{"id":1562,"date":"2019-10-07T18:29:41","date_gmt":"2019-10-07T18:29:41","guid":{"rendered":"http:\/\/alessandrofois.com\/prodotto\/home-studio-per-digital-audio-recording\/"},"modified":"2025-12-11T10:20:39","modified_gmt":"2025-12-11T10:20:39","slug":"home-studio-for-digital-audio-recording-2","status":"publish","type":"product","link":"https:\/\/alessandrofois.com\/en\/prodotto\/home-studio-per-digital-audio-recording\/","title":{"rendered":"Home Studio for Digital Audio Recording"},"content":{"rendered":"
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HOME STUDIO FOR DIGITAL AUDIO RECORDING<\/strong><\/p>\n<\/div>\n

\n

Home Studio Setup Guide: Acoustics, Setup, Equipment, Know-How<\/b><\/span><\/h2>\n

A guide to creating and setting up a home studio for professional results. Basic sound engineering knowledge, acoustics, equipment, setup, settings, and tips.<\/b><\/p>\n

Format 21 x 29 cm (A4) \u2013 Pages 428 \u2013 More than 180 illustrations with captions<\/strong><\/p>\n

***<\/p>\n<\/div>\n

\n

INDEX<\/h2>\n

Preface<\/p>\n

Part 1 \u2013 BASIC CULTURE<\/b><\/h3>\n

01 \u2013 SOUND AND WAVEFORM<\/b><\/h2>\n

Sounds<\/p>\n

Noises<\/p>\n

Waveform, phase and phase problems<\/p>\n

The sound wave<\/p>\n

Harmonic motion<\/p>\n

Wave superposition and phasing<\/p>\n

Polarity reversal<\/p>\n

Time lag<\/p>\n

Harmonic Generation<\/p>\n

The Hammond organ drawbars<\/p>\n

The beat<\/p>\n

Tartini's Third Sound<\/p>\n

Composite resultant wave<\/p>\n

Phase problems during recording and mixing<\/p>\n

Chorus via time shift (delay)<\/p>\n

02 \u2013 MUSICAL SOUND PARAMETERS<\/b><\/h2>\n

Height<\/p>\n

Stamp<\/p>\n

Stamp components<\/p>\n

Manipulation of the stamp<\/p>\n

Intensity<\/p>\n

Dynamics<\/p>\n

Dynamic excursion<\/p>\n

Average dynamics and average intensity<\/p>\n

Lufs<\/p>\n

Dynamic variation within a single sound<\/p>\n

Envelope<\/p>\n

ADSR<\/p>\n

Attack<\/p>\n

Decay<\/p>\n

Sustain<\/p>\n

Release<\/p>\n

The synthesizer<\/p>\n

Waveforms in sound synthesis<\/p>\n

03 \u2013 PROPAGATION AND USE OF SOUND<\/b><\/h2>\n

Speed of sound and wavelength<\/p>\n

Sound propagation and obstacles<\/p>\n

Echo<\/p>\n

Reverb<\/p>\n

Spatiality<\/p>\n

Sound directivity simulation<\/p>\n

Monophony<\/p>\n

Stereophony<\/p>\n

Quadraphony<\/p>\n

Surround<\/p>\n

Octophony and point systems<\/p>\n

Presence and proximity<\/p>\n

Perception of volume and sustain<\/p>\n

Ideal volume for critical listening<\/p>\n

Sound level meter<\/p>\n

04 \u2013 ANALOG AND DIGITAL<\/b><\/h2>\n

High definition digital<\/p>\n

Comparison of definition and dynamics in recording<\/p>\n

The sampling<\/p>\n

Bits and dynamics<\/p>\n

The quality audio chain<\/p>\n

Aliasing<\/p>\n

Signal levels<\/p>\n

The analog signal<\/p>\n

The digital signal<\/p>\n

The limits of the floating point<\/p>\n

The Montgomery test<\/p>\n

The sound<\/p>\n

The future of digital<\/p>\n

A personal opinion<\/p>\n

05 \u2013 THE VALUE OF MUSIC<\/b><\/h2>\n

Purpose of music nowadays<\/p>\n

Filling underlay<\/p>\n

Game support<\/p>\n

Narrative support<\/p>\n

The abstract narration of music<\/p>\n

The growth of awareness<\/p>\n

Music Influences and Classifications<\/p>\n

Popular, classical, commercial music<\/p>\n

Ethno-geographical and historical-cultural influence<\/p>\n

The technological revolution in music<\/p>\n

Globalizing and liberalist influence<\/p>\n

06 \u2013 THE MUSICAL ELEMENTS<\/b><\/h2>\n

Technical analysis of musical elements<\/p>\n

Melody<\/p>\n

Keys, modes, scales and intervals<\/p>\n

Diatonic system and chromaticism, comma, cent, tuning<\/p>\n

Harmony and chords<\/p>\n

Rhythm and groove<\/p>\n

Dynamics, punctuation, bearing<\/p>\n

Themes, structures and styles<\/p>\n

Arrangement and orchestration<\/p>\n

Critical listening<\/p>\n

Part 2 \u2013 ACOUSTICS AND SETTING<\/b><\/h3>\n

