A Brief Overview by Noel Lee
|
|
- Jordan Pearson
- 5 years ago
- Views:
Transcription
1 A Brief Overview by Noel Lee
2 Notes:
3 The Art of Listening Critical listening is an acquired art. It s a skill that must be learned. Just like tasting fine wines, beers or even fine cigars, it takes time and experience to know what to look for when determining the highest levels of quality. Such is the challenge in determining what is a good headphone or a good speaker. For novice listeners, what they hear in a club or disco is good music reproduction. But advanced listeners will often find these speakers unnatural and inaccurate, and actually fatiguing to listen to over a long period of time. Determining superior sound is even more difficult with headphones than with speakers. Each ear is different, and even details that seem relatively insignificant, like ear tip fit, can dramatically influence the results. However, there are some absolute terms that we can use to describe the listening experience that go beyond just numbers, like measuring frequency response, which is common among many manufacturer s design headphones. If it were that simple, why wouldn t two headphones that measured similarly, sound the same? Why does a balanced armature design have a signature sound that dynamics don t have? Why do electrostatic headphones sound so much different than any others? Why do headphones come in so many types and varieties and sound so different? With so many choices, which one is the right one? In search of the perfect sound. High quality headphones will reproduce all music accurately and allow the listener to enjoy the music as if they were transparent. They don t sound like headphones, but like real music. The sound feels alive and sounds lifelike. One can listen to them for hours without fatigue. Unfortunately, really great headphones are extremely rare. But we are all in search of the perfect sound, and learning how to achieve it in a headphone is a combination of engineering and art. A headphone. A speaker. A microphone. Understanding the similarities and differences as they relate to music reproduction. A headphone, speaker and microphone are the same in that they re all transducers. In other words, they turn mechanical energy into electrical signals, and visa versa. Headphones are similar to speakers in that they are both transducers on the reproduction end. Their job is to recreate the music signal, without adding sounds of their own. But that s almost impossible since every mechanical device has sounds, resonances and distortions of their own. For example, when reproducing a bass kick drum, the recorded sound may stop, but because of the inertia of the speaker or headphone diagram, it keeps on going. This is known as decay over a period of time. Think of decay like a tuning fork that keeps on ringing. This is bad. It is easily measured today in the form of a waterfall graph. The speed at which the music signal occurs is also important to create a sense of realism. In real life, when a guitar pick hits the string, or when one hits a triangle, how fast is the initial impact? It s immediate. But, in the same way a speaker or headphone has trouble stopping, it can also have trouble accelerating fast enough to accurately capture the initial impact of the music. 1
4 The microphone is a speaker in reverse. It captures the music as the airwaves hit its diaphragm. This also has a stop and start factor, as well as frequency response. That s why you will see recording engineers being fanatic over their selection of microphones for various instruments. Even singers like different choices of microphones as it reproduces their voice in the way they want to hear it. Various technologies have been invented over the years to optimize some of these parameters. Dynamic speakers with huge magnets help bass speakers stop and start accurately, along with different cone materials that stiffen the speaker. On the high end, metalized mids and tweeters help rapid stop and starting of the signal, but may have ringing distortions of their own. Electrostatic speakers with extremely light diaphragms are the reference used by many headphone and speaker listeners because of their ability to start and stop, but because they don t move great distances, they may lack power and dynamic range. In headphones there are designs that help one parameter, but they re often at the expense of another. Electrostatic headphones are considered the best, but they can t move a lot of air so they lack bass response. Dynamic headphones are all over the map in their ability to accurately reproduce music, but represent a good compromise if designed properly. Balanced armatures are fast in reacting, but are bad in stopping and producing resonances and sounds of their own as can be seen in their waterfall measurements. There is one last difference between speakers and headphones. Everyone knows that a speaker sounds best in a tuned room that is designed for the speaker. That s how many recording studios are designed. However in a headphone, everyone s ear is slightly different. Obviously there s no room, but there is an ear cup on over-ear headphones, and an ear tip on in-ears. Both can dramatically affect the sound. Both are an ecosystem where a whole lot of parameters depend on one another to get the best results. That s why designing a great headphone is knowing how to balance all of the parameters of the ecosystem to get the best reproduction in sound. That is where the art and the ear are part of the design process. 2
5 Measurements vs. the Listening. Measurements are useful in design, but there is no one measurement that will tell you what a headphone will sound like. Many novices are focused on frequency response callouts that have no +/- db variation specification or distortion measurement to them, so they don t mean anything. Even if the frequency response were exact, without the various distortion figures (IM, Harmonic, TIM), the number is meaningless. Since the ear does not hear flat frequency response, a correct frequency response should not be flat. The human ear does not hear all frequencies at the same level, and is more sensitive to the middle ranges. Usually every other frequency is referenced to 1k, or 1000hz. Frequency response curve of what the ear wants to hear. An ideal and balanced headphone would have a frequency response similar to this one. This test shows a relatively flat frequency response of a popular headphone and the harmonic distortion below. Although this headphone is commendably flat, its curve does not match the reference curve, and will have difficulty reproducing audible bass relative to the mid-range at 1k. 3
6 Yet another measurement that affects perceived frequency response is waterfall, or decay of the original signal. Just as the tuning fork can t stop, various headphone diaphragms can t stop, thereby adding coloration to the sound around that particular frequency. So the frequency response might look good, but the waterfall or delay may look bad, causing exaggerated high frequencies (such as in balanced armature designs) or exaggerated bass, such as in dynamic designs. The same frequency response with the waterfall response plotted next to it. One can see a slow decay across the frequency spectrum where the energy is stored. Since it occurs across most of the audible band, this headphone will not sound as clear or transparent as others. One can also see a delay and a peak around 8k, where the sound will be harsh and forward in the high frequencies. Lastly, impulse response helps to determine how fast a headphone can respond to a signal, and how fast it can stop. An impulse allows us to see the rise and fall of the transducer and its ability to reproduce musical instruments that have fast transients. One can see why two headphones that measure the same in frequency response can sound very different. It s a combination of tests that will give us an indication of how a headphone will sound. This is a simplified explanation. Headphone housing, materials, driver design, and ear tip design are only some of the other considerations in making a great headphone. The Art The final analysis is how it sounds to the critical human ear. How to tune all of parameters is the art in the design. Knowing what measures good needs to be in concert with what sounds good. Years of experience in knowing what to do and a critical ear is a rare combination indeed. Talking the Talk: Audio Terms Describing Headphone Listening The intent of the following terms will help us establish a common language to talk about headphone music reproduction. Just as wine aficionados have their terms of oaky, airy, fruity, and others, we too need to have terms to describe the sound of headphones. 4
