The New Stereo Soundbook
Subtitle: Stereo Perspective and the Art of Mic Placement
Edition: 3rd Edition
Series: No
Publisher: Audio Engineering Associates
Published: 2006
Place of publication: Pasadena, CA, USA
Format: Hardcover
Number of pages: 280
ISBN-13: 9780966516210
Copyright date: ?
Table of contents: label: Introduction
title: xiii; label: Forward
title: xv; label: Early Stereophonics
title: 1.1; label: The First Stereo
title: 1.3; label: Stereo in the 1930s
title: 1.4; label: Blumlein’s Contributions
title: 1.5; label: Fletcher’s Work at Bell Laboratories
title: 1.5; label: How Stereo Information Is Conveyed
title: 2.1; label: The Monophonic System
title: 2.4; label: The Stereophonic System
title: 2.5; label: Intensity Effects in Stereo
title: 2.8; label: Time Effects in Stereo
title: 2.12; label: Interaural Coherence
title: 2.15; label: Spaciousness
title: 2.16; label: Stereo and the Auditory System
title: 3.1; label: Subjective/Objective Distinctions
title: 3.1; label: Structure of the Ear
title: 3.2; label: The Pinna
title: 3.4; label: The Auditory Canal
title: 3.4; label: The Middle Ear
title: 3.5; label: The Inner Ear
title: 3.5; label: Masking and the Auditory Filters
title: 3.6; label: Binaural Unmasking
title: 3.7; label: Perceptual Space
title: 3.9; label: Binaural Unmasking vs. Frequency
title: 3.1; label: Understanding Speech in High Background Noise
title: 3.11; label: Transfer Functions
title: 3.12; label: Effects of Reflected Sound
title: 3.13; label: The Law of the First Wavefront
title: 3.15; label: Echoes
title: 3.16; label: Effect of Reflections on Music and Speech
title: 3.16; label: Localization of Sound in the Median Plane
title: 3.17; label: Philosophical and Pragmatic Approaches to Stereo
title: 4.1; label: Fundamental Decisions
title: 4.1; label: The Five W’s
title: 4.1; label: Recreating an Event
title: 4.2; label: Creating a New Event
title: 4.2; label: The Listener’s Perspective
title: 4.3; label: The “Two by Two” Matrix
title: 4.3; label: Technical Considerations
title: 4.4; label: Amplitude
title: 4.4; label: Dynamics
title: 4.5; label: Phase
title: 4.5; label: Spectrum
title: 4.5; label: Distortion
title: 4.5; label: Recording Formats
title: 4.6; label: Sonic and Visual Images
title: 4.7; label: The “Law of Compromises”
title: 4.7; label: Two-Microphone Stereo Techniques
title: 5.1; label: Inverse Square Law
title: 5.1; label: The Monophonic Sound System
title: 5.2; label: The Conventional Stereo System
title: 5.3; label: The “Phantom Center” Image
title: 5.4; label: Phantom Stereo Imaging
title: 5.6; label: The “Hole in the Middle” Effect
title: 5.7; label: Reverberation
title: 5.8; label: Critical Distance
title: 5.9; label: Reverberation in Mono vs. Stereo
title: 5.9; label: Basic Stereo Perspectives vs. Multiple-Microphone Systems
title: 5.1; label: “Super Stereo”
title: 5.1; label: Binaural Recording and Reproduction
title: 6.1; label: Requirements of the Dummy Head
title: 6.4; label: Dummy Head Recording
title: 6.4; label: Binaural Reproduction by Headphones
title: 6.5; label: Binaural Reproduction via Loudspeakers
title: 6.6; label: Avoiding Crosstalk with Headphones
title: 6.7; label: Avoiding Crosstalk with a Barrier
title: 6.8; label: Cancellation of Crosstalk Electronically
title: 6.8; label: The Promise of Super-Stereo Electronics
title: 6.9; label: Dummy Head Developments
title: 6.11; label: Informal Approaches to Dummy Heads
title: 6.11; label: The Neumann Head
title: 6.12; label: The Kemar Manikin
title: 6.12; label: The Aachen Head
title: 6.13; label: The B&K Head and Torso Simulator
