 12.9. Levels calibration
- 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. Live mixer
- 13.6. Delay towers
- 13.6.1. Sound reinforcement
- 13.7. Setup of the equipment
- 13.8. Soundcheck
- 13.9. The concert
- 13.10. Larsen effect
- 14. Amplification
- 14.1. Introduction
- 14.2. The amplification chain
- 14.3. The amplifier
- 14.4. Power
- 14.5. Amplification curve
- 14.6. Distortion by saturation
- 14.7. Other causes of distortion
- 14.8. Frequency response
- 14.9. Input and output impedance
- 14.10. Characteristics of inputs
- 14.11. Characteristics of outputs
- 14.12. Amplification: DI Box
- 15. Acoustics
- 15.1. Introduction
- 15.2. Tight environments
- 15.3. Resonance modes
- 15.4. Axial modes behaviour
- 15.5. Consideration on resonance modes within a closed environment
- 15.6. Reverb 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 measuring background noise
- 15.14. LEDE Control Room
- 15.15. Criteria for measuring background noise
- 15.16. Extended environments
- 15.17. Extended environments: reverb time
- 15.18. Extended environments: absorption, reflection and undesired effects
- 15.18.1. Absorption
- 15.18.2. Air absorption
- 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 (THD)
- 16.5. Noise reduction
- 16.5.1. Narrowband noise reduction
- 16.5.2. Electromagnetic interferences reduction
- 16.5.3. Broadband noise reduction
- 16.6. Noise reduction systems
- 16.7. Noise reduction: Dolby A
- 16.8. Noise reduction: 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 timecode?
- 17.3. The SMPTE timecode
- 17.4. SMPTE Timecode: recording of the signal
- 17.5. SMPTE Timecode: recording of the signal
- 17.6. MTC - MIDI Time Code
- 18. Digital Audio
- 18.1. Introduction
- 18.2. Boolean 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. Compression
- 18.15. Compression of audio data
- 18.16. Considerations on compression of audio data
- 18.17. >Hard Disc Recording
- 18.18. Digital mixing and digital recording
- 18.19. Characteristics of a sound card
- 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. The DVD
- 19.4. Magneto-optic media
- 19.4.1. The MiniDisc
- 20. MIDI Protocol
- 20.1. Introduction
- 20.2. Protocol specification
- 20.3. MIDI systems configuration
- 20.3.1. Daisy chaining
- 20.3.2. Daisy chaining with a sequencer
- 20.3.3. MIDI configuration with a Splitter Box
- 20.3.4. 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. Audio 3D
- 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. Characteristics of the encoding Dolby Motion Picture Matrix
- 21.4. Dolby Prologic and Dolby Digital
- 21.5. Summary on the main surround systems
- 21.6. Binaural recording and binaural playback techniques
- 21.6.1. Binaural recording techniques
- 21.6.2. Binaural playback techniques
- 21.7. Q-Sound
- 21.8. RSS - Roland Sound Space system
- 21.9. Ambisonics



