By Ian Sinclair
Written by way of a group of specialists and expert participants this complete consultant has proved to be a useful source for pro designers and repair engineers.
Each bankruptcy is written through a number one writer, together with Don Aldous, John Borwick, Dave Berriman and John Linsley Hood, which gives as vast a point of view as attainable on high quality sound replica in addition to a wealth of workmanship. This 3rd variation has been absolutely up-to-date to incorporate glossy valve amplifier designs, Nicam and satellite tv for pc radio, and together with a brand new part on servicing.
A large ranging consultant for pros and hobbyists alike.
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Extra info for Audio and Hi-Fi Handbook (3rd Edition)
Sample text
Microphones: Technology and Technique. Oxford: Focal Press (1990). , Microphones, 3rd Edition. TAB (1986). , The Microphone Handbook. New York: Elar Publishing (1981). , Microphone Manual. Boston: Focal Press (1992). , The Use of Microphones, 4th edn. Oxford: Focal Press (1979). , Sound Recording Handbook. Indianapolis: Howard W. Sams (1989). ian 4/6/98 5:06 PM 3 Page 28 Studio and Control Room Acoustics Peter Mapp The reproduction of natural instrumental sound begins with microphones, but the behaviour of microphones cannot be separated from the acoustics of the studio.
Combinations of layers of plasterboard and softboard, separated by an air space are frequently used. 4 shows a typical construction. The softboard is used to damp out the natural resonances of the plasterboard which would reduce its sound insulation. g. fibreglass or mineral wool, to dampout any cavity resonances). Note that an airtight seal has to be created for optimum sound insulation efficiency. Also note that different sized air spaces are used. A double-leaf construction as shown in Fig. 4 can achieve a very good level of sound insulation particularly at mid and high frequencies.
In one design, the electret principle is used in a strip form only about 1 mm thick, 25 mm wide and some 75 to 200 mm long. Underwater microphones used to be improvised by suspending a standard microphone, typically movingcoil, inside a waterproof cage. Modern versions are often piezoelectric types supplied as a corrosion-free assembly with built-in amplifier and special waterproof cables capable of use in water depths of up to 1000 metres. surround sound are now becoming more common in the cinema and on video.