{"product_id":"155505","title":"The Recording ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/3jYDOVk6He4urVOEQgnN6ooikoMVGx.png?v=1765017294\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e The Recording \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/69770580\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e\u003cdiv\u003e \u003cb\u003eThis book...\u003cbr\u003e The book that all audio professionals have been eagerly awaiting\u003c\/b\u003e\u003cbr\u003e This book systematically organizes all of the acoustics know-how of Professor Jang In-seok, a living legend in the Korean recording industry who recorded over 1,000 albums, including those of Cho Yong-pil and Lee Sun-hee.\u003cbr\u003e\u003cbr\u003e Modern audio systems are changing rapidly, and this phenomenon is accelerating as we transition from analog to digital systems.\u003cbr\u003e This is, of course, a positive change that is absolutely necessary for the audio industry, which demands delicacy.\u003cbr\u003e However, it is also true that there is a lack of effort to correctly understand and apply these changes. \u003cbr\u003eThis fact is refuted by the many errors that result from over-reliance on equipment used without a proper understanding.\u003cbr\u003e\u003cbr\u003e This book contains all the knowledge necessary for sound, from basic knowledge about sound to understanding equipment and systems, so it will be a good guide for all sound professionals, from those who are just starting to study sound to engineers who are currently working in the field and struggling with many questions and technical concerns.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e The practical knowledge I've developed through my extensive experience will be of immense help in the field and will be your companion in bringing your creative ideas to life.\u003c\/div\u003e\u003c\/div\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003eChapter 1 Vibration System\u003c\/b\u003e\u003cbr\u003e 1.1 Basic physical units\u003cbr\u003e\u003cbr\u003e 1.2 Vibration System\u003cbr\u003e 1.2.1 Simple vibration\u003cbr\u003e 1.2.2 Complex vibration\u003cbr\u003e 1.2.3 Pure and compound sounds\u003cbr\u003e 1.2.4 Periodic negative frequency spectra\u003cbr\u003e 1.2.5 Non-periodic negative frequency spectra \u003cbr\u003e1.2.6 Instrument Vibration\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 2 Wave\u003c\/b\u003e\u003cbr\u003e 2.1 wave\u003cbr\u003e 2.1.1 Transverse and longitudinal waves\u003cbr\u003e 2.1.2 Progressive wave\u003cbr\u003e 2.1.3 Reflected waves\u003cbr\u003e 2.1.4 Superposition and Interference\u003cbr\u003e 2.1.5 Sound waves\u003cbr\u003e 2.1.6 Two-dimensional and three-dimensional waves\u003cbr\u003e 2.1.7 bit\u003cbr\u003e 2.1.8 Doppler effect\u003cbr\u003e\u003cbr\u003e 2.2 Basic characteristics of sound waves\u003cbr\u003e 2.2.1 Reflection\u003cbr\u003e 2.2.2 Refraction\u003cbr\u003e 2.2.3 Diffraction\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 3: Perception of Sound\u003c\/b\u003e\u003cbr\u003e 3.1 Hearing organ\u003cbr\u003e 3.1.1 Hearing range of the ear\u003cbr\u003e 3.1.2 Structure of the ear\u003cbr\u003e 3.1.3 Critical Band\u003cbr\u003e 3.1.4 Phase sensitivity of the ear\u003cbr\u003e 3.1.5 Restoring lost fundamental sounds\u003cbr\u003e 3.1.6 Vibrato\u003cbr\u003e\u003cbr\u003e 3.2 Loudness\u003cbr\u003e 3.2.1 Loudness and Frequency\u003cbr\u003e 3.2.2 Loudness and sound pressure level\u003cbr\u003e 3.2.3 Loudness and