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El. knyga: How to Build a Small Budget Recording Studio from Scratch 4/E

3.86/5 (25 ratings by Goodreads)
  • Formatas: 464 pages
  • Išleidimo metai: 29-Mar-2012
  • Leidėjas: TAB Books Inc
  • Kalba: eng
  • ISBN-13: 9780071782722
Kitos knygos pagal šią temą:
How to Build a Small Budget Recording Studio from Scratch 4/EDidesnis paveikslėlis
  • Formatas: 464 pages
  • Išleidimo metai: 29-Mar-2012
  • Leidėjas: TAB Books Inc
  • Kalba: eng
  • ISBN-13: 9780071782722
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Publisher's Note: Products purchased from Third Party sellers are not guaranteed by the publisher for quality, authenticity, or access to any online entitlements included with the product. Build a cutting-edge sound studio--at a price that's music to your earsHow to Build a Small Budget Recording Studio from Scratch, Fourth Edition gives you detailed plans (including 12 studio designs with 23 constructed, tested, and acoustically tuned rooms from renowned acoustician, F. Alton Everest), and other resources for making your own professional-grade recording studio.

Start from scratch with techniques, practical advice, and scientific know-how that guide you on how to construct everything from floor to ceiling and wall to wall. You'll get expert recommendations on materials and equipment, how to test and adjust the finished facility for frequency response and reverberation time; mathematical formulas and simple explanations of key scientific principles; and everything else a musician, sound engineer, producer, filmmaker, or hobbyist could possibly want.

Coverage includes:





Plans for purpose-specific studios (residential, commercial, instructional) How each music instrument creates sound -- and how to best record acoustical instruments Testing, measurement, and how to read acoustic specifications Premanufactured acoustic remedies Noise control (from HVAC equipment and other sources) Comes with exclusive bonus online content, including mathematical equations for acoustics, reverberation, music tempo, and pitch; listings of manufacturers of acoustic materials and test equipment; directions for how to read blueprints; and much more! Go to: www.mhprofessional.com/Shea4
Preface xiii
Preface to the Third Edition xv
Introduction xvii
Part I Acoustic Huggies
1 Theoretical Acoustics
3(6)
Wave Theory
3(1)
Time for Some Reflection!
4(2)
Molecular Level
6(3)
2 Practical Acoustics
9(52)
Sound Absorptive Materials
9(1)
Foams
10(7)
Functional Baffles and Shaped Absorbers
17(1)
Curtains and Fabrics
17(1)
The Selection of Materials
18(1)
Mounting Methods
19(1)
Working with Fiberglass
19(1)
Here's Mr. Everest's Cheapest Wideband Absorber
20(1)
Fiberglass and Mineral Wool
21(1)
Spray-Ons
21(1)
Sound Absorption per Frequency
22(1)
Combining Materials
23(3)
Polycylindrical Diffusers
26(1)
Diaphragmatic Absorbers
27(1)
A Jig for Designing Resonant Plywood Absorbers
28(5)
Helmholtz Resonators
33(9)
Reverberation
42(1)
Noise Control
43(1)
Critical Frequency
44(1)
Coincidence Effect
45(1)
Sound Isolation and Dual Panel Wall Partitions
45(2)
TL and STC
47(1)
Barrier Materials
47(5)
Standards
52(1)
Transmission Loss (TL)
53(1)
Sound Transmission Class (STC)
54(1)
Noise Reduction Ratings
54(1)
Mounting
54(2)
Facings
56(1)
Measuring Acoustics
56(1)
Evaluating Audio (A/B Comparisons)
56(1)
Sequential Frequency Analysis
57(4)
3 Real Time Analysis
61(12)
Noise Generators
61(2)
Measuring Reverberation Time
63(2)
Acoustilog IMPulser
65(1)
Equipment Rental
66(1)
Acoustic Measurement with a Laptop
67(2)
FFT, TDS, and TEF Measurement
69(4)
4 Vibration
73(6)
Resonant Frequency Vibrations
73(1)
Vibration Isolation
74(2)
How the Pros Do It
76(1)
More Help
76(3)
5 The Control Room Monitor System
79(14)
Setting the Monitor System Gain
80(1)
Monitoring Systems Part II
81(1)
Testing the Control Room/Monitor System
82(1)
Control Room Speakers
82(2)
Control Room Acoustics and Monitoring
84(3)
Live End Dead End (LEDE)/Dead End Live End (DELE)
87(1)
The Studio Side of the Glass
88(2)
Want a Look into the Future?
