Titlebook: Handbook of Recording Engineering; John Eargle Book 19922nd edition Springer-Verlag US 1992 Audio.Limiter.Signal.acoustics.analog.psychoac

ALLY

书目名称Handbook of Recording Engineering影响因子(影响力)




书目名称Handbook of Recording Engineering影响因子(影响力)学科排名




书目名称Handbook of Recording Engineering网络公开度




书目名称Handbook of Recording Engineering网络公开度学科排名




书目名称Handbook of Recording Engineering被引频次




书目名称Handbook of Recording Engineering被引频次学科排名




书目名称Handbook of Recording Engineering年度引用




书目名称Handbook of Recording Engineering年度引用学科排名




书目名称Handbook of Recording Engineering读者反馈




书目名称Handbook of Recording Engineering读者反馈学科排名

药物

Characteristics of Performance Spacess, be they concert halls, ballrooms, or houses of worship. To the extent that a classical recording attempts to convey a sense of space or ambience appropriate for the music, it will be useful to analyze performance spaces in terms of direct, early, and reverberant fields. The direct field is of cou

DAFT

Basic Operating Principles of Microphonesgibility, and the carbon microphone, developed early in that art, is still used in telephones today. The carbon microphone works on the loose-contact principle, as first demonstrated by Emile Berliner. Particles of carbon are alternately compressed and relaxed by the diaphragm under the influence of

罐里有戒指

思想上升

Environmental Effects and Departures from Ideal Microphone Performancece effects due to multiple path lengths, and combined microphone outputs will be covered. Departures from ideal performance, including the disparity between random incidence and on-axis response and variations in directional patterns at frequency extremes, will be discussed.

antecedence

侵略主义

苦笑

Two-Channel Stereo Signals picked up by the microphones are routed to loudspeakers that are placed in a geometrical array corresponding to the microphone array. In this manner, many of the spatial aspects of the recording environment are preserved, and the listener can perceive, more or less accurately, the spatial p

abduction

Multichannel Stereoile it was not exploited as multichannel stereo, it is clear that it was the first machine capable of recording in three channels. Nearly forty years later, Disney introduced Fantasound in the motion picture . Three optical sound tracks were presented in a left—center—right format behind the screen

LATE

Recording Consolesy the term . generally refers to the familiar desk-like arrangement of controls. In the early days of electrical recording, rarely more than one or two microphones were used, and the signals were normally routed to a single output channel. (The terms “line out” and “output bus” are also used and ref