Bandwidth\u003cbr\u003e 3.2.4 Loudness and sound duration\u003cbr\u003e 3.2.5 Loudness control of Hi-Fi amplifiers\u003cbr\u003e 3.2.6 Dynamics and Loudness of Music\u003cbr\u003e\u003cbr\u003e 3.3 Masking\u003cbr\u003e\u003cbr\u003e 3.4 pitch\u003cbr\u003e 3.4.1 Pitch and Frequency\u003cbr\u003e 3.4.2 Pitch Discrimination\u003cbr\u003e 3.4.3 Standard pitch\u003cbr\u003e\u003cbr\u003e 3.5 tone\u003cbr\u003e 3.5.1 Timbre and Frequency Spectrum\u003cbr\u003e 3.5.2 Tone and Envelope\u003cbr\u003e 3.5.3 Subjective characteristics of sound\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 4: Indoor Acoustics and Studio Monitor Systems\u003c\/b\u003e\u003cbr\u003e 4.1 Free sound field\u003cbr\u003e 4.1.1 Negative divergence  \u003cbr\u003e4.1.2 Inverse square law indoors\u003cbr\u003e\u003cbr\u003e 4.2 Concert Hall Acoustics\u003cbr\u003e 4.2.1 Direct sound, early reflections, and reverberation\u003cbr\u003e 4.2.2 Direct sound and initial sound\u003cbr\u003e 4.2.3 Reverberation\u003cbr\u003e\u003cbr\u003e 4.3 Studio Design\u003cbr\u003e 4.3.1 Studio Sound Engineer\u003cbr\u003e 4.3.2 Noise\u003cbr\u003e 4.3.3 Soundproofing\u003cbr\u003e\u003cbr\u003e 4.4 Sound absorption system\u003cbr\u003e 4.4.1 Negative energy dissipation\u003cbr\u003e 4.4.2 Peres absorbers for midrange and treble\u003cbr\u003e 4.4.3 Bass trap for low frequencies\u003cbr\u003e 4.4.4 Low-frequency diaphragm absorber\u003cbr\u003e 4.4.5 Low-frequency Helmoltz resonator\u003cbr\u003e 4.4.6 Module\u003cbr\u003e\u003cbr\u003e 4.5 Diffusion System\u003cbr\u003e 4.5.1 Protrusion-shaped diffusion\u003cbr\u003e 4.5.2 Polycylinder diffuser\u003cbr\u003e 4.5.3 Indoor resonance\u003cbr\u003e 4.5.4 Indoor ratio diffusion\u003cbr\u003e 4.5.5 Non-rectangular indoor diffusion\u003cbr\u003e 4.5.6 Reflective phase grating diffuser\u003cbr\u003e 4.5.7 Reflector Theory\u003cbr\u003e 4.5.8 Reflection phase grating theory\u003cbr\u003e 4.5.9 Commercialization of Reflective Phase-Grinding Diffusers\u003cbr\u003e\u003cbr\u003e 4.6 Control room acoustics\u003cbr\u003e 4.6.1 Early Reflection\u003cbr\u003e 4.6.2 Comb filtering of early reflections\u003cbr\u003e 4.6.3 Reflection Free Zone\u003cbr\u003e\u003cbr\u003e 4.7 Home Recording Control Room\u003cbr\u003e 4.7.1 Monitor System Installation\u003cbr\u003e 4.7.2 Acoustic Design\u003cbr\u003e 4.7.3 Near-field monitoring\u003cbr\u003e\u003cbr\u003e 4.8 Pro Recording Control Room\u003cbr\u003e 4.8.1 Sound insulation\u003cbr\u003e 4.8.2 magnitude\u003cbr\u003e 4.8.3 Symmetric structure  \u003cbr\u003e4.8.4 Installing Monitor Speakers\u003cbr\u003e 4.8.5 Control room rear reflection\u003cbr\u003e 4.8.6 Ceiling\u003cbr\u003e 4.8.7 Acoustic Design\u003cbr\u003e 4.8.8 Control Room Tuning\u003cbr\u003e\u003cbr\u003e 4.9 Surround Sound Control Room\u003cbr\u003e 4.9.1 Surround Speaker Array\u003cbr\u003e 4.9.2 Surround Monitoring System Setup\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 5 Microphone\u003c\/b\u003e\u003cbr\u003e 5.1 Conversion method\u003cbr\u003e 5.1.1 Moving-coil dynamic microphone\u003cbr\u003e 5.1.2 Ribbon dynamic microphone\u003cbr\u003e 5.1.3 Condenser Microphone\u003cbr\u003e\u003cbr\u003e 5.2 Directionality and Polarity Patterns\u003cbr\u003e 5.2.1 Omnidirectional Microphone\u003cbr\u003e 5.2.2 Bidirectional Microphones\u003cbr\u003e 5.2.3 Unidirectional Microphones\u003cbr\u003e 5.2.4 Location of microphone and sound source\u003cbr\u003e\u003cbr\u003e 5.3 Other microphones\u003cbr\u003e 5.3.1 PZM\u003cbr\u003e 