1 IntroductionFigure I.1. Some digital audio workstations (DAWs) –Figure I.2. The first portable tape player (Sony TPS-L2 – 1979) and the MP3 play...Figure I.3. An example of a home studio – source: thomann.de. For a color versio...

      2 Chapter 1Figure 1.1. The Urei 1176 LN studio compressorFigure 1.2. Attack and release during compressionFigure 1.3. The shape of the compression curve as a function of the knee settingFigure 1.4. The influence of the rotation pointFigure 1.5. A DBX 1231 2 x 31 band graphic equalizerFigure 1.6. A Tube-Tech PE1C parametric equalizerFigure 1.7. The Aphex EQF 500 semi-parametric equalizerFigure 1.8. The first EMT 250 digital reverberator, dating from 1976Figure 1.9. The first convolution reverb, Sony DRE-S777Figure 1.10. A magnetic tape reverb, Roland Space Echo RE-201Figure 1.11. The main parameters of the reverberationFigure 1.12. The SPL 9629 studio de-esserFigure 1.13. Schematic diagram of a de-esserFigure 1.14. Equivalent of the de-esser with a filter and a compressor. Very oft...Figure 1.15. The principle of the expanderFigure 1.16. The DBX 1074 gate expanderFigure 1.17. The aural exciter model 602 from Aphex

      3 Chapter 2Figure 2.1. Hardware–software package for a basic configuration. DAW = Digital A...Figure 2.2. A digital microphone with a headphone output and volume control (Rod...Figure 2.3. A classic configuration combining audio interface, microphone preamp...Figure 2.4. A typical setup with a digital mixer, an effect insert, a mic preamp...Figure 2.5. Configuration of a semi-professional studio. For a color version of ...Figure 2.6. A tube preamp – Tube-Tech PM1A. You can see the three tubes on their...Figure 2.7. Two ECC82 or 12AU7 (Mullard), widely used in tube preamplifiersFigure 2.8. A transistor preamp – AMS Neve 1073N. For a color version of this fi...Figure 2.9. A hybrid preamp – Universal Audio 710 Twin-Finity. For a color versi...Figure 2.10. SPL’s Fronliner hybrid preamp (preamp, compressor, limiter, equaliz...Figure 2.11. Two audio interfaces, Universal Audio Apollo Twin X Duo and MOTU 82...Figure 2.12. The different types of USB connectors found on digital audio interf...Figure 2.13. The different types of FireWire connectorsFigure 2.14. The Thunderbolt connector (USB type C)Figure 2.15. PCIe Audio Interface, RME HDSPe AES. For a color version of this fi...Figure 2.16. An example of inputs and outputs on an MOTU 828 ES digital audio in...Figure 2.17. A headphone splitter, one input, four outputs, one volume control p...Figure 2.18. An 8-channel rackmount headphone amp with two stereo inputs (Tascam...Figure 2.19. The Hear Back Pro headphone mixing and monitoring distribution syst...Figure 2.20. A two-way crossover (Monacor DN-20). For a color version of this fi...Figure 2.21. Genelec 8040 (HP: 1” and 6.5”) and 8050 (HP: 1” and 8”) speakersFigure 2.22. A pair of Yamaha NS10-M speakersFigure 2.23. The frequency response curve of an NS10-M (source: www.soundofsound...Figure 2.24. P20-40 Schlumberger or SAF amplifierFigure 2.25. A Scientelec ORTF loudspeaker on its stand with its extractable P20...Figure 2.26. A pair of Studer A3 speakersFigure 2.27. A pair of Elipson 4240 (Ball 402 + P80 cabinet)Figure 2.28. A pair of Focal Twin6 speakersFigure 2.29. A pair of NHT M-100 speakers from 1994Figure 2.30. A pair of JBL 4310 speakers from 1973Figure 2.31. The characteristics of the JBL model 4310Figure 2.32. Adam Audio A3X speakersFigure 2.33. Genelec 7050 CPM subwoofer (130 W to 24 to 120 Hz to 8” speaker)Figure 2.34. Schematic of the correct placement of a pair of proximity speakersFigure 2.35. The Yamaha A100 amplifierFigure 2.36. The Studer A68 amplifierFigure 2.37. The Amcron DC 300A amplifierFigure 2.38. The Amcron D-75 amplifierFigure 2.39. The Yamaha PX3 amplifierFigure 2.40. Mackie’s Big Knob passive controllerFigure 2.41. SPL’s Crimson 3-active controller. For a color version of this figu...Figure 2.42. Dangerous D-box controller (front and back). For a color version of...

      4 Chapter 3Figure 3.1. Green area for correct microphone placement. For a color version of ...Figure 3.2. Placements to limit reflections with a cardioid microphone. For a co...Figure 3.3. Usable locations with a bidirectional microphone. For a color versio...Figure 3.4. Two removable acoustic panels (gobos) behind a microphone. For a col...Figure 3.5. Correct placements for acoustic panels (blue) with an omnidirectiona...Figure 3.6. Second solution for correct placement of acoustic panels (blue) with...Figure 3.7. Solution for correct placement of acoustic panels (blue) with a card...Figure 3.8. Solution for correct placement of acoustic panels (blue) with a bidi...Figure 3.9. A simulation of a booth with three acoustic panels. For a color vers...Figure 3.10. Some cleats of different sectionsFigure 3.11. Manufacture of the frames with the help of bracketsFigure 3.12. Acoustic absorbent cotton in rolls (Metisse) and acoustic rock wool...Figure 3.13. Placing the absorbent panel in the frameFigure 3.14. Back of frame with stapled fabric. For a color version of this figu...Figure 3.15. Placing the back. For a color version of this figure, see www.iste....Figure 3.16. Assembly of the two panels with hinges. For a color version of this...Figure 3.17. A standing panel. For a color version of this figure, see www.iste....Figure 3.18. Swivel feet attached to the base of a frame. For a color version of...Figure 3.19. Using a sound barrier (SE Electronics)Figure 3.20. A cardioid condenser microphone placed within a sound screen (Vicou...Figure 3.21. The Audio Technica AT2020 USB microphoneFigure 3.22. Frequency response curve of the Neumann U87, top, and the Rode nTi,...Figure 3.23. A Neumann U87 microphone and its spider-like suspensionFigure 3.24. A pop filter in front of a condenser microphoneFigure 3.25.