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Small Signal Audio Design 3rd edition [Pehme köide]

  • Formaat: Paperback / softback, 784 pages, kõrgus x laius: 235x191 mm, kaal: 1791 g, 121 Tables, black and white; 523 Line drawings, black and white; 644 Illustrations, black and white
  • Ilmumisaeg: 22-Apr-2020
  • Kirjastus: CRC Press
  • ISBN-10: 0367468956
  • ISBN-13: 9780367468958
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  • Formaat: Paperback / softback, 784 pages, kõrgus x laius: 235x191 mm, kaal: 1791 g, 121 Tables, black and white; 523 Line drawings, black and white; 644 Illustrations, black and white
  • Ilmumisaeg: 22-Apr-2020
  • Kirjastus: CRC Press
  • ISBN-10: 0367468956
  • ISBN-13: 9780367468958
Teised raamatud teemal:
Small Signal Audio Design is a highly practical handbook providing an extensive repertoire of circuits that can be assembled to make almost any type of audio system. The publication of Electronics for Vinyl has freed up space for new material, (though this book still contains a lot on moving-magnet and moving-coil electronics) and this fully revised third edition offers wholly new chapters on tape machines, guitar electronics, and variable-gain amplifiers, plus much more. A major theme is the use of inexpensive and readily available parts to obtain state-of-the-art performance for noise, distortion, crosstalk, frequency response accuracy and other parameters. Virtually every page reveals nuggets of specialized knowledge not found anywhere else. For example, you can improve the offness of a fader simply by adding a resistor in the right place- if you know the right place.

Essential points of theory that bear on practical audio performance are lucidly and thoroughly explained, with the mathematics kept to an absolute minimum. Selfs background in design for manufacture ensures he keeps a wary eye on the cost of things.

This book features the engaging prose style familiar to readers of his other books. You will learn why mercury-filled cables are not a good idea, the pitfalls of plating gold on copper, and what quotes from Star Trek have to do with PCB design.

Learn how to:















make amplifiers with apparently impossibly low noise





design discrete circuitry that can handle enormous signals with vanishingly low distortion





use humble low-gain transistors to make an amplifier with an input impedance of more than 50 megohms





transform the performance of low-cost-opamps





build active filters with very low noise and distortion





make incredibly accurate volume controls





make a huge variety of audio equalisers





make magnetic cartridge preamplifiers that have noise so low it is limited by basic physics, by using load synthesis





sum, switch, clip, compress, and route audio signals





be confident that phase perception is not an issue





This expanded and updated third edition contains extensive new material on optimising RIAA equalisation, electronics for ribbon microphones, summation of noise sources, defining system frequency response, loudness controls, and much more. Including all the crucial theory, but with minimal mathematics, Small Signal Audio Design is the must-have companion for anyone studying, researching, or working in audio engineering and audio electronics.

Arvustused

"Self provides solid, well-explained technical information throughout the book, all gained from years of experience and a thorough understanding of the entire topic (...) His book exudes skilful engineering on every page, and I found it a very refreshing, enjoyable, and inspirational read (...) if you have the slightest interest in audio circuit design this book has to be considered an essential reference. Very highly recommended." - Hugh Robjohns, Sound on Sound Magazine

"This book presents a large body of knowledge and countless insider-tips from an award-winning commercial audio designer (...) Douglas Self dumps a lifetime's worth of thoroughly-tested audio circuit knowledge into one biblical tome." - Joseph Lemmer, Tape Op