7 We have enhanced the description of these terms specifically around headphone listening, and have also have introduced measurements where we can begin to correlate to what we hear with what we can measure. It is impossible to have one measurement, as it is a combination of measurements, along with the ecosystem which includes your ear, the ear tips, and even the seal around the ear, that will determine the final result. Aggressive: Forward and overly bright sonic character, as opposed to being smooth and balanced. It can be measured in high amounts of IM distortion and poor waterfall response. This distortion can cause long term listening fatigue. Air: Spacious and open with a sense of lightness and transparency. Achieved through reproducing mid and high frequencies accurately with good phase response throughout the range. Airy: Pertaining to treble which sounds light, delicate, open, and seemingly unrestricted in upper extension. From quality reproducing systems that have smooth and very extended HF response. Ambience: Psychoacoustic impression of a physical acoustic space, such as a concert hall in which a recording is made. Articulate: Imparting a sense of precise intelligibility and definition of vocals, instrumentals and the interactions between them. Comes from good transient and waterfall, especially at high frequencies. Attack: The leading edge of a note, such as the snap of the drumstick as it hits the snare so one hears the individual snares. Also pertains to the ability of a system to reproduce the attack transients in music. Accomplished with extremely good transient and impulse response with great waterfall with no overhang. Awesome: The sound when the combination of all of the positive parameters of headphone design come together to describe this listening experience. Articulation: The ability to reproduce fine details, especially quick transients. Tiny details reproduced accurately are a hallmark of a headphone with good articulation. Balance: The smooth non-emphasis of any part of the audible spectrum. A headphone with good tonal balance can be played louder without fatigue as it does not over emphasize any part of the frequency spectrum and therefore the overall level can be louder. Proper reproduction of a thunderous orchestra or big band is a good demonstration of tonal balance. Another balance is channel balance, or the relative level of the left and right stereo channels. Channel balance is critical to good soundstage and imaging in a headphone, as the signals must arrive to both ears at the same time and at the same level. 5
8 Bass: The audio frequencies between about 20Hz and 250Hz. New music with synthesized effects can be produce very powerful low notes, so reproduction in the 30 to 50hz region becomes important. Well recorded bass guitar is a good test for a combination of low end bass response, with higher end fundamentals as when a performer plays slap bass. For a headphone design, the proper response needs to follow the insensitivities of the human ear. Flat response may not give very satisfying bass as the ear is less sensitive as the volume and frequency go down. Good bass should also be tight as the headphone diaphragm needs to start (speed) and stop (waterfall) with the signal and not add sounds of their own, as with acoustic and electric bass. Bass Extension: Realization of all low bass information from 250Hz down to 20hz. Very few headphones can reproduce this well because of the tiny diaphragm that needs to move a lot of air to create these frequencies. Also because the ear is less sensitive to bass frequencies, the bass response needs to go up as the frequency and volume goes down. Bite: This often refers to the ability to reproduce very fast transients in the music, such as the sound of Miles Davis trumpet or the detailed brass of a well recorded big band. Don t confuse the ability to reproduce these very fast sounds with exaggerated frequency response in the high end of the frequency range. Body: Fullness of sound, with particular emphasis on upper bass. Opposite of thin. Bright: A sound that over-emphasizes the upper, midrange and lower treble. This can be seen by exaggerated high frequency response as well as poor waterfall (long decay). Clarity: Is the sound clear and transparent as opposed to muddy or fuzzy. Accomplished with good impulse and waterfall, so the headphone diaphragm starts and stops rapidly. A slow headphone may have all of the frequencies, but not good clarity. Clear: Similar to clarity, but used to describe a lack of speaker sound or headphone sound. See also, Transparent. Coloration: An audible added characteristic with which a headphone produces that is not a part of the original source material. Caused by poor waterfall and/or frequency response resulting from resonances in the design of the diaphragm, as well as the earphone housing. Heavy metals are usually preferable to plastics, which can resonate. Coherent: Showing no audible evidence of a crossover or of different driver colorations in any of the various frequency ranges. For example, a saxophone doesn t sound like it s coming from a low frequency and high frequency diaphragm, but from one diaphragm In dual and triple diaphragm headphone designs, it is extremely difficult to sound like all diaphragms operate as one. Yet another measurement called phase and impulse response will show a lack of, or presence of coherency. Crisp: Often use with words, crisp and clean. The hand hitting the head of a conga drum, or drumsticks on timbales, or the clean sound of a triangle are things to listen for. 6
9 Decay: Fadeout of a note following the initial attack, easily seen in waterfall response. Some frequencies may decay longer than others depending on the headphone design. Decay negatively affects sound accuracy, since it adds coloration to the music that wasn t in the original recording. Definition (or resolution): The ability of a component to reveal the subtle information that is fundamental to high fidelity sound. Also inner definition such as the drawing of a bow across YoYo Ma s cello, which is extremely difficult to reproduce. Also revealed in the bite of horns in a big band recorded with a great condenser (electrostatic in reverse) microphone. Delicate: High frequencies extending from 8kHz to 20kHz without accentuating peaks. This also describes a headphone s ability to respond to extremely low-level signals, where some headphones may not have enough sensitivity or response. Depth: A sense of hearing into the music, the 3rd dimension. Also referred to as front to back, there is a great sense of space. Great phase response is required to reproduce depth and ambiance of a recording or the depth of the soundstage. Detail: The most delicate elements of the original recorded sound. These elements are the first to disappear with lesser equipment and headphones, as it requires high sensitivity and response. Low level detail sometimes disappear as they are not reproduced at all, especially by a heavier diaphragm material on the speaker of the headphone. Yet very light and responsive headphones, such as electrostatics, can resolve these fine details. Distortion: A sound that is not part of the original signal. Distortion can be a modification of the original signal (Intermodulation distortion), or generating new signals that result from the interference of a combination of signals (harmonic distortion). Can be characterized as a roughness, fuzziness, harshness, or stridency in the music. There are many distortions that can be measured: IM (intermodulation distortion), harmonic distortion, and TIM (transient intermediation distortion). Also breakup, where the headphone can t handle the power or the low frequencies, which causes sound to crack up. Dynamic: The ability to play very loud as well to very soft. Some headphones may compress on loud passages, or simply distort. Some headphones will only reproduce the mids with moderate dynamics and cannot capture the power of real music. Some insensitive headphones are not able to resolve subtle low level signals which make them undynamic. Dynamic is also used to describe a type of headphone speaker, that uses typical magnet and voice coil design as opposed to electrostatic or balanced armature designs. Dynamic Range: Pertaining to the ratio between the loudest and the quietest sounds. Wide dynamic range could be an explosion out of silence. Small dynamic range could be a loud rock band that doesn t ever play soft. Efficient: The ratio of level of signal in to sound output. An efficient headphone will play louder at the same identical volume sitting, while an inefficient one will require that the volume level be turned up to get the same music level. 7
10 Therefore different headphones may play louder or quieter, despite being given the same level of output from the same media player. This does not mean that they are good or bad, unless you like to listen at loud levels and your headphone cannot play as loud as you want them to. In this case, high efficiency headphones are more satisfying. Many headphones cannot be driven to high output levels, which will require the use of a quality headphone amplifier. When comparing headphones, it is helpful to set the volume levels so they play the same loudness in the middle frequencies, adjusting the volume between the two if necessary. Edgy: Excessive high frequency response. Occurs when there is high level of distortion due to frequency response exaggeration with a raspiness or harshness to the sound. Excessive decay and waterfall which are inherent in the headphone design in itself can cause this unpleasant sound which will create listening fatigue. Sometimes referred in a positive sense when reproducing brass instruments such as trumpets where one hears the edge. Extreme Highs: Audio frequencies of 10 KHz and above. Examples of instruments are triangles and cymbals. These frequencies are hard to hear because they do not occur often in music and the ear is less sensitive to them. Fast: Good reproduction of rapid transients which give a sense of realism. Often refers to the ability of a headphone to reproduce sharp transients. Timely response and acceleration of a speaker to an incoming signal. Good brass band will show this off. Focus: A strong, precise sense of image and music instrument placement. Forward: Usually referring to the midrange, vocals or projection of instruments as being in the front of the soundstage. Frequency range: Sub-bass 16Hz to 30Hz Bass 20Hz to 250Hz Mid-bass 60Hz to 250Hz Mid-range 250Hz to 6KHz Upper-mid-range 2KHz to 6KHz Highs 6KHz and above Extreme Highs 10KHz and above Full: Strong sense of balance in the music with all instruments being equally reproduced. Good low frequency response, not necessarily extended, but with adequate level around 100 to 300 Hz. Male voices are full around 125 Hz; female voices and violins are full around 250 Hz; sax is full around 250 to 400 Hz. Opposite of thin. Gritty: A harsh sound in the upper frequencies. Rough sandpapery sound caused by exaggerated high end and long decay times in the high frequencies. 8
11 Harmonics: The richness of sound and production of instrument overtones. Examples of this are the sound reproduction of a guitar, saxophone, and piano. Sometimes long decays in bass frequencies, although a form of distortion, can add a sense of fullness. Harmonics can also be a pleasant kind of distortion caused by electronics or the headphones themselves, but it is a distortion in that the harmonics are not part of the original music. Harsh: Combination of unpleasant high frequency peaks and a hashy distortion. Harshness makes one want to turn the volume down as the harshness overrides other parts of the music. Highs: The audio frequencies above about 6 khz. Examples are the upper ranges of electric guitars, flutes, triangles. Most headphones cannot reproduce highs accurately. High Midrange (High Mids, Upper Mids): The audio frequencies between about 2kHz and 6kHz. Examples are frequencies from the upper voice range, and the bite of electric guitars and brass instruments such as horns and big band. Imaging: The precise placement of vocals or instruments within the soundstage. Good phase response and coherency will help provide realistic image. A laser focus vs. a flashlight would be reasonable parallel. Impact: How music hits the listener is an indication of how impactful music can be. Kick drum, explosions in a movie are more dynamic with a headphones ability to reproduce impact. Very few headphones have this ability. Incredible: Like awesome, will describe a combination of desirable parameters, not often obtained in a headphone. Big speaker sound in a small headphone is the objective. Liquid: Smooth, relaxing, yet detailed sound. Opposite of harsh. Low Bass: The audio frequencies ranging from below 20Hz to 60Hz. These are the hardest frequencies for headphones to reproduce because it involves moving a lot of air with a very small diaphragm. Reproducing very low organ pedal notes, and today s electronic instruments present new challenges for headphones to reproduce. You want a headphone to accurately reproduce this low bottom end when its there in the music, but not reproduce it when it s not. Low Level Detail: Being able to resolve the delicate nuisances of music, especially during quiet passages when one can hear them. Low End Detail: the distinct sounds that you can hear in the bass frequencies. Examples are when a pedal impacts the bass drum or when fingers move across a stringed bass. Lack of bass detail will sound muddy even though low frequencies will be reproduced. Good low end detail will give impact to the music. Low Midrange (Low Mids): The audio frequencies between about 250Hz and 500Hz. Very critical in reproducing vocals accurately. Artificial exaggeration here can create a sense of fullness that is not natural. Lush: Very rich and full reproduction. Smooth. 9
12 Mellow: Reduced high frequencies. The opposite of edgy. Midbass: The audio frequencies between about 60Hz and 250Hz. Kick drum and bass guitar are examples of instruments represented by these frequencies. Midrange (Mids): The audio frequencies between about 250 Hz and 6000 Hz. This is the ear s most sensitive range. We can hear even small variations in this region. Because of this sensitivity, natural and not artificial sounding vocals, piano, and guitars is extremely important to this range. Muddy: Ill defined and congested. The headphone speaker keeps going after the signal stops. Can easily be seen with bad waterfall and/or high harmonic distortion. A headphone with good frequency response can still sound bad if it is muddy and not clear. Musical (or musicality): The ability to hear through the headphone and into the music. Instruments sound more like real instruments as opposed to speakers reproducing instruments. Natural: Realistic sound reproduction. Neutral: Free from coloration. Not artificially exaggerating one frequency or another. Open: Sound which has height and air. Relates to clean upper midrange and treble. Perfection: No such thing, but it s a nice word. Presence: A sense that the instrument is present in the room with the listener. Able to reproduce an experience of being there. Punch: Good reproduction of dynamics. Good transient response, with strong impact. Sometimes a bump around 5 khz or 200 Hz. Good waterfall is required here. Ear tips will also affect the ability to properly reproduce punch. Reference: A standard by which all others are compared. The highest quality available. Resolution (Resolving): Hearing under a microscope. The ability to hear fine details. Can also refer to sampling rates and ability to hear all of the harmonics and tonality of the music. Rich: See Full. Also, having euphonic distortion made of even order harmonics. Roll off: A frequency response which falls gradually above or below a certain frequency range. This is can cause inaccurate sound, in that a headphone cannot reproduce all of the frequencies. Sibilance: A coloration that resembles or exaggerates the vocal ssss sound. Bad waterfall in the high frequency can exaggerate these sounds. Smooth: Easy on the ears. Not harsh. Flat (neutral) frequency response, especially in the midrange. Lack of peaks and dips in the response. 10
