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El. knyga: Audio Engineering: Know It All

(International consultant in high quality Audio Electronics, Pro & Hi-Fi; and prolific equipment designer), , (Long-standing technical author, UK-), , , , , , (Senior designer of high-end audio amplifiers; Contributor to Electronics World magazine)
  • Formatas: PDF+DRM
  • Serija: Newnes Know it All
  • Išleidimo metai: 06-Mar-2009
  • Leidėjas: Newnes (an imprint of Butterworth-Heinemann Ltd )
  • Kalba: eng
  • ISBN-13: 9780080949642
  • Formatas: PDF+DRM
  • Serija: Newnes Know it All
  • Išleidimo metai: 06-Mar-2009
  • Leidėjas: Newnes (an imprint of Butterworth-Heinemann Ltd )
  • Kalba: eng
  • ISBN-13: 9780080949642

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The Newnes Know It All Series takes the best of what our authors have written to create hard-working desk references that will be an engineer's first port of call for key information, design techniques and rules of thumb. Guaranteed not to gather dust on a shelf!

Part I Fundamentals of Sound

Chapter 1 Audio Principles
Chapter 2. Measurement
Chapter 3 Acoustic Environment

II. Audio Electronics

Chapter 4 Components
Chapter 5 Power supply design


III Preamplifiers and Amplifiers

Chapter 6 Introduction to Audio Amplification
CHAPTER 7 Preamplifiers and input signals
Chapter 8 Interfacing and processing
Chapter 9 Audio amplifiers
Chapter 10 Audio amplifier
Chapter 11. Valve (tube-based) amplifiers
Chapter 12 Negative feedback
Chapter 13 Noise and grounding

Part IV Digital Audio

Chapter 14 Digital audio fundamentals
Chapter 15 Representation of Audio Signals
Chapter 16.Compact disc
Chapter 17 Digital audio recording basics
Chapter 18 Digital audio interfaces
Chapter 19 Data compression
Chapter 20 Digital audio production
Chapter 21 Other Digital Audio Devices

V. Microphone and Loudspeaker Technology
Chapter 22 Microphone technology
Chapter 23 Loudspeakers
Chapter 24 Loudspeaker enclosures
Chapter 25 Headphones

Part VI. Sound Reproduction Systems

Chapter 26 Tape Recording
Chapter 27 Recording consoles
Chapter 28 Video synchronization
Chapter 29 Room acoustics

Part VII Audio Test and Measurement

CHAPTER 30 Fundamentals and instruments

• A 360-degree view from our best-selling authors
• Hot topics covered
• The ultimate hard-working desk reference; all the essential information, techniques and tricks of the trade in one volume

The Newnes Know It All Series takes the best of what our authors have written to create hard-working desk references that will be an engineer's first port of call for key information, design techniques and rules of thumb. Guaranteed not to gather dust on a shelf!

Audio engineers need to master a wide area of topics in order to excel. The Audio Engineering Know It All covers every angle, including digital signal processing, power supply design, microphone and loudspeaker technology as well as audio compression.

• A 360-degree view from our best-selling authors
• Includes such topics as fundamentals, compression, and test and measurement
• The ultimate hard-working desk reference; all the essential information, techniques and tricks of the trade in one volume