Preface xxiv
Acknowledgments xxvii
Chapter 1 The Basics
1(42)
Signals
1(1)
Amplifiers
2(1)
Voltage Amplifiers
2(1)
Transconductance Amplifiers
2(1)
Current Amplifiers
2(1)
Transimpedance Amplifiers
3(1)
Negative Feedback
3(1)
Nominal Signal Levels and Dynamic Range
4(2)
Frequency Response
6(5)
Frequency Response: Cascaded Stages
6(5)
Phase Perception
11(1)
Gain Structures
11(6)
Amplification Then Attenuation
14(1)
Attenuation Then Amplification
15(1)
Raising the Input Signal to the Nominal Level
15(1)
Active Gain Controls
16(1)
Noise
17(2)
Johnson Noise
19(1)
Shot Noise
19(1)
1/f Noise (Flicker Noise)
20(1)
Popcorn Noise
20(1)
Summing Noise Sources
21(1)
Noise in Amplifiers
22(2)
Noise in Bipolar Transistors
24(5)
Bipolar Transistor Voltage Noise
25(1)
Bipolar Transistor Current Noise
25(4)
Noise in JFETs
29(2)
Noise in Opamps
29(2)
Noise Gain
31(1)
Low-Noise Opamp Circuitry
31(1)
Noise Measurements
32(1)
How to Attenuate Quietly
32(2)
How to Amplify Quietly
34(1)
How to Invert Quietly
35(1)
How to Balance Quietly
36(1)
Ultra-Low-Noise Design With Multi-Path Amplifiers
36(4)
Ultra-Low-Noise Voltage Buffers
37(1)
Ultra-Low-Noise Amplifiers
38(2)
Multiple Amplifiers for Greater Drive Capability
40(3)
Chapter 2 Components
43(42)
Conductors
43(6)
Copper and Other Conductive Elements
43(2)
The Metallurgy of Copper
45(1)
Gold and Its Uses
46(1)
Cable and Wiring Resistance
46(1)
PCB Track Resistance
47(2)
PCB Track-to-Track Crosstalk
49(2)
The Three-Layer PCB
51(1)
Impedances and Crosstalk: A Case History
52(1)
Resistors
53(20)
Through-Hole Resistors
54(1)
Surface-Mount Resistors
54(2)
Resistor Series
56(1)
Resistor Accuracy: Two-Resistor Combinations
57(5)
Resistor Accuracy: Three-Resistor Combinations
62(1)
Other Resistor Combinations
62(2)
Resistor Value Distributions
64(2)
The Uniform Distribution
66(1)
Resistor Imperfections
67(1)
Resistor Excess Noise
67(3)
Resistor Non-Linearity
70(3)
Capacitors
73(10)
Capacitor Series
74(1)
Capacitor Non-Linearity Examined
75(1)
Non-Electrolytic Capacitor Non-Linearity
75(5)
Electrolytic Capacitor Non-Linearity
80(3)
Inductors
83(2)
Chapter 3 Discrete Transistor Circuitry
85(42)
Why Use Discrete Transistor Circuitry?
85(1)
Bipolars and FETs
86(1)
Bipolar Junction Transistors
86(1)
The Transistor Equation
87(1)
Beta
88(1)
Unity-Gain Buffer Stages
88(15)
The Simple Emitter-Follower
88(4)
The Constant-Current Emitter-Follower
92(1)
The Push-Pull Emitter-Follower
93(2)
Emitter-Follower Stability
95(1)
CFP Emitter-Followers
96(2)
Improved Unity-Gain Buffers
98(5)
Gain Stages
103(14)
One-Transistor Shunt-Feedback Gain Stages
103(1)
One-Transistor Series-Feedback Gain Stages
103(2)
Two-Transistor Shunt-Feedback Gain Stages
105(4)
Two-Transistor Shunt-Feedback Stages: Improving Linearity
109(3)
Two-Transistor Shunt-Feedback Stages: Noise
112(1)
Two-Transistor Shunt-Feedback Stages: Bootstrapping
112(3)
Two-Transistor Shunt-Feedback Stages as Summing Amplifiers
115(1)
Two-Transistor Series-Feedback Gain Stages
116(1)
Discrete Opamp Design
117(5)
Discrete Opamp Design: The Input Stage
118(2)
Discrete Opamp Design: The Second Stage