title: 6.14; label: A Ghostly Dummy Head
title: 6.15; label: Quasi-Binaural Devices
title: 6.15; label: Binaural Sound Processing
title: 6.16; label: Marketing of Binaural Audio
title: 6.16; label: Coincident-Microphone Stereo Techniques
title: 7.1; label: Introduction
title: 7.1; label: Intensity Stereo
title: 7.1; label: Monophonic Compatibility
title: 7.2; label: The “Blumlein” Technique
title: 7.2; label: Bidirectional Microphones
title: 7.3; label: Absolute Polarity
title: 7.4; label: Blumlein Stereo
title: 7.5; label: Other Polar Patterns
title: 7.9; label: XY Stereo Techniques
title: 7.12; label: Matching the Microphones
title: 7.13; label: The Mid/Side Technique
title: 7.14; label: Advantages of the M/S Technique
title: 7.17; label: Criticisms of Coincident Stereophony
title: 7.22; label: Subjective Evaluation
title: 7.23; label: Audibility of Reflections
title: 8.1; label: Effects of Reflected Sound
title: 8.1; label: Threshold Perceptions
title: 8.2; label: Audibility of Reflections of Different Signals
title: 8.3; label: Audibility and Reflection Angle
title: 8.4; label: Audibility and Reflection Spectrum
title: 8.5; label: Audible Effects of Reflected Sounds
title: 8.5; label: What Is a Comb Filter?
title: 8.6; label: Tonal Signals and Comb Filters
title: 8.7; label: Combing of Music and Speech Signals
title: 8.8; label: Combing of Direct and Reflected Sound
title: 8.9; label: Comb Filters and Critical Bands
title: 8.12; label: Coloration and Spaciousness
title: 8.14; label: Combing in Stereo Microphone Pickups
title: 8.14; label: Common Comb Filter Sources
title: 8.15; label: Comb Filters in Stereo Listening
title: 8.16; label: Spaced Microphone Stereo Techniques
title: 9.1; label: Introduction
title: 9.1; label: Near-Coincident Microphone Arrays
title: 9.1; label: The O.R.T.F. Technique
title: 9.2; label: The N.O.S. Technique
title: 9.3; label: The OSS Technique
title: 9.3; label: The Stereo Ambient Sampling System
title: 9.5; label: Arrangement of Microphones
title: 9.5; label: Widely Spaced Microphones
title: 9.5; label: Lateral Imaging
title: 9.6; label: Phase-Related Problems
title: 9.9; label: Observing Stereo Phase Relationships Using an XY Oscilloscope and Lissajous Patterns
title: 9.9; label: Spaced Omnidirectional Microphones
title: 9.11; label: Spaced Directional Microphones
title: 9.12; label: More about Interference Problems
title: 9.13; label: The “Decca Tree”
title: 9.14; label: Two New Species of the Decca Tree
title: 9.16; label: Flanking and Widely Spaced Microphones
title: 9.17; label: Multi-Microphone Techniques
title: 10.1; label: Introduction
title: 10.1; label: Intensity Stereo Revisited
title: 10.1; label: The “Panpot”
title: 10.2; label: The World of Non-Real Time
title: 10.3; label: The Mixdown
title: 10.4; label: Basic Rules of Microphone Usage
title: 10.5; label: Directional Patterns
title: 10.5; label: Microphone Random Energy Efficiency
title: 10.6; label: Microphone Distance Factor
title: 10.6; label: The “Two-to-One” Ratio
title: 10.6; label: The “Three-to-One” Rule
title: 10.7; label: Microphone Sensitivity and Sound Pressure Levels
title: 10.7; label: Multiple-Microphone Concepts
title: 10.8; label: Multiple Stereo Overlays
title: 10.8; label: Multiple-Microphone Stereo
title: 10.1; label: Placement of Spot Microphones
title: 10.12; label: Creating the Illusion
title: 10.13; label: Selection of Microphones
title: 10.14; label: Placement of Microphones
title: 10.15; label: USING THE NULLS
title: 10.15; label: One from Many
title: 10.15; label: Pseudostereo