5.3.2 Labier Microphone\u003cbr\u003e 5.3.3 Headset and Stereo Microphone\u003cbr\u003e\u003cbr\u003e 5.4 Electrical Characteristics\u003cbr\u003e 5.4.1 Frequency response\u003cbr\u003e 5.4.2 Sensitivity\u003cbr\u003e 5.4.3 Overload\u003cbr\u003e 5.4.4 Transient Response\u003cbr\u003e 5.4.5 Output Impedance\u003cbr\u003e 5.4.6 Maximum sound pressure level\u003cbr\u003e\u003cbr\u003e 5.5 Wireless Microphone System\u003cbr\u003e 5.5.1 Operating radio frequency\u003cbr\u003e 5.5.2 Capture Radio and Muting\u003cbr\u003e 5.5.3 Frequency response and dynamic range \u003cbr\u003e5.5.4 Technical issues with the system\u003cbr\u003e 5.5.5 Antenna Cable\u003cbr\u003e\u003cbr\u003e 5.6 Microphone Accessories\u003cbr\u003e 5.6.1 Pop Filter\u003cbr\u003e 5.6.2 Windscreen\u003cbr\u003e 5.6.3 Shock Mount\u003cbr\u003e 5.6.4 Representative microphones\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 6: Stereo and Surround Microphone Techniques\u003c\/b\u003e\u003cbr\u003e 6.1 Localization of actual sound source\u003cbr\u003e 6.1.1 Lateral orientation\u003cbr\u003e 6.1.2 Positioning on the vertical plane\u003cbr\u003e 6.1.3 Distance positioning\u003cbr\u003e\u003cbr\u003e 6.2 Binaural listening using headphones\u003cbr\u003e 6.2.1 Time difference between ears\u003cbr\u003e 6.2.2 Difference in intensity between the two ears\u003cbr\u003e 6.2.3 Interaction between time difference and intensity difference\u003cbr\u003e\u003cbr\u003e 6.3 Binaural listening using stereophonic loudspeakers\u003cbr\u003e 6.3.1 Stereo images\u003cbr\u003e 6.3.2 Positioning by time difference\u003cbr\u003e 6.3.3 Positioning by intensity difference\u003cbr\u003e 6.3.4 Lateral positioning combined with intensity difference and time difference\u003cbr\u003e 6.3.5 Positioning by polarity difference\u003cbr\u003e 6.3.6 General Considerations on Stereo Positioning\u003cbr\u003e\u003cbr\u003e 6.4 Stereo Microphone Techniques\u003cbr\u003e 6.4.1 Effective acceptance angle\u003cbr\u003e 6.4.2 Intensity difference and time difference of sound source by formula\u003cbr\u003e 6.4.3 Coincident Pair Microphone Technique \u003cbr\u003e6.4.4 Spaced Pair Microphone Technique\u003cbr\u003e 6.4.5 Near-coincident pair microphone technique\u003cbr\u003e 6.4.6 Stereo boundary microphone array\u003cbr\u003e 6.4.7 Binaural and Transaural\u003cbr\u003e\u003cbr\u003e 6.5 Acoustic environment correction and spot miking\u003cbr\u003e 6.5.1 Sound Environment Modification\u003cbr\u003e 6.5.2 Spot Mic Fix\u003cbr\u003e\u003cbr\u003e 6.6 Stereo recording process\u003cbr\u003e 6.6.1 Equipment\u003cbr\u003e 6.6.2 Selecting a recording location and modifying the sound\u003cbr\u003e 6.6.3 Session Setup\u003cbr\u003e 6.6.4 Monitoring\u003cbr\u003e 6.6.5 Microphone placement\u003cbr\u003e 6.6.6 Stereo Sound Adjustment\u003cbr\u003e\u003cbr\u003e 6.7 Classical Music Stereo Recording\u003cbr\u003e 6.7.1 Creating Depth Using Miking Techniques\u003cbr\u003e 6.7.2 Adjusting Depth and Reverberation Using Microphone Height\u003cbr\u003e 6.7.3 Ambience Microphone\u003cbr\u003e 6.7.4 Hole characteristics affecting depth perception\u003cbr\u003e 6.7.5 Chamber music\u003cbr\u003e 6.7.6 Classical Solo Piano\u003cbr\u003e 6.7.7 Piano and vocals (or solo instruments), two pianos\u003cbr\u003e 6.7.8 Orchestra (multi-miking)\u003cbr\u003e 6.7.9 String Quartet\u003cbr\u003e 6.7.10 Live ensemble, band and orchestra (studio recording) \u003cbr\u003e6.7.11 Surround Sound Microphone