Hubbry Logo
Audio equipmentAudio equipmentMain
Open search
Audio equipment
Community hub
Audio equipment
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Audio equipment
Audio equipment
Audio equipment
View on Wikipedia
from Wikipedia
An audio amplifier is a common piece of audio equipment.

Audio equipment refers to devices that reproduce, record, or process sound. This includes microphones, radio receivers, AV receivers, CD players, tape recorders, amplifiers, mixing consoles, effects units, headphones, and speakers.[1]

Audio equipment is widely used in many different scenarios, such as concerts, bars, meeting rooms and the home where there is a need to reproduce, record and enhance sound volume.

Electronic circuits considered a part of audio electronics may also be designed to achieve certain signal processing operations, in order to make particular alterations to the signal while it is in the electrical form.[2]

Audio signals can be created synthetically through the generation of electric signals from electronic devices.

Audio electronics were traditionally designed with analog electric circuit techniques until advances in digital technologies were developed. Moreover, digital signals are able to be manipulated by computer software much the same way audio electronic devices would, due to its compatible digital nature. Both analog and digital design formats are still used today, and the use of one or the other largely depends on the application.[2]

See also

[edit]

References

[edit]

Further reading

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Audio equipment

View on Grokipedia
from Grokipedia
Audio equipment refers to the devices and systems used to capture, , amplify, transmit, and reproduce waves, enabling the recording, playback, and enhancement of audio in various professional, consumer, and industrial applications. These tools form the backbone of audio production in fields such as , , live events, and home , where , clarity, and reliability are paramount. The development of audio equipment traces back to the late 19th century, beginning with Thomas Edison's invention of the in 1877, which allowed for the first mechanical recording and playback of sound on tinfoil cylinders. Key advancements followed, including Emile Berliner's 1887 gramophone with flat discs for , Lee DeForest's 1906 triode vacuum tube for electronic amplification, and the 1925 introduction of electrical recording by , which dramatically improved sound quality. The mid-20th century saw the rise of recording in the 1940s, the launch of the 33-1/3 rpm long-playing (LP) vinyl record in 1948, and stereo sound patenting in 1931 by , paving the way for high-fidelity systems. The digital revolution arrived in 1982 with Sony's first (CD) player, followed by in 1997 supporting multi-channel , and ongoing innovations in streaming and wireless technologies continue to evolve the field. Core components of audio equipment include for sound capture, amplifiers for signal boosting, speakers for output, and various processors and recorders for manipulation and storage. Microphones vary by type, such as dynamic models like the for live use due to their durability in high-sound-pressure environments, condenser types like the Neumann U87 for sensitive studio recordings requiring , and directional shotgun mics like the MKH 416 for focused capture in film production. Amplifiers, including public address and variants, power these signals for clear distribution, while loudspeakers—ranging from electrodynamic designs to subwoofers—convert electrical signals back into audible sound waves. Additional elements encompass recording devices like tape players, disc players, and digital interfaces, as well as public address systems and radio receivers, all standardized under bodies like the (AES) for performance measurement.

Overview

Definition and Scope

Audio equipment consists of electrically operated hardware devices designed to generate, input, store, play, retrieve, transmit, receive, amplify, or process signals. These devices convert mechanical waves—vibrations in air pressure—into electrical signals and vice versa, enabling the capture and reproduction of audio. The scope of audio equipment includes both analog systems, which manipulate continuous electrical waveforms to represent sound variations, and digital systems, which convert and process audio as discrete for greater precision and storage efficiency. This encompasses hardware for recording onto media like vinyl or in analog formats, and onto optical discs or solid-state memory in digital formats, as well as tools for playback, amplification to increase signal strength, and mixing to combine multiple audio sources. While software tools such as Workstations (DAWs) provide virtual environments for audio manipulation, audio equipment is limited to physical hardware implementations, excluding purely software-based solutions unless they are integrated into dedicated hardware interfaces. Over time, audio equipment has evolved from early mechanical contraptions, such as phonographs that etched sound vibrations onto cylinders, to sophisticated electronic systems leveraging vacuum tubes, transistors, and integrated circuits. Broadly, it falls into key categories: input devices for sound capture, amplification and processing units for signal enhancement, and output devices for auditory reproduction.

