Room Acoustics
Ian SinclairThe reproduction of natural instrumental sound begins with microphones, but the behavior
of microphones cannot be separated from the acoustics of the studio. Ian Sinclair shows
here the principles and practices of studio acoustics as used today.
29.1 Introduction
Over the past few years the performance, sophistication, and quality of the recording
medium and ancillary hardware and technology have advanced at a considerable rate. The
50- to 60-dB dynamic range capability of conventional recording and disc technology
suddenly has become 90 to 100 dB with the introduction of digital recording and the
domestic digital compact disc (CD). In the foreseeable future a dynamic range of 110 d B
could well become commonplace for digital mastering.
The increased dynamic range, coupled with other advances in loudspeaker and amplifi er
technology, now means that audio, broadcast, and hi-fi systems can offer a degree of
resolution and transparency to the domestic market today that was unachievable only a
few years ago, even with the best professional equipment.
The acoustic environments of the studios in which the majority of the recordings or
broadcasts originate from have become correspondingly more critical and important.
Recordings can no longer be made in substandard environments. Control rooms and
studios exhibiting an uneven or colored acoustic response or too high a level of ambient
noise, which previously could be lost or masked by traditional analogue recording
process, can no longer be tolerated. The transparency of the digital or FM broadcast
medium immediately highlights such defi ciencies.
CHAPTER 29