13 Soundstage: The space in front of the listener from far left, center, to far right can also incorporate the depth of soundstage. Is the listener in front of the band instruments in the back of the orchestra sound like they are in the back? Soundstage should have width, depth, and height. Higher resolution source material (sampled at higher rates) will reproduce soundstage better. Speed: Quick impulse response. The ability of a speaker to respond quickly to signal input. Good speed is absolutely critical to realistic musical reproduction and the sense of being there that separates ordinary headphones from great ones. Sub-Bass: The audio frequencies between about 16Hz and 30Hz. These frequencies are more felt rather than heard. With few exceptions, nearly impossible to reproduce with a headphone. Sweet: Not strident or piercing. Delicate. Flat high frequency response, low distortion. Lack of peaks in the response. Highs are extended to above 10k. Texture: A grainy sound or smooth sound are both descriptions of texture. The ability to hear the differences between two similar instruments can be described by its texture. Tight: Good low frequency transient response and detail. Accurate and fast impulse response. Low decay (great waterfall). Timbre: The tonal character of an instrument with all of its harmonics that give its identity. Subtle differences in timbre allows the ear to distinguish between like instruments. Resolving small differences in timbre is difficult for headphones. Some headphones themselves have a timbre of its own, which will often interfere with its ability to reproduce music. Transient: The leading edge of a percussive sound. Good transient response makes the sound as a whole more live and realistic. Accomplished with fast impulse response and good waterfall. Acoustic guitar, trumpets, triangles, chimes, violins, sound real and transparent with good transient response. Transparent: The ability to hear through the speaker and into the music. Detailed, clear and not muddy. Wide flat frequency response, sharp time response, very low distortion and noise. The headphone sound becomes invisible and only the music remains. A term reserved for the very finest of audio components and difficult to obtain in a headphone Upper Midrange (Upper Mids, High Mids): The audio frequencies between 2 khz and 6 khz. Electric guitar, brass instruments and high vocal ranges are in this region. Uncolored: Free from audible colorations sounding more like real music. Warm: Describes satisfying full sound. Low and mid bass needs to be accurately reproduced without becoming lean or thin. High frequencies need to be full and harmonious. Weighty: Good low frequency response below 50 Hz. A sense of substance and produced by deep, controlled bass. 11
14 Notes:
15 Notes:
16 The Sound of Turbine Turbines provide a refined sound with an outstanding balance. The low bass extension is extraordinary, and unsurpassed by any other headphones at any price. It really does sound like you have a sub woofer in your head. The highs are detailed and articulate. Clarity and transparency rival that of the best high-end speakers. Low-level detail, especially in a quiet room, will take you away to another place with only you and the music, and nothing in between. We invite comparison with all other headphones in their ability to just sound real. When re-listening to all of your favorite music, hearing things you never heard before is guaranteed. FG
Suppose you re going to mike a singer, a sax, or a guitar. Which mic should you choose? Where should you place it?
MICROPHONE TECHNIQUE BASICS FOR MUSICAL INSTRUMENTS by Bruce Bartlett Copyright 2010 Suppose you re going to mike a singer, a sax, or a guitar. Which mic should you choose? Where should you place it? Your
More informationSQ CLASSES Novice Intermediate Advanced Expert SQ Show
SQ CLASSES Novice Intermediate Advanced Expert SQ Show NOVICE DIVISION The intent of the Novice division is to provide a category for consumers to compete in an entrylevel contest that mostly evaluates
More informationThe "art" of EQ by Aaron Trumm
The "art" of EQ by Aaron Trumm EQ can be used in a variety of situations, from live sound recording tape mixing down. Mainly, it should be used enhance signals that have some problem. The golden rule of
More informationMUSC 482 Studio Microphone List" " " Ryan Keaton
AKG D112 Dynamic 20 Hz - 17 khz 168dB 73dB - Can handle high level signals from close micʼd sources. - Commonly used for kick drums and electric bass guitar cabinets. - Also works nicely with brass instruments
More informationbaby bottle LARGE-DIAPHRAGM STUDIO CONDENSER MICROPHONE
baby bottle SL LARGE-DIAPHRAGM STUDIO CONDENSER MICROPHONE CONGRATULATIONS ON YOUR PURCHASE Congratulations on your purchase of the Baby Bottle SL, a classic microphone made the old-fashioned way, without
More informationThe Equalization Primer (The Complete Lesson On Getting Started With EQ) by Robert Dennis
People helping people, that's what it's all about The Recording Website Articles Section The Equalization Primer (The Complete Lesson On Getting Started With EQ) by Robert Dennis This article posted to
More informationBetter than electronics?
Loudspeaker Better than electronics? Whenever I hear the name Gato Audio I picture originally designed, D-class, Danish amplifiers. Meanwhile the company also offers loudspeakers, and as the FM-8 shows,
More informationbluebird LARGE-DIAPHRAGM STUDIO CONDENSER MICROPHONE
bluebird SL LARGE-DIAPHRAGM STUDIO CONDENSER MICROPHONE CONGRATULATIONS ON YOUR PURCHASE Congratulations on your purchase of the Bluebird SL! Here at Blue, we re known for designing and building the finest
More informationONLINE TUTORIALS. Log on using your username & password. (same as your ) Choose a category from menu. (ie: audio)
ONLINE TUTORIALS Go to http://uacbt.arizona.edu Log on using your username & password. (same as your email) Choose a category from menu. (ie: audio) Choose what application. Choose which tutorial movie.
More informationHow to Record & Mix Acoustic Guitars
How to Record & Mix Acoustic Guitars Reproducing the sound of an acoustic guitar presents a different set of challenges to that of an electric guitar. When we look at recording electric guitars, the focus
More informationYOUR SOUND STARTS HERE
YOUR SOUND STARTS HERE VOCAL & INSTRUMENT MICROPHONES SUPERIOR SOUND QUALITY SMART NEW FEATURES THE SUCCESSOR TO THE RENOWNED N/DYM SERIES, THE NEW ND SERIES EXPANDS THE PREVIOUS PRODUCT OFFERING WITH
More informationSound recording & playback
Sound recording & playback Dynamic microphone Condenser microphone Carbon microphone Frequency response curves Sound recording Amplifiers Loudspeakers Sound recording & playback - 1 Dynamic microphone
More informationForce versus Frequency Figure 1.