Fundamental Principles

Sound in audio equipment originates from acoustic waves, which are mechanical vibrations propagating through a medium such as air. These waves are characterized by three primary properties: , measured in hertz (Hz), which determines the pitch; , representing the wave's height from peak to trough and corresponding to ; and , the distance between consecutive peaks, inversely related to via the in the medium. The human audible range spans frequencies from 20 Hz to 20,000 Hz, beyond which sounds are perceived as or . The transduction process in audio equipment converts these into electrical signals, enabling capture, processing, and reproduction. In , this occurs through principles such as dynamic transduction, where a diaphragm attached to a coil moves within a to induce voltage via , or piezoelectric transduction, where mechanical stress on a crystal material generates an proportional to the applied pressure from sound waves. These methods ensure faithful representation of the original acoustic input as an electrical output. Audio signals exist in two fundamental forms: analog, consisting of continuous time-varying waveforms that mirror the smooth variations of acoustic pressure, and digital, comprising discrete sampled values that approximate the continuous signal through quantization. The Nyquist-Shannon sampling theorem dictates that to accurately reconstruct an without , the sampling rate must be at least twice the highest component; for human hearing up to 20 kHz, a rate of 44.1 kHz—chosen for audio—provides sufficient headroom up to 22.05 kHz. The basic in audio systems follows a linear path: input devices capture the signal, stages amplify or modify it, and output devices convert it back to . Effective signal transmission requires , where the of one stage is significantly lower than the of the next (typically by a factor of 10 or more) to maximize voltage transfer and minimize signal loss. In audio circuits, particularly amplifiers, governs the relationship between voltage (VV), current (II), and resistance (RR) as V=IRV = IR, ensuring that amplifiers deliver appropriate power to loads like speakers without from mismatched resistances. This principle underpins the design of stable amplification, where current draw increases inversely with load resistance for a fixed voltage output.

History

Early Developments (Pre-20th Century)

The origins of audio equipment trace back to mechanical inventions in the late , which laid the groundwork for without electrical means. In 1877, invented the , the first device capable of recording and playing back sound, using a rotating wrapped in tinfoil. The machine operated by capturing sound vibrations through a diaphragm attached to a stylus that indented the tinfoil surface in a helical groove as the cylinder turned via a hand crank; playback reversed the process, with a needle tracing the indentations to vibrate another diaphragm and reproduce the sound. Edison's initial demonstration involved reciting "," marking a breakthrough in capturing transient audio on a physical medium, though the tinfoil recordings lasted only a few plays due to wear. Building on this, introduced the gramophone in 1887, shifting from cylinders to flat discs for more practical recording and mass duplication. Berliner's patent (No. 372,786) described a lateral-cut groove system on discs coated with bees-gasoline, etched via after tracing, which allowed for durable, reproducible formats unlike the fragile cylinders. By 1895, shellac-based compounds replaced early hard rubber pressings, enabling commercial production of rpm records that could be stamped in multiples from a single master. This evolution addressed cylinder limitations like single-use playback and manual duplication, fostering scalability in audio media. Early amplification relied entirely on mechanical and acoustic principles, as electrical processing was absent. Sound capture and output used flared metal horns to funnel acoustic waves to a thin diaphragm, which drove a cutting stylus during recording or vibrated to amplify playback through a tonearm. Performers positioned themselves variably relative to the horn—closer for soft passages, farther for louder ones—to manage dynamics, while devices like the phonograph's soundbox employed mica diaphragms for resonance. These horns, often exponential in shape, boosted volume acoustically but were constrained to a narrow frequency range of about 100–2500 Hz, favoring instruments like banjos or trumpets over complex orchestral tones. The reliance on physical media and mechanical components imposed key limitations, including rapid wear of tinfoil or wax surfaces, short recording durations (around two minutes), and inability to edit or amplify signals electronically. Despite these, the late 1800s inventions spurred the birth of the recorded , with the Edison Speaking Phonograph Company formed in 1878 for public exhibitions and the North American Phonograph Company in pivoting to coin-operated devices. By the , phonographs and gramophones entered households as consumer goods, democratizing access to preserved performances and transforming from ephemeral live events into portable, repeatable experiences.