90(3)
Part II Brick and Mortar (Drywall and Stud) Studios
6 My Studio---How Big and What Shape?
93(10)
How Big Should a Studio Be?
95(1)
Distribution of Modes
95(1)
Deciding on Best Studio Proportions
96(3)
Studio Size and Low Frequency Response
99(1)
Room Cutoff Frequency
100(2)
Summary of Room Mode Effects
102(1)
7 Elements Common to All Studios
103(18)
Sound Lock Acoustical Treatment
103(3)
Acoustical Doors
106(1)
Weatherstripping Doors
107(1)
HVAC Noise
108(3)
Wall Construction
111(1)
Resilient Mounting
112(1)
Staggered Stud Construction
112(1)
Double Walls
113(1)
Concrete and Masonry Walls
113(1)
Floor-Ceiling Construction
114(1)
Electrical Wiring
115(1)
Lighting
115(1)
Observation Window
116(1)
Absorber Mountings
117(1)
Reverberation Time
118(1)
Foams
119(1)
Corner Absorbers
119(1)
Construction Permit
119(2)
8 Audiovisual Budget Recording Studio
121(16)
Studio
121(1)
Control Room
121(2)
Sound Lock
123(1)
Work Table
123(1)
Studio Contracarpet
123(2)
Studio Wideband Wall Units
125(2)
Studio Drywall
127(2)
Studio Computations
129(1)
Control Room Treatment
130(1)
Control Room Ceiling Treatment
131(1)
Control Room Drywall
132(2)
Control Room Acoustical Tile
134(1)
Control Room Wideband Modules
134(1)
Noise Factors
135(2)
9 Studio Built in a Residence
137(12)
Floor Plan
137(1)
Studio Treatment
138(1)
Ceiling
139(2)
Walls
141(3)
Studio Reverberation Time
144(4)
Observation Window
148(1)
Air Conditioning
148(1)
10 A Small Studio for Instruction and Campus Radio
149(14)
Studio Plan
149(1)
Studio Ceiling Treatment
150(1)
Semicylindrical Unit
151(1)
Reversible Wall Panels
152(2)
Studio Calculations
154(1)
Control Room
155(2)
Measurements
157(6)
11 Small Ad Agency Studio for AVs and Radio Jingles
163(14)
Floor Plan
163(2)
Room Proportions
165(1)
Wall Construction
166(1)
Audiovisual Recording Studio Treatment
166(1)
Low Frequency Units
167(3)
Midband Units
170(1)
Wideband Units
171(3)
Control Work Room Treatment
174(3)
12 Multitrack in a Two-Car Garage
177(12)
Floor Plan
177(2)
Wall and Ceiling Construction
179(1)
Studio Treatment
180(1)
Walls
181(1)
Drum Booth
182(1)
Computations
183(2)
Control Room Treatment
185(4)
13 Building a Studio from Scratch for Radio Program Production
189(18)
Distribution of Modal Resonances
191(1)
Noise Considerations
192(1)
Wall Construction
193(1)
Sound Lock
194(1)
Studio Floor
194(2)
Studio Walls
196(2)
Studio Ceiling
198(2)
Control Room Treatment
200(1)
Studio Computations
200(4)
Control Room Reverberation
204(3)
14 Studios for a Commercial Radio Station
207(12)
Construction
207(1)
Acoustical Treatment
208(1)
General Measurements
209(1)
Reverberation Time
210(1)
Theory vs. Practice
211(6)
Master Control Trimming
217(1)
Production Control Trimming
217(1)
Talk Booth Trimming
218(1)
Summary
218(1)
15 One Control Room for Two Studios
219(16)
Studio Suite Layout
219(2)
Acoustical Treatment
221(1)
Music Studio Treatment
222(6)
Speech Studio Treatment
228(2)
Control Room Treatment
230(3)
Air Conditioning
233(2)
16 A Video Mini-Studio
235(14)
Louvered Absorbers
235(2)
Cyclorama Curtain
237(1)
Floor Covering
238(1)
Ceiling Treatment
238(1)
Louver Absorbers
239(3)
Computations
242(4)
Television Facilities
246(3)
17 A Video and Multitrack Studio
249(14)
