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By Douglas Self, Senior designer of high-end audio amplifiers and contributor to Electronics World magazine Ben Duncan, International consultant in high quality Audio Electronics, Pro & Hi-Fi; and prolific equipment designer. See Ben Duncan Research websites. Ian Sinclair, Long-standing technical author, UK Richard Brice, Commercial Director of Miranda Technologies, a global company specialising in television and channel-branding equipment in Saint-Laurent, Canada John Linsley Hood, (1925-2004) Independent Technical Author Andrew Singmin, Education: Master's Degree, Semiconductor Physics from Brunel University inLondon; Ph.D., Solid State Physics from the University of London.,
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, Don Davis and his wife, Carolyn, founded Synergetic Audio Concepts in 1972, 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, 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, Reading, UK International consultant in audio, video and data recording.
Audience
Electronics Engineers; Audio Engineers and Technicians
Contents Table of Contents
Part I Fundamentals of Sound
Chapter 1 Audio Principles
1.1 The physics of sound
1.2 Wavelength
1.3 Periodic and
aperiodic signals
1.4 Sound and the ear
1.5 The cochlea
1.6 Mental processes
1.7 Level and loudness
1.8 Frequency discrimination
1.9
Frequency response and linearity
1.10 The sine wave
1.11 Root mean square measurements
1.12 The deciBel
1.13 Audio level metering
References
Chapter 2. Measurement
2.1 Concepts Underlying the Decibel and Its Use in Sound Systems
2.2 Measuring Electrical Power
2.3 Expressing
Power as an Audio Level
2.4 Conventional Practice
2.5 The Decibel in Acoustics?LP, LW, and LI
2.6 Acoustic Intensity Level (LI), Acoustic
Power Level (LW), and Acoustic Pressure Level (LP)
2.7 Inverse Square Law
2.8 Directivity Factor
2.9 Ohm's Law
2.10 A Decibel Is a Decibel
Is a Decibel
2.11 Older References
2.12 The Equivalent Level (LEQ) in Noise Measurements
2.13 Combining Decibels
2.14 Combining Voltage
2.15 Using the Log Charts
2.16 Finding the Logarithm of a Number to Any Base
2.17 Semitone Intervals
2.18 System Gain Changes
2.19 The
VU and the VI Instrument
2.20 Calculating the Number of Decades in a Frequency Span
2.21 Deflection of the Eardrum at Various Sound Levels
2.22 The Phon
2.23 The Tempered Scale
2.24 Measuring Distortion
2.25 The Acoustical Meaning of Harmonic Distortion
2.26 Playback Systems
in Studios
2.27 Decibels and Percentages
2.28 Summary
Bibliography
Chapter 3 Acoustic Environment
3.1 The Acoustic Environment
3.2 Inverse
Square Law
3.3 Atmospheric Absorption
3.4 Velocity of Sound
3.5 Temperature-Dependent Velocity
3.6 The Effect of Altitude on the Velocity
of Sound in Air
3.7 Typical Wavelengths
3.8 Doppler Effect
3.9 Reflection and Refraction
3.10 Effect of a Space Heater on Flutter Echo
3.11 Absorption
3.12 Classifying Sound Fields
3.13 The Acoustic Environment Indoors
3.14 Conclusion
II. Audio Electronics
Chapter
4 Components
4.1 Building Block Components
Chapter 5 Power supply design
5.1 High Power Systems
5.2. Solid State Rectifiers
5.3. Music
Power
5.4. Influence of Signal Type on Power Supply Design
5.5. High Current Power Supply Systems
5.6. Half-wave and Full-wave Rectification
5.7. DC Supply Line Ripple Rejection
5.8. Voltage Regulator Systems
5.9. Series Regulator Layouts
5.10. Over-current Protection
5.11.
Integrated Circuit (Three Terminal) Voltage Regulator ICs
5.12. Typical Contemporary Commercial Practice
5.13. Battery Supplies
5.14.