Analog Era (1900–1980s)

The Analog Era (1900–1980s) represented a transformative period in audio equipment, shifting from mechanical devices to electronic systems that amplified, recorded, and processed continuous analog signals using vacuum tubes, transistors, and passive components. These innovations enabled the of radios, phonographs, and studio gear, laying the foundation for high-fidelity sound reproduction and broadcast. Early electronic amplification overcame the limitations of acoustic horns, while magnetic recording and spatial audio techniques expanded creative possibilities in music and communication. A cornerstone of this era was the development of amplifiers. In 1906, American inventor created the , the first three-element capable of amplifying weak electrical signals derived from sound, which was crucial for practical radio transmission and audio playback systems. Building on John Ambrose Fleming's 1904 , the allowed for controlled electron flow between a and via a grid, enabling voltage-controlled amplification without mechanical parts and revolutionizing audio electronics. By the and , like the 300B became staples in audio amplifiers, powering theater systems and early hi-fi equipment with their warm tonal characteristics. Magnetic tape recording emerged as a major advance in audio capture and editing. Danish engineer patented the telegraphone in 1898, a device that recorded sound by magnetizing a moving steel wire with an linked to a , marking the first practical of audio. Though initially limited to short durations and low fidelity, the technology gained traction in the 1930s through German firm AEG's , which introduced reel-to-reel machines using oxide-coated paper tape for longer, higher-quality recordings suitable for and film soundtracks. These systems offered advantages like variable speed playback and splicing, influencing professional audio workflows until the 1980s. The introduction of stereo sound enhanced spatial realism in audio equipment. In 1931, British engineer , working for , patented techniques for , including dual-microphone capture and compatible disc playback, to simulate natural for listeners. Demonstrated in 1933 with a recording of an , Blumlein's system used two channels to create a three-dimensional effect, initially applied in motion pictures like Walt Disney's Fantasia (1940) before consumer adoption in the 1950s. Several milestones defined consumer and portable audio during this period. Columbia Records unveiled the 12-inch vinyl long-playing (LP) record in June 1948, a microgroove disc spinning at 33⅓ rpm that accommodated about 23 minutes of audio per side, surpassing the 78-rpm records' four-minute limit and boosting album sales. The portability of audio expanded with the Regency TR-1 in 1954, the first commercial , which used solid-state devices to replace bulky vacuum tubes, enabling a pocket-sized, battery-operated receiver that sold over 100,000 units in its debut holiday season. Analog signal processing relied on discrete components to shape and control audio waveforms. Equalizers typically featured passive networks of resistors, capacitors, and inductors (RLC circuits) to attenuate or boost specific frequencies, often buffered by vacuum tubes in pre-1930s designs or transistors post-1950s for studio and amplifier tone adjustment. Compressors managed dynamic range by automatically reducing gain on loud signals, employing vacuum tube-based voltage-controlled amplifiers from the 1940s, such as those in broadcast limiters, to prevent distortion while maintaining perceived loudness. These techniques, integral to mixing consoles and effects units, emphasized linear analog manipulation until digital alternatives emerged in the late 1970s.

Digital Transition (1980s–Present)

