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Download Loudspeakers: For music recording and reproduction (Audio Engineering Society Presents) ePub

by Philip Newell,Keith Holland

Download Loudspeakers: For music recording and reproduction (Audio Engineering Society Presents) ePub
  • ISBN 0240520149
  • ISBN13 978-0240520148
  • Language English
  • Author Philip Newell,Keith Holland
  • Publisher Routledge; 1 edition (October 5, 2006)
  • Pages 422
  • Formats mbr txt mbr docx
  • Category Engineering
  • Subcategory Engineering
  • Size ePub 1996 kb
  • Size Fb2 1153 kb
  • Rating: 4.9
  • Votes: 782

Need advice on which type of speaker to use and where? Very often the choice and positioning of loudspeakers is down to intuition, hearsay and chance. This practical guide explores the link between experience and the technology, giving you a better understanding of the tools you are using and why, leading to greatly improved results. Newell and Holland share years of experience in the design, application and use of loudspeakers for recording and reproducing music. Get practical advice on the applications of different loudspeakers to the different phases of the music recording and reproduction chain. If you are using loudspeakers in a recording studio, mastering facility, broadcasting studio, film post production facility, home or musician's studio, or you inspire to improve your music reproduction system this book will help you make the right decisions.

Philip Newell is a Fellow of the Institute of Acoustics (IOA), a member of both the Audio Engineering Society (AES) and the .

Philip Newell is a Fellow of the Institute of Acoustics (IOA), a member of both the Audio Engineering Society (AES) and the Society of Motion Picture and Television Engineers (SMPTE), and a member of the Seaplane Pilots Association. He has written ten books on acoustics and electroacoustics, and has published around 200 related articles, journal papers, and conference papers. Since 1992 he has lived in Spain, and during the course of his work has travelled to over 30 countries.

Get practical advice on the applications of different loudspeakers to the different phases of the music recording and reproduction chain

Get practical advice on the applications of different loudspeakers to the different phases of the music recording and reproduction chain. If you are using loudspeakers in a recording studio, mastering facility, broadcasting studio, film post production facility, home or musician's studio, or you inspire to improve your music reproduction system this book will help you make the right decisions.

Philip Newell has enjoyed a long and distinguished career in both monitor and recording studio design, and in music production and engineering - his CV includes work with Queen, the Who and Mike Oldfield, to name just three

Philip Newell has enjoyed a long and distinguished career in both monitor and recording studio design, and in music production and engineering - his CV includes work with Queen, the Who and Mike Oldfield, to name just three. He has published countless books and technical papers in the field of speaker and studio design and is a member of the Audio Engineering Society, the Institute of Acoustics and the Society of Motion Picture and Television Engineers

Audio Engineering Society Presents. Women in Audio Philip Newell and Keith Holland, with the assistance of Sergio Castro and Julius Newell

Audio Engineering Society Presents. By Leslie Gaston-Bird. Women in Audio features almost 100 profiles and stories of audio engineers who are women and have achieved success throughout the history of the trade. Philip Newell and Keith Holland, with the assistance of Sergio Castro and Julius Newell. aperback – 2018-11-15 Routledge Audio Engineering Society Presents.

Philip Newell and Keith Holland, with the .

Philip Newell and Keith Holland, with the assistance of Sergio Castro and Julius Newell, combine their years of experience in the design, application, and use of loudspeakers to cover a range of topics from drivers, cabinets, and crossovers, to amplifiers, cables, and surround sound. Whether using loudspeakers in a recording studio, mastering facility, broadcasting studio, film post-production facility, home, or musician’s studio, or if you simply aspire to improve your music-production system this book will help you make the right decisions.

Philip Newell began working professionally with loudspeakers in 1966, in the maintenance department of a. .He has worked with them as a live-sound engineer, recording engineer, mixing engineer, and record producer.

Philip Newell began working professionally with loudspeakers in 1966, in the maintenance department of a shop selling domestic high-fidelity equipment in Blackburn, England. Within a year he had begun to work for the Mecca chain of dance halls as a live-sound and lighting engineer, but by 1970 he was working at a recording studio in south London, where he designed his first studio-monitoring system.

Philip Newell Moana Spain 2006.

However, once we realised that we knew no more than half a dozen words between us ('Coca Cola' and & included) we resolved to write a book on loudspeakers, instead. Philip Newell Moana Spain 2006.

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Author(s): Philip Newell, Keith Holland. Loudspeakers: For Music Recording and Reproduction (Audio Engineering Society Presents). ISBN: 0240520149 (ISBN13: 9780240520148). Published November 6th 2018 by Routledge. Author(s): Philip Newell, Keith Holland.