07 \u2013 CHOICE OF LOCATION<\/b><\/h2>\n

Limitations of the home studio<\/p>\n

The rooms<\/p>\n

Acoustic recording room<\/p>\n

Control room<\/p>\n

Single or double room<\/p>\n

Ideal proportions and dimensions of the studio<\/p>\n

Rooms with unsuitable shape and size<\/p>\n

Control room orientation<\/p>\n

08 \u2013 SOUND INSULATION<\/b><\/h2>\n

Purpose of sound insulation<\/p>\n

First: Do not disturb<\/p>\n

Second: Don't get disturbed<\/p>\n

Third: isolate the rooms from each other<\/p>\n

How to proceed with soundproofing the studio<\/p>\n

Floating floor<\/p>\n

Floating side counter walls \u2013 long side<\/p>\n

Splaying of the walls<\/p>\n

Floating false walls front and back \u2013 short side<\/p>\n

Suspended false ceiling<\/p>\n

The dividing wall between the control room and the recording room<\/p>\n

Insulation and acoustic optimization, common remedies<\/p>\n

Final considerations<\/p>\n

Insulating cabins<\/p>\n

Movable partition panels<\/p>\n

Soundproof doors<\/p>\n

09 \u2013 ACOUSTICS AND STUDIO SETUP<\/b><\/h2>\n

The path of sound<\/p>\n

Propagation<\/p>\n

Obstacles<\/p>\n

Standing waves<\/p>\n

Calculating the basic modal resonance<\/p>\n

Axial, tangential and oblique modal resonances<\/p>\n

Modal multiples<\/p>\n

Schroeder frequency<\/p>\n

Calculate all modal resonances<\/p>\n

Frequency response analysis<\/p>\n

The large rooms<\/p>\n

Critical distance<\/p>\n

Echo and flutter echo<\/p>\n

Acoustic Troubleshooting<\/p>\n

Room selection<\/p>\n

Flutter echo elimination<\/p>\n

Elimination of early reflections<\/p>\n

General bass reduction<\/p>\n

Selective bass reduction<\/p>\n

Diffusion and homogenization of the mids and highs<\/p>\n

Reverberation time optimization<\/p>\n

Using EQ for acoustic correction<\/p>\n

Standing Waves and Drum Tuning<\/p>\n

Visual communication between rooms<\/p>\n

Intercom for sound communication between rooms<\/p>\n

10 \u2013 MONITORS AND MONITORING<\/b><\/h2>\n

The main monitor speakers<\/p>\n

The subwoofer<\/p>\n

Alternative monitors<\/p>\n

Positioning of the listening point and monitors<\/p>\n

Stereo image<\/p>\n

General criteria<\/p>\n

Modal nodes and listening point<\/p>\n

First retrospective reflection<\/p>\n

Early lateral reflections and comb filter<\/p>\n

Subwoofer placement and calibration<\/p>\n

Some advice<\/p>\n

Environmental equalization<\/p>\n

Linearity check with musical notes<\/p>\n

Critical listening volume during monitoring<\/p>\n

Critical evaluation of low frequencies<\/p>\n

Medium mix test<\/p>\n

Monitoring for the recording room<\/p>\n

The speakers for the main room<\/p>\n

Monitors for communication<\/p>\n

Auxiliary lines for monitoring<\/p>\n

Headphone preamplifiers<\/p>\n

The connection panels<\/p>\n

Headphones<\/p>\n

How to proceed<\/p>\n

Pre or post fader monitoring<\/p>\n

Managing latency<\/p>\n

11 \u2013 WIRING AND AUDIO SIGNAL<\/b><\/h2>\n

The acoustic signal<\/p>\n

The acoustic transducer<\/p>\n

The electroacoustic signal<\/p>\n

Balanced and unbalanced conductors<\/p>\n

Electromagnetic disturbances and shielded cables<\/p>\n

Balanced line cables<\/p>\n

Unbalanced line cables<\/p>\n

Balanced and unbalanced stereo cables<\/p>\n

Hardware processors, amplifiers and speakers<\/p>\n

Preamplifier inputs<\/p>\n

Micro<\/p>\n

Line<\/p>\n

Instrument<\/p>\n

Signal levels<\/p>\n

Noise level<\/p>\n

Attendance band<\/p>\n

Nominal level<\/p>\n

Headroom band<\/p>\n

Distortion and clipping level<\/p>\n

The gain levels to use in the preamplifier<\/p>\n

Part 3 \u2013 EQUIPMENT<\/b><\/h3>\n

12 \u2013 COMPUTERS AND PERIPHERALS<\/b><\/h2>\n

CPU and DSP<\/p>\n

Ram<\/p>\n

HD, SSD, RAID<\/p>\n

Fine-tuning your computer settings<\/p>\n

Updates<\/p>\n

Energy<\/p>\n

Archive indexing<\/p>\n

Journaling<\/p>\n

Multitasking<\/p>\n

13 \u2013 DAW AND CONVERTERS<\/b><\/h2>\n

DAW Settings<\/p>\n

