New PDF release: Audio and Hi-Fi Handbook (3rd Edition)

By Ian Sinclair

Written via a group of specialists and expert individuals this entire advisor has proved to be a useful source for pro designers and repair engineers.

Each bankruptcy is written by way of a number one writer, together with Don Aldous, John Borwick, Dave Berriman and John Linsley Hood, which supplies as extensive a standpoint as attainable on high quality sound replica in addition to a wealth of workmanship. This 3rd version has been absolutely up-to-date to incorporate smooth valve amplifier designs, Nicam and satellite tv for pc radio, and together with a brand new part on servicing.

A broad ranging advisor for execs and hobbyists alike.

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Extra info for Audio and Hi-Fi Handbook (3rd Edition)

Sample text

The curves most frequently used are the NC (noise criterion) and NR (noise rating) criteria. 2 graphically present the two sets of criteria in terms of the octave band noise level and frequency. (Although as Figs. g. ) The NC system is primarily intended for rating air conditioning noise, whilst the NR system is more commonplace in Europe and can be used to rate noises other than air conditioning. (An approximate idea of the equivalent dBA value can be obtained by adding 5 to 7 dB to the NC/NR level).

From this table and curves shown in Figs. ian 4/6/98 5:06 PM Page 29 Studio and Control Room Acoustics typically being 25 dBA or less which subjectively is very quiet. ) The background noise level in a studio is made up from a number of different sources and components and for control purposes these may be split up into four basic categories: • • • • 29 levels of noise. An extensive noise survey of the proposed site is therefore essential. external airborne noise external structure borne noise internally and locally generated noise internal noise transfer.

A further development of this scheme uses two cardioid microphone capsules backto-back to avoid the need for exact setting of the threshold level. The rear capsule continuously monitors the ambient sound level whilst the main front capsule is switched on whenever some differential level (say 10 dB) is exceeded by direct speech. Contact microphones, as their name implies, are physically attached to the sound source and respond to mechanical vibrations rather than airborne pressure waves. They are therefore not strictly speaking microphones, but belong to the family of mechanical/electrical transducers which includes strain gauges, guitar pickups throat microphones and accelerometers used for vibration measurements.

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Audio and Hi-Fi Handbook (3rd Edition) by Ian Sinclair

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