Daugiau informacijos

The latest technologies - the leading experts - proven real-world design solutions - together in one must-have volume!
About the Authors xv
I. Fundamentals of Sound
1(114)
Audio Principles
3(30)
The Physics of Sound
3(1)
Wavelength
4(1)
Periodic and Aperiodic Signals
5(1)
Sound and the Ear
6(3)
The Cochlea
9(2)
Mental Processes
11(3)
Level and Loudness
14(2)
Frequency Discrimination
16(4)
Frequency Response and Linearity
20(2)
The Sine Wave
22(3)
Root Mean Square Measurements
25(1)
The Decibel
26(4)
Audio Level Metering
30(3)
References
32(1)
Measurement
33(48)
Concepts Underlying the Decibel and its Use in Sound Systems
33(5)
Measuring Electrical Power
38(1)
Expressing Power as an Audio Level
39(1)
Conventional Practice
40(2)
The Decibel in Acoustics---LP, LW, and Lt
42(2)
Acoustic Intensity Level (LI), Acoustic Power Level (LW), and Acoustic Pressure Level (LP)
44(2)
Inverse Square Law
46(1)
Directivity Factor
47(1)
Ohm's Law
47(1)
A Decibel is a Decibel is a Decibel
48(1)
Older References
48(3)
The Equivalent Level (LEQ) in Noise Measurements
51(3)
Combining Decibels
54(4)
Combining Voltage
58(1)
Using the Log Charts
58(2)
Finding the Logarithm of a Number to Any Base
60(1)
Semitone Intervals
61(1)
System Gain Changes
62(1)
The VU and the Volume Indicator Instrument
62(6)
Calculating the Number of Decades in a Frequency Span
68(1)
Deflection of the Eardrum at Various Sound Levels
69(1)
The Phon
70(3)
The Tempered Scale
73(1)
Measuring Distortion
73(1)
The Acoustical Meaning of Harmonic Distortion
74(2)
Playback Systems in Studios
76(1)
Decibels and Percentages
77(2)
Summary
79(2)
Further Reading
79(2)
Acoustic Environment
81(34)
The Acoustic Environment
81(1)
Inverse Square Law
82(2)
Atmospheric Absorption
84(1)
Velocity of Sound
85(3)
Temperature-Dependent Velocity
88(1)
The Effect of Altitude on the Velocity of Sound in Air
88(1)
Typical Wavelengths
89(1)
Doppler Effect
90(1)
Reflection and Refraction
91(1)
Effect of a Space Heater on Flutter Echo
92(2)
Absorption
94(3)
Classifying Sound Fields
97(5)
The Acoustic Environment Indoors
102(10)
Conclusion
112(3)
Further Reading
113(2)
II. Audio Electronic
115(46)
Components
117(22)
Building Block Components
117(22)
Power Supply Design
139(22)
High Power System
139(4)
Solid-State Rectifiers
143(1)
Music Power
144(1)
Influence of Signal Type on Power Supply Design
144(2)
High Current Power Supply Systems
146(1)
Half-Wave and Full-Wave Rectification
147(1)
Direct Current Supply Line Ripple Rejection
147(1)
Voltage Regulator Systems
148(2)
Series Regulator Layouts
150(2)
Overcurrent Protection
152(1)
Integrated Circuit (Three Terminals) Voltage Regulator ICs
153(4)
Typical Contemporary Commercial Practice
157(2)
Battery Supplies
159(1)
Switch-Mode Power Supplies
159(2)
Reference
159(2)
III. Preamplifiers and Amplifiers
161(246)
Introduction to Audio Amplification
163(4)
Preamplifiers and Input Signals
167(74)
Requirements
167(1)
Signal Voltage and Impedance Levels
167(2)
Gramophone Pick-Up Inputs
169(2)
Input Circuitry
171(4)
Moving Coil Pick-up Head Amplifier Design
175(1)
Circuit Arrangements
176(7)
Input Connections
183(1)
Input Switching
184(2)
Preamplifier Stages
186(2)
Linearity
188(9)
Noise Levels
197(1)
Output Voltage Characteristics
198(2)
Voltage Amplifier Design
200(2)
Constant-Current Sources and ``Current Mirrors''
202(7)
Performance Standards
209(3)
Audibility of Distortion
212(6)
General Design Considerations
218(1)
Controls
219(22)
References
239(2)
Interfacing and Processing
241(42)
The Input
241(11)
Radio Frequency Filtration
252(1)
Balanced Input
253(4)
Subsonic Protection and High-Pass Filtering
257(6)
Damage Protection
263(4)
What Are Process Functions
267(11)
Computer Control
278(5)
References
280(3)
Audio Amplifiers
283(30)
Junction Transistors
283(3)
Control of Operating Bias
286(2)
Stage Gain
288(1)
Basic Junction Transistor Circuit Configurations
289(2)
Emitter-Follower Systems
291(3)
Thermal Dissipation Limits
294(1)
Junction Field Effect Transistors (JFETs)
295(4)
Insulated Gate FETs (MOSFETs)
299(4)
Power BJTs vs Power MOSFETs as Amplifier Output Devices
