Recording Studio Design, Fourth Edition explains the key principles of successful studio design and construction using straightforward language and the use of practical examples appreciated by readers of previous editions. Updated to reflect new industry standards, this fourth edition addresses improvements in cinema sound, with specific attention paid to B-chain electroacoustic response and calibration.

Using over 50 years’ experience, author Philip Newell provides detail on the practical aspects of recording in various environments, not only exploring the complex issues relating to the acoustics but also providing real-world solutions. While the book contains detailed discussions about performing rooms, control rooms, and mobile studios, concepts of the infrastructures are also discussed, because no studio can perform optimally unless the technical and human requirements are adequately provided for. In this new edition, sound for cinema provides a platform for highlighting many, wider electroacoustic topics in a way that is relatively easy to visualise. The way in which sound and vision interact is an important aspect of many modern multimedia formats.

The new edition includes:

  • A new Chapter 22 that will thoroughly reflect recently published SMPTE investigations which will drastically impact standards for cinema sound;
  • The inclusion of new academic research and its practical applications;
  • An entire new illustrated chapter on room construction principles; and
  • The consolidation of ideas which were only emerging when the earlier editions were published.

chapter One|12 pages

General Requirements and Common Errors

chapter Two|20 pages

Sound, Decibels and Hearing

chapter Three|46 pages

Sound Isolation

chapter Four|46 pages

Room Acoustics and Means of Control

chapter Five|49 pages

Designing Neutral Rooms

chapter Six|45 pages

Rooms with Characteristic Acoustics

chapter Seven|15 pages

Variable Acoustics

chapter Eight|29 pages

Room Combinations and Operational Considerations

chapter Nine|19 pages

The Studio Environment

chapter Ten|19 pages

Limitations to Design Predictions

chapter Eleven|38 pages

Loudspeakers in Rooms

chapter Tweleve|22 pages

Flattening the Room Response

chapter Thirteen|27 pages

Control Rooms

chapter Fourteen|22 pages

The Behaviour of Multiple Loudspeakers in Rooms

chapter Fifteen|14 pages

Studio Monitoring: The Principal Objectives

chapter Sixteen|30 pages

The Non-Environment Control Room

chapter Seventeen|8 pages

The Live-End, Dead-End Approach ∗

chapter Nineteen|41 pages

Objective Measurement and Subjective Evaluations

chapter Twenty|45 pages

Studio Monitoring Systems

chapter Twenty One|36 pages

Surround Sound and Multi-Channel Control Rooms

chapter Twenty Two|62 pages

Dubbing Theatres and Cinema Sound

chapter Twenty Three|26 pages

A Mobile Control Room

chapter Twenty Four|14 pages


chapter Twenty Five|17 pages

Main Supplies and Earthing Systems

chapter Twenty Six|15 pages

Analogue Audio Interfacing

chapter Twenty Seven|25 pages

A Pictorial Representation of a Studio Construction

chapter Twenty Eight|8 pages

Human Factors