An important trend in the audio industry is a new class of devices that produce tactile sound. The term tactile sound appears to be a contradiction of terms, in that our concept of sound relates to information
More informationClavinova s expressive capabilities embody more than a century of piano craftsmanship skill and spirit.
Clavinova s expressive capabilities embody more than a century of piano craftsmanship skill and spirit. Yamaha believes that the true expressive capability of a grand piano lies in its seamless integration
More informationWorship Sound Guy Presents: Ultimate Compression Cheat Sheet
Worship Sound Guy Presents: Ultimate Compression Cheat Sheet Compression Basics For Live Sound www.worshipsoundguy.com @WorshipSoundGuy 2017 Do your mixes PUNCH?? Do they have low-end control? Do they
More informationIntroduction to Equalization
Introduction to Equalization Tools Needed: Real Time Analyzer, Pink noise audio source The first thing we need to understand is that everything we hear whether it is musical instruments, a person s voice
More informationM SerieS LeGeNDArY MiCrOPHONeS MADe in GerMANY
M SerieS LEGENDARY MICROPHONES made in Germany M SeRIES M SERIES LEGENDARY MICROPHONES MADE IN GERMANY The cult microphones of the beyerdynamic M Series combine outstanding sound characteristics with rugged
More informationspark LARGE-DIAPHRAGM STUDIO CONDENSER MICROPHONE
spark SL LARGE-DIAPHRAGM STUDIO CONDENSER MICROPHONE CONGRATULATIONS ON YOUR PURCHASE Congratulations on your purchase of the Spark SL from Blue Microphones. The Spark SL is a cardioid, solid-state condenser
More information! Understanding Microphones
! Understanding Microphones A microphoneʼs job is generally to try to capture, as closely as possible, a sound source. This could be a voice or an instrument. We can also use a microphone to infuse a specific
More informationVINKTRONIC LABS ART PRO MPA SUPER TUBE PREAMP V 1.1 USER MANUAL
VINKTRONIC LABS ART PRO MPA SUPER TUBE PREAMP V 1.1 USER MANUAL Thank you for purchasing the Vinktronic Labs ART Pro MPA Tube Microphone Preamplifier. I have been studying tube design and theory for 25
More informationMICROPHONE TECHNIQUES
A Shure Educational Publication MICROPHONE TECHNIQUES 1 GENERAL RULES Microphone Techniques Microphone technique is largely a matter of personal taste whatever method sounds right the particular instrument,
More informationTable of Contents. Chapter 1 Overview Chapter 2 Quick Start Guide Chapter 3 Interface and Controls Interface...
Table of Contents Chapter 1 Overview... 3 Chapter 2 Quick Start Guide... 4 Chapter 3 Interface and Controls... 5 3.1 Interface... 5 3.2 Controls... 9-2 - Chapter 1 Overview The ASUS N-Series puts the power
More informationCONTENTS PREFACE. Chapter 1 Monitoring... 1 CHAPTER 2 THE MICROPHONE Welcome To The Audio Recording Basic Training...xi
iii CONTENTS PREFACE Welcome To The Audio Recording Basic Training...xi Chapter 1 Monitoring... 1 The Listening Environment... 1 Determining The Listening Position... 2 Standing Waves... 2 Acoustic Quick
More informationVirtual Microphone System Quick Start
Virtual Microphone System Quick Start This quick start guide will help you get acquainted with your VMS so you can start making the best sounding music with it, fast. Making Connections 1. Connect your
More informationAudiofrog UMI-1 Tuning CD Liner Notes
Audiofrog UMI-1 Tuning CD Liner Notes We have chosen and arranged the tracks on this CD to help make tuning your system using common tools and a real time analyzer as straightforward as possible. This
More informationOverview of the EQ50 Filter Functions. Bypass Hardwire Bypass
Overview of the EQ50 Filter Functions Application Note The Ingram Engineering EQ50 is a 500-series equalizer module that contains extremely versatile and musical sounding Low Cut, High Cut and See-Saw
More information[Q] DEFINE AUDIO AMPLIFIER. STATE ITS TYPE. DRAW ITS FREQUENCY RESPONSE CURVE.
TOPIC : HI FI AUDIO AMPLIFIER/ AUDIO SYSTEMS INTRODUCTION TO AMPLIFIERS: MONO, STEREO DIFFERENCE BETWEEN STEREO AMPLIFIER AND MONO AMPLIFIER. [Q] DEFINE AUDIO AMPLIFIER. STATE ITS TYPE. DRAW ITS FREQUENCY
More informationc a r b o n b l a c k c a r b o n b l a c k
carbon black Tannoy has always been a leader where quality sound reproduction is concerned and the no-compromise design of Kingdom Royal epitomizes this. 80 years of audio engineering expertise distilled
More informationNew transducer technology A.R.T. = Accelerated Ribbon Technology - evolution of the air motion transformer principle
106. AES Convention Munich 1999 Klaus Heinz Berlin New transducer technology A.R.T. = Accelerated Ribbon Technology - evolution of the air motion transformer principle Abstract The paper describes new
More informationBoomTschak User s Guide
BoomTschak User s Guide Audio Damage, Inc. 1 November 2016 The information in this document is subject to change without notice and does not represent a commitment on the part of Audio Damage, Inc. No
More informationTHE NEW AP5 PRO. A revolution in acoustic guitar pickup technology
THE NEW AP5 PRO A revolution in acoustic guitar pickup technology In 2013 after years in development the AP5 PRO finally arrived. It Immediately became the go to pick up for some of the worlds greatest
More informationJune INRAD Microphones and Transmission of the Human Voice
June 2017 INRAD Microphones and Transmission of the Human Voice Written by INRAD staff with the assistance of Mary C. Rhodes, M.S. Speech Language Pathology, University of Tennessee. Allow us to provide
More informationVideo links. Announcing Sabrina. The original teaser video announcing the imminent release of Sabrina. The Measure of Sabrina
