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Sound Reproduction: The Acoustics and Psychoacoustics of Loudspeakers and Rooms (Anglais) Broché – 18 septembre 2017
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Description du produit
Présentation de l'éditeur
Part 1 shows the reader how to create the best listening experience, offering practical approaches to the sound reproduction chain. Parts 2 and 3 are an in-depth consideration of acoustics and psychoacoustics - the science behind Part 1.
* How to design a great audio system - for a home entertainment system or a professional recording control room
* Offers a comprehensive look at the sound reproduction chain offering practical advice and helpful graphics throughout
* Learn from a leading expert in sound reproduction - Floyd Toole provides essential knowledge in a highly readable and entertaining style --Ce texte fait référence à l'édition Relié.
Biographie de l'auteur
Floyd E. Toole studied electrical engineering at the University of New Brunswick and at the Imperial College of Science and Technology, University of London where he received a Ph.D. In 1965 he joined the National Research Council of Canada where he reached the position of Senior Research Officer in the Acoustics and Signal Processing Group. In 1991 he joined Harman International Industries Inc. as Corporate Vice President – Acoustical Engineering. In this position he worked with all Harman International companies and directed the Harman Research and Development Group, a central resource for technology development and subjective measurements, retiring in 2007. He is currently a consultant to Harman.
Dr. Toole’s research has focused on the acoustics and psychoacoustics of sound reproduction in small rooms, directed to improving engineering measurements, objectives for loudspeaker design and evaluation, and techniques for reducing variability at the loudspeaker / room / listener interface. For papers on these subjects he has received two AES Publications Awards and, for service to the society, the Board of Governors Award. For his achievements he has been recognized with both the AES Silver Medal (1996) and Gold Medal (2013) Awards. He is a Fellow and Past President of the AES, a Fellow of the Acoustical Society of America and a Fellow of CEDIA (Custom Design and Installarion Association). He has been awarded Lifetime Achievement awards by CEDIA and ALMA (Association of Loudspeaker Manufacturing & Acoustics International). He has recently written a book: "Sound Reproduction: the acoustics and psychoacoustics of loudspeakers and rooms." (Focal Press, 2008).--Ce texte fait référence à l'édition Relié.
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Commentaires client les plus utiles sur Amazon.com
The book collects decades of research into loudspeaker measurements and subjective preferences determined under controlled, double-blind conditions. From the perspective of a loudspeaker designer, it makes the connection between how a collection of anechoic frequency response measurements, sampled across an imaginary sphere surrounding the loudspeaker, can be performed and processed such that a design yielding results meeting specified criteria will lead to high subjective ratings when tested under double-blind conditions. From the perspective of a consumer, it demonstrates how, if the appropriate processed data are provided (unfortunately still not widespread), one can visually inspect the data to gain insight into subjective quality. For more information about this approach than I could ever provide here, check out the online video by Dr. Toole titled, "Floyd Toole - Sound reproduction – art and science/opinions and facts". This video will give you a very good idea of what the book is about - at least in part.
Contrary to critics who claim that Dr. Toole is just repeating the Harman party line, he developed these measurement techniques while working at the National Research Council of Canada (NRCC) and brought them to Harman with him. They were originally published in a 1986 AES Journal article titled, "Loudspeaker Measurements and Their Relationship to Listener Preferences: Part 2" while he was still working at the NRCC. These calculations can accurately predict a so-called "room curve" from a collection of the loudspeaker's anechoic measurements. He shows that a loudspeaker having a flat on-axis anechoic response will have a room curve that tilts downward with increasing frequency. A "room curve" in this context is a measurement of the loudspeaker's steady-state frequency response using typical measurement software, smoothed to eliminate the "hash" that shows up in the unsmoothed measurement. This is why equalizing a system to a flat room curve results in a subjectively bright sound. It's somewhat disheartening how little this is understood. People who have made this mistake could lose confidence in the efficacy of audio measurements in general.
The above techniques break down when dealing with in-room bass response. In the modal frequency region of a room, the room itself dominates the system frequency response, so for optimum bass performance, room modes and their interaction with the loudspeakers and/or subwoofer(s) must be taken into account. Chapter 8 contains a very good discussion of room modes, and how equalization, the placement of listening position, and the placement of one or more subwoofers interacts with the room modes to affect what is measured and heard. He refers to the latter technique as "mode manipulation". With multiple subs and a given set of sub positions, the possibility exists for reducing the seat-to-seat variation of the frequency response in the modal region. This technique requires individual equalization of each sub, combined with optimization software. Harman calls their implementation "Sound Field Management" (SFM). Unfortunately, it is only available on JBL Synthesis custom installation products. DIY alternatives to Sound Field Management exist, however.
I've already gone on way too long, yet I've only scratched the surface of what's covered in the book. If you have the previous edition and liked it, getting the third edition is a no-brainer, as there's plenty of new material and the organization of the book is much improved. Those who are committed to a rational approach to achieving good sound and willing to put forth the necessary effort to enhance their understanding of how to do it will benefit the most from the book.
Dr. Toole, thank you for the really important work you've done. I was puzzled after buying the new edition why Figure 22.3 (see photo) was omitted from the new version. Especially after reading about your response to the internet trolls mischaracterizing your position on first reflections. Was there a reason why you omitted the figure? Anyone else that thinks they might know why please feel free to pipe in.