Loudspeakers: For music recording and reproduction

Front Cover......Page 1
Title Page......Page 4
Copyright Page......Page 5
Table of Contents......Page 6
About the authors......Page 12
Acknowledgements......Page 16
Preface......Page 18
Introduction......Page 20
1.1 A brief look at the concept......Page 24
1.2 A little history and some background......Page 25
1.3 Some other problems......Page 27
1.4.1 Acoustic wave propagation......Page 28
1.4.2 Mechanical and acoustic impedance......Page 30
1.5 The practical moving-coil cone loudspeaker......Page 32
1.5.1 The combined response......Page 35
1.6 Resistive and reactive loads......Page 37
References......Page 43
Bibliography......Page 44
2.1 Moving-coil cone loudspeakers......Page 45
2.1.1 Cones......Page 46
2.1.2 Surrounds......Page 53
2.1.3 Rear suspensions......Page 55
2.1.4 The chassis......Page 57
2.1.5 The voice-coil assembly......Page 58
2.1.6 Magnet systems......Page 59
2.1.8 The complete system......Page 62
2.2 Dome loudspeakers......Page 63
2.2.1 Hard and soft domes......Page 66
2.3 Compression drivers......Page 68
2.4 Ribbon loudspeakers......Page 71
2.5 Heil air-motion transformers......Page 73
2.6 Distributed mode loudspeakers......Page 74
2.6.1 Panel/piston combinations......Page 78
2.7 Beyond magnetics......Page 79
2.7.2 Ionic loudspeakers......Page 80
2.8 Electrostatic loudspeakers......Page 81
2.10 Summary......Page 86
Bibliography......Page 87
3.1 The concept of the infinite baffle......Page 88
3.2 The sealed box......Page 90
3.3 Reflex enclosures......Page 94
3.4 Acoustic labyrinths......Page 99
3.4.1 Modern transmission lines......Page 101
3.5 ABR systems......Page 104
3.6 Bandpass cabinets......Page 105
3.7 Series driver operation and isobaric loudspeakers......Page 107
3.8 General discussion......Page 108
3.9 Cabinet lining materials......Page 109
3.10 Cabinet constructions......Page 110
3.11 Cabinet shapes and diffraction effects......Page 111
3.12 Front grilles......Page 115
3.13 Cabinet mounting......Page 116
References......Page 118
4.1 The horn as a transformer......Page 119
4.2 Directivity control......Page 125
4.3 Horn design compromises......Page 126
4.4 Non-linear acoustics......Page 127
4.5 Examples of non-linear acoustics in loudspeakers......Page 128
4.6 Practical horns in studios and homes......Page 130
4.7 Implications for practical horn design parameters......Page 131
4.8 Summary of results......Page 135
4.9 General horn characteristics......Page 136
4.10 Phasing plugs......Page 138
4.11 Acoustics lenses......Page 140
4.12 Horn types......Page 141
4.13 Materials of construction......Page 142
4.14 Vestigial horns and ‘waveguides’......Page 143
4.15 Flare rates......Page 144
References......Page 146
5.1 What is a crossover?......Page 147
5.2 Reconstruction problems......Page 148
5.3 Orders, slopes and shapes......Page 152
5.4 Filter shapes......Page 160
5.5 Target functions......Page 162
5.5.1 Minimum and non-minimum phase effects......Page 163
5.5.2 Corrective measures and side-effects......Page 164
5.6 Active versus passive crossovers......Page 165
5.7 Physical derivation of crossover delay......Page 169
5.8 Digital crossovers......Page 170
Bibliography......Page 173
6.1 Amplifiers – an over-view......Page 174
6.2 Basic requirements for current and voltage output......Page 176
6.3 Transient response......Page 177
6.4 Non-linear distortions......Page 180
6.5 Amplifier classes and modes of operation......Page 181
6.5.1 Class A amplifiers......Page 182
6.5.2 Class A derivatives......Page 183
6.5.4 Class D......Page 184
6.6 MOSFET or BJT?......Page 186
