Leslie, 1930 - Google Patents
Is sound reproduction progressing?Leslie, 1930
- Document ID
- 16017414521779129803
- Author
- Leslie L
- Publication year
- Publication venue
- Students' Quarterly Journal
External Links
Snippet
Is sound reproduction progressing? Page 1 IS SOUND REPRODUCTION PROGRESSING? By
LI LESLIE, Student. What exactly is bur aim in sound reproduction P Here are some interesting
ideas on the subject. Is our aim in the reproduction of sound an exact delineation of the original …
- 230000002250 progressing effect 0 title description 2
Classifications
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H3/00—Instruments in which the tones are generated by electromechanical means
- G10H3/12—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument
- G10H3/14—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using mechanically actuated vibrators with pick-up means
- G10H3/18—Instruments in which the tones are generated by electromechanical means using mechanical resonant generators, e.g. strings or percussive instruments, the tones of which are picked up by electromechanical transducers, the electrical signals being further manipulated or amplified and subsequently converted to sound by a loudspeaker or equivalent instrument using mechanically actuated vibrators with pick-up means using a string, e.g. electric guitar
- G10H3/186—Means for processing the signal picked up from the strings
- G10H3/187—Means for processing the signal picked up from the strings for distorting the signal, e.g. to simulate tube amplifiers
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H1/00—Details of electrophonic musical instruments
- G10H1/0033—Recording/reproducing or transmission of music for electrophonic musical instruments
- G10H1/0041—Recording/reproducing or transmission of music for electrophonic musical instruments in coded form
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10K—SOUND-PRODUCING DEVICES; ACOUSTICS NOT OTHERWISE PROVIDED FOR
- G10K11/00—Methods or devices for transmitting, conducting or directing sound in general; Methods or devices for protecting against, or for damping, noise or other acoustic waves in general
- G10K11/18—Methods or devices for transmitting, conducting, or directing sound
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10K—SOUND-PRODUCING DEVICES; ACOUSTICS NOT OTHERWISE PROVIDED FOR
- G10K15/00—Acoustics not otherwise provided for
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
- G10D9/00—Details of, or accessories for, wind musical instruments
-
- G—PHYSICS
- G10—MUSICAL INSTRUMENTS; ACOUSTICS
- G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
- G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
-
- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04R—LOUDSPEAKERS, MICROPHONES, GRAMOPHONE PICK-UPS OR LIKE ACOUSTIC ELECTROMECHANICAL TRANSDUCERS; DEAF-AID SETS; PUBLIC ADDRESS SYSTEMS
- H04R1/00—Details of transducers, loudspeakers or microphones
- H04R1/20—Arrangements for obtaining desired frequency or directional characteristics
- H04R1/32—Arrangements for obtaining desired frequency or directional characteristics for obtaining desired directional characteristic only
- H04R1/40—Arrangements for obtaining desired frequency or directional characteristics for obtaining desired directional characteristic only by combining a number of identical transducers
-
- H—ELECTRICITY
- H04—ELECTRIC COMMUNICATION TECHNIQUE
- H04R—LOUDSPEAKERS, MICROPHONES, GRAMOPHONE PICK-UPS OR LIKE ACOUSTIC ELECTROMECHANICAL TRANSDUCERS; DEAF-AID SETS; PUBLIC ADDRESS SYSTEMS
- H04R1/00—Details of transducers, loudspeakers or microphones
- H04R1/20—Arrangements for obtaining desired frequency or directional characteristics
- H04R1/22—Arrangements for obtaining desired frequency or directional characteristics for obtaining desired frequency characteristic only
- H04R1/26—Spatial arrangements of separate transducers responsive to two or more frequency ranges
Similar Documents
Publication | Publication Date | Title |
---|---|---|
Toole | Sound reproduction: the acoustics and psychoacoustics of loudspeakers and rooms | |
Kato et al. | Effect of room acoustics on musicians' performance. Part II: Audio analysis of the variations in performed sound signals | |
Réveillac | Musical sound effects: Analog and digital sound processing | |
Cafaro et al. | Audio technology: A tool for teachers and singers | |
Leslie | Is sound reproduction progressing? | |
US5052264A (en) | Music performance assisting method | |
McCoy | The choir issue, part 1 | |
Kellogg | Some new aspects of reverberation | |
Doyle | Ghosts of electricity: Amplification | |
Mulder | The loudspeaker as musical instrument | |
Plumb | The future of Fantasound | |
Presto Jr | Pitch tolerance | |
Colucci | Hearing matters: Aided mapping for music lovers: Addressing the basic issues | |
Damrosch | Music and the Radio | |
Sowter et al. | High fidelity reproduction of music (a discussion meeting of the London Section of the Institution held on March 10th 1944) | |
Gowland | The Impact of Urbanisation on Electronic Music | |
Swainson | The Voice of the Machine | |
Ratto | Electroacoustic Orchestration: Timbre, Space and Sound Material Organisation | |
Koohbor | ----ffff---- | |
Neumann | The Opera-Telephone in Munich | |
Laitila | How to make a string quartet sound bigger by using different recording techniques | |
Edwards | What every singer needs to know about audio technology | |
Murray | The effect of four virtual wind ensemble formations on auditors' perceptions of and preferences for overall wind ensemble sound | |
Mills | Auditory perspective | |
Pritts et al. | Live Electronic Music in Large Auditoriums |