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=100  1\$aRosiński, Adam,$eauthor.
=245  10$aMicrophone Techniques in Stereo and Surround Recording /$cAdam Rosiński.
=264  \1$aKraków :$bWydawnictwo Uniwersytetu Jagiellońskiego,$c2022.
=264  \4$c©2022
=300  \\$a1 online resource (252 pages): $b184 illustrations, 26 tables.
=336  \\$atext$btxt$2rdacontent
=337  \\$acomputer$bc$2rdamedia
=338  \\$aonline resource$bcr$2rdacarrier
=500  \\$aAvailable through Wydawnictwo Uniwersytetu Jagiellońskiego.
=505  0\$aIntroduction 11Chapter 1. Microphone parameters, types, and characteristics 171.1. Microphone parameters 171.1.1. Frequency response characteristics 171.1.2. Sensitivity 181.1.3. Maximum sound pressure level (SPL) 181.1.4. Handling noise 201.1.5. Dynamic range 201.2. Microphone types 201.2.1. The dynamic (magnetoelectric) microphone 211.2.2. Condenser (capacitor) microphone 241.2.3. Ribbon microphone 271.2.4. Contact microphone 291.2.5. Tube microphone 291.2.6. Shotgun microphone 321.3. Other kinds of microphones 331.3.1. Stereo microphone 331.3.2. Surround microphone (ambisonics) 341.3.3. Dummy head microphone 371.3.4. Rosiński dummy head surround microphone 391.3.5. 22.2 Surround microphone 401.3.6. 32 / 64 channel ambisonic microphone 411.4. Sound pickup pattern (directionality) 421.4.1. Omnidirectional pattern 431.4.2. The subcardioid pickup pattern 441.4.3. Cardioid pattern 441.4.4. Supercardioid and hypercardioid patterns 451.4.5. Bidirectional pattern 47Chapter 2. Speaker parameters and types. Arrangement and calibration of studio monitors 532.1. Speaker parameters 552.1.1. Efficiency 552.1.2. RMS power 562.1.3. Program power handling 562.1.4. Peak power handling 562.1.5. Frequency response characteristics 562.1.6. Bandwidth 572.1.7. Impedance 572.2. Cone speaker 582.3. Horn speakers 592.4. Passive speaker units 612.5. Active speaker units 622.6. Studio monitors 632.7. Adaptation to room acoustics and studio monitor parameters 712.8. Setting monitors in the control room 722.8.1. Monitor configuration 732.8.2. Monitor set-up 742.8.3. Monitor orientation 742.8.4. Monitor orientation in relation to tweeters 742.8.5. Settings of the console in relation to the monitors 75Chapter 3. Selected commercial standards for surround sound and audio coding standards 773.1. Multichannel playback systems 773.1.1. Quadraphonic playback 793.1.2. Dolby Surround 793.1.3. Dolby Pro Logic 793.1.4. 5.1 System 803.1.5. Dolby Digital 813.1.6. Dolby Pro Logic II 823.1.7. Digital Theatre System 823.1.8. 6.1 System 833.1.9. Dolby Digital EX 843.1.10. DTS-ES 843.1.11. 7.1 System 853.1.12. Dolby Pro Logic IIx / Dolby Pro Logic IIz 853.1.13. Dolby Digital Plus 853.1.14. Dolby TrueHD 863.1.15. DTS-HD 863.1.16. 10.2 System 873.1.17. 22.2 System 893.1.18. Periphonic sound system 93Chapter 4. Connectors and connections 954.1. The DI box (Direct Injection Box) 964.2. XLR (commonly referred to as Cannon – from the name of James H. Cannon) 984.3. TS / TRS (colloquially known as the big Jack – 6.3mm in diameter, micro Jack – 3.5mm in diameter, and micro Jack – 2.5mm) 994.4. RCA (Radio Corporation of America; colloquially known as the cinch) 1014.5. Speakon 1014.6. Toslink (Toshiba LINK) 1024.7. AES / EBU (Audio Engineering Society / European Broadcasting Union) 1024.8. S / PDIF (Sony / Philips Digital Interface Format) 1034.9. ADAT (Alesis Digital Audio Tape) 1034.10. MADI (Multichannel Digital Interface) 1044.11. Word Clock 1054.12. Connections based on the Internet Protocol (fig. 84 a) and b)) 107Chapter 5. Production methods for stereo recordings 1175.1. Miking techniques 1175.1.1. Mono recordings 1185.1.2. The orchestra angle 1195.1.3. The X-Y technique 1235.1.4. The A / B method 1255.1.5. The A / B + M technique 1275.1.6. The X-Y + M technique 1295.1.7. The X-Y technique + ambience 1315.1.8. ORTF / NOS 1325.1.9. The Blumlein technique 1335.1.10. The MM technique 1355.1.11. The MS technique 1375.1.12. MS 180° 1395.1.13. Native 2D FOA recording 1395.1.14. 2D FOA (1) 1405.1.15. 