| Contents | ||
| Introduction | xiii | |
| Forward | xv | |
| Early Stereophonics | 1.1 | |
| The First Stereo | 1.3 | |
| Stereo in the 1930s | 1.4 | |
| Blumlein’s Contributions | 1.5 | |
| Fletcher’s Work at Bell Laboratories | 1.5 | |
| How Stereo Information Is Conveyed | 2.1 | |
| The Monophonic System | 2.4 | |
| The Stereophonic System | 2.5 | |
| Intensity Effects in Stereo | 2.8 | |
| Time Effects in Stereo | 2.12 | |
| Interaural Coherence | 2.15 | |
| Spaciousness | 2.16 | |
| Stereo and the Auditory System | 3.1 | |
| Subjective/Objective Distinctions | 3.1 | |
| Structure of the Ear | 3.2 | |
| The Pinna | 3.4 | |
| The Auditory Canal | 3.4 | |
| The Middle Ear | 3.5 | |
| The Inner Ear | 3.5 | |
| Masking and the Auditory Filters | 3.6 | |
| Binaural Unmasking | 3.7 | |
| Perceptual Space | 3.9 | |
| Binaural Unmasking vs. Frequency | 3.1 | |
| Understanding Speech in High Background Noise | 3.11 | |
| Transfer Functions | 3.12 | |
| Effects of Reflected Sound | 3.13 | |
| The Law of the First Wavefront | 3.15 | |
| Echoes | 3.16 | |
| Effect of Reflections on Music and Speech | 3.16 | |
| Localization of Sound in the Median Plane | 3.17 | |
| Philosophical and Pragmatic Approaches to Stereo | 4.1 | |
| Fundamental Decisions | 4.1 | |
| The Five W’s | 4.1 | |
| Recreating an Event | 4.2 | |
| Creating a New Event | 4.2 | |
| The Listener’s Perspective | 4.3 | |
| The “Two by Two” Matrix | 4.3 | |
| Technical Considerations | 4.4 | |
| Amplitude | 4.4 | |
| Dynamics | 4.5 | |
| Phase | 4.5 | |
| Spectrum | 4.5 | |
| Distortion | 4.5 | |
| Recording Formats | 4.6 | |
| Sonic and Visual Images | 4.7 | |
| The “Law of Compromises” | 4.7 | |
| Two-Microphone Stereo Techniques | 5.1 | |
| Inverse Square Law | 5.1 | |
| The Monophonic Sound System | 5.2 | |
| The Conventional Stereo System | 5.3 | |
| The “Phantom Center” Image | 5.4 | |
| Phantom Stereo Imaging | 5.6 | |
| The “Hole in the Middle” Effect | 5.7 | |
| Reverberation | 5.8 | |
| Critical Distance | 5.9 | |
| Reverberation in Mono vs. Stereo | 5.9 | |
| Basic Stereo Perspectives vs. Multiple-Microphone Systems | 5.1 | |
| “Super Stereo” | 5.1 | |
| Binaural Recording and Reproduction | 6.1 | |
| Requirements of the Dummy Head | 6.4 | |
| Dummy Head Recording | 6.4 | |
| Binaural Reproduction by Headphones | 6.5 | |
| Binaural Reproduction via Loudspeakers | 6.6 | |
| Avoiding Crosstalk with Headphones | 6.7 | |
| Avoiding Crosstalk with a Barrier | 6.8 | |
| Cancellation of Crosstalk Electronically | 6.8 | |
| The Promise of Super-Stereo Electronics | 6.9 | |
| Dummy Head Developments | 6.11 | |
| Informal Approaches to Dummy Heads | 6.11 | |
| The Neumann Head | 6.12 | |
| The Kemar Manikin | 6.12 | |
| The Aachen Head | 6.13 | |
| The B&K Head and Torso Simulator | 6.14 | |
| A Ghostly Dummy Head | 6.15 | |
| Quasi-Binaural Devices | 6.15 | |
| Binaural Sound Processing | 6.16 | |
| Marketing of Binaural Audio | 6.16 | |