Techniques\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 7 Multi-Microphone Techniques\u003c\/b\u003e\u003cbr\u003e 7.1 Things to Consider When Recording\u003cbr\u003e 7.1.1 Microphone Selection and Position\u003cbr\u003e 7.1.2 Phase Check\u003cbr\u003e 7.1.3 Polarity Check\u003cbr\u003e 7.1.4 Comb Filtering and Miking\u003cbr\u003e\u003cbr\u003e 7.2 Drum Kit\u003cbr\u003e 7.2.1 Acoustic Considerations\u003cbr\u003e 7.2.2 Drum Kit Miking\u003cbr\u003e 7.2.3 Kick Drum Miking\u003cbr\u003e 7.2.4 Snare Drum Miking\u003cbr\u003e 7.2.5 Hi-Hat Miking\u003cbr\u003e 7.2.6 Tamtam miking\u003cbr\u003e 7.2.7 Overhead Miking\u003cbr\u003e 7.2.8 Drum Kit Room Miking\u003cbr\u003e 7.2.9 Jazz Drums\u003cbr\u003e\u003cbr\u003e 7.3 Grand Piano\u003cbr\u003e 7.3.1 Acoustic Considerations\u003cbr\u003e 7.3.2 Miking\u003cbr\u003e\u003cbr\u003e 7.4 Lead Vocal\u003cbr\u003e 7.4.1 Acoustic Considerations\u003cbr\u003e 7.4.2 Miking\u003cbr\u003e 7.4.3 Headphone Monitoring\u003cbr\u003e 7.5 Background Vocal\u003cbr\u003e 7.5.1 Acoustic Considerations\u003cbr\u003e 7.5.2 Miking\u003cbr\u003e\u003cbr\u003e 7.6 Acoustic String Bass\u003cbr\u003e 7.6.1 Acoustic Considerations\u003cbr\u003e 7.6.2 Miking\u003cbr\u003e 7.6.3 Pickup\u003cbr\u003e\u003cbr\u003e 7.7 Electric Bass Guitar\u003cbr\u003e 7.7.1 Acoustic Considerations\u003cbr\u003e 7.7.2 Miking\u003cbr\u003e 7.7.3 Amplifier miking and direct box\u003cbr\u003e \u003cbr\u003e7.8 Acoustic and Classical Guitar\u003cbr\u003e 7.8.1 Acoustic Considerations\u003cbr\u003e 7.8.2 Miking\u003cbr\u003e 7.8.3 Contact microphones and pickups\u003cbr\u003e 7.8.4 Classical Guitar Miking\u003cbr\u003e\u003cbr\u003e 7.9 Electric Guitar\u003cbr\u003e 7.9.1 Acoustic Considerations\u003cbr\u003e 7.9.2 Miking\u003cbr\u003e 7.9.3 Direct Box\u003cbr\u003e\u003cbr\u003e 7.10 Harp\u003cbr\u003e 7.10.1 Acoustic Considerations\u003cbr\u003e 7.10.2 Miking\u003cbr\u003e\u003cbr\u003e 7.11 String Instrument\u003cbr\u003e 7.11.1 Acoustic Considerations\u003cbr\u003e 7.11.2 Miking\u003cbr\u003e\u003cbr\u003e 7.12 Woodwind Instruments and Reed Instruments\u003cbr\u003e 7.12.1 Air Reed\u003cbr\u003e 7.12.2 Flute\u003cbr\u003e 7.12.3 Single Reed\u003cbr\u003e 7.12.4 Clarinet\u003cbr\u003e 7.12.5 Saxophone\u003cbr\u003e 7.12.6 Double Reed\u003cbr\u003e\u003cbr\u003e 7.13 Brass Instrument\u003cbr\u003e 7.13.1 Acoustic Considerations\u003cbr\u003e 7.13.2 Miking\u003cbr\u003e 7.13.3 Brass Section\u003cbr\u003e\u003cbr\u003e 7.14 Percussion\u003cbr\u003e 7.14.1 Acoustic Considerations\u003cbr\u003e 7.14.2 Marimba and Vibraphone\u003cbr\u003e 7.14.4 Conga and Bongo\u003cbr\u003e 7.14.5 Steel Drum\u003cbr\u003e 7.14.6 Orchestra Chime and Bell\u003cbr\u003e 7.14.7 Rack and Hand Percussion\u003cbr\u003e \u003cbr\u003e7.15 Other instruments\u003cbr\u003e 7.15.1 Accordion\u003cbr\u003e 7.15.2 Bagpipe\u003cbr\u003e 7.15.3 Whistle\u003cbr\u003e 7.15.4 Audience\u003cbr\u003e 7.15.5 Applause\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 8 Analog Recording System\u003c\/b\u003e\u003cbr\u003e 8.1.