- Front Cover
- Half Title
- Title Page
- Copyright
- Contents
- About the authors
- Acknowledgements
- Preface
- Introduction
- Chapter 1 What is a loudspeaker?
- Chapter 2 Diversity of design
- Chapter 3 Loudspeaker cabinets
- 3.1 The concept of the infinite baffle
- 3.2 The sealed box
- 3.3 Reflex enclosures
- 3.4 Acoustic labyrinths
- 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
- 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
- 6.6 MOSFET or BJT?
- 6.7 Choosing an amplifier
- 6.8 Loudspeaker cables and their effect on system performance
- 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
- 7.3 Room reflexions
- 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
- Chapter 9 Subjective and objective assessment
- 9.1 The general situation
- 9.2 Test signals and analysis
- 9.3 Sound fields and human perception
- References
- Bibliography
- Chapter 10 The mix, the music and the monitors
- Chapter 11 Low frequency and transient response dilemmas
- 11.1 The great low frequency deception
- 11.2 Commercial solutions
- 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
- Glossary of terms
- Index
-
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