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El. knyga: Handbook of Sound Studio Construction: Rooms for Recording and Listening

  • Formatas: 320 pages
  • Išleidimo metai: 06-Dec-2012
  • Leidėjas: TAB Books Inc
  • Kalba: eng
  • ISBN-13: 9780071772754
  • Formatas: 320 pages
  • Išleidimo metai: 06-Dec-2012
  • Leidėjas: TAB Books Inc
  • Kalba: eng
  • ISBN-13: 9780071772754

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This do-it-yourself guide for audiophiles contains plans and specifications for 10 recording and listening rooms, including recording studios for both pop and classical music, a control room, an audio/video workroom, a home listening and media room, and a teleconference room. Background chapters cover room acoustics, materials, room geometry, wall, window, and door construction, and noise control in HVAC systems. The book contains b&w diagrams and charts, but unfortunately no photos of steps or completed rooms. Everest was a member of the Acoustical Society of America. Pohlmann is professor emeritus with the University of Miami. Annotation ©2013 Book News, Inc., Portland, OR (booknews.com)

Build first-class recording studios and listening spaces

Design and build your own audiophile-grade recording and playback environments using proven, cost-effective plans and techniques. Handbook of Sound Studio Construction: Rooms for Recording and Listening explains practical acoustical properties and describes how to engineer acoustically sensitive spaces, including music recording studios, control rooms, voice studios, home project studios, A/V suites, media rooms, and surround-sound home theaters.

Learn how to choose room dimensions, select building materials, construct your own custom treatments, maximize isolation, and generate and analyze response curves. This do-it-yourself guide incorporates decades of roomdesignexperience and provides you with the practical knowledge to design and build your own acoustical spaces or improve existing spaces.

Coverage includes:

  • An introduction to room acoustics and acoustical design
  • Reflecting, absorbing, and diffusing materials
  • Room geometry, modes, and treatment
  • Acoustic isolation, site selection, and HVAC design
  • Wall, floor, and ceiling construction
  • Window and door design considerations
  • Reverberation times, early reflections, and psychoacoustics
  • Objective and subjective room evaluation
  • Plans and specifications for 10 recording and listening rooms