Switch-mode Power Supplies
III Preamplifiers and Amplifiers
Chapter 6 Introduction to Audio Amplification
CHAPTER 7 Preamplifiers and
input signals
7.1 REQUIREMENTS
7.2 SIGNAL VOLTAGE AND IMPEDANCE LEVELS
7.3 GRAMOPHONE PICK-UP INPUTS
7.4 INPUT CIRCUITRY
7.5 MOVING COIL
PU HEAD AMPLIFIER DESIGN
7.6 CIRCUIT ARRANGEMENTS
7.7 INPUT CONNECTIONS
7.8 INPUT SWITCHING
7.9 Voltage amplifiers and controls
7.10
PREAMPLIFIER STAGES
7.11 LINEARITY
7.12 NOISE LEVELS
7.13 OUTPUT VOLTAGE CHARACTERISTICS
7.14 VOLTAGE AMPLIFIER DESIGN
7.15 CONSTANT-CURRENT
SOURCES AND 'CURRENT MIRRORS'
7.16 PERFORMANCE STANDARDS
7.17 AUDIBILITY OF DISTORTION
7.18 GENERAL DESIGN CONSIDERATIONS
7.19 CONTROLS
Chapter 8 Interfacing and processing
8.1 The Input
8.2 RF filtration
8.3 The balanced input
8.4 Sub-sonic protection and high-pass filtering
8.5 Damageprotection
8.6 What are process functions?
8.7 Computer control
Chapter 9 Audio amplifiers
9.1. Junction Transistors
9.2. Control
of Operating Bias
9.3. Stage Gain
9.4. Basic Junction Transistor Circuit Configurations
9.5. Emitter-follower Systems
9.6. Thermal Dissipation
Limits
9.6. Junction Field Effect Transistors (JFETs)
9.7. Insulated Gate FETs (MOSFETs)
9.8. Power BJTs vs. Power MOSFETs as Amplifier
Output Devices
9.9. U and D MOSFETs
9.10. Useful Circuit Components
9.11. Circuit Oddments
9.12. Slew Rate Limiting
Chapter 10 Audio
amplifier performance
10.1 A brief history of amplifiers
10.2 Amplifier architectures
10.3 The three-stage architecture
10.4 Power amplifier
classes
10.5 AC- and DC-coupled amplifiers
10.6 Negative feedback in power amplifiers
References
Chapter 11. Valve (tube-based) amplifiers
11.1 Valves or Vacuum Tubes
11.2 Solid State Devices
11.3 VALVE AUDIO AMPLIFIER LAYOUTS
11.4 Single-ended vs. Push?pull Operation
11.5 Phase Splitters
11.6 Output Stages
11.7 Output (Load-matching) Transformer
11.8 Effect of Output Load Impedance
11.9 Available
Output Power
Chapter 12 Negative feedback
12.1 Amplifier stability and NFB
12.2 Maximising the NFB
12.3 Maximising linearity before
feedback
12.4 References
Chapter 13 Noise and grounding
13.1. Audio amplifier PCB design
13.2. Amplifier grounding
13.3. Ground loops:
how they work and how to deal with them
13.4 Class I and Class II
13.5 Mechanical layout and design considerations
Part IV Digital Audio
Chapter 14 Digital audio fundamentals
14.1 Audio as data
14.2 What is an audio signal?
14.3 Why binary?
14.4 Why digital?
14.5 Some digital
audio processes outlined
14.6 Time compression and expansion
14.7 Error correction and concealment
14.8 Channel coding
14.9 Audio compression
14.10 Disk-based recording
14.11 Rotary-head digital recorders
14.12 Digital audio broadcasting
14.13 Networks
Chapter 15 Representation
of Audio Signals
15.1 Introduction
15.2 Analogue and Digital
15.3 Elementary Logical Processes
15.4 The Significance of Bits and Bobs
15.5 Transmitting Digital Signals
15.6 The Analogue Audio Waveform
15.7 Arithmetic
15.8 Digital Filtering
15.9 Other Binary Operations
15.10 Sampling and Quantising
15.12 Transform and Masking Coders
15.13 Bibliography
15.14 Other titles of interest
Chapter 16.Compact
disc
16.1 PROBLEMS WITH DIGITAL ENCODING
16.2 THE RECORD-REPLAY SYSTEM
16.3 THE REPLAY SYSTEM
16.4 ERROR CORRECTION
Chapter 17 Digital
audio recording basics
17.1 Types of Media
17.2 Recording Media Compared
