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E-raamat: Loudspeakers: For Music Recording and Reproduction

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(PhD in Acoustics. Member of the Institute of Acoustics. Lecturer in electro-acoustics at the Institute of Sound and Vibration Research, University of Southampton.),
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Loudspeakers: For Music Recording and Reproduction, Second Edition is a comprehensive guide, offering the tools and understanding needed to cut out the guesswork from loudspeaker choice and set-up.

Philip Newell and Keith Holland, with the assistance of Sergio Castro and Julius Newell, combine their years of experience in the design, application, and use of loudspeakers to cover a range of topics from drivers, cabinets, and crossovers, to amplifiers, cables, and surround sound. Whether using loudspeakers in a recording studio, mastering facility, broadcasting studio, film post-production facility, home, or musicians studio, or if you simply aspire to improve your music-production system this book will help you make the right decisions.

This new edition provides significant updates on the topics of digital control, calibration, and cinema loudspeaker systems.

Arvustused

"If electro-acoustics happens to be a subject you wish you understood more, or if before a speaker purchase you'd like to be better informed, there is, as far as I'm aware, absolutely no better place to start." - Phil Ward, Sound on Sound

"This new edition finds the book continuing in its place [ ...] as one of the essential reference books on loudspeakers." - Mark Gander, Journal of the Audio Engineering Society

