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| Table of Contents | |
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| Preface | |
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| Colophon | |
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| Dedication | |
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| Introduction | |
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| A Brief History | |
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| Montoring | |
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| Introduction | |
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| How monitoring affects the mix | |
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| Full range monitoring | |
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| Spatial balance | |
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| Room acoustics for multichannel sound | |
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| Choice of monitor loudspeakers | |
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| A standardized setup, the ITU solution | |
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| Left and right | |
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| Surround | |
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| Subwoofer | |
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| Setting up the loudspeaker locations with 3 pieces of string | |
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| Setup compromises | |
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| Center | |
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| Left and right | |
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| Surround | |
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| Subwoofer | |
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| Setup variations | |
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| Use of surround arrays | |
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| Surround loudspeaker directivity | |
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| Square Array | |
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| Near Field Monitoring | |
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| Time adjustment of the loudspeaker feeds | |
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| Low Frequency Enhancement--the 0.1 channel | |
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| Film roots | |
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| Headroom on the medium | |
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| Digital Film Sound enters the picture | |
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| Bass management or redirection | |
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| Digital Television comes along | |
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| Home reproduction | |
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| 0.1 for music? | |
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| The bottom line | |
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| Calibrating the monitor system: frequency response | |
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| A choice of standardized response | |
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| Calibrating the monitor system: level | |
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| Multichannel Microphone Technique | |
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| Introduction | |
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| Pan Pot Stereo | |
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| Spaced Omnis | |
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| Coincident and Near-Coincident Techniques | |
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| Crossed Figure 8 | |
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| M-S Stereo | |
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| X-Y Stereo | |
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| Near-Coincident Technique | |
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| Binaural | |
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| Spot Miking | |
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| Point of View in Multichannel | |
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| Use of the Standard Techniques in Multichannel | |
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| Simultaneous 2- and 5-channel Recording | |
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| Surround Technique | |
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| Microphone Technique for the Direct/Ambient Approach | |
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| Microphone Technique for the Direct Sound Approach | |
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| Special Microphones for 5.1-channel Recordings | |
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| Combinations of Methods | |
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| Multichannel Mixing | |
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| Introduction | |
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| Mechanics | |
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| Panners | |
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| Work arounds for 2-channel oriented equipment | |
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| Panning law | |
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| The art of panning | |
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| Non-standard Panning | |
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| Panning in live presentations | |
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| A major panning error | |
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| Increasing the "size" of a source | |
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| Equalizing multichannel | |
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| Routing multichannel in the console and studio | |
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| Track layout of masters | |
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| Double-system delivery with accompanying video | |
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| Reference level for multichannel program | |
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| Fitting multichannel on digital video recorders | |
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| Multichannel monitoring electronics | |
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| Multichannel outboard gear | |
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| Delivery Formats | |
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| Introduction | |
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| New terminology | |
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| Audio coding | |
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| Cascading coders | |
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| Sample rate and word length | |
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| Inter-track synchronization | |
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| Reference level | |
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| Post-production formats | |
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| Track layout | |
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| Post-production delivery formats | |
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| Multiple streams | |
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| Metadata | |
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| Three level-setting mechanisms | |
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| Dialogue Normalization (dialnorm) | |
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| Dynamic Range Compression, DRC | |
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| Night listening | |
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| Mixlevel | |
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| Audio Production Information exists | |
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| Room Type | |
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| Dolby Surround mode switch | |
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| Downmix options | |
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| Level adjustment of film mixes | |
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| Debugging | |
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| Lip-sync and other sync problems | |
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| Reel edits or joins | |
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| Media specifics | |
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| DTS CD | |
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| Digital Television | |
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| Digital Versatile Disc | |
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| Audio on DVD-Video | |
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| DVD-Audio | |
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| Super Audio CD | |
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| Intellectual Property Protection | |
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| Toward the Future | |
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| Psychoacoustics | |
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| Introduction | |
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| Principal localization mechanisms | |
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| The Minimum Audible Angle | |
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| Bass management and LFE Pyschoacoustics | |
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| Effects of the localization mechanisms on 5.1 channel sound | |
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| The law of the first wavefront | |
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| Phantom Image Stereo | |
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| Phantom Imaging in Quad | |
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| Localization, spaciousness, and envelopment | |
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| Lessons from Concert Hall Acoustics | |
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| Rendering 5 channels over 2; Mixdown | |
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| Auralization and Auditory Virtual Reality | |
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| Beyond 5.1 | |
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| Conclusion | |
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| Sample Rate | |
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| What's Aliasing? | |
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| Definitions | |
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| Multi-Bit and One-Bit Conversion | |
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| Converter Tests | |
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| Word Length | |
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| Conversion | |
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| Dither to the rescue | |
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| Dynamic Range | |
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| Actual Performance | |
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| How Much Performance is Needed | |
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| Noise shaping | |
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| The bottom line | |
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| Analog Reference Levels related to Digital Recording | |
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| Surround Resources | |
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| Facilities Consulting | |
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| Setup and Test Materials and Equipment | |
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| Microphones | |
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| Small Format Consoles | |
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| Large Format Consoles | |
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| Systems for Live Sound | |
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| Multichannel on Digital Audio Workstations, Hardware and corresponding Software | |
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| Hardware Platform: Pro Tools | |
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| Software | |
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| Hardware Platform: Digital Audio Labs V8 | |
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| Software | |
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| Hardware Platform: Direct X, etc. | |
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| Software | |
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| Harware and Software: Sonic Solutions | |
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| 3D Sound Production Tools | |
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| Monitoring Switching Systems, Volume Controls, Controllers | |
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| Outboard Equipment | |
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| Multichannel Meters | |
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| Format Encoders and Decoders, Hardware and Software | |
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| Headphones for 5.1 | |
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| Multichannel Power Amplifiers | |
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| Upmixing Facilities | |
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| Organizations | |
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| Index | |