H\/W Buffer size<\/p>\n

Host processor<\/p>\n

Usage limit<\/p>\n

Delay compensation engine<\/p>\n

Cache Size (Pro Tools)<\/p>\n

Disk cache<\/p>\n

The most useful plugins for the DAW<\/p>\n

Time adjuster<\/p>\n

Stereo Phase Correlation Viewer<\/p>\n

Gain<\/p>\n

Equalizer<\/p>\n

Single-band compressor<\/p>\n

Multiband compressor<\/p>\n

Reverb<\/p>\n

Echo\/Delay<\/p>\n

Exciter<\/p>\n

Saturator<\/p>\n

Inflator<\/p>\n

Metering<\/p>\n

Analyzers<\/p>\n

Generators<\/p>\n

14 \u2013 MICROPHONES<\/b><\/h2>\n

A little history<\/p>\n

The transducers<\/p>\n

Dynamic microphone<\/p>\n

Ribbon microphone<\/p>\n

Condenser microphone<\/p>\n

Tube microphone<\/p>\n

The membrane<\/p>\n

Shooting angle and polar diagram<\/p>\n

Dual-diaphragm microphones<\/p>\n

Frequency response<\/p>\n

Impedance<\/p>\n

Sensitivity<\/p>\n

Dynamic space<\/p>\n

Dynamic speed<\/p>\n

Distortion and electromechanical resistance<\/p>\n

Choosing a microphone park<\/p>\n

Some suggestions<\/p>\n

15 \u2013 PREAMPLIFIERS<\/b><\/h2>\n

Input<\/p>\n

Micro<\/p>\n

Line<\/p>\n

Instrument<\/p>\n

Controls<\/p>\n

Input selector<\/p>\n

Phantom<\/p>\n

Pad<\/p>\n

Micro impedance selector<\/p>\n

Line level selector<\/p>\n

Input gain<\/p>\n

Input level LEDs<\/p>\n

High-pass filter<\/p>\n

Output gain<\/p>\n

Output level LEDs<\/p>\n

Output<\/p>\n

16 \u2013 OTHER EQUIPMENT<\/b><\/h2>\n

Mixer and controller<\/p>\n

Analog Outboards<\/p>\n

MIDI system, interface, musical keyboard<\/p>\n

Virtual instruments and grooves<\/p>\n

Plugin format<\/i><\/p>\n

General Music Format and Sound Libraries<\/i><\/p>\n

Grooves<\/i><\/p>\n

Microphone stands and supports<\/p>\n

Cables<\/p>\n

Furnishings<\/p>\n

Toolbox<\/p>\n

CONCLUSION<\/b><\/h3>\n

Know-how<\/i><\/p>\n

The sound engineer and the artistic director<\/i><\/p>\n

In conclusion<\/i><\/p>\n

Further information<\/i><\/p>\n

Publications<\/i><\/p>\n

How to buy<\/i><\/p>\n

Book conventions<\/i><\/p>\n

Services<\/i><\/p>\n

Seminars and partnerships<\/i><\/p>\n

Copyright<\/i><\/p>\n

Information and licenses<\/i><\/p>\n<\/div>\n<\/section>\n<\/div>","protected":false},"excerpt":{"rendered":"

You\u2019ll make significant savings by buying here on the author\u2019s website rather than on Amazon<\/strong><\/h3>\n
\n

HOME STUDIO FOR DIGITAL AUDIO RECORDING<\/strong><\/h3>\n

\u201cAudio Engineering \u2013 Audio Manuals for the Sound Engineer\u201d Series \u2013 Volume 5<\/p>\n

A guide to creating and setting up a home studio for professional results.<\/p>\n

Basic knowledge of sound engineering, acoustics, equipment, setup, settings, and advice.<\/p>","protected":false},"featured_media":1563,"comment_status":"open","ping_status":"closed","template":"","meta":[],"product_brand":[],"product_cat":[69,70],"product_tag":[],"class_list":["post-1562","product","type-product","status-publish","has-post-thumbnail","product_cat-libri","product_cat-libri-e-manuali-di-audio","first","instock","sale","purchasable","product-type-simple"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product\/1562","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product"}],"about":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/types\/product"}],"replies":[{"embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/comments?post=1562"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/media\/1563"}],"wp:attachment":[{"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/media?parent=1562"}],"wp:term":[{"taxonomy":"product_brand","embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product_brand?post=1562"},{"taxonomy":"product_cat","embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product_cat?post=1562"},{"taxonomy":"product_tag","embeddable":true,"href":"https:\/\/alessandrofois.com\/en\/wp-json\/wp\/v2\/product_tag?post=1562"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}