Search results
Results From The WOW.Com Content Network
The human brain is sensitive to small variations in reflected sound, and this is part of the reason why a loudspeaker system sounds different at different listening positions or in different rooms. A significant factor in the sound of a loudspeaker system is the amount of absorption and diffusion present in the environment. Clapping one's hands ...
Using a crossover to separate the sound into low, middle and high frequencies can lead to a "cleaner", clearer sound (see bi-amplification) than routing all of the frequencies through a single full-range speaker system. Nevertheless, many small venues still use a single full-range speaker system, as it is easier to set up and less expensive.
The first and simplest method is using a surround sound recording technique—capturing two distinct stereo images, one for the front and one for the back or by using a dedicated setup, e.g., an augmented Decca tree [20] —or mixing-in surround sound for playback on an audio system using speakers encircling the listener to play audio from ...
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]
Each system consists of a mixing board, sound processing equipment, amplifiers, and speakers. The microphones that are used to pick up vocals and amplifier sounds are routed through both the main and monitor systems. Audio engineers can set different sound levels for each microphone on the main and monitor systems.
If you've been shopping in a big box retail store you've probably heard an announcement on the loudspeaker such as, "code yellow toys, code yellow toys." This "code" is one of many innocuous ...
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.
Listening to sound in an anechoic "dead" room is quite different from listening in a conventional room, and, while revealing about loudspeaker behaviour it has an unnatural sonic character that some listeners find uncomfortable. Conventional stereo reproduction is more natural if the listening environment has some acoustically reflective surfaces.