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Loudspeakers : for music recording and reproduction /

Coves the design, application and use of loudspeakers for recording and reproducing music. This book offers practical advice on the applications of different loudspeakers to the different phases of the music recording and reproduction chain

Guardado en:
Autor principal: Newell, Philip Richard
Otros Autores: Holland, Keith R.
Formato: Libro
Lenguaje:inglés
Publicado: Oxford : Elsevier, 2007.
Edición:1st ed.
Materias:
ALTAVOCES
MUSICA > ACUSTICA Y FISICA
INGENIERIA ACUSTICA
RSH
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Tabla de Contenidos:
  • Chapter 1 What is a loudspeaker?
  • 1.1 A brief look at the concept
  • 1. A little history and some background
  • 13 Some other problems 4
  • 1.4 Some basic facts 5
  • 1.4.1 Acoustic wave propagation 5
  • 1.4.2 Mechanical and acoustic impedance 7
  • 14.3 Impedance in loudspeakers 9
  • 1.5 T.he practical moving-coil cone loudspeaker 9
  • 1.5.1 The combined response 12
  • 1.6 Reistive and reactive loads 14
  • 1t7 The bigger picture 20
  • References 20
  • Bibliography 21
  • Shapter 2 Diversity of design 22
  • 211 Moving-coil cone loudspeakers 22
  • 2. 1 Con es 23
  • 2.1.2 Surrounds 30
  • 2.1.3 Rear suspensions 32
  • 21.4 The chassis 34
  • 2. 5 The voice-coil assembly 35
  • 2.1.6 Magnet systems 36
  • 2.117 Ferrofluids 39
  • 2.1. 8 he complete system 30
  • 2.2 Dome loudspeakers 40
  • 2.2.1 Hard and soft domes 43
  • 2.3 oompression drivers 45
  • 2.4 Ribbon loudspeakers 48
  • 2.5 Heil air-motion transformers 50
  • 2.6 Distributed mode loudspeakers 51. 2.6.1 Panel/piston combinations 55
  • 27 Beyond magnetics 56
  • 2.7,1 Piezoelectric devices 57
  • 2.7.2 Ionic loudspeakers 57
  • 2.8 Electrostatic loudspeakers 58
  • 2.9 Electromagnetic planar loudspeakers 63
  • 2.10 Summary 63
  • References 64
  • Bibliography 64
  • Chapter 3 Loudspeaker cabinets 65
  • 3.1 The concept of the infinite baffle 65
  • 3.2 The scaled box 67
  • 2.I) Acoustic suspensions 71
  • 3.3 Reflex enclosures /71
  • 4 Acoustic labyrinths 7
  • 34. 1 Modern transmission lines 78
  • "3.5 ABR systems 81
  • 3.6 Bandpass cabinets 82
  • Series driver operation and isobaric loudspeakers 84
  • 3.8 General discussion 85
  • 3.9 Cabinet lining materials 86
  • ,310 Cabinet costructions 87
  • "3. 1 abinmet shapes and diffraction elfects 88
  • 3.12 Front grilles 92
  • 313 Cabinet mounting 9
  • References 95
  • Chapter 4 Horns 96
  • 41 The horn as a transformer 96
  • 4.2 Directivity control 102
  • 4 3 Horn design compromises 103
  • 4.4 Non-linear acoustics 104. 4.5 Examples of non-linear acoustics in loudspeakers [05
  • 46 Practical horns in studios and homes 107
  • 4.7 Implications for pra ctcl horn design parameters 108
  • 4.8 Summary of results 112
  • 4.9 General horn characteristics 13
  • 4.t0 Ptasing plugs 115
  • 411 Acoustics lenses 117
  • 4.12 Horn types 118
  • 4.13 Materials of construction 119
  • 4.14 Vestigial horns and cwaveguides 120
  • 4.15 Flare rates 12
  • References 123
  • Chapter 5 Crossovers 124
  • 51 What is a crossover? 124
  • 5.2 Reconstruction problems 125
  • 3 Orders, slopes and shapes 129
  • 54 F iler shapes 137
  • 5.5 fTar gt unctions 139
  • 5i.51 Minimum and non-minimnum phase effects 140
  • 5,5.2 Corrective measures and side-effects 141
  • 6 Active versus passive crossovers 142
  • 5.7 Physical derivation of crossover delay 146
  • 5 8 Digital crossovers 147
  • References 150
  • Bibliography 150
  • Chapter 6 Effects of amplifiers and cables 151
  • 6.1 Amplifiers
  • an over-view 151. 6.2 Basic requirements for current and voltage output 153
  • 6.3 Transient response 154
  • 6.4 Non-linear distortions 157
  • 6.5 Amplifier classes and modes of operation 158
  • 65.1 Class A amplifiers 159
