<p>This up-to-date book comprehensively covers all aspects of speech and music sound reinforcement. It is roughly divided into four sections: ±Section 1± provides the tutorial fundamentals that all audio engineers will need discussing subjects such as fundamentals of acoustics psychoacoustics basic electrical theory and digital processing. ±Section 2± deals with the fundamental classes of hardware that the modern engineer will use such as loudspeaker systems and components microphones mixers amplifiers and signal processors. Special attention is given to digital techniques for system control and to audio signal analysis. ±Section 3± deals with the basics of system design from concept to final realization. It covers topics such as basic system type and speech intelligibility site survey user needs analysis and project management. ±Section 4± discusses individual design areas such as sports facilities large-scale tour sound systems high-level music playback systems for the theater religious facilities and other meeting spaces. The book is written in an accessible style but does not lack for ample amounts of technical information. It is truly a book for the 21st century!ÞThe Senior Director of Product Development and Application for JBL Professional John Eargle is the author of ÊThe Handbook of Recording EngineeringÊ ÊThe Microphone BookÊ ÊHandbook of Sound System DesignÊ ÊElectroacoustical Reference DataÊ ÊMusic Sound and TechnologyÊ and ÊThe Loudspeaker HandbookÊ. A 2000 Grammy Award-winner for Best Classical Engineering Mr. Eargle is an honorary member and past national president of the Audio Engineering Society a faculty-member of the Aspen Audio Recording Institute and a member of the National Academy of Recording Arts and Sciences and the Academy of Motion Picture Arts and Sciences.</p>

JBL Audio Engineering for Sound Reinforcement

Computers & Technology

Eargle, John M.

Software

Jbl Professional

The JBL Story - 60 Years of Audio Innovation

Humor & Entertainment

<p>Since its publication in 1990, the first edition of Music, Sound, and Technology has enjoyed wide success and has become a popular text in musical acoustical studies at the university level. In preparing the new edition we have included recent developments in all aspects of music and sound technology, and we have added data on acoustical characteristics of musical in struments. The first edition has been cited for the scope and clarity of its graphics; we have emphasized this to an even greater degree in the second edition. /ME xi Preface to the First Edition This book is about music. the instruments and players who produce it. and the technologies that support it. Although much modern music is produced by electronic means. its underlying basis is still traditional acoustical sound production. and that broad topic provides the basis for this book. There are many fine books available that treat musical acoustics largely from the physical point of view. The approach taken here is to present only the fundamentals of musical phys ics. while giving special emphasis to the relation between instrument and player and stressing the characteristics of instruments that are of special concern to engineers and tech nicians involved in the fields of recording. sound reinforcement. and broadcasting. In order to understand musical instruments in their normal performance environments.</p>

Music, Sound, and Technology

Arts & Photography

Music

Springer

The Handbook of Recording Engineering is a logical outgrowth of the first two editions of Sound Recording. The ten years since the first edition have seen no slackening in the development of recording technology, and they have wit nessed an almost phenomenal growth in the teaching of recording and audio engineering at all academic levels. The earlier editions of Sound Recording have been widely used as texts at all educational levels, and it is the author's intent in the Handbook of Recording Engineering to produce a book which is even more suited to these purposes. At the same time, the book has been organized as a true handbook, which presents of reference material in easily accessible form. a broad array The organization of the book is unique in that it progresses as the signal transmission chain itself does-from the recording venue on through the micro phone, transmission channel, and finally to the listening environment. The first six chapters thus form a logical sequence, and the author recommends that in structors using the Handbook follow them accordingly. Chapter One presents a discussion of acoustical fundamentals, including an introduction to some basic psychoacoustical considerations having to do with performance spaces. Chapter Two covers the basic operating principles of mi crophones, while Chapter Three extends the discussion of microphones to cover the entire range of stereophonic imaging phenomena.

Handbook of Recording Engineering

Business & Money

Job Hunting & Careers

This book is about music. the instruments and players who produce it. and the technologies that support it. Although much modern music is produced by electronic means. its underlying basis is still traditional acoustical sound production. and that broad topic provides the basis for this book. There are many fine books available that treat musical acoustics largely from the physical point of view. The approach taken here is to present only the fundamentals of musical physics. while giving special emphasis to the relation between instrument and player and stressing the characteristics of instruments that are of special concern to engineers and technicians in volved in the fields of recording. sound reinforcement. and broadcasting. In order to understand musical instruments in their normal performance environments. the student must have a basic working knowledge of physical and architectural acoustics. The book begins with a review of the elements of acoustics. stressing the nature of sound fields and phenomena that are wavelength-dependent. The book then moves on to a discussion of those aspects of psychological acoustics that are of special concern to music technicians. most notably concepts of stereophonic imaging. loudness-related phenomena. and critical band theory.

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