About the Authors xiii
Acknowledgements xviii
Preface xix
Introduction xx
1 What Is a Loudspeaker? 1(20)
1.1 A Brief Look at the Concept
1(1)
1.2 A Little History and Some Background
2(2)
1.3 Some Other Problems
4(1)
1.4 Some Basic Facts
5(4)
1.4.1 Acoustic-Wave Propagation
5(2)
1.4.2 Mechanical and Acoustic Impedance
7(2)
1.4.3 Impedance in Loudspeakers
9(1)
1.5 The Practical Moving-Coil Cone Loudspeaker
9(5)
1.5.1 The Combined Response
11(3)
1.6 Resistive and Reactive Loads
14(5)
1.7 The Bigger Picture
19(1)
References
20(1)
Bibliography
20(1)
2 Diversity of Design 21(46)
2.1 Moving-Coil Cone Loudspeakers
21(17)
2.1.1 Cones
22(7)
2.1.1.1 Using Multiple Cones
28(1)
2.1.2 Surrounds
29(2)
2.1.3 Rear Suspensions
31(2)
2.1.4 The Chassis
33(1)
2.1.5 The Voice-Coil Assembly
34(1)
2.1.6 Magnet Systems
35(2)
2.1.7 Ferrofluids
37(1)
2.1.8 The Complete System
38(1)
2.2 Dome Loudspeakers
38(5)
2.2.1 Hard and Soft Domes
39(4)
2.3 Compression Drivers
43(4)
2.4 Ribbon Loudspeakers
47(2)
2.5 Heil Air-Motion Transformers
49(2)
2.6 Bending-Mode Loudspeakers
51(8)
2.6.1 Distributed-Mode Loudspeakers
51(4)
2.6.2 Panel/Piston Combinations
55(1)
2.6.3 Discrete Layered Sound
56(1)
2.6.4 Balanced-Mode Radiators
57(1)
2.6.5 Manger Sound Transducer - Manger Schallwandler (MSW)
58(1)
2.7 Beyond Magnetics
59(2)
2.7.1 Piezoelectric Devices
59(1)
2.7.2 Ionic Loudspeakers
59(2)
2.8 Electrostatic Loudspeakers
61(4)
2.9 Electromagnetic Planar Loudspeakers
65(1)
2.10 Summary
65(1)
References
66(1)
Bibliography
66(1)
3 Loudspeaker Cabinets 67(38)
3.1 The Concept of the Infinite Baffle
67(2)
3.2 The Sealed Box
69(4)
3.2.1 Acoustic Suspensions
73(1)
3.3 Reflex Enclosures
73(4)
3.4 Acoustic Labyrinths
77(6)
3.4.1 Modern Transmission Lines
79(4)
3.5 ABR Systems
83(1)
3.6 Band-Pass Cabinets
84(1)
3.7 Series-Driver Operation and Isobaric Loudspeakers
85(2)
3.8 General Discussion
87(1)
3.9 Cabinet-Lining Materials
88(1)
3.10 Cabinet Constructions
89(1)
3.11 Cabinet Shapes and Diffraction Effects
90(4)
3.12 Front Grilles
94(1)
3.13 Cabinet Mounting
94(2)
3.14 Some Practical Considerations
96(7)
References
103(2)
4 Horns 105(32)
4.1 The Horn as a Transformer
105(5)
4.2 Directivity Control
110(2)
4.3 Horn-Design Compromises
112(1)
4.4 Non-Linear Acoustics
113(2)
4.5 Examples of Non-Linear Acoustics in Loudspeakers
115(1)
4.6 Practical Horns in Studios and Homes
115(2)
4.7 Implications for Practical Horn-Design Parameters
117(4)
4.8 Summary of Results
121(1)
4.9 General Horn Characteristics
122(2)
4.10 Phasing Plugs
124(3)
4.11 Acoustic Lenses
127(2)
4.12 Horn Types
129(2)
4.13 Materials of Construction
131(1)
4.14 Vestigial Horns and 'Waveguides'
132(1)
4.15 Flare Rates
133(1)
4.16 Summary
134(1)
References
135(1)
Bibliography
136(1)
5 Crossovers 137(28)
5.1 What Is a Crossover?
137(2)
5.2 Reconstruction Problems
139(5)
5.3 Orders, Slopes, and Shapes
144(7)
5.3.1 High-Order Digital Crossover Filters
150(1)
5.4 Filter Shapes
151(2)
5.5 Target Functions
153(3)
5.5.1 Minimum- and Non-Minimum-Phase Effects
154(1)
5.5.2 Corrective Measures and Side-Effects
155(1)
5.6 Active versus Passive Crossovers
156(4)
5.7 Physical Compensation of Crossover Delay
160(2)
5.8 Digital Crossovers
162(1)
References
163(1)
Bibliography
164(1)
6 Amplifiers and Loudspeaker Cables - A General Review 165(44)
6.1 Amplifiers - An Overview
165(2)
6.2 Basic Requirements for Current and Voltage Output
167(1)
6.3 Transient Response
168(3)
6.4 Non-Linear Distortions
171(1)
6.5 Amplifier Classes and Modes of Operation
172(5)
6.5.1 Class A Amplifiers
172(2)
6.5.2 Class A Derivatives
174(1)
6.5.3 Class B and Class AB
174(1)
6.5.4 Class D
175(2)
6.5.5 Class G and Class H
177(1)
6.6 MOSFET or BJT?
177(1)
6.7 Choosing an Amplifier
178(2)
6.8 Loudspeaker Cables and Their Effect on System Performance
180(4)
6.8.1 The Bare Minimum
180(2)
6.8.2 The Status Quo
182(1)
6.8.3 Cable Designs for Loudspeaker Use
183(1)
6.9 The Amplifier/Loudspeaker Interface
184(3)
6.10 Some Provable Characteristics of Cable Performance
187(14)
6.11 Some Passing Comments
201(2)
6.12 Multi-Cabling
203(1)
6.13 Polyamplification and Multi-Amplification
204(2)
6.14 System Design
206(1)
References
207(1)
Bibliography
207(2)
7 Loudspeaker Behaviour in Rooms 209(32)
7.1 The Anechoic and Reverberation Chambers
209(4)
7.2 Boundary Loading and Room Gain
213(8)
7.2.1 Restriction of Radiating Space
215(3)
7.2.2 The Mirrored Room and Mutual Coupling
218(3)
7.3 Room Reflexions
221(3)
7.3.1 Resonant Modes
222(2)
7.4 Flush-Mounting of Loudspeakers
224(1)
7.5 Multi-Channel Considerations and Phantom Imaging
225(4)
7.6 Stereo Perception in Rooms
229(1)
7.7 Rooms for Critical Listening
230(3)
7.8 Analogue and Digital Response Correction
233(3)
7.9 Minimum- and Non-Minimum-Phase Responses
236(2)
7.10 Correction of Loudspeakers in Rooms
238(1)
References
239(1)
Bibliography
239(2)
8 Form Follows Function 241(54)
8.1 The Chain
241(2)
8.2 Recording Monitors
243(23)
8.2.1 Basic Requirements
246(6)
8.2.2 Proportional Costs and Adverse Myths
252(1)
8.2.3 Basic Low-Frequency Options
253(3)
8.2.4 Consequences of Crossover Points
256(4)
8.2.5 Power Considerations
260(3)
8.2.6 Interfacing with the Rooms
263(2)
8.2.7 Listening Levels
265(1)
8.3 Mixing Monitors
266(8)
8.3.1 Location Dilemmas
273(1)
8.4 Mastering Loudspeakers
274(5)
8.5 Domestic Loudspeakers
