Search results
Results From The WOW.Com Content Network
Bi-amping is the use of two channels of amplification to power each loudspeaker within an audio system. Tri-amping is the practice of connecting three channels of amplification to a loudspeaker unit: one to power the bass driver , one to power the mid-range and the third to power the treble driver .
Goodwin (2009) has suggested a slanted octahedron with separate front center (which he calls 3D7.1) [17] as an alternative way of using 7.1 systems to achieve with-height Ambisonic reproduction in games, and to allow reasonably accurate native 5.1 playback. An OpenAL game audio backend and decoder for this setup is commercially available. [18]
Loudspeaker measurement is the practice of determining the behaviour of loudspeakers by measuring various aspects of performance. This measurement is especially important because loudspeakers, being transducers, have a higher level of distortion than other audio system components used in playback or sound reinforcement.
A basic sound reinforcement system that would be used in a small music venue. The main loudspeakers for the audience are to the left and right of the stage. A row of monitor speakers pointing towards the onstage performers helps them hear their singing and playing.
A loudspeaker (commonly referred to as a speaker or, more fully, a speaker system) is a combination of one or more speaker drivers, an enclosure, and electrical connections (possibly including a crossover network). The speaker driver is an electroacoustic transducer [1]: 597 that converts an electrical audio signal into a corresponding sound. [2]
Prior to surround sound, theater sound systems commonly had three screen channels of sound that played from three loudspeakers (left, center, and right) located in front of the audience. Surround sound adds one or more channels from loudspeakers to the side or behind the listener that are able to create the sensation of sound coming from any ...
The midwoofer-tweeter-midwoofer loudspeaker configuration (called MTM, for short) was a design arrangement from the late 1960s that suffered from serious lobing issues that prevented its popularity until it was perfected by Joseph D'Appolito as a way of correcting the inherent lobe tilting of a typical mid-tweeter (MT) configuration, at the crossover frequency, unless time-aligned. [1]
The format was a widescreen process featuring three separate 35 mm motion picture films plus a separate sound film running in synchronization with one another at 26 fps, adding one picture panel each to the viewer's left and right at 45-degree angles, in addition to the usual front and center panel.