The Handbook of Recording Engineering is a logical outgrowth of the first two editions of Sound Recording. The ten years since the first edition have seen no slackening in the development of recording technology, and they have wit- nessed an almost phenomenal growth in the teaching of recording and audio engineering at all academic levels. The earlier editions of Sound Recording have been widely used as texts at all educational levels, and it is the author's intent in the Handbook of Recording Engineering to produce a book which is even more suited to these purposes. At the same time, the book has been organized as a true handbook, which presents of reference material in easily accessible form. a broad array The organization of the book is unique in that it progresses as the signal transmission chain itself does-from the recording venue on through the micro- phone, transmission channel, and finally to the listening environment. The first six chapters thus form a logical sequence, and the author recommends that in- structors using the Handbook follow them accordingly. Chapter One presents a discussion of acoustical fundamentals, including an introduction to some basic psychoacoustical considerations having to do with performance spaces. Chapter Two covers the basic operating principles of mi- crophones, while Chapter Three extends the discussion of microphones to cover the entire range of stereophonic imaging phenomena.

The Handbook of Recording Engineering is a logical outgrowth of the first two editions of Sound Recording. The ten years since the first edition have seen no slackening in the development of recording technology, and they have wit- nessed an almost phenomenal growth in the teaching of recording and audio engineering at all academic levels. The earlier editions of Sound Recording have been widely used as texts at all educational levels, and it is the author's intent in the Handbook of Recording Engineering to produce a book which is even more suited to these purposes. At the same time, the book has been organized as a true handbook, which presents of reference material in easily accessible form. a broad array The organization of the book is unique in that it progresses as the signal transmission chain itself does-from the recording venue on through the micro- phone, transmission channel, and finally to the listening environment. The first six chapters thus form a logical sequence, and the author recommends that in- structors using the Handbook follow them accordingly. Chapter One presents a discussion of acoustical fundamentals, including an introduction to some basic psychoacoustical considerations having to do with performance spaces. Chapter Two covers the basic operating principles of mi- crophones, while Chapter Three extends the discussion of microphones to cover the entire range of stereophonic imaging phenomena.