2D FOA (2) 1415.1.16. INA 3 (German: Ideale Nieren Anordnung or ICA 3 Ideal Cardioid Arrangement) 1415.1.17. Decca Tree / ABC Stereo 1435.1.18. OCT (Optimized Cardioid Triangle) 1445.1.19. Omni +8 1445.1.20. Omni Triad 1455.2. The recording of selected acoustic instruments, solo vocals and instrumental section 1455.2.1. The piano 1465.2.2. The violin and the viola 1485.2.3. The acoustic guitar 1485.2.4. The classical guitar 1495.2.5. The harp 1505.2.6. The electric guitar and the bass guitar 1515.2.7. Leslie speaker (Hammond organ) 1515.2.8. The saxophone 1525.2.9. The trombone, the French horn and the trumpet 1525.2.10. The transverse flute (Western concert flute) 1535.2.11. The recorder (the English flute) / the piccolo 1535.2.12. The shaker 1545.2.13. The vibraphone / the xylophone 1545.2.14. The drums 1545.2.15. Solo vocals 1565.2.16. The instrumental section 157Chapter 6. Production methods for surround recordings 1596.1. Multi-channel miking techniques 1596.1.1. IRT atmo-cross 1596.1.2. Hamasaki Surround / NHK Surround + Ambience Matrix 1606.1.3. 3D FOA 1616.1.4. Tetrahedral array 1616.1.5. Double X-Y 1626.1.6. Double A / B 1636.1.7. Double MS 1636.1.8. IRT Cross / ORTF Surround (Institute of Radio Technology) 1656.1.9. OCT Surround (Optimized Cardioid Triangle) 1666.1.10. OCT + IRT Cross 1676.1.11. Hamasaki Square 1696.1.12. OCT + Hamasaki Square 1696.1.13. INA 5 (German: Ideale Nieren Anordnung or ICA 5 Ideal Cardioid Arrangement) 1706.1.14. Polyhymnia Pentagon 1716.1.15. Hamasaki Surround / NHK Surround 1726.1.16. Multichannel Microphone Array Design (MMAD) 1736.1.17. Five channel surround / MMA (based on MMAD) 1946.1.18. Decca Tree Surround (1) (based on MMAD) 1956.1.19. Decca Tree Surround (2) (based on MMAD) 1966.1.20. The Wide Cardioid Surround Array 1976.1.21. Fukada Tree 1986.1.22. Corey / Martin Tree 1996.1.23. A basic approach to direct / ambient surround 2006.1.24. Delor VR (Virtual Reality) 2006.1.25. DMP (Digital Music Production) 2016.1.26. NHK (named after the Japanese Broadcasting Corporation) 2026.1.27. Woszczyk (named after Wiesław Woszczyk, founder of the technique) 2036.1.28. Omni +8 surround 2046.1.29. Cardioid Trapeze / Trapezium, Theile Trapezoid 2056.1.30. Trinnov array 2056.1.31. Rosiński 7.1 2066.1.32. Rosiński’s Hexagon 2076.1.33. Rosiński’s Decagon 2086.2. Dummy head recording techniques for surround sound 2096.2.1. Five channel 2096.2.2. Multichannel recording of a jazz band 2096.2.3. Klepko 2106.2.4. Double MS + dummy head 2116.2.5. Creating your own dummy head 2126.3. Multi-layer recording techniques for surround sound 2136.3.1. Immersive audio with height 2136.3.2. Wide a / b 2146.3.3. OCT 9 2156.3.4. The Hyunkook Lee mixed technique 2176.3.5. The Janet Grab mixed 22.2 technique 2186.4. Recording large ensembles 219Conclusions 223References 225Internet sources 235List of tables 237List of figures 239
=520  \\$aSound engineering is one of the fastest-growing branches of music production. The need for a broad-based discussion on the issues constituting the art of sound engineering persists and loses none of its relevance, revealing that sound engineering should not be investigated only in the mathematical and physical context (musical acoustics) or the engineering aspect (signal processing and modification).Publications targeted primarily at musicians are few and far between, which is why the mutual understanding for different priorities which effectively concern the same issues faced by the engineer, the acoustician and the musician, seems to be a complex problem and the main concept explored in this publication.This book is intended for musicians or sound directors, but also acousticians and sound engineers wishing to learn how the musicians think. The monograph is also addressed to musicians who intend to record their material in the studio in the near future, but do not possess knowledge on studio construction, studio workflow or the art of recording. It seems important to familiarize the musicians with the reality that awaits them on the other side of the glass, thus fostering their responsibility for the work jointly produced by them – entering the studio – and the sound director.
=538  \\$aMode of access: World Wide Web.
=588  0\$aMetadata licensed under CC0 Public Domain Dedication.
=710  2\$aWydawnictwo Uniwersytetu Jagiellońskiego,$epublisher.
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=856  42$uhttps://creativecommons.org/publicdomain/zero/1.0/$zCC0 Metadata License