\u003cbr\u003e magnetic tape\u003cbr\u003e 8.1.1 System Principles\u003cbr\u003e\u003cbr\u003e 8.2 Open-reel tape recorder\u003cbr\u003e 8.2.1 Transportation System\u003cbr\u003e 8.2.2 Track Format\u003cbr\u003e 8.2.3 Processing\u003cbr\u003e\u003cbr\u003e 8.3 Analog Tape Recorder Adjustment Sequence\u003cbr\u003e 8.3.1 Preparation\u003cbr\u003e 8.3.2 Head Adjustment\u003cbr\u003e 8.3.3 Playback Circuit Adjustment\u003cbr\u003e 8.3.4 Adjusting the recording circuit\u003cbr\u003e 8.3.5 Recorder Precautions\u003cbr\u003e\u003cbr\u003e 8.4 Analog Tape Noise Reduction System\u003cbr\u003e 8.4.1 Analog Noise and SNR\u003cbr\u003e 8.4.2 Noise Reduction System\u003cbr\u003e 8.4.3 dbx noise reduction system\u003cbr\u003e 8.4.4 Dolby Noise Reduction System\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 9 Digital Recording System\u003c\/b\u003e\u003cbr\u003e 9.1 digital audio\u003cbr\u003e\u003cbr\u003e 9.2 Digital Audio System\u003cbr\u003e 9.2.1 Modulation\u003cbr\u003e 9.2.2 PCM\u003cbr\u003e 9.2.3 Sampling\u003cbr\u003e 9.2.4 Quantization\u003cbr\u003e 9.2.5 Encoding\u003cbr\u003e 9.2.6 Data Reduction\u003cbr\u003e 9.2.7 Channel Coding and Digital Interface\u003cbr\u003e 9.2.8 Error Correction\u003cbr\u003e\u003cbr\u003e 9.3 Digital Audio Recorder\u003cbr\u003e 9.3.1 Standardization of Digital Recorders \u003cbr\u003e9.3.2 Sampling Rate Converter\u003cbr\u003e 9.3.3 Rotating head (video) recorder\u003cbr\u003e 9.3.4 Fixed head recorder\u003cbr\u003e 9.3.5 DCC\u003cbr\u003e 9.3.6 Digital Disc Recorder\u003cbr\u003e 9.3.7 Digital Audio Workstation\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 10 Mixing Console\u003c\/b\u003e\u003cbr\u003e 10.1 preamplifier\u003cbr\u003e 10.1.1 Features\u003cbr\u003e 10.1.2 Condenser microphone internal preamplifier\u003cbr\u003e 10.1.3 Outboard Preamplifier\u003cbr\u003e 10.1.4 Preamplifier Gain Setup\u003cbr\u003e\u003cbr\u003e 10.2 6-channel mixer\u003cbr\u003e 10.2.1 Configuration\u003cbr\u003e\u003cbr\u003e 10.3 Multitrack Mixing Console\u003cbr\u003e 10.3.1 Inline and Split Consoles\u003cbr\u003e\u003cbr\u003e 10.4 Inline Mixing Console\u003cbr\u003e 10.4.1 Input Section\u003cbr\u003e 10.4.2 Rooting Section\u003cbr\u003e 10.4.3 Dynamics and Equalizer Section\u003cbr\u003e 10.4.4 Aux Sends and Effect Returns\u003cbr\u003e 10.4.5 Master Section\u003cbr\u003e 10.4.6 Patch Field\u003cbr\u003e 10.4.7 Metering System\u003cbr\u003e\u003cbr\u003e 10.5 Basic Operations\u003cbr\u003e 10.5.1 magnitude\u003cbr\u003e 10.5.2 Microphone and preamp noise\u003cbr\u003e 10.5.3 SNR\u003cbr\u003e 10.5.4 Maximum voltage gain\u003cbr\u003e 10.5.5 Headroom\u003cbr\u003e 10.5.6 Impedance\u003cbr\u003e 10.5.7 Crosstalk\u003cbr\u003e 10.5.8 Input Gain Adjustment\u003cbr\u003e 10.5.9 Applying Aux Send\u003cbr\u003e 10.5.10 Channel Grouping\u003cbr\u003e\u003cbr\u003e 10.6 Console Automation System\u003cbr\u003e 10.6.1 VCA\u003cbr\u003e 10.6.2 Data Storage \u003cbr\u003e10.6.3 Main Automation Operation Modes\u003cbr\u003e 10.6.4 Other Automation Features\u003cbr\u003e 10.6.5 Automation Recording Process\u003cbr\u003e\u003cbr\u003e 10.7 Digital Mixing Console\u003cbr\u003e 10.7.1 Digitally Controlled Analog Mixing Console\u003cbr\u003e 10.7.2 Digital Mixing Console\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 11 Equalizer\u003c\/b\u003e\u003cbr\u003e 11.1 Design Method\u003cbr\u003e 11.1.1 Tone Control\u003cbr\u003e 11.1.2 Multiband Equalizer\u003cbr\u003e 11.1.3 Sweptable Equalizer\u003cbr\u003e 11.1.4 Parametric Equalizer\u003cbr\u003e 11.1.5 Graphic Equalizer\u003cbr\u003e 11.1.6 Paragraphic Equalizer\u003cbr\u003e 11.1.7 Dynamic range and headroom of equalizers and sound systems\u003cbr\u003e 11.1.8 Equalizer Phase Shift\u003cbr\u003e 11.1.9 Digital Linear Phase Equalizer\u003cbr\u003e 11.1.10 Dynamic Equalizer\u003cbr\u003e 11.1.11 Sony Oxford Equalizer (OXF-R3)\u003cbr\u003e\u003cbr\u003e 11.2 Filter\u003cbr\u003e 11.2.1 High-pass filter\u003cbr\u003e 