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Written by a team of experts, the Loudspeaker and Headphone Handbook provides a detailed technical reference of all aspects of loudspeakers and headphones: from theory and construction of transducer drive units and enclosures, to such practical matters as construction, applications in rooms, public address, sound reinforcement, studio monitoring and musical instruments. Loudspeaker measurements and subjective evaluation are treated in equal detail and headphones are discussed comprehensively. This third edition takes account of recent significant advances in technology, including: · the latest computer-aided design systems · digital audio processing · new research procedures · the full range of loudspeakers · new user applications.
The second edition of Loudspeaker Handbook follows the same general outlines as the highly successful first edition and has been augmented and updated in many areas of technology. Most notable are the developments in large-scale, programmable line arrays, distributed mode loudspeakers, and ultrasonic-based audio transduction. Additionally, the core chapters on low frequency systems, system concepts, and horn systems have been expanded to include both more analytical material and a richer array of examples. Much of the success of the first edition has been due to its accessibility both to loudspeaker engineers and to lay technicians working in the field - a point of view the author maintains in the present work. A full understanding of the underlying technology requires a fairly rigorous engineering background through the second year of professional study. At the same time, the generous use of graphs, with their intuitive thrust, will be useful to all readers. Loudspeaker Handbook, Second Edition continues to be appropriate for use in courses at the undergraduate senior level, for graduate students, and for professionals in audio and acoustical engineering.
Acoustics: Sound Fields, Transducers and Vibration, Second Edition guides readers through the basics of sound fields, the laws governing sound generation, radiation, and propagation, and general terminology. Specific sections cover microphones (electromagnetic, electrostatic, and ribbon), earphones, and horns, loudspeaker enclosures, baffles and transmission lines, miniature applications (e.g. MEMS microphones and micro speakers in tablets and smart phones), sound in enclosures of all sizes, such as school rooms, offices, auditoriums and living rooms, and fluid-structure interaction. Numerical examples and summary charts are given throughout the text to make the material easily applicable to practical design. New to this edition: A chapter on electrostatic loudspeakers A chapter on vibrating surfaces (membranes, plates, and shells) Readers will find this to be a valuable resource for experimenters, acoustical consultants, and to those who anticipate being engineering designers of audio equipment. It will serve as both a text for students in engineering departments and as a valuable reference for practicing engineers. Provides detailed acoustic fundamentals, enabling better understanding of complex design parameters, measurement methods and data Extensive appendices cover frequency-response shapes for loudspeakers, mathematical formulas and conversion factors
(Book). Of all American audio companies, JBL holds the record for overall longevity and product renown. To celebrate sixty years of success, this book offers details on the people and products that have made this company famous. From car stereos to concert hall installations, JBL is the most recognized audio brand in the world. Written by audio expert John Eargle, this book features full-color photos, historical advertisements, and hundreds of diagrams and images, many taken right from JBL's archives. Topics include stories behind the development of innovative applications for consumer products, as well as systems installations for stadiums, tour sound, movie theaters, recording studios, and places of worship. In addition to the technical info that will help explain the innovation, this book will cover the brilliant engineers, and colorful record producers, musicians and technicians who had the vision to pursue a "better way". This book is for anyone interested in the behind-the-scenes of a business success story, and who is fascinated on how amplified sound is applied in almost every aspect of our lives from the home to the concert hall.
Sound engineering is one of the fastest-growing branches of music production. The need for a broad-based discussion on the issues constituting the art of sound engineering persists and loses none of its relevance, revealing that sound engineering should not be investigated only in the mathematical and physical context (musical acoustics) or the engineering aspect (signal processing and modification). Publications targeted primarily at musicians are few and far between, which is why the mutual understanding for different priorities which effectively concern the same issues faced by the engineer, the acoustician and the musician, seems to be a complex problem and the main concept explored in this publication. This book is intended for musicians or sound directors, but also acousticians and sound engineers wishing to learn how the musicians think. The monograph is also addressed to musicians who intend to record their material in the studio in the near future, but do not possess knowledge on studio construction, studio workflow or the art of recording. It seems important to familiarize the musicians with the reality that awaits them on the other side of the glass, thus fostering their responsibility for the work jointly produced by them – entering the studio – and the sound director.
First published in 2006. This guide is an A to Z trade reference aimed at music students, technophiles and audio-video computer users. The world of music technology has exploded over the last decades thanks to introductions of new digital formats. At the same time there has been a renaissance in analog high fidelity equipment and resurgent interest in turntables, long playing records and vintage stereo systems. Music students, collectors and consumers will appreciate the availability of a guide to all things musical in the technological universe.
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 musician’s 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.
Drawing on recent ideas that explore new environments and the changing situations of composition and performance, Simon Emmerson provides a significant contribution to the study of contemporary music, bridging history, aesthetics and the ideas behind evolving performance practices. Whether created in a studio or performed on stage, how does electronic music reflect what is live and living? What is it to perform 'live' in the age of the laptop? Many performer-composers draw upon a 'library' of materials, some created beforehand in a studio, some coded 'on the fly', others 'plundered' from the widest possible range of sources. But others refuse to abandon traditionally 'created and structured' electroacoustic work. Lying behind this maelstrom of activity is the perennial relationship to 'theory', that is, ideas, principles and practices that somehow lie behind composers' and performers' actions. Some composers claim they just 'respond' to sound and compose 'with their ears', while others use models and analogies of previously 'non-musical' processes. It is evident that in such new musical practices the human body has a new relationship to the sound. There is a historical dimension to this, for since the earliest electroacoustic experiments in 1948 the body has been celebrated or sublimated in a strange 'dance' of forces in which it has never quite gone away but rarely been overtly present. The relationship of the body performing to the spaces around has also undergone a revolution as the source of sound production has shifted to the loudspeaker. Emmerson considers these issues in the framework of our increasingly 'acousmatic' world in which we cannot see the source of the sounds we hear.
Most of the extended instrumental playing techniques, as well as electroacoustic music in general, are still deprived of a conventional method of notation. In order to facilitate the utilization of these unconventional musical elements, a coherent and consistent notation system is developed in this work. Numerous extended techniques for playing string instruments, wind instruments, percussion instruments, keyboard instruments and vocal techniques are therefore systematically explained and previous methods of notation discussed.