120(1)
Discrete Opamp Design: The Output Stage
121(1)
High-Input-Impedance Bipolar Stages
122(5)
Chapter 4 Opamps and Their Properties
127(40)
Introduction
127(1)
A Very Brief History of Opamps
127(1)
Opamp Properties: Noise
128(1)
Opamp Properties: Slew Rate
129(1)
Opamp Properties: Common Mode Range
130(1)
Opamp Properties: Input Offset Voltage
131(1)
Opamp Properties: Bias Current
131(1)
Opamp Properties: Cost
132(1)
Opamp Properties: Distortion
133(10)
Opamp Internal Distortion
135(1)
Slew-Rate Limiting Distortion
135(1)
Distortion Due to Loading
136(1)
Thermal Distortion
136(1)
Common-Mode Distortion
136(1)
Common-Mode Distortion: Bipolar Input Opamps
137(4)
Common-Mode Distortion: JFET Opamps
141(2)
Selecting the Right Opamp
143(1)
Opamps Surveyed: BJT Input Types
144(1)
The LM741 Opamp
144(1)
The NE5532/5534 Opamp
144(12)
Deconstructing the 5532
146(2)
The LM4562 Opamp
148(3)
The AD797 Opamp
151(1)
The OP27 Opamp
151(2)
The OP270 Opamp
153(2)
The OP275 Opamp
155(1)
Opamps Surveyed: JFET Input Types
156(11)
The TL072 Opamp
156(2)
The TL052 Opamp
158(2)
The OPA2134 Opamp
160(2)
The OPA604 Opamp
162(1)
The OPA627 Opamp
163(4)
Chapter 5 Opamps for Low Voltages
167(12)
High Fidelity From Low Voltages
167(1)
Running Opamps From a Single +5 V Supply Rail
167(2)
Opamps for 5 V Operation
169(1)
The NE5532 in +5 V Operation
169(1)
The LM4562 in +5 V Operation
170(1)
The AD8022 in +5 V Operation
171(1)
The AD8397 in +5 V Operation
172(4)
Opamps for 3.3 V Single-Rail Operation
176(3)
Chapter 6 Filters
179(14)
Introduction
179(1)
Passive Filters
179(1)
Active Filters
180(1)
Low-Pass Filters
180(1)
High-Pass Filters
180(1)
Combined Low-Pass and High-Pass Filters
181(1)
Band-Pass Filters
181(1)
Notch Filters
181(1)
All-Pass Filters
182(1)
Filter Characteristics
182(1)
Sallen and Key Low-Pass Filters
182(3)
Sallen and Key High-Pass Filters
185(2)
Distortion in Sallen and Key Filters
187(1)
Multiple-Feedback Band-Pass Filters
188(1)
Notch Filters
189(2)
Differential Filters
191(2)
Chapter 7 Preamplifier Architectures
193(6)
Passive Preamplifiers
193(1)
Active Preamplifiers
194(1)
Amplification and the Gain-Distribution Problem
195(1)
Active Gain Controls
196(1)
Active Gain Controls Plus Passive Attenuators
197(1)
Recording Facilities
197(1)
Tone Controls
197(2)
Chapter 8 Variable Cain Stages
199(16)
Amplifier Stages With Gain From Unity Upwards: Single-Gain Pot
199(4)
Amplifier Stages With Gain From Unity Upwards: Dual-Gain Pot
203(2)
Combining Gain Stages With Active Filters
205(1)
Amplifier Stages With Gain From Zero Upwards: Single-Gain Pot
206(3)
Amplifier Stages With Gain From Zero Upwards: Dual-Gain Pot
209(2)
Switched-Gain Amplifiers
211(4)
Chapter 9 Moving-Magnet Inputs: Levels and RIAA Equalisation
215(64)
Cartridge Types
215(1)
The Vinyl Medium
215(1)
Spurious Signals
216(2)
Other Vinyl Problems
218(1)
Maximum Signal Levels From Vinyl
219(4)
Moving-Magnet Cartridge Sensitivities
223(1)
Overload Margins and Amplifier Limitations
224(1)
Equalisation and Its Discontents
225(1)
The Unloved IEC Amendment
226(1)
The "Neumann Pole"
227(1)