Studio Plans
249(1)
Conduits
250(2)
Power Facilities
252(1)
Studio Treatment
252(7)
Control Room Treatment
259(4)
18 A Screening Facility for Film and Video
263(10)
Floor Plan
263(1)
Door Arrangement
263(2)
Screen
265(1)
Projection Booth
266(1)
Theater Treatment
267(5)
Reverberation Time
272(1)
19 Multiple Studios
273(24)
Typical Recording Suite
273(1)
Splaying Plan
274(2)
Room Proportions
276(1)
Floor Plan
277(1)
Traffic Noise
277(1)
External Walls
278(3)
Internal Walls
281(1)
Floating Floor
282(1)
Treatment of Studio A
283(3)
Reverberation Time of Studio A
286(1)
Acoustical Treatment of Control Room A
286(6)
Music Studio Treatment
292(3)
A / C Duct Routing
295(2)
20 Diffusion Confusion
297(18)
Sound Decay Irregularity
298(4)
Variation of T60 with Position
302(1)
Directional Microphone Method
303(1)
Frequency Irregularity
304(3)
Size and Proportions of Room
307(1)
Distribution of Absorbing Materials
307(1)
Splayed Walls
308(1)
Resonator Diffusion
308(1)
Geometrical Diffusers
309(1)
Diffraction Grating Diffusers
309(1)
Grating Diffuser Application
310(5)
Part III New Remedies to Common Acoustic Problems
21 An Introduction to Today's Premanufactured Acoustic Panels and Systems
315(54)
Time for a Little Perspective
315(2)
Let's Take a Look at Some of These "Treatments"
317(1)
RPG Products
318(17)
Acoustic Sciences
335(4)
Acoustics First
339(5)
Acoustical Surfaces
344(10)
GIK Acoustics
354(7)
Auralex Acoustics
361(3)
Further Information
364(5)
Part IV Music Instruments
22 How Music Instruments Produce and Propagate Sound
369(42)
Some Basic Facts about Sound Production by Music Instruments
370(3)
Sound Transmission
373(2)
Some Specific Sound Producing Mechanisms
375(1)
Sound Transmission of Acoustic Guitars
375(2)
Making Use of Physicists' Research Experiments
377(2)
Tubes and Pipes
379(1)
The Brass and Woodwind Instrument Family
380(2)
Pipe Organs
382(1)
Reeds and Brass
382(3)
The Human Voice
385(1)
Vibrating Strings
386(1)
Bows
387(1)
Hollow Bodied Instruments
387(1)
Violins
388(1)
Bowing
389(1)
Bridges
390(2)
Some Guitar Manufacturing Theories
392(2)
The Harp
394(1)
Mechanically Plucked Strings
394(1)
Percussion Instruments
395(1)
Sound Actuators
396(1)
Membrane Radiators
397(5)
Some Drummer Stories
402(4)
What It All Boils Down To
406(1)
Microphone Placement
406(1)
Multimicing Instruments
406(2)
Examples of Microphone Placement
408(1)
Acoustic Guitar
409(1)
Acoustic Grand Piano
409(1)
Where Do You Go from Here?
409(2)
A Sound Absorption Coefficients for General Building Materials and Furnishings 411(2)
B Sound Absorption Coefficients of Owens-Corning Products 413(4)
C Sound Absorption Coefficients for Tectum 417(2)
References 419(2)
Index 421
Mike Shea has been involved in professional audio since the 1960s when he opened his own recording studio in Massachusetts. He relocated to New York in the 1970s and began a successful independent contracting career building rehearsal and recording studios. Shea taught graduate courses at the Institute of Audio Research, served as technical editor of International Musician and editor of Recording World magazines and has written extensively about all aspects of professional audio.
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