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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. 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. 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






  • posted on 29-12-2011 20:33
    Where is the full versio?
  • posted on 20-10-2011 17:24
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  • posted on 16-08-2011 07:37
    can't i download full version of this pdf pls help me!!
  • posted on 02-02-2010 04:59
    Can't download usable demo version. I get strange looking text. Am guessing is some sort of code. pls help!