MM Amplifier Configurations
227(2)
Opamp MM Input Stages
229(1)
Calculating the RIAA Equalisation Components
230(1)
Implementing RIAA Equalisation
230(3)
Implementing the IEC Amendment
233(1)
RIAA Series-Feedback Network Configurations
234(3)
RIAA Optimisation: CI as a Single E6 Capacitor, 2 × E24
237(2)
RIAA Optimisation: CI as 3 × 10 nF Capacitors, 2 × E24
239(2)
RIAA Optimisation: CI as 4 × 10 nF Capacitors, 2 × E24
241(1)
RIAA Optimisation: The Willmann Tables
241(2)
RIAA Optimisation: CI as 3 × 10 nF Capacitors, 3 × E24
243(1)
RIAA Optimisation: CI as 4 × 10 nF Capacitors, 3 × E24
244(2)
Switched-Gain MM RIAA Amplifiers
246(2)
Switched-Gain MM/MC RIAA Amplifiers
248(1)
Open-Loop Gain and RIAA Accuracy
249(1)
Passive and Semi-Passive RIAA Equalisation
249(4)
MM Cartridge Loading and Frequency Response
253(1)
MM Cartridge-Preamplifier Interaction
254(1)
MM Cartridge DC and AC Coupling
255(1)
Noise in MM RIAA Preamplifiers
255(7)
Hybrid MM Amplifiers
262(1)
Balanced MM Inputs
263(1)
Noise in Balanced MM Inputs
263(2)
Noise Weighting
265(1)
Noise Measurements
265(1)
Cartridge Load Synthesis for Lower Noise
266(2)
Subsonic Filters
268(5)
Subsonic Filtering: Butterworth Filters
268(2)
Subsonic Filtering: Elliptical Filters
270(2)
Subsonic Filtering by Cancellation
272(1)
Ultrasonic Filters
273(1)
A Practical MM Amplifier #3
273(6)
Chapter 10 Moving-Coil Head Amplifiers
279(12)
Moving-Coil Cartridge Characteristics
279(1)
The Limits on MC Noise Performance
280(1)
Amplification Strategies
281(1)
Moving-Coil Transformers
281(2)
Moving-Coil Input Amplifiers
283(2)
An Effective MC Amplifier Configuration
285(2)
The Complete Circuit
287(1)
Performance
288(3)
Chapter 11 Tape Replay
291(20)
The Return of Tape
291(1)
A Brief History of Tape Recording
292(1)
The Basics of Tape Recording
292(2)
Multi-Track Recording
294(1)
Tape Heads
294(2)
Tape Replay
296(1)
Tape Replay Equalisation
297(3)
Tape Replay Amplifiers
300(2)
Replay Noise: Calculation
302(2)
Replay Noise: Measurements
304(1)
Load Synthesis
305(1)
Noise Reduction Systems
305(2)
Dolby HX-Pro
307(4)
Chapter 12 Guitar Preamplifiers
311(14)
Electric Guitar Technology
311(1)
Guitar Pickups
311(1)
Pickup Characteristics
312(1)
Guitar Wiring
313(1)
Guitar Leads
314(1)
Guitar Preamplifiers
315(1)
Guitar Preamplifier Noise: Calculations
316(4)
Guitar Preamplifier Noise: Measurements
320(2)
Guitar Amplifiers and Guitar Effects
322(1)
Guitar Direct Injection
323(2)
Chapter 13 Volume Controls
325(56)
Volume Controls
325(1)
Volume Control Laws
325(3)
Loaded Linear Pots
328(3)
Dual-Action Volume Controls
331(3)
Tapped Volume Controls
334(3)
Slide Faders
337(2)
Active Volume Controls
339(5)
The Baxandall Active Volume Control
344(1)
The Baxandall Volume Control Law
344(1)
A Practical Baxandall Active Volume Stage
345(2)
Low-Noise Baxandall Active Volume Stages
347(3)
The Baxandall Volume Control: Loading Effects
350(2)
An Improved Baxandall Active Volume Stage With Lower Noise
352(2)
Baxandall Active Volume Stage Plus Passive Control
354(2)
The Overlap Penalty
356(3)
Potentiometers and DC
359(1)
Belt-Ganged Volume Controls