The digital transition in audio equipment began in the early 1980s with the introduction of the (CD) by and , marking a shift from analog vinyl and tape to optical digital storage. The CD format, commercially launched in 1982, utilized a 16-bit depth and 44.1 kHz sampling rate to achieve high-fidelity playback with reduced noise and wear compared to analog media. This standard was established through collaborative efforts between the two companies, balancing audio quality with practical manufacturing constraints. In the , (DSP) chips revolutionized audio equipment by enabling real-time manipulation of digital signals for effects such as equalization, reverb, and compression. These specialized microprocessors, optimized for multiply-accumulate operations, allowed for efficient implementation of complex algorithms in compact devices like mixers and amplifiers, transitioning effects from hardware-based analog circuits to software-driven digital platforms. The rapid advancement of DSP technology during this decade, with fourth- and fifth-generation chips offering higher integration and performance, facilitated broader adoption in both consumer and systems. Compression codecs like , developed by the Fraunhofer Society in the early 1990s, further propelled the digital era by enabling efficient storage and transmission of audio files through perceptual coding techniques. This method discards inaudible frequencies based on human , reducing file sizes by up to 90% without significant quality loss for most listeners, and was standardized as MPEG-1 Layer III in 1993. The first software MP3 encoder was released in 1994, paving the way for widespread digital music distribution. Solid-state recording emerged as a durable alternative to mechanical drives, with powering early portable players in the late 1990s, such as the Saehan (1998) and PMP300, which stored on non-volatile chips without moving parts. This technology improved portability and shock resistance, evolving into mainstream use with devices like Apple's (2005), which fully relied on flash for up to 4 GB of storage. By eliminating hard disk vulnerabilities, solid-state solutions enhanced reliability in mobile audio equipment. Recent advancements continue to refine digital audio, with high-resolution formats supporting 24-bit depth and 192 kHz sampling rates to capture greater dynamic range and frequency detail beyond CD standards, as adopted in professional recording since the late 1990s. Wireless streaming has advanced through protocols like Bluetooth 5.0, released in 2016, which doubles data rates to 2 Mbps and extends range up to 240 meters, enabling low-latency, high-quality audio transmission to multiple devices. A significant update came in 2020 with the introduction of Bluetooth LE Audio as part of the Bluetooth 5.2 specification, offering improved audio quality via the LC3 codec, lower power consumption, reduced latency, and new capabilities such as multi-stream audio and Auracast for public broadcast audio, enhancing applications from personal listening to hearing aids. These developments support hybrid analog-digital systems, blending the warmth of analog sources with digital precision.

Components

Input Devices

Input devices in audio equipment encompass hardware that captures or generates electrical signals representing sound waves, primarily through for vocal and ambient audio or pickups for musical instruments. These devices convert acoustic vibrations into low-level electrical signals suitable for further processing in audio systems. Microphones and instrument transducers are the core components, varying in design to suit different applications such as live , , or instrument amplification. Microphones are the primary input devices for capturing and environmental sounds. Dynamic microphones, which employ a moving coil attached to a diaphragm suspended in a , generate voltage through as sound waves cause the coil to move. This design makes dynamic microphones robust and ideal for live use, where they handle high levels without requiring external power. Condenser microphones operate on a -based , where a thin diaphragm forms one plate of a capacitor opposite a fixed backplate; sound waves alter the diaphragm's position, changing the and thus the electrical charge across the plates to produce the output signal. These microphones offer high sensitivity and extended , making them preferred for studio applications, though they necessitate an external power source for the internal electronics. microphones, a velocity-sensitive type, use a thin metal suspended in a ; air drives the ribbon's motion, inducing a voltage proportional to that rather than . Developed in the early as the last major type, ribbon microphones deliver a warm, natural sound but are more fragile and typically used in controlled studio environments. Instrument input devices focus on transducing string vibrations into electrical signals, particularly for guitars. Magnetic humbucking pickups, invented by at Gibson in the 1950s and introduced in , consist of two coils wound in opposite directions around magnets to detect string vibrations via while canceling hum from . This design became a standard for electric guitars, providing a fuller tone with reduced noise compared to single-coil pickups. For acoustic guitars, piezoelectric pickups employ crystals that generate voltage under mechanical stress from bridge or saddle vibrations, capturing the instrument's body without relying on magnetic fields. These transducers offer a bright, direct response suitable for amplifying acoustic tones. The electrical signals from input devices vary in strength, necessitating careful interfacing. Microphone-level signals typically range from -60 dBu to -40 dBu, representing very low voltages that require preamplification, while line-level signals operate at a nominal +4 dBu in professional equipment for balanced transmission over longer distances. Condenser microphones often require , a standard 48V DC supply delivered over cables to polarize the and power the internal preamp without additional wiring. Direct injection (DI) boxes address impedance mismatches by converting high-impedance, unbalanced instrument signals—such as those from guitar pickups—to balanced, low-impedance microphone-level outputs, minimizing noise and enabling direct connection to mixing consoles. Wireless microphones enhance mobility by transmitting audio signals via (RF), commonly using ultra-high (UHF) bands such as 470-608 MHz in licensed or unlicensed allocations to avoid interference from other services. These systems adhere to standards set by regulatory bodies like the FCC, ensuring reliable operation in professional and broadcast settings through coordination and modulation techniques. Such input devices often feed into amplification stages for signal boosting before further processing.