Preface xiii
1 Introduction to Room Acoustics
1(12)
Importance of Room Acoustics
2(1)
Sound Outdoors
3(1)
Sound Indoors
4(1)
Direct Sound and Indirect Sound
4(1)
Small-Room Acoustics
4(1)
Room Isolation
5(1)
Room Treatment
6(1)
Human Perception of Sound
7(1)
Acoustical Design
8(1)
Acoustical Design Procedure
9(2)
A Note on the Room Design Examples
11(2)
2 Sound-Reflecting Materials
13(10)
Sound Wavelength and Reflections
14(1)
Reflection and Room Geometry
15(1)
Calculating Reflections
16(2)
The Precedence Effect
18(1)
Reverberation-Time Equation
19(1)
Reverberation-Time Measurements
20(3)
3 Sound-Absorbing Materials and Structures
23(30)
Absorption Guidelines
24(1)
Room Geometry and Treatment
24(1)
Sound Absorption Coefficient
25(2)
Noise Reduction Coefficient
27(1)
Standard Mounting Terminology
27(1)
Porous Absorbers
28(1)
Glass Fiber
28(1)
Mineral Wool
29(1)
Density of Absorbent
29(1)
Space behind Absorbent and Thickness of Absorbent
30(2)
The Area Effect
32(1)
Ceiling-Mounted Absorption
33(1)
Acoustical Tile
33(1)
Glass-Fiber Absorber Panels
33(2)
Bass Traps
35(1)
Panel Absorbers
35(4)
Polycylindrical Absorbers
39(1)
Absorption of Drywall Construction
39(1)
Helmholtz Resonators
40(1)
Perforated Panel Absorbers
40(5)
Slat Absorbers
45(2)
Multipurpose Absorbers
47(1)
Prefabricated Sound Absorbers
47(1)
Open-Cell Foams
48(1)
Sonex
48(1)
Are Glass Fibers Dangerous to Health?
48(5)
4 Diffusing Materials and Structures
53(20)
Sound Diffusion
53(1)
Low-Frequency Diffusion
54(1)
Role of Diffusers in Room Design
55(2)
Diffusion by Geometric Shapes
57(1)
The Polycylindrical Diffuser
57(2)
Reflection Phase Gratings
59(1)
Specular Reflection Theory
60(1)
Reflection Phase Grating Theory
61(3)
The Quadratic-Residue Diffuser
64(1)
The Primitive-Root Diffuser
64(1)
Fractals
64(3)
The Diffusion Coefficient
67(1)
Commercially Available Reflection Phase Grating Diffusers
67(1)
The QRD-734 Quadratic-Residue Diffuser
67(1)
The Formedffusor
68(1)
The FRG Omniffusor
68(2)
The FlutterFree Diffuser
70(3)
5 Room Modes and Room Geometry
73(22)
Room Cutoff Frequency
73(2)
Resonances in Tubes
75(3)
Resonances in Rooms
78(2)
Axial, Tangential, and Oblique Modes
80(1)
Room Mode Equation
81(4)
Graphing Room Modes
85(4)
Experiments with Modes
89(1)
Modal Distribution in Nonrectangular Rooms
89(1)
Modal Width and Spacing
90(2)
"Optimal" Room Proportions
92(2)
Practical Limitations
94(1)
6 Sound Isolation and Site Selection
95(16)
Sound Isolation
95(2)
Transmission Loss
97(1)
Insulation versus Isolation
98(1)
Sound Transmission Class (STC)
98(2)
Room Noise Reduction
100(1)
The Mass Law
100(1)
The Coincidence Effect
101(1)
Lead-Loaded Vinyl
102(1)
Sound Leaks and Flanking
102(2)
Other Potential Problems
104(1)
Checklist of Building Materials
104(2)
Locating a Studio
106(3)
Floor Plan Considerations
109(1)
Locating a Space within a Frame Structure
109(1)
Locating a Space within a Concrete Structure
110(1)
7 Wall Construction and Performance
111(16)
Walls as Effective Noise Barriers
112(1)
The Mass Law and Wall Design
112(4)
Wall Designs for Efficient Insulation
116(2)
Improving an Existing Wall
118(2)
Flanking Sound
120(1)
Gypsum Board Walls as Sound Barriers
120(1)
Masonry Walls as Sound Barriers
121(3)
Weak Links
124(1)
Summary of STC Ratings
125(2)
8 Floor/Ceiling Construction and Performance
127(12)
Data on the Footfall Noise Problem
127(2)
Floor/Ceiling Structures and Their IIC Performance
129(1)
Frame Buildings
130(1)
Resilient Hangers
131(2)
Floating Floors
133(1)
Attenuation by Concrete Layers
134(1)
Plywood Web versus Solid Wood Joists
135(4)
9 Window and Door Construction and Performance
139(18)
The Observation Window
140(1)
The Single-Pane Window
140(1)
The Double-Pane Window
141(1)
Acoustical Holes
142(3)
Acoustical Holes: Coincidence Resonance
145(1)
Acoustical Holes: Standing Waves in the Cavity
146(1)
Effect of Glass Mass and Spacing
147(1)
Effect of Dissimilar Panes
148(1)
Effect of Laminated Glass
148(1)
Effect of Plastic Panes
149(1)
Effect of Slanting the Glass
149(1)
Effect of a Third Pane
149(1)
Effect of Cavity Absorbent
149(1)
Thermal Glass
150(1)
Weak Windows (or Doors) in a Strong Wall
150(1)
Example of an Optimized Double-Pane Window
151(1)
Construction of an Observation Window
152(1)
Proprietary Observation Windows
153(1)
Studio Doors
153(3)
Sound-Lock Corridor
156(1)
10 Noise Control in HVAC Systems
157(18)
Selection of Noise Criteria
157(2)
Fan Noise
159(1)
HVAC Machinery Noise
160(1)
Plumbing Noise
161(1)
Air Velocity and Aerodynamic Noise
162(1)
HVAC Noise Attenuators
163(1)
Lined Duct
164(2)
Lined Duct with Blocked Line-of-Sight
166(1)
Lined Duct and Length Effect
166(1)
Plenum Chambers
167(1)
Lined Elbows
168(1)
Diffusers
168(1)
Reactive Expansion Chamber
168(2)
Tuned Stub
170(1)
Silencers
171(1)
Active Noise Cancellation
171(1)
Natural System Attenuation
171(1)
Ductwork Design
172(3)
11 Room Performance and Evaluation
175(24)
Sound-Level Meters
175(3)
Spectrum Analyzers
178(2)
The Noise Survey
180(2)
Environmental Noise Assessments
182(2)
Measurement and Testing Standards
184(1)
Recommended Practices
184(1)
Noise Criteria Contours
185(2)
Relating Noise Measurements to Construction
187(3)
Evaluation of Room Acoustics: Objective Methods
