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Recording Studio Design (Englisch) Gebundene Ausgabe – 11. November 2007


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Produktinformation

  • Gebundene Ausgabe: 711 Seiten
  • Verlag: Focal Press; Auflage: 2nd edition. (11. November 2007)
  • Sprache: Englisch
  • ISBN-10: 0240520866
  • ISBN-13: 978-0240520865
  • Größe und/oder Gewicht: 15,6 x 4 x 23,4 cm
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: Nr. 338.285 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
  • Komplettes Inhaltsverzeichnis ansehen

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Produktbeschreibungen

Pressestimmen

Review of Project Studios, by the same author: "This book is extremely well written and presents even the most technical material in a clear and accessible fashion." --Sound on Sound magazine

Synopsis

"Recording Studio Design" is essential reading for anyone involved in building, renovating and maintaining recording studios. Good acoustics in a recording studio is crucial to the success of a project, and the financial implications of failure means getting things right first time is essential. In straightforward language Newell covers the key basic principles of acoustics, electro-acoustics and psychoacoustics and their application to studio design. Fully updated to reflect current technology and practice additional sections include digital signal processing, design for soundtrack mixing and foley rooms, providing a complete reference offering real solutions to help improve the success rate of any studio.

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Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis
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Von Finn Anklam am 18. Dezember 2010
Format: Gebundene Ausgabe
Philip Newell gibt seine Erfahrungen an den interessierten Leser auf eine Art und Weise weiter, die ein solides Verständnis der Vorgänge in der Raumakustik erzeugt. Er gibt zudem zahlreiche Beispiele für real umgesetzte Lösungen.
Ich war an einem Punkt, an dem der nächste Schritt nicht mit neuem Equipment zu ermöglichen war und erkannte, dass das Problem noch immer in dem Aufnahme-/Abhörraum begründet war. Beim Lesen des Buches verstand ich, wo Monitore und Mikrofone platziert werden können, um weniger von resonanten Raummoden gestört zu werden, und dass nicht die akustische Gitarre den metallischen Klang verursachte, sondern die Flatterechos. Wasserfalldiagramme im Anhang zeigten die Wirkung von Panelabsorbern an der Decke und so weiter und so fort ... Mikrofonaufnahmen erreichen jetzt eine andere Klangdimension. Das Monitoring ist viel detaillierter. Es ist möglich, die Merkmale der realen Räume herauszuhören, in denen manche Aufnahmen stattgefunden haben müssen. Die Musik erhält eine Lebendigkeit zurück, die vermutlich näher an der ursprünglichen Absicht der Künstler ist.
Wenn man gewillt ist, die Zeit zum Nachdenken und Experimentieren zu investieren, und das Geld und die Arbeit, um selbst Lösungen zu bauen, dann ist es möglich, einen durchsichtigen, dreidimensionalen Grundklang in einem durchschnittlichen Aufnahme- und Abhörraum zu erreichen. Für höhere professionelle Ansprüche liefert dieses Buch das Hintergrundwissen, das nötig ist für Detaildiskussionen mit professionellen Studioakustikern.
Ein großes Dankeschön an Philip Newell für diese unschätzbare Arbeit und dafür, sein Wissen so vorbehaltlos weiter zu geben.
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Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)

Amazon.com: 10 Rezensionen
11 von 11 Kunden fanden die folgende Rezension hilfreich
Philip Newell is the Edward Tufte of Acoustics 17. April 2010
Von Michael Tiemann - Veröffentlicht auf Amazon.com
Format: Gebundene Ausgabe Verifizierter Kauf
Edward Tufte took a very dry and specialized subject--the presentation and interpretation of data--and made the subject accessible and even exciting. Not every one of us will be an astronaut, yet his explanations of precisely how NASA failed to understand their own data, once in the Challenger disaster and once in the Columbia tragedy, made us all much more aware of how cumulative institutional failure can compromise the mission of those charged to fly it and discourage the rest of us on earth who hope for a successful outcome.

Philip Newell takes on a different subject--the recording studio design--yet the effect its astonishingly similar. He deftly and unapologetically explains the inescapable conclusions that doom so many studio projects because of a growing institutional lack of fundamental acoustic knowledge, just like the bad launch decisions that doomed Challenger and Columbia. But he also teaches how disaster can be avoided by using the comprehensive knowledge he has collected over his lifetime and which he presents in this book.

What I like especially is that this book lacks the all-to-frequent hand-waving of other books on the subject. He is not afraid to take a stand, and he is not afraid to bring any amount of concrete data, algebraic analysis, geometric analysis, calculus, physics, or hard-won experience into the narrative to fully explain his point. And when his explanation is finished, one understands not only the point related to recording studio design, but one is able to apply that understanding to so many other contexts as well.