6.7 Choosing an amplifier......Page 187
6.8.1 The bare minimum......Page 189
6.8.2 The status quo......Page 191
6.8.3 Cable designs for loudspeaker use......Page 192
6.9 The amplifier/loudspeaker interface......Page 193
6.10 Some provable characteristics of cable performance......Page 197
6.11 Some passing comments......Page 211
6.12 Multi-cabling......Page 214
6.13 Polyamplification and multiamplification......Page 215
6.14 System design......Page 216
References......Page 217
Bibliography......Page 218
7.1 The anechoic and reverberation chambers......Page 219
7.2 Boundary loading and room gain......Page 221
7.2.1 Restriction of radiating space......Page 225
7.2.2 The mirrored room and mutual coupling......Page 228
7.3 Room reflexions......Page 229
7.3.1 Resonant modes......Page 232
7.4 Flush-mounting......Page 234
7.5 Multichannel considerations and phantom imaging......Page 235
7.6 Stereo perception in rooms......Page 239
7.7 Rooms for critical listening......Page 240
7.8 Electronic, digitally adaptive response correction......Page 243
7.9 Minimum and non-minimum phase responses......Page 248
Bibliography......Page 250
8.1 The chain......Page 252
8.2 Recording monitors......Page 253
8.2.1 Basic requirements......Page 256
8.2.2 Proportional costs......Page 260
8.2.3 Different approaches......Page 261
8.2.4 Crossover points......Page 264
8.2.5 Power consideration......Page 268
8.2.6 Interfacing with the rooms......Page 271
8.3 Mixing monitors......Page 273
8.4 Mastering loudspeakers......Page 281
8.5 Domestic loudspeakers......Page 286
8.6 Musical instrument loudspeakers......Page 287
8.6.1 Cabinet designs......Page 290
References......Page 292
Bibliography......Page 293
9.1 The general situation......Page 294
9.2 Test signals and analysis......Page 295
9.2.1 Frequency response plots......Page 298
9.2.2 Waterfall plots......Page 300
9.2.3 Harmonic distortion......Page 304
9.2.4 Intermodulation distortion......Page 306
9.2.5 Delta-functions and step-functions......Page 311
9.2.6 Acoustic source plots......Page 315
9.2.7 Cepstrum analysis......Page 318
9.2.8 Modulation transfer functions......Page 320
9.2.8.1 Application of room equalisation......Page 321
9.2.8.2 A D-to-A dilemma......Page 324
9.3 Sound fields and human perception......Page 325
9.3.1 Further perceptual considerations......Page 328
References......Page 332
Bibliography......Page 333
10.1 Physics or psychology?......Page 334
10.2 The musical dependence of compatibility......Page 335
10.3 Real responses vs. preconceived ideas......Page 337
Acknowledgement......Page 342
11.1 The great low frequency deception......Page 343
11.1.1 The air spring......Page 344
11.1.2 Size, weight and sensitivity......Page 347
11.2 Commercial solutions......Page 349
11.2.1 The time penalty......Page 350
11.2.2 The transient trade-off......Page 353
11.3 The evolution of the desk-top monitor......Page 356
11.5 Resonant tails and one-note bass......Page 362
11.6 The masking of detail......Page 365
11.7 Theoretical equalisation and excess phase......Page 366
11.8 Modulation transfer-function and a new type of frequency response plot......Page 368
11.9 Summing-up......Page 373
References......Page 374
12.1 Surround sound in professional studios......Page 375
12.2 Cinema sound......Page 380
12.3 Music mixing......Page 383
12.4 Sub-woofers – discrete and managed......Page 385
12.5 Size versus performance compromises......Page 387
12.6 Compound sub-woofers and electronic control......Page 391
12.7 System considerations......Page 395
References......Page 398
Glossary of terms......Page 399
Index......Page 418