  • 6.5.2 Class A derivatives 160
  • 6.3. Class AB :16
  • 6.5.4 Class D 161
  • 6.5.5 Class C and H 163
  • 6.6 MOSFET or BJT? 163
  • 6,7 Choosing an amplifier 164
  • 6.8 Loudspeaker cables and their effect on system
  • performance 166
  • 6.81 The bare minimum 166
  • 6.8.2 The status quo 168
  • 6.83 Cable designs for loudspeaker use 169
  • 6.9 The amplifier/loudspeaker interface 170
  • 6.10 Some provable characteristics of cable performance 174
  • 6.11 Some passing comments 188
  • 6.12 Multi-cabling 191
  • 6.13 Polyamplification and multiimplification 192
  • 6.14 System design 193
  • References 194.
  • Bibliography 195
  • Chapter 7 Loudspeaker behaviour in rooms 196
  • 7.1 The anechoic and reverberation chambers 196
  • 7.2 Boundary loading and room gain 198. 7.2.1 Restriction of radiating space 202
  • 7. 22 The mirrored room and mutual coupling 205
  • 7.3 Room reflexions 206
  • 7.31 Resonant modes 209
  • 7.4 Flush-mounting 211
  • 7.5 Multichainnel considerations and phantom imaging 212
  • 7.6 Stereo perception in rooms 216
  • 77 Rooms for critical listening 217
  • 78 Electronic, digitally adaptive response correction 220
  • 7.9 Minimum and non-minimum phase responses 225
  • References 227
  • Bibliography 227
  • Chapter 8 Form follows function 229
  • 1 The chain 229
  • 8.2 Recording monitors 230
  • 8.2.1 Basic requirements 233
  • 8.12 Proportional costs 237
  • "82.3 Different approaches 238
  • 8.2.4 Crossover points 241
  • ".2.5 Power consideration 245
  • 8.2.6 Interfacing with the rooms 248
  • 8.2.7 A word about listening levels 250
  • 83 Mixing monitors 250
  • 8.1 Location dilemmas 258
  • 8.4 Mastering loudspeakers 258
  • 8.5 Domestic loudspeakers 263.
  • 8.6 :. usical instrument loudspeakers 264
  • 1 Cabinet designs 267. Summarv z'269
  • References 269
  • Bibliography 270
  • Chapter 9 Subjective and objective assessment 271
  • 9.1 The general situation 271
  • 9.2 Test signals and analysis 272
  • 9.'1 Frequency response plots 275
  • 9.2.2 Waterfall plots 277
  • 9.23 Harmonic distortion 281
  • "9.24 Intermodulation distortion 283
  • 92.5 Delta-functions and step-functions 288
  • 92.6 Acoustic source plots 292
  • 127 Cepstrum analysis 295
  • 9.2.8 Modulation transfer functions 297
  • 9,2.8. Application of room equalisation 298
  • 9.2.8.2 A D-to-A dilemma 301
  • 93 Sound fields and human perception 302
  • 9.31 Further perceptual considerations 305
  • References 309
  • Bibiography 310
  • Chapter 10 The mix, the music and the monitors 31 1
  • 10.1 Physics or psychology? 311
  • 102 The musical dependenrce of compatibility 312
  • 10.21 Sine waves and pink noise 314
  • 10.3 Real responses vs. preconceived ideas 314
  • Acknowledgement 319
  • Chapter i11 Low freqency and transient response dilemmas 320. 11.1 The great low frequency deception 320
  • 1 1.1 The air spring 321
  • 1.1.2 Size, weight and sensitivity 324
  • i.1.3 Further consequences of small size 326
  • 1 .2 Commercial solutions 326
  • 11.2.1 The time penalty 327
  • 112.2 The transient trade-off 330
  • 11,3 The evolution of the desk-top monitor 333
  • 11. The great time deception 339
  • 11.5 Resonant tails and one-note bass 339
  • "11 6 I-he masking of detail 342
  • 11.7 Theoretical equalisation and excess phase 343
  • 11.8 Modulation transfer-function and a new type
  • of frequency response plot 345
  • 11 Summing-up 350
  • References 351
  • Chapter 12 The challenges of surround sound 352
  • 1.1 Surround sound in professional studios 352
  • 122 Cinena sound 357
  • 12.3 Music mixing 360
  • 114 Sub-woofers
  • discrete and managed 362
  • 112.5 Size versus performance compromises 364
  • 12.6 Compound sub-woofers and electronic control 368
  • 127 System considerations 372
  • References 375.

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