11.2.2 Low-pass filter\u003cbr\u003e 11.2.3 Notch Filter\u003cbr\u003e 11.2.4 Bandpass Filter\u003cbr\u003e\u003cbr\u003e 11.3 Equalizing\u003cbr\u003e 11.3.1 Live Sound Equalization\u003cbr\u003e 11.3.2 Multitrack Recording and Mixing Equalization\u003cbr\u003e 11.3.3 How to run equalization\u003cbr\u003e 11.3.4 Frequency and tone changes\u003cbr\u003e \u003cbr\u003e\u003cb\u003eChapter 12 Dynamic Signal Processors\u003c\/b\u003e\u003cbr\u003e 12.1 Microdynamics and Macrodynamics\u003cbr\u003e 12.1.1 Dynamic changes in music\u003cbr\u003e 12.1.2 Compression and Expansion\u003cbr\u003e\u003cbr\u003e 12.2 Compressor\u003cbr\u003e 12.2.1 Features\u003cbr\u003e 12.2.2 Compressor Design\u003cbr\u003e 12.2.3 Side Chain Adjustment Parameters\u003cbr\u003e 12.2.4 Time constant law\u003cbr\u003e 12.2.5 Detection Method\u003cbr\u003e 12.2.6 Gain Reduction Meter\u003cbr\u003e 12.2.7 Sidechain Input\u003cbr\u003e 12.2.8 Compressor Link\u003cbr\u003e 12.2.9 Application\u003cbr\u003e\u003cbr\u003e 12.3 Expanders and Noise Gates\u003cbr\u003e 12.3.1 Side Chain Adjustment Parameters\u003cbr\u003e 12.3.2 Compressor\/Expander System\u003cbr\u003e\u003cbr\u003e 12.4 Plug-in Dynamics\u003cbr\u003e 12.4.1 R-Compressor (Renaissance)\u003cbr\u003e 12.4.2 R-Bass (Renaissance)\u003cbr\u003e 12.4.3 R-Vox (Renaissance)\u003cbr\u003e 12.4.4 De-Eesser (Renaissance)\u003cbr\u003e 12.4.5 DUY series\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 13 Time-Based Effects\u003c\/b\u003e\u003cbr\u003e 13.1 Reverb System\u003cbr\u003e 13.1.1 Types of Systems\u003cbr\u003e 13.1.2 Digital Reverb System\u003cbr\u003e 13.1.2 Stereo Reverb System\u003cbr\u003e\u003cbr\u003e 13.2 Delay\u003cbr\u003e 13.2.1 Delay System\u003cbr\u003e 13.2.2 Echo\u003cbr\u003e 13.2.3 Modulation Effects\u003cbr\u003e 13.2.4 MetaFlanger\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 14 Mixing\u003c\/b\u003e\u003cbr\u003e 14.1 Auditory Training \u003cbr\u003e14.1.1 Training Methods\u003cbr\u003e\u003cbr\u003e 14.2 Monitoring\u003cbr\u003e 14.2.1 Monitor Level\u003cbr\u003e 14.2.2 Mono Monitoring\u003cbr\u003e 14.2.3 Monitor Speakers\u003cbr\u003e\u003cbr\u003e 14.3 Considerations for Mixing\u003cbr\u003e 14.3.1 Song Analysis\u003cbr\u003e 14.3.2 Three-dimensional space of mixing\u003cbr\u003e\u003cbr\u003e 14.4 Volume Level\u003cbr\u003e 14.4.1 Arrangement\u003cbr\u003e 14.4.2 Instruments to start with\u003cbr\u003e 14.4.3 Setting the Mix Program Level\u003cbr\u003e 14.4.4 Volume levels of instruments and effects by music genre\u003cbr\u003e\u003cbr\u003e 14.5 Panorama\u003cbr\u003e 14.5.1 Three main areas in panning\u003cbr\u003e 14.5.2 Panning by instrument\u003cbr\u003e 14.5.3 Panning method\u003cbr\u003e 14.5.4 Panning Changes\u003cbr\u003e\u003cbr\u003e 14.6 Equalizing\u003cbr\u003e 14.6.1 Frequency Bands and Hearing\u003cbr\u003e 14.6.2 Equalizer Adjustment\u003cbr\u003e 14.6.3 Main frequency bands by instrument\u003cbr\u003e 14.6.4 Equalizing by instrument\u003cbr\u003e\u003cbr\u003e 14.7 Dynamic Processing\u003cbr\u003e 14.7.1 Dynamic Range Adjustment\u003cbr\u003e 14.7.2 Tone Adjustment\u003cbr\u003e 14.7.3 Sub-bus compression\u003cbr\u003e 14.7.4 Mix Bus Compression\u003cbr\u003e 14.7.5 Instrument-specific dynamic processing\u003cbr\u003e\u003cbr\u003e 14.8 Time-Based Effects Processing\u003cbr\u003e 14.8.1 Types and number of effectors required for mixing\u003cbr\u003e 14.8.2 Adjusting the delay time\u003cbr\u003e 14.8.4 Reverberation Adjustment  \u003cbr\u003e14.8.5 