359(1)
Motorised Potentiometers
360(1)
Stepped Volume Controls
361(1)
Switched Attenuator Volume Controls
362(9)
Relay-Switched Volume Controls
371(1)
Transformer-Tap Volume Controls
371(1)
Integrated Circuit Volume Controls
372(1)
Loudness Controls
373(4)
The Newcomb and Young Loudness Control
377(4)
Chapter 14 Balance Controls
381(14)
The Ideal Balance Law
381(2)
Balance Controls: Passive
383(3)
Balance Controls: Active
386(2)
Combining Balance Controls With Other Stages
388(1)
Switched Balance Controls
388(3)
Mono-Stereo Switches
391(1)
Width Controls
392(3)
Chapter 15 Tone Controls and Equalisers
395(54)
Introduction
395(1)
Passive Tone Controls
396(1)
Baxandall Tone Controls
397(15)
The Baxandall One-LF-Capacitor Tone Control
397(6)
The Baxandall Two-LF-Capacitor Tone Control
403(1)
The Baxandall Two-HF-Capacitor Tone Control
404(2)
The Baxandall Tone Control: Impedance and Noise
406(3)
Combining a Baxandall Stage With an Active Balance Control
409(1)
Switched-HF-Frequency Baxandall Controls
410(2)
Variable-Frequency HF EQ
412(2)
Variable-Frequency LF EQ
414(1)
A New Type of Switched-Frequency LF EQ
415(1)
Variable-Frequency HF and LF EQ in One Stage
416(6)
Tilt or Tone-Balance Controls
422(2)
Middle Controls
424(15)
Fixed Frequency Baxandall Middle Controls
425(3)
Three-Band Baxandall EQ in One Stage
428(2)
Wien Fixed Middle EQ
430(1)
Wien Fixed Middle EQ: Altering the Q
430(3)
Variable-Frequency Middle EQ
433(2)
Single-Gang Variable-Frequency Middle EQ
435(3)
Switched-Q Variable-Frequency Wien Middle EQ
438(1)
Switchable Peak/Shelving LF/HF EQ
439(1)
Parametric Middle EQ
440(3)
Graphic Equalisers
443(6)
Chapter 16 Mixer Architecture
449(16)
Introduction
449(1)
Performance Factors
449(1)
Mixer Internal Levels
450(1)
Mixer Architecture
450(2)
The Split Mixing Architecture
452(1)
The In-Line Mixing Architecture
453(2)
A Closer Look at Split-Format Modules
455(7)
The Channel Module (Split Format)
455(3)
Effect Return Modules
458(1)
The Group Module
458(1)
The Master Module
459(2)
Talkback and Oscillator Systems
461(1)
The In-Line Channel Module
462(3)
Chapter 17 Microphone Preamplifiers
465(16)
Microphone Types
465(1)
Microphone Preamplifier Requirements
465(1)
Transformer Microphone Inputs
466(2)
The Simple Hybrid Microphone Preamplifier
468(1)
The Balanced-Feedback Hybrid Microphone Preamplifier (BFMA)
469(1)
Microphone and Line Input Pads
470(1)
The Padless Microphone Preamplifier
471(5)
Capacitor Microphone Head Amplifiers
476(2)
Ribbon Microphone Amplifiers
478(3)
Chapter 18 Line Inputs
481(54)
External Signal Levels
481(1)
Internal Signal Levels
481(1)
Input Amplifier Functions
482(1)
Unbalanced Inputs
482(3)
Balanced Interconnections
485(1)
The Advantages of Balanced Interconnections
486(1)
The Disadvantages of Balanced Interconnections
487(1)
Balanced Cables and Interference
487(2)
Balanced Connectors
489(1)
Balanced Signal Levels
489(1)
Electronic Versus Transformer Balanced Inputs
490(1)
Common Mode Rejection
490(6)
The Basic Electronic Balanced Input
493(2)
The Basic Balanced Input and Opamp Effects
495(1)
Opamp Frequency Response Effects