title: 11.1; label: Pseudostereo by Frequency Response Differences
title: 11.1; label: Pseudostereo by Reverberation Chamber
title: 11.3; label: Pseudostereo by Signal Delay
title: 11.4; label: Pseudostereo by Complementary Comb Filters
title: 11.4; label: Pseudostereo by Phase Shifting
title: 11.6; label: Auditory Spaciousness
title: 12.1; label: Definition vs. Auditory Spaciousness
title: 12.1; label: Delayed Sound and Spatial Impression
title: 12.2; label: Reverberation and Spaciousness
title: 12.2; label: Spaciousness in Mono
title: 12.3; label: Spatial Impression by Lateral Reflections
title: 12.4; label: Spaciousness, a Psychoacoustical Effect
title: 12.4; label: Reflection Level and Spaciousness
title: 12.4; label: Reflection Spectrum and Spaciousness
title: 12.5; label: The Time Window of Spaciousness
title: 12.5; label: Designing for Spaciousness
title: 12.7; label: Perception of Distance to Source
title: 12.7; label: Multi-Dimensional and Surround Sound Systems
title: 13.1; label: Introduction
title: 13.1; label: “Fantasound”
title: 13.2; label: Three-Channel Stereo
title: 13.2; label: Rear-Channel Sound
title: 13.3; label: Four-Channel Surround System
title: 13.5; label: Matrixed Quad Systems
title: 13.6; label: Surround Sound and Ambience Enhancement Systems
title: 13.8; label: Audio-Follow-Video
title: 13.9; label: How Many Channels Are Enough?
title: 13.1; label: How Many Channels Do We Really Need?
title: 13.11; label: Ambisonics
title: 13.12; label: Ambisonic Playback
title: 13.15; label: SoundField Microphone and 5.1 Surround
title: 13.18; label: Binaural Systems Revisited
title: 13.21; label: Production Techniques for Surround Sound
title: 13.21; label: What to Put into the Center Channel
title: 13.21; label: What to Put into the LFE Channel
title: 13.22; label: Ambience Recording
title: 13.23; label: Enhanced Ambience Recording
title: 13.24; label: Localization in Surround Sound Recordings
title: 13.25; label: Surround Sound and the Illusion of Reality
title: 13.26; label: Optimizing the Listening Environment
title: 14.1; label: Confinement of Sound in an Enclosure
title: 14.2; label: Axial Mode Resonances
title: 14.3; label: Tangential and Oblique Modes
title: 14.5; label: Low Frequency Sound Absorbers
title: 14.6; label: Mid-High Frequency Region and Delay Effects
title: 14.8; label: Reflections on and in the Listening Room
title: 14.8; label: Reflections and the Auditory System
title: 14.9; label: Effect of Early Reflections
title: 14.1; label: Diffusion of Sound
title: 14.1; label: Stereo Geometry
title: 14.11; label: Low-Frequency Reflections from Nearby Surfaces
title: 14.12; label: Size of the Listening Area
title: 14.13; label: Room treatment: low-frequency region
title: 14.13; label: Room Treatment: Mid-High Frequency Region
title: 14.14; label: Summary
title: 14.16; label: British Patent Specification No. 394,325 by A.D. Blumlein
title: A.1; label: Introduction
title: A.1; label: Improving the Spatial Illusion
title: A.1; label: Spatial Perception
title: A.1; label: Microphone Techniques
title: A.2; label: Surround Sound
title: A.2; label: The Stereo Phonograph Record
title: A.2; label: Stereo Radio Transmission
title: A.2; label: Acknowledgment
title: A.2; label: British Patent # 394,325
title: A.3; label: Application Date: Dec. 14, 1931
title: A.3; label: Complete Accepted: June 14, 1933
title: A.3; label: Complete Specifications
title: A.3; label: Improvements in and relating to Sound-transmission, Sound-recording and Sound-reproducing **Systems
title: A.3; label: Glossary
title: G.1