Instrument-specific time base effects\u003cbr\u003e\u003cbr\u003e 14.9 Surround\u003cbr\u003e 14.9.1 Surround Mixing\u003cbr\u003e 14.9.1.2 Classic and Band\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 15 Mastering\u003c\/b\u003e\u003cbr\u003e 15.1 Monitor System\u003cbr\u003e 15.1.1 Components of a High-Resolution Monitor System\u003cbr\u003e 15.1.2 Subwoofer ultra-low frequency response and placement\u003cbr\u003e 15.1.3 Power amplifier\u003cbr\u003e 15.1.4 Monitoring Equalization\u003cbr\u003e 15.1.5 Monitoring Balance and Polarity Check\u003cbr\u003e 15.1.6 Stereo Balance of the Program\u003cbr\u003e 15.1.7 The False Truth About Monitor Systems\u003cbr\u003e\u003cbr\u003e 15.2 Leveling\u003cbr\u003e 15.2.1 Manual Gain Riding\u003cbr\u003e 15.2.2 Limiting vs. Compression\u003cbr\u003e 15.2.3 Normalization\u003cbr\u003e\u003cbr\u003e 15.3 Frequency Balance\u003cbr\u003e 15.3.1 Tonal Balance\u003cbr\u003e 15.3.2 Understanding music genre and mixing intent\u003cbr\u003e 15.3.3 Equalization Techniques\u003cbr\u003e 15.3.4 Patching order of signal processors\u003cbr\u003e\u003cbr\u003e 15.4 Noise Reduction\u003cbr\u003e 15.4.1 Noise Reduction Techniques\u003cbr\u003e\u003cbr\u003e 15.5 Remixing in Mastering\u003cbr\u003e 15.5.1 Multitrack Mastering\u003cbr\u003e 15.5.2 MS Mastering\u003cbr\u003e\u003cbr\u003e 15.6 Mastering Equipment\u003cbr\u003e 15.6.1 Signal Path\u003cbr\u003e 15.6.2 Analog and Digital Signal Processors \u003cbr\u003e15.6.3 MaxxBass\u003cbr\u003e 15.6.4 L2 UltraMaximizer\u003cbr\u003e 15.6.5 S1 Stereo Imager\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 16 Power Amplifier\u003c\/b\u003e\u003cbr\u003e 16.1 Ohm's Law\u003cbr\u003e 16.1.1 Voltage, Resistance, and Current\u003cbr\u003e 16.1.2 Electric Power\u003cbr\u003e 16.1.3 Electrical Power and Amplifier Gain\u003cbr\u003e\u003cbr\u003e 16.2 Power Amplifier\u003cbr\u003e 16.2.1 Type\u003cbr\u003e 16.2.2 Electrical Characteristics\u003cbr\u003e 16.2.3 Amplifier Power and Loudspeaker SPL\u003cbr\u003e 16.2.4 Power Amplifier and Loudspeaker Matching\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 17 Loudspeaker Systems\u003c\/b\u003e\u003cbr\u003e 17.1 Sound Conversion Method\u003cbr\u003e 17.1.1 Electromagnetic type\u003cbr\u003e 17.1.2 Piezoelectric\u003cbr\u003e 17.1.3 Condenser type, ribbon type\u003cbr\u003e\u003cbr\u003e 17.2 bass driver\u003cbr\u003e 17.2.1 Directional Characteristics of Cone Drivers\u003cbr\u003e\u003cbr\u003e 17.3 bass enclosure\u003cbr\u003e 17.3.1 Seal type enclosure\u003cbr\u003e 17.3.2 Port, Duct Type Enclosure\u003cbr\u003e 17.3.3 Bass Horn\u003cbr\u003e\u003cbr\u003e 17.4 treble driver\u003cbr\u003e\u003cbr\u003e 17.5 treble horn\u003cbr\u003e 17.5.1 Acoustic Lenses\u003cbr\u003e\u003cbr\u003e 17.6 Crossover Network\u003cbr\u003e 17.6.1 Passive High-Level Crossover\u003cbr\u003e 17.6.2 Active low-level crossover\u003cbr\u003e 17.6.3 Crossover Settings\u003cbr\u003e 17.6.4 Time Adjustment\u003cbr\u003e 17.6.5 Optimizing the Frequency Response of a Loudspeaker System\u003cbr\u003e\u003cbr\u003e 17.7 full-range loudspeaker \u003cbr\u003e17.7.1 Effect of surrounding reflective surfaces\u003cbr\u003e 17.7.2 Key characteristics of loudspeakers\u003cbr\u003e\u003cbr\u003e 17.8 Loudspeaker Protection Devices\u003cbr\u003e 17.8.1 High-frequency driver protection network\u003cbr\u003e 17.8.2 Fuse\u003cbr\u003e 17.8.3 Limiter\u003cbr\u003e 17.8.4 High-pass and low-pass filters for capacitors and graphic