| Coincident-Microphone Stereo Techniques | 7.1 | |
| Introduction | 7.1 | |
| Intensity Stereo | 7.1 | |
| Monophonic Compatibility | 7.2 | |
| The “Blumlein” Technique | 7.2 | |
| Bidirectional Microphones | 7.3 | |
| Absolute Polarity | 7.4 | |
| Blumlein Stereo | 7.5 | |
| Other Polar Patterns | 7.9 | |
| XY Stereo Techniques | 7.12 | |
| Matching the Microphones | 7.13 | |
| The Mid/Side Technique | 7.14 | |
| Advantages of the M/S Technique | 7.17 | |
| Criticisms of Coincident Stereophony | 7.22 | |
| Subjective Evaluation | 7.23 | |
| Audibility of Reflections | 8.1 | |
| Effects of Reflected Sound | 8.1 | |
| Threshold Perceptions | 8.2 | |
| Audibility of Reflections of Different Signals | 8.3 | |
| Audibility and Reflection Angle | 8.4 | |
| Audibility and Reflection Spectrum | 8.5 | |
| Audible Effects of Reflected Sounds | 8.5 | |
| What Is a Comb Filter? | 8.6 | |
| Tonal Signals and Comb Filters | 8.7 | |
| Combing of Music and Speech Signals | 8.8 | |
| Combing of Direct and Reflected Sound | 8.9 | |
| Comb Filters and Critical Bands | 8.12 | |
| Coloration and Spaciousness | 8.14 | |
| Combing in Stereo Microphone Pickups | 8.14 | |
| Common Comb Filter Sources | 8.15 | |
| Comb Filters in Stereo Listening | 8.16 | |
| Spaced Microphone Stereo Techniques | 9.1 | |
| Introduction | 9.1 | |
| Near-Coincident Microphone Arrays | 9.1 | |
| The O.R.T.F. Technique | 9.2 | |
| The N.O.S. Technique | 9.3 | |
| The OSS Technique | 9.3 | |
| The Stereo Ambient Sampling System | 9.5 | |
| Arrangement of Microphones | 9.5 | |
| Widely Spaced Microphones | 9.5 | |
| Lateral Imaging | 9.6 | |
| Phase-Related Problems | 9.9 | |
| Observing Stereo Phase Relationships Using an XY | ||
| Oscilloscope and Lissajous Patterns | 9.9 | |
| Spaced Omnidirectional Microphones | 9.11 | |
| Spaced Directional Microphones | 9.12 | |
| More about Interference Problems | 9.13 | |
| The “Decca Tree” | 9.14 | |
| Two New Species of the Decca Tree | 9.16 | |
| Flanking and Widely Spaced Microphones | 9.17 | |
| Multi-Microphone Techniques | 10.1 | |
| Introduction | 10.1 | |
| Intensity Stereo Revisited | 10.1 | |
| The “Panpot” | 10.2 | |
| The World of Non-Real Time | 10.3 | |
| The Mixdown | 10.4 | |
| Basic Rules of Microphone Usage | 10.5 | |
| Directional Patterns | 10.5 | |
| Microphone Random Energy Efficiency | 10.6 | |
| Microphone Distance Factor | 10.6 | |
| The “Two-to-One” Ratio | 10.6 | |
| The “Three-to-One” Rule | 10.7 | |
| Microphone Sensitivity and Sound Pressure Levels | 10.7 | |
| Multiple-Microphone Concepts | 10.8 | |
| Multiple Stereo Overlays | 10.8 | |
| Multiple-Microphone Stereo | 10.1 | |
| Placement of Spot Microphones | 10.12 | |
| Creating the Illusion | 10.13 | |
| Selection of Microphones | 10.14 | |
| Placement of Microphones | 10.15 | |
| USING THE NULLS | 10.15 | |
| One from Many | 10.15 | |
| Pseudostereo | 11.1 | |
| Pseudostereo by Frequency Response Differences | 11.1 | |
| Pseudostereo by Reverberation Chamber | 11.3 | |