303(2)
U and D MOSFETs
305(2)
Useful Circuit Components
307(2)
Circuit Oddments
309(2)
Slew Rate Limiting
311(2)
References
312(1)
Audio Amplifier Performance
313(24)
A Brief History of Amplifiers
313(1)
Amplifier Architectures
314(1)
The Three-Stage Architecture
314(3)
Power Amplifier Classes
317(8)
AC- and DC-Coupled Amplifiers
325(5)
Negative Feedback in Power Amplifiers
330(7)
References
334(3)
Valve (Tube-Based) Amplifiers
337(30)
Valves or Vacuum Tubes
337(12)
Solid-State Devices
349(1)
Valve Audio Amplifier Layouts
350(2)
Single-Ended Versus Push-Pull Operation
352(3)
Phase Splitters
355(3)
Output Stages
358(2)
Output (Load-Matching) Transformer
360(4)
Effect of Output Load Impedance
364(1)
Available Output Power
365(2)
References
366(1)
Negative Feedback
367(14)
Amplifier Stability and Negative Feedback
367(10)
Maximizing Negative Feedback
377(1)
Maximizing Linearity Before Feedback
378(3)
Further Reading
379(2)
Noise and Grounding
381(26)
Audio Amplifier Printed Circuit Board Design
381(9)
Amplifier Grounding
390(3)
Ground Loops: How They Work and How to Deal with Them
393(7)
Class I and Class II
400(1)
Mechanical Layout and Design Considerations
401(6)
IV. Digital Audio
407(230)
Digital Audio Fundamentals
409(28)
Audio as Data
409(2)
What is an Audio Signal?
411(3)
Why Binary?
414(4)
Why Digital?
418(2)
Some Digital Audio Processes Outlined
420(3)
Time Compression and Expansion
423(2)
Error Correction and Concealment
425(5)
Channel Coding
430(1)
Audio Compression
431(1)
Disk-Based Recording
432(1)
Rotary Head Digital Recorders
432(2)
Digital Audio Broadcasting
434(1)
Networks
434(3)
References
436(1)
Representation of Audio Signals
437(60)
Introduction
437(1)
Analogue and Digital
437(6)
Elementary Logical Processes
443(2)
The Significance of Bits and Bobs
445(3)
Transmitting Digital Signals
448(3)
The Analogue Audio Waveform
451(7)
Arithmetic
458(9)
Digital Filtering
467(9)
Other Binary Operations
476(2)
Sampling and Quantizing
478(16)
Transform and Masking Coders
494(3)
References
495(2)
Compact Disc
497(28)
Problems with Digital Encoding
497(5)
The Record-Replay System
502(3)
The Replay System
505(15)
Error Correction
520(5)
References
524(1)
Digital Audio Recording Basics
525(42)
Types of Media
525(8)
Recording Media Compared
533(2)
Some Digital Audio Processes Outlined
535(15)
Hard Disc Recorders
550(3)
The PCM Adaptor
553(1)
An Open Reel Digital Recorder
554(2)
Rotary Head Digital Recorders
556(6)
Digital Compact Cassette
562(1)
Editing Digital Audio Tape
563(4)
References
566(1)
Digital Audio Interfaces
567(12)
Digital Audio Interfaces
567(8)
MADI (AES10-1991) Serial Multichannel Audio Digital Interface
575(4)
Data Compression
579(14)
Lossless Compression
580(2)
Intermediate Compression Systems
582(1)
Psychoacoustic Masking Systems
583(1)
MPEG Layer 1 Compression (PASC)
583(3)
MPEG Layer 2 Audio Coding (MUSICAM)
586(1)
MPEG Layer 3
587(2)
MPEG-4
589(3)
Digital Audio Production
592(1)
Digital Audio Production
593(18)
Digital Audio Workstations (DAWs)
593(7)
Audio Data Files
600(2)
Sound Cards
602(1)
PCI Bus Versus ISA Bus
602(1)
Disks and Other Peripheral Hardware
603(1)
Hard Drive Interface Standards
604(2)
Digital Noise Generation---Chain Code Generators
606(5)
References
609(2)
Other Digital Audio Devices
611(26)
Video Recorders
611(1)
High Definition Compatible Digital (HDCD)
612(1)
CD Writers
612(8)
MPEG Systems
620(5)
MP3
625(1)
Transcribing a Recording by Computer
626(3)
WAV Onward
629(1)
DAM CD
630(1)
DVD and Audio
631(6)
V. Microphone and Loudspeaker Technology
637(110)
Microphone Technology
639(36)
Microphone Sensitivity
639(4)
Microphone Selection
643(4)
Nature of Response and Directional Characteristics
647(10)
Wireless Microphones
657(9)
Microphone Connectors, Cables, and Phantom Power
666(5)
Measurement Microphones
671(4)
Further Reading
673(2)
Loudspeakers
675(30)
Radiation of Sound
675(2)
Characteristic Impedance
677(1)
Radiation Impedance
677(1)
Radiation from a Piston
677(1)
Directivity
678(1)
Sound Pressure Produced at Distance r
679(3)
Electrical Analogue
682(3)