190(1)
Evaluation of Room Acoustics: Subjective Methods
191(2)
Articulation Index and the Spoken Word
193(4)
Room Reflections and Psychoacoustics
197(1)
Room Modeling
198(1)
12 Recording Studio for Pop Music
199(14)
Design Criteria
200(1)
Floor Plan
200(1)
Wall Sections
200(1)
Section D-D
200(3)
Section E-E
203(1)
Sections F-F and G-G
203(1)
Drum Booth
204(1)
Vocal Booth
205(2)
Studio Treatment: North Wall
207(1)
Studio Treatment: South Wall
207(1)
Studio Treatment: East Wall
208(1)
Studio Treatment: West Wall
209(1)
Studio Treatment: Floor and Ceiling
209(1)
Sound-Lock Corridor
209(1)
Reverberation Time
209(2)
Baffles
211(2)
13 Recording Studio for Classical Music
213(12)
Design Criteria
213(1)
Reverberation Time
213(1)
Diffusion in the Recording Studio
214(1)
Studio Design
215(2)
Acoustical Treatment
217(1)
Wall Panel Absorbers
218(1)
Ceiling Treatment
218(1)
Reverberation-Time Calculations
219(2)
Air Absorption
221(1)
Initial Time-Delay Gap
222(1)
Comments on Design
223(2)
14 Voice Studio
225(12)
Design Criteria: Isolation
225(1)
Design Criteria: Room Size
226(1)
Design Criteria: Room Shape
226(1)
Axial-Mode Study of Selected Room
226(2)
Acoustical Treatment
228(1)
Early Reflections
228(1)
The Soft Option and Hard Option
229(1)
Diffusion
230(1)
Mode Control
230(1)
Studio Design: Soft Option
230(2)
Studio Design: Hard Option
232(1)
Reverberation-Time Calculations
233(1)
Reverberation Time: Soft Option
233(1)
Reverberation Time: Hard Option
233(2)
Sound Field Response
235(1)
Comments on Design
236(1)
15 Control Room
237(12)
Early Reflections
237(1)
Combing of Early Reflections
238(1)
Examples of Comb Filtering
238(2)
Reflection-Free Zone
240(1)
Loudspeaker Mounting
241(1)
Two-Shell Control Rooms
241(1)
Design Criteria
241(8)
Design Example A Control Room with Rectangular Walls
242(1)
Design Example B Double-Shell Control Room with Splayed Walls
243(3)
Design Example C Single-Shell Control Room with Splayed Walls
246(3)
16 Announce Booth
249(18)
Design Criteria: Isolation
249(1)
The Small-Room Problem
250(15)
Design Example A Traditional Announce Booth
252(1)
Design Example A Axial Modes
252(1)
Design Example A Reverberation Time
253(2)
Design Example B Announce Booth with TubeTraps
255(3)
Design Example B Techron TEF Measurements
258(1)
Design Example B Reverberation Time
258(2)
Design Example C Announce Booth with Diffusers
260(2)
Design Example C Reverberation Time
262(3)
Design Example C Evaluation
265(1)
Comparison of Design Examples A, B, and C
265(2)
17 Audio/Video/Film Workroom
267(12)
Audio Fidelity and Near-Field Monitoring
267(1)
Axial-Mode Considerations
268(1)
Monitor Loudspeakers and Early Sound
268(2)
Late Sound
270(3)
Reverberation Time
273(1)
Workbench
273(3)
Mixing Engineer's Workstation
276(1)
Lighting
277(1)
Background Noise Level
277(1)
Video Display
277(2)
18 Teleconference Room
279(8)
Design Criteria
279(1)
Shape and Size of the Room
279(1)
Floor Plan
280(1)
Ceiling Plan
281(1)
Elevation Views
281(1)
Reverberation Time
282(5)
19 Home Studio
287(12)
Home Acoustics: Modes
287(1)
Home Acoustics: Reverberation
288(1)
Home Acoustics: Noise Control
288(1)
Studio Design Budget
289(1)
Studio Treatment
289(3)
Studio Design: Initial Treatment
292(1)
Studio Design: Intermediate Treatment
293(1)
Studio Design: Comprehensive Treatment
294(1)
Recording in the Studio
295(1)
Garage Studio
295(4)
20 Home Listening and Media Room
299(12)
Low-Frequency Response
299(1)
Modes in Typical Rooms
300(1)
Mode Spacing
301(1)
Low-Frequency Peaks and Nulls
301(3)
Effects of Room Size
304(1)
Loudspeaker Positioning
305(1)
Acoustical Treatment for the Listening Room
305(1)
Identification of Early Reflections
306(1)
Psychoacoustical Effects of Reflections
307(1)
Examples of Listening Room Treatment
307(1)
Listening Room Design: Initial Treatment
307(1)
Listening Room Design: Intermediate Treatment
308(1)
Listening Room Design: Comprehensive Treatment
309(1)
Background Noise
309(2)
21 Home Theater
311(12)
Locating the Home Theater
311(1)
Home Theater Plan
312(2)
Early Reflections and Their Effects
314(1)
Controlling Early Reflections
315(1)
Other Treatment Details
316(2)
The Listening Environment
318(2)
Reverberation Time
320(3)
Appendix: Selected Absorption Coefficients 323(2)
Glossary 325(12)
References and Resources 337(8)
Index 345
Ken Pohlmann is professor emeritus and former director of the Music Engineering programs at the University of Miami. He is a consultant for audio manufacturers in technology development and patent litigation. Pohlmann has authored or co-authored numerous books, including Principles of Digital Audio and Master Handbook of Acoustics, both for McGraw-Hill. He is a monthly contributor to Sound & Vision magazine and has written over 2,500 articles and test reports for magazines and journals. Pohlmann chaired the Audio Engineering Society's International Conference on Digital Audio, and co-chaired the International Conference on Internet Audio. He consults for companies such as Bertlesmann Music Group, Cirrus Logic, Ford, Fujitsu, Harman International, Hughes Electronics, Hyundai, IBM, Daimler-Chrysler, Lexus, Microsoft, Nippon Columbia, Philips, Sony, Time Warner, and Toyota.