Talk about Loudspeakers: For music recording and reproduction (Audio Engineering Society Presents)


Thiama
Audio and discussions about the audibility of interconnects tends to generate more heat than light in most cases. I learned quite a bit by reading this book but found the chapter on amps and cabling perhaps a trifle misleading. Herein are a number of measurements from the lab of Gene Czerwinski (founder of Cerwin-Vega) showing measurable and often large differences between different cables when used with a particular amp/speaker combo. Lots of speculation about this and that without any proof except as to cite Martin Colloms views on the subject, and more anecdotal evidence about a digital mixing array and the gremlins therein. Also troubling is that one of the authors seems smitten with active crossovers and includes a long list of pros/cons to both active and passive, but draws a deep line in the sand when it comes to using DSP for loudspeakers--taking objection to the fact that such locks one in with a particular DAC that may be insufficiently revealing or otherwise lacking. Well looking around at the number of studio monitors being sold with DSP a mere 6 years later...

Again a fair amount of solid info but this is a book I wish I had found at the local library.
Dikus
A bit too expert for me, but I know i can always go back and use the expert stuff as a reference.
lacki
I'm only half way in, but loving it.

You don't need to be an audio nerd to get into this book. You just have to be curious about sound.
Zonama
This book greatly boosted my knowledge about loudspeakers, crossovers, amplifiers, cables and room acoustics. The text is well suited for readers new to the subject. Sometimes new terms are being used without explanation which could be improved upon. Overall this is an excellent book though, hence the 5 star rating.
Grarana
I approach this book as an audiophile interested in getting more educated about the science and principles of loudspeaker design and behavior. It is truly excellent for that. I have no intent to design my own loudspeakers or become an acoustics expert, and the book is written well for such a non-professional audience.

The book is mostly geared towards recording engineers for whom loudspeakers are essential tools of the trade, but who normally do not have a solid grasp of the physics and engineering of loudspeakers. Unlike many other books and articles on speakers, there are few equations and formulas here. The language is easy to follow, and there are plenty of illustrations and charts to help you understand.

There is sort of a religious debate in the high end audio community between subjectivists (trust only your ears, any part of the sound system matters a lot) and objectivists (everything is measurable, and all competently designed components sound similar). This book sheds light in both directions and shows where they fall short.

Some of the more controversial and interesting bits of the book are about how amplifiers can sound different, and how cables can change the sound depending on amplifier and speaker design. There apparently has been some scientific research on this. The amplifier-cable-crossover-driver system is apparently very complex, and certain designs are much more idiosyncratic to the point where small changes (e.g. different cable) can make an audible and measurable difference.

There are references to a bunch of other books and articles if you want to dig deeper. The authors refer a lot to Floyd Toole's articles and his recent book on acoustics which I recently read and reviewed on Amazon: Sound Reproduction: The Acoustics and Psychoacoustics of Loudspeakers and Rooms which is also recommended reading.

I highly recommend this book to all serious audio enthusiasts!
Garne
Very pleased. Potential buyers should pay close attention to the subtitle as that clearly defines the subject of this excellent text.
Froststalker
"Loudspeakers For Music Recording and Reproduction" is simply excellent. Philip Newell and Keith Holland have produced a comprehensive book that discusses many issues that are not covered in other books.

Whilst giving insights into the behaviour of loudspeaker transducers and systems, it also gives an understanding of the broader issues that underpin the design of loudspeaker systems and the qualities of the sound that they produce. The book is sufficiently comprehensive and detailed to be deemed a reference text, but it is written in such a readable way that it gives the reader an excellent grasp of the complex processes that govern how electrical energy is converted to sound at the listeners ears.

Newell and Holland deal with parameters that are directly associated with loudspeaker systems; amplifiers, cables, transducers, crossovers, enclosures, location relative to room boundaries, room acoustics and some psycho-acoustics.

This is not a cookbook giving design instructions or equations; this information can be found in many other texts and technical papers. The book's strength is its discussion of the technical factors that affect the quality of sound heard by the listener; this information is not readily found is such depth. It gives the reader a good handle on the things that really matter in the electro-acoustic and acoustic domains of sound reproduction.

Newell and Holland have conducted extensive research over the years into loudspeaker responses and room acoustics and have an excellent ability to bust audio myths with technical arguments that are grounded in real world application. They are regular presenters at academic and professional conferences, and this book contains a great deal of their work.

Noteworthy is the extensive discussion on their recent research on the audibility of phase delay and loss of modulation at low frequencies due to the loudspeaker's low frequency alignment and room acoustic properties.

I whole-heartedly endorse this book, and recommend it both to serious scholars of loudspeaker systems and to others who desire an enjoyable read about state of the art thinking about loudspeaker reproduction.

It is certainly part of my library.

Glenn Leembruggen
Principal
Acoustic Directions
Consultants in Acoustics Australia