Video links Announcing Sabrina The original teaser video announcing the imminent release of Sabrina The Measure of Sabrina This video reveals the continuity between Sabrina and rest of the Wilson loudspeaker
More informationIntroduction Unique Electronics
Active Speakers EX Transcoil Driver Introduction At KV2 Audio building an active speaker goes beyond simply bolting a Class D amplifier to the back of a box. The EX range has evolved over the last decade
More informationL - I T E 5. 1 S P EA K E R S Y S T E M. ...t h e c l o s es t a p pr o a c h t o t h e o r i g i n a l s o u nd
L - I T E 5. 1 S P EA K E R S Y S T E M...t h e c l o s es t a p pr o a c h t o t h e o r i g i n a l s o u nd 2 L-i t e Q u a d Quad, makers of high quality audio for over 70 years, introduce the Quad
More informationVMS ML-2 Quick Start
VMS ML-2 Quick Start This quick start guide will help you get acquainted with your VMS ML-2 so you can start making the best sounding music with it, fast. Making Connections 1. Connect your ML-2 via a
More informationMultiband Compression Cheatsheet
Multiband Compression Cheatsheet If multiband compression makes your head spin, you re not alone. Mastering the art of using a classic, single-band compressor is hard enough. Bake a half a dozen of them
More informationGood EQ Is The Key To Great Mixes
Thanks for downloading this free ebook! I m excited for you to jump in and start learning how to effectively use EQ on anything you come across. If you haven t already done so, you can also sign up at
More informationBroadcast Notes by Ray Voss
Broadcast Notes by Ray Voss The following is an incomplete treatment and in many ways a gross oversimplification of the subject! Nonetheless, it gives a glimpse of the issues and compromises involved in
More informationNorth D25-06S. High performance silk dome tweeter for cabinets six to ten inches in width
North D25-06S High performance silk dome tweeter for cabinets six to ten inches in width FEATURES: 25 mm Hand-Coated Silk Dome Underhung Geometry 1.0mm p-p excursion MAPD-loaded rear chambers Reinforced
More informationMusical Acoustics, C. Bertulani. Musical Acoustics. Lecture 14 Timbre / Tone quality II
1 Musical Acoustics Lecture 14 Timbre / Tone quality II Odd vs Even Harmonics and Symmetry Sines are Anti-symmetric about mid-point If you mirror around the middle you get the same shape but upside down
More informationResonant Self-Destruction
SIGNALS & SYSTEMS IN MUSIC CREATED BY P. MEASE 2010 Resonant Self-Destruction OBJECTIVES In this lab, you will measure the natural resonant frequency and harmonics of a physical object then use this information
More informationOperating Instruction Manual TOA PROFESSIONAL GRAPHIC EQUALIZER. Model E 111, E 112 E 111 E 112 TOA ELECTRIC CO, LTD. KOBE, JAPAN
Operating Instruction Manual TOA PROFESSIONAL GRAPHIC EQUALIZER Model E 111, E 112 E 111 E 112 TOA ELECTRIC CO, LTD. KOBE, JAPAN Contents Precautions... 1 General Description... 2 Features... 2 Specifications...
More informationVOLUME 2 Product Guide.
VOLUME 2 Product Guide SD2001-006 Builds Builds SD2003 Long sound design ambiences create tension and suspense Moving synth and orchestral lines create a feeling of constant motion Drums, textures, hits,
More informationCHAPTER TWO STUDIO MICROPHONES. Nitec in Digital Audio & Video Production Institute of Technical Education, College West
CHAPTER TWO STUDIO MICROPHONES Nitec in Digital Audio & Video Production Institute of Technical Education, College West WHAT DO THESE HAVE IN COMMON? OBJECTIVES By the end of the chapter, you should be
More informationTEMPEST SEALED BOX APPLICATIONS
Tempest Sealed Application Note 1 TEMPEST SEALED BOX APPLICATIONS A technical paper related to the Tempest subwoofer Tempest Sealed Application Note 2 1 General Driver Description Tempest is a subwoofer
More informationSurround: The Current Technological Situation. David Griesinger Lexicon 3 Oak Park Bedford, MA
Surround: The Current Technological Situation David Griesinger Lexicon 3 Oak Park Bedford, MA 01730 www.world.std.com/~griesngr There are many open questions 1. What is surround sound 2. Who will listen
More informationHow to Choose the Right 2Mic Model
How to Choose the Right 2Mic Model by Ken Donnell, Owner and Developer of the MiniFlex 2Mic Introduction For 25 years, I have answered the many questions from guitarists who are deciding which MiniFlex
More informationREPLIKA SOUND GUITAR LIBRARY : BASS GUITAR v7 FEATURE GUIDE
REPLIKA SOUND GUITAR LIBRARY : BASS GUITAR v7 FEATURE GUIDE 1 TABLE OF CONTENTS Important (Requirements) 3 Library Size 3 Pack Contents 3 Main Interface 4 Articulation Key Switches 5 Articulation Descriptions
More informationRD75, RD50, RD40, RD28.1 Planar magnetic transducers with true line source characteristics
RD75, RD50, RD40, RD28.1 Planar magnetic transducers true line source characteristics The RD line of planar-magnetic ribbon drivers represents the ultimate thin film diaphragm technology. The RD drivers
More informationThe cutting edge of evolution
series 900 e The cutting edge of evolution Sennheiser electronic GmbH & Co. KG Am Labor 1, 30900 Wedemark, Germany Phone: +49 (51 30) 60 00, Fax: +49 (51 30)60 03 00 www.sennheiser.com e 900 Introducing
More informationCLASS A DUAL TRANSFORMER COMPRESSOR OWNER S MANUAL
LIMINATOR CLASS A DUAL TRANSFORMER COMPRESSOR OWNER S MANUAL TABLE OF CONTENTS SECTION PAGE INTRODUCTION 2 INSTALLATION 3 FRONT PANEL CONTROLS 4 OPERATION 5 SPECIFICATIONS 7 WARRANTY AND REGISTRATION 8-1
More informationPrinciples of Musical Acoustics
William M. Hartmann Principles of Musical Acoustics ^Spr inger Contents 1 Sound, Music, and Science 1 1.1 The Source 2 1.2 Transmission 3 1.3 Receiver 3 2 Vibrations 1 9 2.1 Mass and Spring 9 2.1.1 Definitions
More informationProcessor Setting Fundamentals -or- What Is the Crossover Point?