equalizers\u003cbr\u003e 17.8.5 Powered Loudspeaker System\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 18 System Wiring\u003c\/b\u003e\u003cbr\u003e 18.1 Cable\u003cbr\u003e 18.1.1 Types, structures, and uses of audio cables\u003cbr\u003e 18.1.2 Connector\u003cbr\u003e\u003cbr\u003e 18.2 Grounding\u003cbr\u003e 18.2.1 Ground\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 19 System Gain Structure\u003c\/b\u003e\u003cbr\u003e 19.1 decibels (dB)\u003cbr\u003e 19.1.1 Definition of Decibel\u003cbr\u003e 19.1.2 Relative and absolute levels\u003cbr\u003e 19.1.3 Audio Waveform\u003cbr\u003e 19.1.4 Volume, Gain, Level\u003cbr\u003e\u003cbr\u003e 19.2 Dynamic Range and Headroom\u003cbr\u003e 19.2.1 Dynamic Range\u003cbr\u003e 19.2.2 Headroom\u003cbr\u003e 19.2.3 Ensuring Headroom in Your Sound System\u003cbr\u003e 19.2.4 Headroom Selection\u003cbr\u003e\u003cbr\u003e 19.3 System Interface\u003cbr\u003e 19.3.1 Output and Input Impedance\u003cbr\u003e 19.3.2 Constant voltage interface\u003cbr\u003e 19.3.2 Matching Interface\u003cbr\u003e 19.3.4 Impedance Mismatch \u003cbr\u003e19.3.5 Impedance and Frequency\u003cbr\u003e 19.3.6 Impedance and Level\u003cbr\u003e 19.3.7 Audio Transformer\u003cbr\u003e\u003cbr\u003e 19.4 System Gain Structure\u003cbr\u003e 19.4.1 System Gain Method\u003cbr\u003e 19.4.2 Adjusting the mixer's gain\u003cbr\u003e\u003cbr\u003e \u003cb\u003eChapter 20 Sound System Design\u003c\/b\u003e\u003cbr\u003e 20.1 loudspeaker cluster\u003cbr\u003e 20.1.1 Cluster Distribution\u003cbr\u003e\u003cbr\u003e 20.2 Line Array System\u003cbr\u003e 20.2.1 Operating Principle\u003cbr\u003e 20.2.2 Components\u003cbr\u003e 20.2.3 Subwoofer\u003cbr\u003e\u003cbr\u003e 20.3 Cluster method\u003cbr\u003e 20.3.1 Central Cluster\u003cbr\u003e 20.3.2 Distribution Loudspeaker System\u003cbr\u003e\u003cbr\u003e 20.4 Sound System Design\u003cbr\u003e 20.4.1 Type\u003cbr\u003e 20.4.2 Application Analysis\u003cbr\u003e 20.4.3 Speech System\u003cbr\u003e 20.4.4 Equalization\u003cbr\u003e 20.4.5 Digital Delay and Fill System\u003cbr\u003e\u003cbr\u003e 20.5 Stage Monitoring\u003cbr\u003e 20.5.1 Stage Monitor System\u003cbr\u003e 20.5.2 Stage Monitor System Feedback\u003cbr\u003e 20.5.3 Stage Monitor Speaker Placement\u003cbr\u003e\u003cbr\u003e 20.6 Console Layout\u003cbr\u003e 20.6.1 Stage Monitor Console Layout\u003cbr\u003e 20.6.2 Main House Mixing Console Layout\u003cbr\u003e\u003cbr\u003e 20.7 Sound System Test Equipment\u003cbr\u003e 20.7.1 Volt-Ohm Meter\u003cbr\u003e 20.7.2 Sine wave oscillator\u003cbr\u003e 20.7.3 Oscilloscope \u003cbr\u003e20.7.4 Phase Tester\u003cbr\u003e 20.7.5 SPL meter\u003cbr\u003e 20.7.6 Real-time Analyzer\u003cbr\u003e 20.7.7 Loudness Meter\u003cbr\u003e\u003cbr\u003e supplement\u003cbr\u003e Glossary\u003cbr\u003e index\u003cbr\u003e References \u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eDate of issue:\u003c\/strong\u003e March 1, 2019\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 720 pages | 1,368g | 183*247*40mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9791189865078\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 1189865076 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default Title","offer_id":43891720781866,"sku":"155505","price":55.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/e78059a73c02006bdb8082c7e643a788.jpg?v=1765339589","url":"https:\/\/librairie.coreenne.fr\/en\/products\/155505","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}