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| About the authors | |
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| Acknowledgements | |
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| Preface | |
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| Introduction | |
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| What is a loudspeaker? | |
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| A brief look at the concept | |
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| A little history and some background | |
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| Some other problems | |
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| Some basic facts | |
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| Acoustic wave propagation | |
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| Mechanical and acoustic impedance | |
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| Impedance in loudspeakers | |
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| The practical moving-coil cone loudspeaker | |
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| The combined response | |
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| Resistive and reactive loads | |
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| The bigger picture | |
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| References | |
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| Bibliography | |
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| Diversity of design | |
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| Moving-coil cone loudspeakers | |
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| Cones | |
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| Surrounds | |
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| Rear suspensions | |
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| The chassis | |
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| The voice-coil assembly | |
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| Magnet systems | |
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| Ferrofluids | |
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| The complete system | |
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| Dome loudspeakers | |
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| Hard and soft domes | |
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| Compression drivers | |
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| Ribbon loudspeakers | |
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| Heil air-motion transformers | |
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| Distributed mode loudspeakers | |
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| Panel/piston combinations | |
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| Beyond magnetics | |
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| Piezoelectric devices | |
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| Ionic loudspeakers | |
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| Electrostatic loudspeakers | |
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| Electromagnetic planar loudspeakers | |
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| Summary | |
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| References | |
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| Bibliography | |
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| Loudspeaker cabinets | |
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| The concept of the infinite baffle | |
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| The sealed box | |
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| Acoustic suspensions | |
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| Reflex enclosures | |
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| Acoustic labyrinths | |
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| Modern transmission lines | |
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| ABR systems | |
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| Bandpass cabinets | |
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| Series driver operation and isobaric loudspeakers | |
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| General discussion | |
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| Cabinet lining materials | |
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| Cabinet constructions | |
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| Cabinet shapes and diffraction effects | |
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| Front grilles | |
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| Cabinet mounting | |
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| References | |
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| Horns | |
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| The horn as a transformer | |
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| Directivity control | |
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| Horn design compromises | |
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| Non-linear acoustics | |
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| Examples of non-linear acoustics in loudspeakers | |
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| Practical horns in studios and homes | |
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| Implications for practical horn design parameters | |
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| Summary of results | |
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| General horn characteristics | |
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| Phasing plugs | |
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| Acoustics lenses | |
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| Horn types | |
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| Materials of construction | |
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| Vestigial horns and 'waveguides' | |
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| Flare rates | |
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| References | |
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| Crossovers | |
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| What is a crossover? | |
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| Reconstruction problems | |
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| Orders, slopes and shapes | |
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| Filter shapes | |
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| Target functions | |
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| Minimum and non-minimum phase effects | |
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| Corrective measures and side-effects | |
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| Active versus passive crossovers | |
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| Physical derivation of crossover delay | |
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| Digital crossovers | |
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| References | |
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| Bibliography | |
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| Effects of amplifiers and cables | |
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| Amplifiers - an over-view | |
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| Basic requirements for current and voltage output | |
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| Transient response | |
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| Non-linear distortions | |
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| Amplifier classes and modes of operation | |
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| Class A amplifiers | |
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| Class A derivatives | |
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| Class AB | |
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| Class D | |
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| Class G and H | |
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| MOSFET or BJT? | |
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| Choosing an amplifier | |
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| Loudspeaker cables and their effect on system performance | |
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| The bare minimum | |
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| The status quo | |
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| Cable designs for loudspeaker use | |
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| The amplifier/loudspeaker interface | |
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| Some provable characteristics of cable performance | |
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| Some passing comments | |
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| Multi-cabling | |
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| Polyamplification and multiamplification | |
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| System design | |
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| References | |
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| Bibliography | |
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| Loudspeaker behaviour in rooms | |
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| The anechoic and reverberation chambers | |
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| Boundary loading and room gain | |
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| Restriction of radiating space | |
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| The mirrored room and mutual coupling | |
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| Room reflexions | |
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| Resonant modes | |
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| Flush-mounting | |
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| Multichannel considerations and phantom imaging | |
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| Stereo perception in rooms | |
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| Rooms for critical listening | |
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| Electronic, digitally adaptive response correction | |
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| Minimum and non-minimum phase responses | |
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| References | |
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| Bibliography | |
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| Form follows function | |
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| The chain | |
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| Recording monitors | |
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| Basic requirements | |
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| Proportional costs | |
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| Different approaches | |
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| Crossover points | |
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| Power consideration | |
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| Interfacing with the rooms | |
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| A word about listening levels | |
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| Mixing monitors | |
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| Location dilemmas | |
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| Mastering loudspeakers | |
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| Domestic loudspeakers | |
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| Musical instrument loudspeakers | |
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| Cabinet designs | |
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| Summary | |
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| References | |
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| Bibliography | |
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| Subjective and objective assessment | |
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| The general situation | |
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| Test signals and analysis | |
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| Frequency response plots | |
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| Waterfall plots | |
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| Harmonic distortion | |
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| Intermodulation distortion | |
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| Delta-functions and step-functions | |
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| Acoustic source plots | |
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| Cepstrum analysis | |
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| Modulation transfer functions | |
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| Application of room equalisation | |
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| A D-to-A dilemma | |
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| Sound fields and human perception | |
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| Further perceptual considerations | |
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| References | |
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| Bibliography | |
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| The mix, the music and the monitors | |
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| Physics or psychology? | |
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| The musical dependence of compatibility | |
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| Sine waves and pink noise | |
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| Real responses vs. preconceived ideas | |
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| Acknowledgement | |
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| Low frequency and transient response dilemmas | |
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| The great low frequency deception | |
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| The air spring | |
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| Size, weight and sensitivity | |
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| Further consequences of small size | |
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| Commercial solutions | |
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| The time penalty | |
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| The transient trade-off | |
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| The evolution of the desk-top monitor | |
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| The great time deception | |
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| Resonant tails and one-note bass | |
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| The masking of detail | |
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| Theoretical equalisation and excess phase | |
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| Modulation transfer-function and a new type of frequency response plot | |
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| Summing-up | |
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| References | |
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| The challenges of surround sound | |
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| Surround sound in professional studios | |
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| Cinema sound | |
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| Music mixing | |
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| Sub-woofers - discrete and managed | |
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| Size versus performance compromises | |
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| Compound sub-woofers and electronic control | |
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| System considerations | |
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| References | |
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| Glossary of terms | |
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| Index | |