The Law of Physics / The Art of Listening Processor Setting Fundamentals -or- What Is the Crossover Point? Nathan Butler Design Engineer, EAW There are many misconceptions about what a crossover is, and
More informationSound Design and Technology. ROP Stagehand Technician
Sound Design and Technology ROP Stagehand Technician Functions of Sound in Theatre Music Effects Reinforcement Music Create aural atmosphere to put the audience in the proper mood for the play Preshow,
More informationA White Paper on Danley Sound Labs Tapped Horn and Synergy Horn Technologies
Tapped Horn (patent pending) Horns have been used for decades in sound reinforcement to increase the loading on the loudspeaker driver. This is done to increase the power transfer from the driver to the
More informationINSTRUMENTS OF THE ORCHESTRA
https://www.sfponline.org/uploads/271/instruments%20of%20the%20orchestra.pdf INSTRUMENTS OF THE ORCHESTRA String Family Violin The violin is the smallest of the string family. It has 4 strings and is played
More informationGold 35 GENESIS. Frequency curve & Polar pattern. Frequency curve & Polar pattern. Specs
Studio Collection Gold 35 GENESIS Gold-sputtered diaphragm with fixed cardioid pickup pattern Experience the ultimate warmth and transparency Includes shockmount, leather case & windscreen 1-year warranty
More informationStudio Hardware Worksheet
Studio Hardware Worksheet updated February 10, 2012 Name: Date: Introduction This worksheet guides you through a possible thought process for choosing microphones, preamps, and hardware settings for a
More informationPPVMEDIEN 2016 TEST STAGE FOTO: SHUTTERSTOCK/BOSCH EVI AUDIO SOUNDCHECK.DE
english Version TEST STAGE PPVMEDIEN 2016 FOTO: SHUTTERSTOCK/BOSCH EVI AUDIO 74 TEST STAGE MICROPHONES Electro-Voice ND Series Powerful, musical sound Even the best PA system in the world is of no use
More informationMPA-201. Class A Microphone Preamplifier
MPA-201 Class A Microphone Preamplifier You ve done, done it.. You ve purchased a truly exceptional piece of audio gear! Congratulations and thank you for purchasing the MPA- 201 Microphone Preamplifier
More informationParametric Receive Audio System & Heil Powered Speaker
Parametric Receive Audio System & Heil Powered Speaker Parametric Receive Audio System (PRAS) The Heil Parametric Receive Audio System (PRAS) is a state-ofthe-art audio system that enhances the internal
More informationFrom time to time it is useful even for an expert to give a thought to the basics of sound reproduction. For instance, what the stereo is all about?
HIFI FUNDAMENTALS, WHAT THE STEREO IS ALL ABOUT Gradient ltd.1984-2000 From the beginning of Gradient Ltd. some fundamental aspects of loudspeaker design has frequently been questioned by our R&D Director
More informationMIXING I HAVE A NAME
MIXING I HAVE A NAME by Chris Harris http://headfirst.www.idnet.com/about_music.htm chris@headfirstonly.com This document explains how I mixed @sapient and @leslie's song for FAWM 2016, I Have A Name.
More informationPreview. Sound Section 1. Section 1 Sound Waves. Section 2 Sound Intensity and Resonance. Section 3 Harmonics
Sound Section 1 Preview Section 1 Sound Waves Section 2 Sound Intensity and Resonance Section 3 Harmonics Sound Section 1 TEKS The student is expected to: 7A examine and describe oscillatory motion and
More informationLeMay Audio Products. MK-I Preamplifier Users Manual John P. LeMay All Rights Reserved Rev A
LeMay Audio Products MK-I Preamplifier Users Manual 2008 John P. LeMay All Rights Reserved Rev A 08.12.24 Congratulations on purchasing one of the world s finest professional instrument preamplifiers!
More informationSound Reinforcement and Recording of Jazz and Large Ensembles. Practical and Easy to Use Basic and Advanced Ideas
Sound Reinforcement and Recording of Jazz and Large Ensembles Practical and Easy to Use Basic and Advanced Ideas Midwest Band Clinic December 18, 2008 Grand Ballroom 2:30 3:30 PM Clinicians Jim Warrick
More informationUser Guide. 2003, Shure Incorporated 27B3138 (CD) Printed in U.S.A.
User Guide 2003, Shure Incorporated 27B3138 (CD) Printed in U.S.A. SHURE INCORPORATED KSM27 CARDIOID CONDENSER MICROPHONE Thank you for selecting the KSM27 Over 75 years of audio experience has contributed
More informationCHAPTER 12 SOUND ass/sound/soundtoc. html. Characteristics of Sound
CHAPTER 12 SOUND http://www.physicsclassroom.com/cl ass/sound/soundtoc. html Characteristics of Sound Intensity of Sound: Decibels The Ear and Its Response; Loudness Sources of Sound: Vibrating Strings
More information- for CreamWare SCOPE -
bx_digital MANUAL - for CreamWare SCOPE - 2006 by BRAINWORX GmbH Brainworx Music & Media GmbH Hitdorfer Str. 10 40764 Langenfeld info@brainworx-music.de 1 INDEX 1. What is the bx_digital? 3 2. What is
More informationNALA ATSI SOUND ENGINEERING SCHOOL
NALA ATSI SOUND ENGINEERING SCHOOL PART 1: THE BASICS A) EQUIPMENT/GEAR: What do you need to record? B) IMPORTANT TERMS: What is the difference between Stereo and Mono? What is EQing? What is compression?
More informationPlayer s Guide. Contents. Imitations Flute...6 Cello...6 Horn...6 Harmonica...6 Energy Slide...6 Distortion Pick...6
Contents Introduction How the EBow Works...2 Opening Tips...2 Switch Positions...2 How to Hold the EBow...2 How to Position the EBow...2 Methods of Control String Activation...3 Gliding...3 Pressing...3
More informationThe NEO8 and NEO8 PDR high performance wideband, planar-magnetic transducers
The NEO8 and NEO8 PDR high performance wideband, planar-magnetic transducers The NEO8 and Neo8 PDR are planar-magnetic (ribbon) transducers that use an innovative hightech diaphragm material called Kaladex
More informationHow to Connect a Three-Way (Six Speaker) Legatia Speaker System to a 4-Channel Amplifier in a Quasi-Active Crossover Configuration
How to Connect a Three-Way (Six Speaker) Legatia Speaker System to a 4-Channel Amplifier in a Quasi-Active Crossover Configuration Hybrid Audio Technologies highly recommends the use of active crossovers
More informationBAE AUDIO G10 INSTRUCTION MANUAL
BAE AUDIO G10 INSTRUCTION MANUAL G10 Graphic Equaliser Congratulations! You ve purchased a G10 500 Series 10-Band equalizer. This EQ has balanced input and output and hi/low-pass filters and is the ultimate
More informationIntroduction. To help you get the most out of this product, we ve put some brief instructional videos on our website:
ParaEq user manual Introduction The Empress ParaEq is designed to be a tool for sweetening the tone of any instrument. We ve noticed that the EQ sections of many instrument amplifiers offer a very limited
More informationAmplifier Performance Report
Amplifier Performance Report Report Date: February 3, 2015 Customer Name: SAMPLE Manufacturer: Dynaco Model: SCA-35 Special Notes: Amplifier appears unmodified and %100 original. It is in good overall
More informationTrademark Notices: Patent Notice:
User Guide SHURE INCORPORATED KSM27 CARDIOID CONDENSER MICROPHONE Thank you for selecting the KSM27 Over 75 years of audio experience has contributed to making the KSM27 one of the finest microphones available.