496(1)
Opamp CMRR Effects
497(1)
Amplifier Component Mismatch Effects
497(4)
A Practical Balanced Input
501(3)
Variations on the Balanced Input Stage
504(19)
Combined Unbalanced and Balanced Inputs
504(1)
The Superbal Input
505(1)
Switched-Gain Balanced Inputs
506(1)
Variable-Gain Balanced Inputs
507(2)
Combined Line Input and Balance Control Stage With Low Noise
509(1)
The Self Variable-Gain Line Input
510(1)
High Input-Impedance Balanced Inputs
511(2)
The Inverting Two-Opamp Input
513(1)
The Instrumentation Amplifier
514(1)
Instrumentation Amplifier Applications
515(1)
The Instrumentation Amplifier With 4x Gain
516(4)
The Instrumentation Amplifier at Unity Gain
520(1)
The Instrumentation Amplifier and Gain Controls
520(2)
The Instrumentation Amplifier and the Whitlock Bootstrap
522(1)
Transformer Balanced Inputs
523(1)
Input Overvoltage Protection
524(1)
Low-Noise Balanced Inputs
525(5)
Low-Noise Balanced Inputs in Action
530(1)
Ultra-Low-Noise Balanced Inputs
530(5)
Chapter 19 Line Outputs
535(26)
Unbalanced Outputs
535(1)
Zero-Impedance Outputs
536(7)
Ground-Cancelling Outputs: Basics
543(2)
Ground-Cancelling Outputs: Zero-Impedance Output
545(1)
Ground-Cancelling Outputs: CMRR
545(2)
Ground-Cancelling Outputs: Send Amplifier Noise
547(1)
Ground-Cancelling Outputs: Into a Balanced Input
548(1)
Ground-Cancelling Outputs: History
549(1)
Balanced Outputs: Basics
549(2)
Balanced Outputs: Output Impedance
551(1)
Balanced Outputs: Noise
551(1)
Quasi-Floating Outputs
552(1)
Transformer Balanced Outputs
553(1)
Output Transformer Frequency Response
554(1)
Output Transformer Distortion
555(2)
Reducing Output Transformer Distortion
557(4)
Chapter 20 Headphone Amplifiers
561(14)
Driving Heavy Loads
561(1)
Driving Headphones
561(1)
Special Opamps
562(1)
Multiple Opamps
562(2)
Opamp-Transistor Hybrid Amplifiers
564(2)
Discrete Class-AB Headphone Amplifiers
566(4)
Discrete Class-A Headphone Amplifiers
570(2)
Gain
571(1)
Maximum Output
572(1)
Noise Performance
572(1)
Power Consumption
572(1)
Balanced Headphone Amplifiers
572(3)
Chapter 21 Signal Switching
575(36)
Mechanical Switches
575(1)
Input-Select Switching: Mechanical
575(2)
The Virtual Contact: Mechanical
577(2)
Relay Switching
579(1)
Electronic Switching
579(1)
Switching with CMOS Analogue Gates
580(13)
CMOS Gates in Voltage Mode
581(7)
CMOS Gates in Current Mode
588(1)
CMOS Series-Shunt Current Mode
589(1)
Control Voltage Feedthrough in CMOS Gates
590(1)
CMOS Gates at Higher Voltages
591(1)
CMOS Gates at Low Voltages
591(1)
CMOS Gate Costs
592(1)
Discrete JFET Switching
593(18)
The Series JFET Switch in Voltage Mode
593(6)
The Shunt JFET Switch in Voltage Mode
599(1)
JFETs in Current Mode
600(3)
Reducing Distortion by Biasing
603(2)
JFET Drive Circuitry
605(1)
Physical Layout and Offness
606(1)
Dealing With the DC Conditions
607(1)
A Soft Changeover Circuit
608(1)
Control Voltage Feedthrough in JFETS
609(2)
Chapter 22 Mixer Sub-Systems
611(58)
Mixer Bus Systems
611(1)
Input Arrangements
612(1)
Equalisation
612(1)
Insert Points
612(2)
How to Move a Circuit Block
614(1)
Faders
615(2)
Improving Fader Offness