In this book I learned that the human ear is so sensitive that the faintest vibrations we can perceive are 1/10th the diameter of a hydrogen atom. I learned that a reverb chamber with an 8 second RT60 means that a sound wave bounces around for 1.7 miles before finally diminishing to 1/1,000,000th of its original intensity. And he makes no bones about the fact that when studio control rooms fill up with computers and hard disk drives that push the noise floor up to 40-50 dBA vs. a typical monitoring volume of 85 dBA, it's no fair to blame the lousy, lossy compression of MP3 files for a signal that never had more than 45 dB of dynamic range in the first place.

As others have said, this is a MUST READ for anybody considering building a recording studio, but it's a great reference for anybody interested in sound at all.
4 von 4 Kunden fanden die folgende Rezension hilfreich
Not for the faint of heart, but good stuff! 9. Mai 2010
Von Frederick Vobbe - Veröffentlicht auf Amazon.com
Format: Gebundene Ausgabe
If you are looking for a good reference book to construct a "professional" studio then Phil Newell's (author) book is for you. The investment in this book will be for life, and not something you read then give away. I showed the book to an architect friend, and he came up with the "good stuff" moniker in the title of myreview, and promptly purchased the book for his office.

The book is HIGHLY technical, and Phil goes to the trouble of explaining why things are constructed in the manor he describes. There is a lot of math, science of acoustics, and the physics of sound transfer. So it might be over the head for most people. It's not something the average band member looking for a crib to record his tunes is going to find of use.

If you are a serious musician, and have an architect and contractor build the studio for you, INSIST they read this book! The advice Mr. Newell gives will keep you from having that 'aw darn' moment in recording when something doesn't sound right. If you have the aptitude for high-end commercial construction techniques, or have worked in the professional construction trades you will get 95% of what Phil talks about. The other 5% is the math and acoustic reflection properties which can seem like voodoo.

The book covers all the basics from walls, to floor, windows, reflective surfaces, etc. Sections explain control room design, speaker placement, and acoustics to get the best representation of the recorded sound.

If you're a small time musician or gearhead that wants to build a studio in your home, garage, or small building, there are plenty of other good "cheap" books out there to get you started. I would not start with this book as it might frustrate you. But if you are serious, and I mean really serious about doing it right, and having a sound stage that people will talk about, then this book is worth the price.
7 von 8 Kunden fanden die folgende Rezension hilfreich
this is "MUST READ" stuff for anybody who records music! 25. Februar 2008
Von Nathan Van Dyk - Veröffentlicht auf Amazon.com
Format: Gebundene Ausgabe
Whether you're going to spend thousands or millions of dollars getting into the recording game, I would seriously urge you to spend the $80 on this book and read it thoroughly before dropping serious cash!!

I'm a former studio owner. If I'd known then what I learned after reading this book, I could've saved countless headaches and untold amounts of money.

The practical information in this book will really help open your eyes to a critical subject that's very much neglected in today's recording studios.
3 von 3 Kunden fanden die folgende Rezension hilfreich
A MUST FOR ALL STUDIO OWNERS 6. September 2008
Von Christopher Kellogg - Veröffentlicht auf Amazon.com
Format: Gebundene Ausgabe Verifizierter Kauf
This book offers the most comprehensive information on all aspects of studio design. From biulding a room from the ground up or turning an exisiting space into the perfect acoustical environment for recording this book will provide everything needed.
1 von 1 Kunden fanden die folgende Rezension hilfreich
a priceless gift 18. Dezember 2010
Von Finn Anklam - Veröffentlicht auf Amazon.com
Format: Gebundene Ausgabe
philip newell shares his lifetime of experience with the interested reader in a way that builds up a solid understanding of what is going in room acoustics. he gives a lot of examples of real world solutions.
i was at a point where new equipment did not take me to the next step soundwise and realized the problem was still coming from my listening and recording room. while reading the book i did understand where monitors and microphones could be placed for less disturbance by resonant room modes, and that not the acoustic guitar caused the metallic sound but the flutter echoes. waterfall diagrams in the appendix showed the effect of absorber panels at the ceiling and so on and so forth ... microphone recordings were taken to a whole new level. monitoring music is much more detailed. it is possible to recognize the characteristics of the real-life rooms in which some recordings took place. the music regains an almost live quality which is probably closer to the original intention of the artists.
if you are willing to spend the time for thinking and experimenting, and the money and work for building solutions by yourself, it is possible to achieve a transparent and clear almost three dimensional sound with an average listening and recording room. for state of the art professional demands, this book contains the background knowledge needed when discussing details with professional studio acousticians.
a big thank you to philip newell for this invaluable work and for sharing his knowledge so freely.
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