Titlebook: Handbook of Recording Engineering; John Eargle Book 19922nd edition Springer-Verlag US 1992 Audio.Limiter.Signal.acoustics.analog.psychoac

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Monitor Loudspeakerselopment of high-frequency (HF) compression driver and horn systems during the 1930s gave us an art that has remained largely unchanged in its fundamental aspects for more than half a century. Recent years have seen remarkable developments in areas once thought to be the domain of consumer high fide

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Control Rooms and the Monitoring Environment must provide good sight lines into the studio, and acoustical leakage from the studio or any associated isolation booths into the control room must be acceptably low. Air handling in the control room must be efficient and quiet. In addition to these requirements, the space must satisfy its own spec

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Compressors, Limiters, and Noise Gatesn specified limits. Until very recent times, the various recording mediums had dynamic range capabilities that often fell short of the musical requirements placed on them. This necessitated both technical and musical decisions regarding how and when to alter recorded levels so that both soft and lou

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Analog Tape Recordingapart from the benefits of multitrack capability and ease of editing. The principle of magnetic recording has been known for over a century (14, 15), but the problems of noise and distortion kept it from being much more than a curiosity as far as studio recording was concerned. Highfrequency bias wa

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John Eargle Tutte for typing the manuscript. Department of Physics H. G. JERRARD D. B. McNEILL University of Southampton 1963 Preface to the fifth ed ition Since the publication of the fourth edition in 1980 advances in technology have led to more precise values of the fundamental physical constants and a move