616(1)
Post-Fade Amplifiers
617(2)
Direct Outputs
619(1)
Panpots
619(11)
Passive Panpots
621(4)
The Active Panpot
625(3)
LCR Panpots
628(2)
Routing Systems
630(4)
Auxiliary Sends
634(1)
Group Module Circuit Blocks
634(1)
Summing Systems: Voltage Summing
635(1)
Summing Systems: Virtual-Earth Summing
635(2)
Balanced Summing Systems
637(1)
Ground-Cancelling Summing Systems
638(2)
Distributed Summing Systems
640(3)
Summing Amplifiers
643(3)
Hybrid Summing Amplifiers
646(3)
Balanced Hybrid Summing Amplifiers
649(1)
Balancing Tracks to Reduce Crosstalk
650(1)
The Multi-Function Summing Amplifier
651(1)
PFL Systems
652(6)
PFL Summing
654(1)
PFL Switching
654(1)
PFL Detection
654(2)
Virtual-Earth PFL Detection
656(2)
AFL Systems
658(1)
Solo-in-Place Systems
658(2)
Talkback Microphone Amplifiers
660(1)
Line-Up Oscillators
661(3)
The Flash Bus
664(2)
Power Supply Protection
666(1)
Console Cooling and Component Lifetimes
666(3)
Chapter 23 Level Indication and Metering
669(16)
Signal-Present Indication
669(1)
Peak Indication
670(2)
The Log Law Level LED (LLLL)
672(2)
Distributed Peak Detection
674(2)
Combined LED Indicators
676(1)
VU Meters
676(2)
PPMs
678(1)
LED Bar-Graph Metering
678(2)
A More Efficient LED Bar-Graph Architecture
680(3)
Vacuum Fluorescent Displays
683(1)
Plasma Displays
683(1)
Liquid Crystal Displays
684(1)
Chapter 24 Level Control and Special Circuits
685(94)
Gain-Control Elements
685(7)
A Brief History of Gain-Control Elements
685(1)
JFETs
685(3)
Operational Transconductance Amplifiers (OTAs)
688(1)
Voltage-Controlled Amplifiers (VCAs)
689(3)
Compressors and Limiters
692(6)
Attack Artefacts
695(1)
Decay Artefacts
696(1)
Subtractive VCA Control
697(1)
Noise Gates
698(2)
Clipping
700(6)
Diode Clipping
700(3)
Active Clipping With Transistors
703(3)
Active Clipping With Opamps
706(1)
1 Clipping by Clamping
706(2)
2 Negative-Feedback Clipping
708(3)
3 Feedforward Clipping
711(3)
Noise Generators
714(1)
Pinkening Filters
715(4)
Chapter 25 Power Supplies
719(1)
Opamp Supply Rail Voltages
719(1)
Designing a ± 15 V Supply
720(3)
Designing a ± 17 V Supply
723(1)
Using Variable-Voltage Regulators
724(1)
Improving Ripple Performance
725(1)
Dual Supplies From a Single Winding
726(1)
Power Supplies for Discrete Circuitry
727(1)
Larger Power Supplies
728(1)
Mutual Shutdown Circuitry
729(1)
Very Large Power Supplies
729(1)
Microcontroller and Relay Supplies
730(1)
+48 V Phantom Power Supplies
731(2)
Chapter 26 Interfacing With the Digital Domain
733(12)
PCB Layout Considerations
733(1)
Nominal Levels and ADCs
734(1)
Some Typical ADCs
735(1)
Interfacing With ADC Inputs
735(3)
Some Typical DACs
738(1)
Interfacing With DAC Outputs
738(2)
Interfacing With Microcontrollers
740(5)
Appendix 745(2)
Index 747
Douglas Self studied engineering at Cambridge University then psychoacoustics at Sussex University. He has spent many years working at the top level of design in both the professional audio and hi-fi industries and has taken out a number of patents in the field of audio technology. He currently acts as a consultant engineer in the field of audio design.