More informationSupplementing MIDI with Digital Audio
Supplementing MIDI with Digital Audio Richard Repp Assistant Professor of Music Georgia Southern University Last month I showed how to use subsequences to put together a popular-style song. http://ti-me.org/members/november2003/repp1.html
More informationJOEMEEK Madison Street Torrance, California USA
JOEMEEK Tel Sales: 310-373-9129 Tel Admin: Fax: 310-373-4714 JOEMEEK 23775 Madison Street Torrance, California 90505 USA email: sales@joemeek.com web: www.joemeek.com It's assumed any engineer using this
More informationhd Columns Overview hd M-Series PointSource Stick hd C-Series hd ML-Series hd PL-Series PowerLine Stick hd M-Series 2 fullrange speaker
hd Columns Overview True 1-Way Design. For superb and linear reproduction of a sound event from the fundamental to the highest audible frequencies conventional loudspeakers have to use different types
More informationSound Quality. Crossovers. High-Precision Stereo 2-Way/3-Way/ Mono 4-Way Crossover with Limiters, Adjustable Time Delays and CD Horn Correction
Professional stereo 2-way/3-way/ mono 4-way crossover featuring state-of-the-art Linkwitz-Riley filters with 24 db/octave Individual Limiters on each output for optimal loudspeaker protection Adjustable
More informationTechnical Notes Volume 1, Number 25. Using HLA 4895 modules in arrays: system controller guidelines
Technical Notes Volume 1, Number 25 Using HLA 4895 modules in arrays: system controller guidelines Introduction: The HLA 4895 3-way module has been designed for use in conjunction with the HLA 4897 bass
More informationTannoy adopts a policy of continuous improvement and product specification is subject to change.
Tannoy United Kingdom T: +44 (0) 26 42099 F: +44 (0) 26 42820 E: enquiries@tannoy.com Tannoy North America T: (59) 745 58 F: (59) 745 264 E: inquiries@tannoyna.com Tannoy adopts a policy of continuous
More informationOn behalf of the whole team at Aston Microphones I d like to thank you for investing in your Aston microphone.
Owners Handbook Thank you! On behalf of the whole team at Aston Microphones I d like to thank you for investing in your Aston microphone. Aston microphones are designed and created in the UK to the most
More informationA view on the technology
Here is a preview of the LEEDH Model C, the first in a range made up of models D and E (which are coming out next year). The definition of the C, D and E range is based on English musical notation - C
More informationCONTENTS PREFACE. Chapter 1 Monitoring Welcome To The Audio Mixing Bootcamp...xi
iii CONTENTS PREFACE Welcome To The Audio Mixing Bootcamp...xi Chapter 1 Monitoring... 1 The Listening Environment... 1 Determining The Listening Position... 2 Standing Waves... 2 Acoustic Quick Fixes...
More informationTM PG ALTA SERIES WIRED MICROPHONE PGA81 USER GUIDE Shure Incorporated 27A24482 (Rev. 2)
TM PG ALTA SERIES WIRED MICROPHONE PGA81 USER GUIDE 2014 Shure Incorporated 27A24482 (Rev. 2) PGA81 Cardioid Condenser Microphone PG Alta Microphones Congratulations on the purchase of a new Shure PG
More informationMICROPHONE TECHNIQUES FOR MUSIC SOUND REINFORCEMENT $10.95
$10.95 I N D E X INTRODUCTION...........................4 CHARACTERISTICS..............4 MUSICAL INSTRUMENT CHARACTERISTICS.......11 ACOUSTIC CHARACTERISTICS................14 PLACEMENT..................22
More informationContents. Sound Advice on Microphone Techniques 5. Condenser Microphones 7. Moving-coil Mics 9. Ribbon Mics 11. Pickup/Polar Patterns 12
Contents 2002 Bill Gibson Published under license exclusively to ProAudio Press, an imprint of artistpro.com, LLC. All rights reserved. No portion of this book may be reproduced, copied, transmitted or
More informationH ö r e r l e b n i s THE MAGAZINE FOR HIGH FIDELITY
H ö r e r l e b n i s THE MAGAZINE FOR HIGH FIDELITY Edition-No. 90 (02/2015) Review in English Gold Standard by Dr. Kathrin Becker Erato LS-100 by Ypsilon The small and specialized High End manufacturer
More informationLoudspeakers. Juan P Bello
Loudspeakers Juan P Bello Outline 1. Loudspeaker Types 2. Loudspeaker Enclosures 3. Multiple drivers, Crossover Networks 4. Performance Measurements Loudspeakers Microphone: acoustical sound energy electrical
More informationFLUX-FIVE SAFETY PRECAUTIONS: Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions.
Owner s Manual SAFETY PRECAUTIONS: Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with dry cloth. Be sure
More informationQuadra 10 Available in Black and White
S P E C I F I C A T I O N S Quadra 10 Available in Black and White Frequency response, 1 meter on-axis, swept-sine in anechoic environment: 74 Hz 18 khz (±3 db) Usable low frequency limit (-10 db point):
More information6 TH GENERATION PROFESSIONAL SOUND FOR CONSUMER ELECTRONICS
6 TH GENERATION PROFESSIONAL SOUND FOR CONSUMER ELECTRONICS Waves MaxxAudio is a suite of advanced audio enhancement tools that brings award-winning professional technologies to consumer electronics devices.
More informationCopyright 2017 by Kevin de Wit
Copyright 2017 by Kevin de Wit All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic
More informationCopyright 2017 by Kevin de Wit
Copyright 2017 by Kevin de Wit All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic
More informationRestoration Performance Report
Restoration Performance Report Report Date: July 15, 2015 Manufacturer: Fisher Model: 500-C Receiver Special Notes: Full Gold Level Restoration service completed. Chassis ultrasonically cleaned. All coupling
More informationIntroduction to Dynamic Loudspeaker Design
Introduction to Dynamic Loudspeaker Design March 4, 2014 A loudspeaker represents a way of converting electrical signals to sound signals. All speaker do this by having the electrical signal exert some
More informationSolutions and tools. RCF TT+ offers ready to use solutions and tools in true active high definition speaker systems.
RCF TT+ represents another prominent chapter in the long history of RCF sound systems. Whether a speaker system is designed for live sound, large concert situations or permanent installed theatre, the
More information