Diaphragm/Suspension Assembly
685(1)
Diaphragm Size
685(2)
Diaphragm Profile
687(1)
Straight-Sided Cones
688(2)
Material
690(1)
Soft Domes
691(1)
Suspensions
692(1)
Voice Coil
693(1)
Moving Coil Loudspeaker
694(3)
Motional Impedance
697(8)
Further Reading
703(2)
Loudspeaker Enclosures
705(26)
Loudspeakers
705(15)
The Interrelation of Components
720(11)
Headphones
731(16)
A Brief History
731(1)
Pros and Cons of Headphone Listening
732(2)
Headphone Types
734(7)
Basic Headphone Types
741(2)
Measuring Headphones
743(2)
The Future
745(2)
VI. Sound Reproduction Systems
747(122)
Tape Recording
749(12)
Introduction
749(1)
Magnetic Theory
750(1)
The Physics of Magnetic Recording
751(1)
Bias
752(1)
Equalization
753(1)
Tape Speed
754(1)
Speed Stability
754(2)
Recording Formats---Analogue Machines
756(5)
Recording Consoles
761(48)
Introduction
761(1)
Standard Levels and Level Meters
762(8)
Standard Operating Levels and Line-Up Tones
770(1)
Digital Line-Up
771(1)
Sound Mixer Architecture and Circuit Blocks
771(8)
Audio Mixer Circuitry
779(14)
Mixer Automation
793(2)
Digital Consoles
795(14)
References
807(2)
Video Synchronization
809(32)
Introduction
809(1)
Persistence of Vision
809(1)
Cathode Ray Tube and Raster Scanning
810(1)
Television Signal
811(3)
Color Perception
814(2)
Color Television
816(7)
Analogue Video Interfaces
823(1)
Digital Video
824(10)
Embedded Digital Audio in the Digital Video Interface
834(3)
Time Code
837(4)
Room Acoustics
841(28)
Introduction
841(1)
Noise Control
842(12)
Studio and Control Room Acoustics
854(15)
VII. Audio Test and Measurement
869(22)
Fundamentals and Instruments
871(20)
Instrument Types
872(1)
Signal Generators
873(12)
Alternative Waveform Types
885(5)
Distortion Measurement
890(1)
Index 891
Douglas Self has a worldwide reputation as a leading authority on audio amplifier design, but it is perhaps less well known that he has devoted a good deal of study to small-signal circuitry, including many years as the chief design engineer at one of the major mixing console manufacturers, where his achievements included winning a Design Council Award. His rigorous, skeptical, and thoroughly practical approach to design has been applied to the small signal area as well, and some of the results to be found in this book. Senior designer of high-end audio amplifiers and contributor to Electronics World magazine, Douglas has worked with many top audio names, including Cambridge Audio, TAG-McLaren Audio, and Soundcraft Electronics. Ben Duncan is well known to many users of audio power amplifiers around the world, both professional and domestic, through his hundreds of articles, reviews and research papers on music technology in the UK and US press, and through his part in creating several notable professional power amplifiers.Since 1977, he has been involved in the design of over 70 innovative, high-end audio products used by recording and broadcast studios, on stages, in clubs and by the most critical domestic listeners - as well as creating bespoke equipment for top musicians. Born in London, he has travelled widely but has lived mainly in Lincolnshire, home of his family for over 150 years. Outside a wide spectrum of music and festivals his interests include managing an organic garden, woodland and nature reserve; industrial archaeology, historic building restoration, psychic research, and 20th century political, social and engineering history. He is twice co-author of the book Rock Hardware in which he has chronicled the history of rocknroll PA. Ian Sinclair was born in 1932 in Tayport, Fife, and graduated from the University of St. Andrews in 1956. In that year, he joined the English Electric Valve Co. in Chelmsford, Essex, to work on the design of specialised cathode-ray tubes, and later on small transmitting valves and TV transmitting tubes. In 1966, he became an assistant lecturer at Hornchurch Technical College, and in 1967 joined the staff of Braintree College of F.E. as a lecturer. His first book, Understanding Electronic Components” was published in 1972, and he has been writing ever since, particularly