Amplification and Processing

Amplification and encompass the stage in audio systems where signals from input devices, such as or instruments, are boosted in strength and modified for tonal balance, dynamics control, and spatial effects before reaching output transducers. These processes ensure the signal maintains fidelity while adapting to artistic or technical requirements, often involving both analog and digital techniques to handle varying input signal types like balanced XLR lines or unbalanced instrument cables. Audio amplifiers increase signal voltage, current, or power to drive output devices, classified by their operating principles to balance efficiency, distortion, and linearity. Class A amplifiers use a single output device to conduct the entire input waveform, providing high linearity and low distortion for clean audio reproduction but at poor efficiency around 25%, leading to high heat generation. Class AB amplifiers improve on this by using two devices that overlap slightly near the zero-crossing point, reducing crossover distortion while achieving better efficiency than Class A, typically up to 78.5%, making them a common compromise for high-fidelity applications. Class D amplifiers employ pulse-width modulation where transistors switch fully on or off at high frequencies (around 300 kHz), reconstructing the audio via filtering; this switching topology yields efficiencies up to 90%, minimizing heat and enabling compact, high-power designs suitable for portable and live audio systems, though early models risked higher distortion from filtering and RF interference. Mixing consoles integrate multiple audio channels for blending signals, featuring input channels with preamplifiers offering up to 70 dB gain, , and high-pass filters to manage or line-level inputs. Each channel includes for precise level control, typically motorized in setups and set to 0 dB unity gain for optimal , allowing real-time adjustments during mixing. Equalization (EQ) sections provide tonal shaping, with high and low shelf filters boosting or cutting frequencies above 12 kHz or below 100 Hz respectively for broad adjustments, while parametric bands offer sweepable centers (e.g., 120 Hz to 4 kHz), variable gain (±15 dB), and bandwidth () control for targeted corrections. Effects processors apply modifications to enhance spatial and dynamic qualities, often inserted on channels or buses. Reverb simulates acoustic environments using algorithms that convolve the input with impulse responses (IRs) captured from real spaces like halls or plates, creating natural decay and diffusion; editing options include EQ, pre-delay (up to 120 ms) to position sounds in the mix, and decay envelopes for realism, with libraries of IRs enabling versatile applications from short rooms to long cathedrals. Delay effects replicate echoes by repeating the signal after a set time (e.g., 120 ms for slapback or longer for rhythmic chains), with feedback controlling repeat density to form echo chains, and digital implementations often emulate analog tape warmth via added distortion and high-frequency roll-off. Compression reduces dynamic range by attenuating signals exceeding a threshold, governed by (e.g., 10:1 for limiting), attack time (how quickly gain reduction engages, often milliseconds for transients), release time (recovery duration, typically 100-500 ms to avoid pumping), and threshold level; this evens out levels, enhancing sustain without a separate dry/wet mix. Amplifier performance is quantified by power ratings and control metrics, where RMS (root mean square) watts indicate continuous power output for sustained signals like sine waves, providing a realistic measure of long-term capability (e.g., a 100 W RMS amplifier delivers 100 W steadily into 8 ohms), unlike peak watts which capture momentary maximums during transients and often overstate usable power by factors of 2-4. The damping factor, defined as the ratio of a speaker's (e.g., 8 ohms) to the amplifier's (e.g., 0.027 ohms yielding a factor of 300), measures the amplifier's ability to dampen back-EMF from the speaker cone, preventing unwanted resonances; values above 10 ensure tight bass control, with and gauge influencing effective damping (e.g., 50 feet of 12-gauge wire reduces it to 43). The transition from analog to digital mixers accelerated in the , driven by USB interfaces that enabled seamless computer integration for recording and control. Analog mixers dominated pre- with tactile faders and analog circuitry for warm signal paths, but digital models like Yamaha's early USB-equipped consoles (e.g., via FireWire/USB cards) emerged around 2006, offering recallable settings, built-in effects, and multi-channel USB I/O for direct DAW connectivity, reducing latency and hardware needs in home and project studios. Pioneering USB audio interfaces, such as Edirol's UA-100 in 1998, laid groundwork for this shift, allowing 24-bit/96 kHz transfer and evolving into standard features by the mid- for hybrid analog-digital workflows.