279(2)
8.6 Musical-Instrument Loudspeakers
281(4)
8.6.1 Cabinet Designs
284(1)
8.7 Directivity Considerations
285(5)
8.8 Summary
290(2)
References
292(1)
Bibliography
292(3)
9 Subjective and Objective Assessment 295(40)
9.1 The General Situation
295(1)
9.2 Test Signals and Analysis
296(28)
9.2.1 Frequency-Response Plots
298(3)
9.2.2 Waterfall Plots
301(3)
9.2.3 Harmonic Distortion
304(2)
9.2.4 lntermodulation Distortion
306(5)
9.2.5 Delta Functions and Step Functions
311(4)
9.2.6 Acoustic-Source Plots
315(3)
9.2.7 Cepstrum Analysis
318(2)
9.2.8 Modulation Transfer Functions
320(4)
9.2.8.1 Application of Room Equalisation
321(3)
9.2.8.2 A D-to-A Dilemma
324(1)
9.3 Sound Fields and Human Perception
324(7)
9.3.1 Further Perceptual Considerations
327(4)
9.4 Toole's 'Circle of Confusion'
331(1)
References
332(1)
Bibliography
333(2)
10 The Mix, the Music, and the Monitors - The Instability of Perception 335(10)
10.1 Physics or Psychology?
335(1)
10.2 The Musical Dependence of Compatibility
336(2)
10.2.1 Sine Waves and Pink Noise
337(1)
10.3 Real Responses versus Preconceived Ideas
338(5)
Acknowledgement
343(2)
11 Low-Frequency and Transient-Response Dilemmas 345(40)
11.1 The Great Low-Frequency Deception
345(6)
11.1.1 The Air Spring
348(1)
11.1.2 Size, Weight, and Sensitivity
349(1)
11.1.3 Further Consequences of Small Size
350(1)
11.2 Commercial Solutions
351(7)
11.2.1 The Time Penalty
352(4)
11.2.2 The Transient Trade-Off
356(2)
11.3 The Evolution of the Desk-Top Monitor
358(5)
11.4 The Great Time Deception
363(1)
11.5 Resonant Tails and One-Note Bass
364(2)
11.6 The Masking of Detail
366(2)
11.7 Theoretical Equalisation and Excess Phase
368(3)
11.8 Modulation Transfer Function and a New Type of Frequency-Response Plot
371(11)
11.8.1 Factors that Influence MTF-Based Analysis
374(1)
11.8.2 Evaluating Monitors with the 'Bass Transmission Index'
375(7)
11.9 Summing Up
382(1)
References
382(3)
12 The Challenges of Surround Sound 385(24)
12.1 The Early Days of Surround
385(5)
12.2 Cinema Sound
390(3)
12.3 Music Mixing
393(1)
12.4 Sub-Woofers - Discrete and Managed
394(3)
12.5 Size-Versus-Performance Compromises
397(4)
12.6 Compound Sub-Woofers and Electronic Control
401(3)
12.7 System Considerations
404(3)
References
407(2)
13 Loudspeakers for Cinema Soundtrack Mixing 409(36)
13.1 Introduction
409(1)
13.2 The Early Days of Cinema Sound
410(1)
13.3 The Introduction of Digital Soundtracks
411(3)
13.4 Digital Unchained
414(2)
13.5 Dynamic Consequences
416(2)
13.6 System Limitations, Screen Losses, and the X-Curve
418(2)
13.7 Loudspeakers in the Fully Digital Era
420(2)
13.8 Standard Level Calibration
422(1)
13.9 The Distribution within Mixes
423(1)
13.10 Realistic Performance Specifications
424(15)
13.10.1 Screen Loudspeakers
424(9)
13.10.1.1 'Zero dB FS'
432(1)
13.10.2 Surround Loudspeakers
433(4)
13.10.3 LFE Loudspeakers
437(2)
13.11 Amplification Systems
439(1)
13.12 Discussion
440(1)
References
441(2)
Bibliography
443(2)
14 What to Measure: And Why - The Influence of Advanced Measurement and Psychoacoustic Concepts on Loudspeaker Design 445(18)
14.1 Historical Development
445(5)
14.1.1 What Remains Relevant?
448(2)
14.2 The Advent of Digital Measurement Systems
450(1)
14.3 Computer-Aided and Numerical Modelling
451(4)
14.4 Digital Signal Processing of Loudspeaker Systems
455(6)
14.4.1 Sampling Rates and Bandwidths
457(1)
14.4.2 Implementation and Analysis
458(1)
14.4.3 The DSP Legacy
459(2)
References
461(2)
Glossary of Terms 463(24)
Index 487
Philip Newell is a Fellow of the Institute of Acoustics (IOA), a member of both the Audio Engineering Society (AES) and the Society of Motion Picture and Television Engineers (SMPTE), and a member of the Seaplane Pilots Association. He has written ten books on acoustics and electroacoustics, and has published around 200 related articles, journal papers, and conference papers. Since 1992 he has lived in Spain, and during the course of his work has travelled to over 30 countries. His recording career has been very musically varied, from the Duke Ellington Orchestra to Queen, from The Who to The Warsaw Philharmonic Orchestra, from Mike Oldfield to John Cale, and from English brass bands to Welsh choirs.

Dr Keith Holland is currently an Associate Professor (Senior Lecturer) at the Institute of Sound and Vibration Research (ISVR), University of Southampton, UK, where he has worked full time as a student, researcher, and lecturer since 1984, and from where he obtained a BSc in Engineering Acoustics and Vibration in 1987, and a PhD on loudspeaker horns in 1993. Since 1990, Keith has taught electroacoustics and various other subjects, mainly audio-related, to under- and post-graduate students at the ISVR, and for ten of those years, also to the Tonmeister students at the University of Surrey.

The artwork for Loudspeakers has been co-ordinated by Sergio Castro, a highly experienced musician, record producer, and recording engineer, with over 25 years of experience in the manufacturing of professional monitoring loudspeakers. The authors were also assisted by Julius Newell, an expert in electroacoustics and sound-system engineering, and who is also an established designer and manufacturer of professional monitoring loudspeakers.
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