for the novice in Electronics or Computing. The interest in computing arose after seeing a Tandy TRS80 in San Francisco in 1977, and of his 204 published books, about half have been on computing topics, starting with a guide to Microsoft Basic on the TRS80 in 1979. He left teaching in 1984 to concentrate entirely on writing, and has also gained experience in computer typesetting, particularly for mathematical texts. He has recently visited Seattle to see Microsoft at work, and to remind them that he has been using Microsoft products longer than most Microsoft employees can remember. Ian Sinclair is the author of the following Made Simple books: Lotus 1-2-3- (2.4 DOS version) MS-DOS (up to version 6.22) PagePlus for Windows 3.1 Hard drives He is also the author of many other books published under our Newnes imprint.Visit Ian's website at http://website.lineone.net/~ian_sinclair Commercial Director of Miranda Technologies, a global company specialising in television and channel-branding equipment. Worked previously as a senior designer in several of Britains top broadcast companies. Previously Richard worked for Pro Bel where he designed the Freeway product series. For this he was cited in Post Update magazine as one of the twelve disciples of TV design”. Richard was also responsible for the stereo enhancement system `Francinstien and the OM three-dimensional stereo system. Both these systems have been used on many records, tapes and CDs as well as on television and film scores.Richard is author of Multimedia and Virtual Reality, Music Engineering and Newnes Guide to Digital Television.Director, Electric Perception Ltd John Linsley Hood (1925-2004) was head of the electronics research laboratories at British cellophane, for nearly 25 years. He worked on many instrumentation projects including width gauges and moisture meters, and made several inventions which were patented under the Cellophane name. Prior to his work at British Cellophane he worked in the electronics laboratory of the Department of Atomic Energy at Sellafield, Cumbria. He studied at Reading University after serving in the military as a radar mechanic. Linsley Hood published more than 30 technical feature articles in Wireless World magazine and its later incarnation Electronics World. He also contributed to numerous magazines including Electronics Today. Most recently Quality Assurance Manager at Accelerix in Ottawa, Canada. Currently working as an ISO 9000 Quality Assurance Manager for Conexant Systems Inc. in Ottawa, Canada.Over 25 years of experience in electronics/semiconductor device technology.Has written for Popular Electronics and the Electronics Handbook, as well asBeginning Analog Electronics Through Projects, 2E and Beginning Digital Electronics Through Projects, Modern Electronics Soldering Techniques,Dictionary of Modern Electronics Technology, and Practical Audio Amplifiercircuit Projects Don Davis and his wife, Carolyn, founded Synergetic Audio Concepts in 1972, he later retired in 1995. Don is a Senior member of the IEEE, Fellow of the AES and has received the Heyser Award, Life Time Achievement Award from NSCA and from USITT, Recognition for participation in the Brussels World Fair 1958 from the U.S. Dept. of State, and for the U.S. Exhibition in Moscow in 1959. Eugene Patronis is Professor of Physics Emeritus at the Georgia Institute of Technology in Atlanta, Georgia, USA. He has also served as an industrial and governmental consultant in the fields of acoustics and electronics. John Watkinson is an independent international consultant in advanced applications of electronics to audiovisual and avionics systems. He is a Fellow of the AES, a member of the Society of Expert Witnesses, and the British Computer Society and is a chartered information systems practitioner. He presents lectures, seminars and training courses worldwide. He is the author of many other Elsevier books, including The Art of DigitalVideo, An Introduction to Digital Video, Convergence in Broadcast and Communications Media, Television Fundamentals and The Art of the Helicopter.