Output Devices

Output devices in audio equipment convert amplified electrical signals into audible sound waves, primarily through speakers and . These devices are essential for reproducing audio in consumer, professional, and live settings, with design choices influencing , soundstage, and isolation. Speakers typically project sound into a room, while deliver it directly to the listener's ears, each optimized for different acoustic principles and applications. Speaker systems rely on specialized drivers to handle distinct frequency ranges. Woofers are designed for low frequencies, typically below 2-5 kHz, using larger cones with significant excursion to displace air and produce bass notes, where cone movement increases rapidly at lower frequencies to maintain output. Tweeters manage high frequencies, often above 2-5 kHz, employing lightweight dome diaphragms or horn-loaded structures to achieve efficient dispersion and reduced distortion at elevated pitches. Crossovers, usually passive networks integrated into the speaker, divide the signal using first-order (6 dB/octave) or second-order (12 dB/octave) filters to direct low frequencies to woofers and highs to tweeters, with common crossover points around 2 kHz for balanced integration. Enclosure designs shape the acoustic output of speakers, particularly for bass . Sealed enclosures trap air behind the driver, acting as a spring for tight, controlled bass with low group delay under 10 ms, though they limit deep extension compared to alternatives. Ported enclosures incorporate a tuned vent that leverages to boost low-frequency efficiency, reducing excursion and extending response deeper while increasing output near the tuning frequency. enclosures fold a long internal path to dampen the driver's rear wave, emerging at the front to reinforce bass with less than ported designs, resulting in a more open, dimensional low-end. Headphones vary in design to balance , comfort, and environmental interaction. Open-back models permit air and sound to flow freely, creating a wide soundstage with natural spaciousness ideal for immersive listening in quiet spaces, though they leak audio and offer no isolation. Closed-back headphones seal the drivers to minimize leakage and block external , providing focused and portability suited for noisy environments, at the potential cost of a narrower stage and increased ear fatigue. Planar magnetic drivers in headphones feature a thin diaphragm suspended between arrays, enabling uniform drive across the surface for low and fast transients, blending elements of dynamic and electrostatic technologies. Performance metrics for output devices include sensitivity and impedance, which determine compatibility with amplifiers. Sensitivity is rated as sound pressure level (SPL) in decibels at 1 meter with 2.83 volts input—equivalent to 1 watt into 8 ohms—yielding typical values around 88 dB for average speakers, where a 3 dB increase perceptibly loudens output. Nominal impedance ranges from 4 to 8 ohms, representing the load's resistance and reactance, with standards requiring it not drop below 80% of the rated value to ensure stable amplifier operation. Subwoofers serve as dedicated output devices for low-frequency extension, focusing on below 80 Hz to handle mid-bass (50-80 Hz) impact and deeper rumble (30-50 Hz or lower). True subwoofers aim for response down to 20 Hz or below, using large drivers and enclosures to deliver tactile with minimal localization, often integrated via 80 Hz crossovers for seamless blending with main speakers.

