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    Cover
    Contents
    About the author
    Acknowledgements
    Preface
    Preface to Second Edition
    Introduction
    Chapter 1 General requirements and common errors
    Chapter 2 Sound, decibels and hearing
    Chapter 3 Sound isolation
    Chapter 4 Room acoustics and means of control
    Chapter 5 Designing neutral rooms
    5.1 Background
    5.2 Large neutral rooms
    5.3 Practical realisation of a neutral room
    5.4 What is parallel?
    5.5 Reflexions, reverberation and diffusion
    5.6 Floor and ceiling considerations
    5.7 Wall treatments
    5.8 Small and neutral
    5.9 Trims
    5.10 The degree of neutrality ­ an overview
    5.11 Dialogue recording rooms
    5.12 Summary
    References
    Bibliography
    Chapter 6 Rooms with characteristic acoustics
    Chapter 7 Variable acoustics
    Chapter 8 Room combinations and operational considerations
    Chapter 9 The studio environment
    Chapter 10 Limitations to design predictions
    Chapter 11 Loudspeakers in rooms
    Chapter 12 Flattening the room response
    Chapter 13 Control rooms
    Chapter 14 The behaviour of multiple loudspeakers in rooms
    Chapter 15 Studio monitoring: the principal objectives
    Chapter 16 The Non-Environment control room
    Chapter 17 The Live-End, Dead-End approach
    Chapter 18 Response disturbances due to mixing consoles and studio furniture
    Chapter 19 Objective measurement and subjective evaluations
    Chapter 20 Studio monitoring systems
    Chapter 21 Surround sound and control rooms
    Chapter 22 Human factors
    Chapter 23 A mobile control room
    Chapter 24 Foldback
    Chapter 25 Main supplies and earthing systems
    Chapter 26 Analogue audio interfacing
    Appendix 1 Extracted from the Proceedings of the Institute of Acoustics (UK), (Vol. 22, Part 6) Reproduced Sound 16 Conference, Stratford-upon-Avon, UK
    Appendix 2
    Appendix 3
    Appendix 4
    Glossary of terms
    Index
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    Chapter 5 Designing neutral rooms > 5.12 Summary - Pg. 166

    166 Recording Studio Design Figure 5.28 An absurdly small `control booth'. Rooms of such small sizes are effectively too small to allow a flat monitoring acoustic, and colouration is unavoidable