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Sound Reproduction: The Acoustics and Psychoacoustics of Loudspeakers and Rooms (Audio Engineering Society Presents)
PDF Ebook Sound Reproduction: The Acoustics and Psychoacoustics of Loudspeakers and Rooms (Audio Engineering Society Presents)
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Sound Reproduction: The Acoustics and Psychoacoustics of Loudspeakers and Rooms, Third Edition explains the physical and perceptual processes that are involved in sound reproduction and demonstrates how to use the processes to create high-quality listening experiences in stereo and multichannel formats. Understanding the principles of sound production is necessary to achieve the goals of sound reproduction in spaces ranging from recording control rooms and home listening rooms to large cinemas. This revision brings new science-based perspectives on the performance of loudspeakers, room acoustics, measurements and equalization, all of which need to be appropriately used to ensure the accurate delivery of music and movie sound tracks from creators to listeners. The robust website (www.routledge.com/cw/toole) is the perfect companion to this necessary resource.
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Product details
Series: Audio Engineering Society Presents
Paperback: 514 pages
Publisher: Routledge; 3 edition (August 16, 2017)
Language: English
ISBN-10: 9781138921368
ISBN-13: 978-1138921368
ASIN: 113892136X
Product Dimensions:
7.2 x 0.8 x 9 inches
Shipping Weight: 2.4 pounds (View shipping rates and policies)
Average Customer Review:
4.8 out of 5 stars
14 customer reviews
Amazon Best Sellers Rank:
#365,967 in Books (See Top 100 in Books)
This review is for the third edition of the book, for which deliveries from Amazon began around the end of August 2017. The book has been extensively changed from the first two editions, which, according to the author, are identical except for the publisher. Because of these extensive changes, comments from reviews earlier than the above date may not necessarily apply to the third edition. The changes consist not only of the addition of new research results since the earlier editions, but also considerable reorganization to introduce the concepts in a more logical sequence.The book collects decades of research into loudspeaker measurements and subjective preferences determined under controlled, double-blind conditions. From the perspective of a loudspeaker designer, it makes the connection between how a collection of anechoic frequency response measurements, sampled across an imaginary sphere surrounding the loudspeaker, can be performed and processed such that a design yielding results meeting specified criteria will lead to high subjective ratings when tested under double-blind conditions. From the perspective of a consumer, it demonstrates how, if the appropriate processed data are provided (unfortunately still not widespread), one can visually inspect the data to gain insight into subjective quality. For more information about this approach than I could ever provide here, check out the online video by Dr. Toole titled, "Floyd Toole - Sound reproduction – art and science/opinions and facts". This video will give you a very good idea of what the book is about - at least in part.Contrary to critics who claim that Dr. Toole is just repeating the Harman party line, he developed these measurement techniques while working at the National Research Council of Canada (NRCC) and brought them to Harman with him. They were originally published in a 1986 AES Journal article titled, "Loudspeaker Measurements and Their Relationship to Listener Preferences: Part 2" while he was still working at the NRCC. These calculations can accurately predict a so-called "room curve" from a collection of the loudspeaker's anechoic measurements. He shows that a loudspeaker having a flat on-axis anechoic response will have a room curve that tilts downward with increasing frequency. A "room curve" in this context is a measurement of the loudspeaker's steady-state frequency response using typical measurement software, smoothed to eliminate the "hash" that shows up in the unsmoothed measurement. This is why equalizing a system to a flat room curve results in a subjectively bright sound. It's somewhat disheartening how little this is understood. People who have made this mistake could lose confidence in the efficacy of audio measurements in general.The above techniques break down when dealing with in-room bass response. In the modal frequency region of a room, the room itself dominates the system frequency response, so for optimum bass performance, room modes and their interaction with the loudspeakers and/or subwoofer(s) must be taken into account. Chapter 8 contains a very good discussion of room modes, and how equalization, the placement of listening position, and the placement of one or more subwoofers interacts with the room modes to affect what is measured and heard. He refers to the latter technique as "mode manipulation". With multiple subs and a given set of sub positions, the possibility exists for reducing the seat-to-seat variation of the frequency response in the modal region. This technique requires individual equalization of each sub, combined with optimization software. Harman calls their implementation "Sound Field Management" (SFM). Unfortunately, it is only available on JBL Synthesis custom installation products. DIY alternatives to Sound Field Management exist, however.I've already gone on way too long, yet I've only scratched the surface of what's covered in the book. If you have the previous edition and liked it, getting the third edition is a no-brainer, as there's plenty of new material and the organization of the book is much improved. Those who are committed to a rational approach to achieving good sound and willing to put forth the necessary effort to enhance their understanding of how to do it will benefit the most from the book.
Essential reading for any serious home audio/home theater enthusiast. This edition greatly re-organizes the first edition (the 'second edition' was simply a reprint of the first edition, under an new publisher) and adds much new material. And btw, the complaints here that it is 'repetitive' are misplaced. As Toole notes in the book, he intentionally repeats information because he expects some readers will skip chapters, in order to go directly to the chapter(s) pertinent to them. It's a feature, not a bug, and a good one.
At some point I'll write up a review, but since Amazon only allows questions for products other than books I'm putting it here. Plus I can't find any straightforward way of reaching Dr. Toole.Dr. Toole, thank you for the really important work you've done. I was puzzled after buying the new edition why Figure 22.3 (see photo) was omitted from the new version. Especially after reading about your response to the internet trolls mischaracterizing your position on first reflections. Was there a reason why you omitted the figure? Anyone else that thinks they might know why please feel free to pipe in.
I found the book to be enlightening concerning the marketing hype that is prevalent in the industry. The author is very well respected in the field of acoustics. He delves in to what is important in evaluation in audio systems. The book changed many of my goals in audio system design.
This book was a great resource. It's sectioned in such a way that it's easy to look up specific topics quickly for reference. It covers basic and advanced acoustics and makes it's claims based on scientific method.
Toole's latest book is another great reference for audiophiles, sound engineers, and anyone wanting a look at what makes great (and bad) sound. The expanded sections go well beyond the first edition and there is lots of new material.
A lot more info than the first edition, extremely helpful to anyone interested in or doing research in audio.
Solid scientific info -- no magical diamond coated USB cables, putting in your own utility pole, or fancy tricks with reflections (in all fairness on the latter, Bose has solid technology, but why waste the effort on tricks just to make a smaller speaker sound big?).My only gripe is -- Dr Toole admits to not having studied digital much... he recommends using DSP for parametric equalization, but I feel he (or a successor) needs to explore this topic in light of how the added layers of ADC/DAC may color the sound esp as getting good sound out of the first DAC in the chain is a major focus nowadays.
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