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by Keith Holland, Philip Newell
Loudspeakers
Front Cover
Half Title
Title Page
Copyright
Contents
About the authors
Acknowledgements
Preface
Introduction
Chapter 1 What is a loudspeaker?
1.1 A brief look at the concept
1.2 A little history and some background
1.3 Some other problems
1.4 Some basic facts
1.4.1 Acoustic wave propagation
1.4.2 Mechanical and acoustic impedance
1.4.3 Impedance in loudspeakers
1.5 The practical moving-coil cone loudspeaker
1.5.1 The combined response
1.6 Resistive and reactive loads
1.7 The bigger picture
References
Bibliography
Chapter 2 Diversity of design
2.1 Moving-coil cone loudspeakers
2.1.1 Cones
2.1.2 Surrounds
2.1.3 Rear suspensions
2.1.4 The chassis
2.1.5 The voice-coil assembly
2.1.6 Magnet systems
2.1.7 Ferrofluids
2.1.8 The complete system
2.2 Dome loudspeakers
2.2.1 Hard and soft domes
2.3 Compression drivers
2.4 Ribbon loudspeakers
2.5 Heil air-motion transformers
2.6 Distributed mode loudspeakers
2.6.1 Panel/piston combinations
2.7 Beyond magnetics
2.7.1 Piezoelectric devices
2.7.2 Ionic loudspeakers
2.8 Electrostatic loudspeakers
2.9 Electromagnetic planar loudspeakers
2.10 Summary
References
Bibliography
Chapter 3 Loudspeaker cabinets
3.1 The concept of the infinite baffle
3.2 The sealed box
3.2.1 Acoustic suspensions
3.3 Reflex enclosures
3.4 Acoustic labyrinths
3.4.1 Modern transmission lines
3.5 ABR systems
3.6 Bandpass cabinets
3.7 Series driver operation and isobaric loudspeakers
3.8 General discussion
3.9 Cabinet lining materials
3.10 Cabinet constructions
3.11 Cabinet shapes and diffraction effects
3.12 Front grilles
3.13 Cabinet mounting
References
Chapter 4 Horns
4.1 The horn as a transformer
4.2 Directivity control
4.3 Horn design compromises
4.4 Non-linear acoustics
4.5 Examples of non-linear acoustics in loudspeakers
4.6 Practical horns in studios and homes
4.7 Implications for practical horn design parameters
4.8 Summary of results
4.9 General horn characteristics
4.10 Phasing plugs
4.11 Acoustics lenses
4.12 Horn types
4.13 Materials of construction
4.14 Vestigial horns and ‘waveguides’
4.15 Flare rates
References
Chapter 5 Crossovers
5.1 What is a crossover?
5.2 Reconstruction problems
5.3 Orders, slopes and shapes
5.4 Filter shapes
5.5 Target functions
5.5.1 Minimum and non-minimum phase effects
5.5.2 Corrective measures and side-effects
5.6 Active versus passive crossovers
5.7 Physical derivation of crossover delay
5.8 Digital crossovers
References
Bibliography
Chapter 6 Effects of amplifiers and cables
6.1 Amplifiers – an over-view
6.2 Basic requirements for current and voltage output
6.3 Transient response
6.4 Non-linear distortions
6.5 Amplifier classes and modes of operation
6.5.1 Class A amplifiers
6.5.2 Class A derivatives
6.5.3 Class AB
6.5.4 Class D
6.5.5 Class G and H
6.6 MOSFET or BJT?
6.7 Choosing an amplifier
6.8 Loudspeaker cables and their effect on system performance
6.8.1 The bare minimum
6.8.2 The status quo
6.8.3 Cable designs for loudspeaker use
6.9 The amplifier/loudspeaker interface
6.10 Some provable characteristics of cable performance
6.11 Some passing comments
6.12 Multi-cabling
6.13 Polyamplification and multiamplification
6.14 System design
References
Bibliography
Chapter 7 Loudspeaker behaviour in rooms
7.1 The anechoic and reverberation chambers
7.2 Boundary loading and room gain
7.2.1 Restriction of radiating space
7.2.2 The mirrored room and mutual coupling
7.3 Room reflexions
7.3.1 Resonant modes
7.4 Flush-mounting
7.5 Multichannel considerations and phantom imaging
7.6 Stereo perception in rooms
7.7 Rooms for critical listening
7.8 Electronic, digitally adaptive response correction
7.9 Minimum and non-minimum phase responses
References
Bibliography
Chapter 8 Form follows function
8.1 The chain
8.2 Recording monitors
8.2.1 Basic requirements
8.2.2 Proportional costs
8.2.3 Different approaches
8.2.4 Crossover points
8.2.5 Power consideration
8.2.6 Interfacing with the rooms
8.2.7 A word about listening levels
8.3 Mixing monitors
8.3.1 Location dilemmas
8.4 Mastering loudspeakers
8.5 Domestic loudspeakers
8.6 Musical instrument loudspeakers
8.6.1 Cabinet designs
Summary
References
Bibliography
Chapter 9 Subjective and objective assessment
9.1 The general situation
9.2 Test signals and analysis
9.2.1 Frequency response plots
9.2.2 Waterfall plots
9.2.3 Harmonic distortion
9.2.4 Intermodulation distortion
9.2.5 Delta-functions and step-functions
9.2.6 Acoustic source plots
9.2.7 Cepstrum analysis
9.2.8 Modulation transfer functions
9.2.8.1 Application of room equalisation
9.2.8.2 A D-to-A dilemma
9.3 Sound fields and human perception
9.3.1 Further perceptual considerations
References
Bibliography
Chapter 10 The mix, the music and the monitors
10.1 Physics or psychology?
10.2 The musical dependence of compatibility
10.2.1 Sine waves and pink noise
10.3 Real responses vs. preconceived ideas
Acknowledgement
Chapter 11 Low frequency and transient response dilemmas
11.1 The great low frequency deception
11.1.1 The air spring
11.1.2 Size, weight and sensitivity
11.1.3 Further consequences of small size
11.2 Commercial solutions
11.2.1 The time penalty
11.2.2 The transient trade-off
11.3 The evolution of the desk-top monitor
11.4 The great time deception
11.5 Resonant tails and one-note bass
11.6 The masking of detail
11.7 Theoretical equalisation and excess phase
11.8 Modulation transfer-function and a new type of frequency response plot
11.9 Summing-up
References
Chapter 12 The challenges of surround sound
12.1 Surround sound in professional studios
12.2 Cinema sound
12.3 Music mixing
12.4 Sub-woofers – discrete and managed
12.5 Size versus performance compromises
12.6 Compound sub-woofers and electronic control
12.7 System considerations
References
Glossary of terms
Index
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