| Pseudostereo by Signal Delay | 11.4 | |
| Pseudostereo by Complementary Comb Filters | 11.4 | |
| Pseudostereo by Phase Shifting | 11.6 | |
| Auditory Spaciousness | 12.1 | |
| Definition vs. Auditory Spaciousness | 12.1 | |
| Delayed Sound and Spatial Impression | 12.2 | |
| Reverberation and Spaciousness | 12.2 | |
| Spaciousness in Mono | 12.3 | |
| Spatial Impression by Lateral Reflections | 12.4 | |
| Spaciousness, a Psychoacoustical Effect | 12.4 | |
| Reflection Level and Spaciousness | 12.4 | |
| Reflection Spectrum and Spaciousness | 12.5 | |
| The Time Window of Spaciousness | 12.5 | |
| Designing for Spaciousness | 12.7 | |
| Perception of Distance to Source | 12.7 | |
| Multi-Dimensional and Surround Sound Systems | 13.1 | |
| Introduction | 13.1 | |
| “Fantasound” | 13.2 | |
| Three-Channel Stereo | 13.2 | |
| Rear-Channel Sound | 13.3 | |
| Four-Channel Surround Systems | 13.5 | |
| Matrixed Quad Systems | 13.6 | |
| Surround Sound and Ambience Enhancement Systems | 13.8 | |
| Audio-Follow-Video | 13.9 | |
| How Many Channels Are Enough? | 13.1 | |
| How Many Channels Do We Really Need? | 13.11 | |
| Ambisonics | 13.12 | |
| Ambisonic Playback | 13.15 | |
| SoundField Microphone and 5.1 Surround | 13.18 | |
| Binaural Systems Revisited | 13.21 | |
| Production Techniques for Surround Sound | 13.21 | |
| What to Put into the Center Channel | 13.21 | |
| What to Put into the LFE Channel | 13.22 | |
| Ambience Recording | 13.23 | |
| Enhanced Ambience Recording | 13.24 | |
| Localization in Surround Sound Recordings | 13.25 | |
| Surround Sound and the Illusion of Reality | 13.26 | |
| Optimizing the Listening Environment | 14.1 | |
| Confinement of Sound in an Enclosure | 14.2 | |
| Axial Mode Resonances | 14.3 | |
| Tangential and Oblique Modes | 14.5 | |
| Low Frequency Sound Absorbers | 14.6 | |
| Mid-High Frequency Region and Delay Effects | 14.8 | |
| Reflections on and in the Listening Room | 14.8 | |
| Reflections and the Auditory System | 14.9 | |
| Effect of Early Reflections | 14.1 | |
| Diffusion of Sound | 14.1 | |
| Stereo Geometry | 14.11 | |
| Low-Frequency Reflections from Nearby Surfaces | 14.12 | |
| Size of the Listening Area | 14.13 | |
| Room treatment: low-frequency region | 14.13 | |
| Room Treatment: Mid-High Frequency Region | 14.14 | |
| Summary | 14.16 | |
| British Patent Specification No. 394,325 by A.D. Blumlein | A.1 | |
| Introduction | A.1 | |
| Improving the Spatial Illusion | A.1 | |
| Spatial Perception | A.1 | |
| Microphone Techniques | A.2 | |
| Surround Sound | A.2 | |
| The Stereo Phonograph Record | A.2 | |
| Stereo Radio Transmission | A.2 | |
| Acknowledgment | A.2 | |
| British Patent # 394,325 | A.3 | |
| Application Date: Dec. 14, 1931 | A.3 | |
| Complete Accepted: June 14, 1933 | A.3 | |
| Complete Specifications | A.3 | |
| Improvements in and relating to Sound-transmission, | ||
| Sound-recording and Sound-reproducing Systems | A.3 | |
| Glossary | G.1 |