17.3 Some Digital Audio Processes Outlined
17.4 Hard Disc Recorders
17.5 The PCM Adaptor
17.6 An Open Reel Digital Recorder
17.7 Rotary Head Digital Recorders
17.8 Digital Compact Cassette
17.9 Editing
Digital Audio Tape
Chapter 18 Digital audio interfaces
18.1 Digital audio interfaces
18.2 MADI (AES10?1991) serial multi-channel audio
digital interface
Chapter 19 Data compression
19.1 Lossless compression
19.2 Intermediate compression systems
19.3 Psychoacoustic masking
systems
19.4 MPEG layer 1 compression (PASC)
19.5 MPEG layer 2 audio coding (MUSICAM)
19.6 MPEG layer 3
19.7 MPEG-4
19.8 Digital audio
production
Chapter 20 Digital audio production
20.1 Digital audio workstations (DAWs)
20.2 Audio data files
20.3 Sound cards
20.4 PCI
bus versus ISA bus
20.5 Disks and other peripheral hardware
20.6 Hard drive interface standards
20.7 Digital noise generation – chain-code
generators
20.8 Notes
Chapter 21 Other Digital Audio Devices
21.1 Video Recorders
21.2 HDCD
21.3 CD Writers
21.4 MPEG Systems
21.5 MP3
21.6 Transcribing a Recording by Computer
21.7 WAV Onwards
21.8 DAM CD
21.9 DVD and Audio
V. Microphone and Loudspeaker Technology
Chapter
22 Microphone technology
22.1 Microphone Sensitivity
22.2 Microphone Selection
22.3 Nature of Response and Directional Characteristics
22.3 Wireless Microphones
22.4 Microphone Connectors, Cables, and Phantom Power
22.5 Measurement Microphones
22.6 Bibliography
29.17.
References
Chapter 23 Loudspeakers
23.1 Radiation of Sound
23.2 Characteristic Impedance
23.3 Radiation Impedance
23.4 Radiation from
a Piston
23.5 Directivity
23.6. Sound Pressure Produced at Distance r
23.6. Electrical Analogue
23.7. Diaphragm/Suspension Assembly
23.8.
Diaphragm Size
23.9. Diaphragm Profile
23.10. Straight-Sided Cones
23.11 Material
23.12 Soft Domes
23.13 Suspensions
23.14 Voice Coil
23.15 Moving Coil Loudspeaker
23.16 Motional Impedance
Chapter 24 Loudspeaker enclosures
24.1 Loudspeakers
24.2 The interrelation of
components
Chapter 25 Headphones
25.1 A Brief History
25.2 Pros and Cons of Headphone Listening
25.3 Headphone Types
25.4 Basic Headphone
Types
25.5 Measuring Headphones
25.6 The Future
Part VI. Sound Reproduction Systems
Chapter 26 Tape Recording
26.1 Introduction
26.2
Magnetic theory
26.3 The physics of magnetic recording
26.4 Bias
26.5 Equalisation
26.6 Tape speed
26.7 Speed stability
26.8 Recording
formats – analogue machines
Chapter 27 Recording consoles
27.1 Introduction
27.2 Standard levels and level meters
27.3 Standard operating
levels and line-up tones
27.4 Digital line-up
27.5 Sound mixer architecture and circuit blocks
27.6 Audio mixer circuitry
27.7 Mixer
automation
27.8 Digital consoles
27.9 Note
Chapter 28 Video synchronization
28.1. Introduction
28.2. Persistence of vision
28.3. Cathode
ray tube and raster scanning
28.4. Television signal
28.5. Colour perception
28.6. Colour television
28.7. Analogue video interfaces
28.8. Digital video
28.9. Embedded digital audio in the digital video interface
28.10. Timecode
28.11. Notes
Chapter 29 Room acoustics
29.1 Introduction
29.2 Noise Control
29.3 Studio and Control Room Acoustics
Reference
Part VII Audio Test and Measurement
CHAPTER 30
Fundamentals and instruments
30.1 INSTRUMENT TYPES
30.2 SIGNAL GENERATORS
30.3 ALTERNATIVE WAVEFORM TYPES
30.4 DISTORTION MEASUREMENT
.
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