Systems and Applications

Consumer Systems

Consumer audio systems encompass a wide array of equipment designed for personal entertainment, prioritizing ease of use, integration with everyday devices, and immersive experiences in home or on-the-go settings. These systems typically include home theater setups for cinematic audio, portable Bluetooth-enabled devices for mobility, smart speakers with voice control for seamless streaming, and high-fidelity (hi-fi) components for dedicated music listening. Unlike professional gear, consumer systems emphasize affordability and wireless connectivity to cater to non-expert users seeking high-quality sound without complex installations. Home theater systems form the cornerstone of immersive consumer audio, often configured in 5.1 or 7.1 surround sound formats to replicate theater-like experiences. A 5.1 setup utilizes six channels—three front speakers (left, center, right), two rear surrounds, and a subwoofer for low-frequency effects—while 7.1 expands to eight channels by adding two more rear speakers for enhanced spatial depth. AV receivers serve as the central hub, decoding formats like Dolby Digital and DTS for multichannel playback, and incorporating HDMI switching to manage multiple video sources such as Blu-ray players and gaming consoles. For DTS, home theater support includes DTS:X, which adapts immersive audio to 5.1 or 7.1 layouts, placing sounds dynamically in a three-dimensional space. Portable consumer devices have surged in popularity, with speakers featuring codecs like Low Latency to minimize audio-video sync delays to under 40 milliseconds, ideal for video playback on tablets or TVs. True wireless earbuds often carry IPX ratings for water resistance, such as IPX4 for protection against sweat and splashes during workouts, or IPX7 for submersion up to one meter for 30 minutes, enabling use in rainy conditions or near water. Smart audio systems integrate voice assistants like Amazon's Alexa, launched on November 6, 2014, with the device, allowing hands-free control of music playback and smart home functions. Multi-room ecosystems, exemplified by founded in 2002, enable synchronized wireless streaming across household speakers via , supporting services like and . Hi-fi components cater to audiophiles seeking superior sound reproduction, including turntables for vinyl records, CD players for playback, and streaming digital-to-analog converters (DACs) that handle files from services like Tidal. These modular elements connect to amplifiers and speakers for customizable setups focused on over convenience. Market trends reflect a shift away from , with U.S. recorded music physical sales dropping to 9% of the market by mid-2019 from dominant shares pre-2010, as streaming overtook at 80%. Concurrently, wireless audio ecosystems have expanded rapidly, with the global wireless audio devices market valued at USD 121.67 billion in 2024 and projected to reach USD 790.05 billion by 2033, driven by and integrations in speakers and earbuds.

Professional and Studio Equipment

Professional and studio equipment refers to specialized, high-fidelity audio gear optimized for recording, mixing, and mastering in controlled environments like studios and broadcast facilities. These components emphasize , low , and neutral response to ensure mixes translate accurately across playback systems. Unlike consumer setups, professional tools prioritize , expandability, and for critical listening tasks. Studio monitors, particularly nearfield models, are essential for accurate mixing by providing a flat frequency response that reveals sonic details without coloration. The Yamaha NS-10M, introduced in the late 1970s, became a staple in professional studios despite its non-flat response curve, valued for its revealing and ability to expose mix flaws. Modern nearfield monitors continue this tradition, aiming for extended bandwidth and minimal phase distortion to support precise adjustments during production. Multitrack recorders form the backbone of studio capture, evolving from analog to digital formats for greater track counts and . In the 1970s, analog tape machines like the Studer A80 and A800 series enabled 24-track recording on 2-inch tape, offering warm saturation and that defined era-defining albums. The shift to digital came with the Alesis ADAT in 1991, an 8-track optical recorder using tape for affordable, modular multitracking up to 128 channels via Lightpipe synchronization. Outboard gear provides analog processing outside digital workflows, enhancing signals with characterful dynamics and tone shaping. The UREI 1176, a FET launched in 1967, delivers fast attack times and aggressive compression, making it a go-to for vocals and drums in studio sessions. Similarly, the Neve 1073 preamp, introduced in the early as part of the 80-series consoles, imparts a signature warmth through its Class-A discrete circuitry and Marinair transformers, ideal for adding harmonic richness to microphones and instruments. DAW hardware interfaces bridge analog sources to digital audio workstations, featuring high-speed connections like FireWire and for multi-channel I/O. These interfaces incorporate low-latency drivers on Windows, enabling buffer sizes as low as 32 samples for real-time monitoring without perceptible delay. Models like RME's Fireface series exemplify this, supporting up to 36 channels with stable, ultra-low latency performance across platforms. Calibration tools ensure consistent monitoring environments, using reference levels of 85 dB SPL for to align systems with human hearing sensitivity. , with equal energy per , facilitates room tuning by identifying frequency imbalances via SPL meters, adhering to standards like those in mixing guidelines. This process establishes a neutral acoustic baseline, critical for broadcast and release compliance.

Live Sound Reinforcement

Live sound reinforcement encompasses the deployment of audio equipment to amplify performances in real-time environments such as concerts, theaters, and festivals, where systems must prioritize portability, durability, and adaptability to dynamic acoustic conditions. These setups typically include public address (PA) systems designed for even sound distribution across large audiences, ensuring clarity and preventing issues like feedback while maintaining high output levels. Reliability is paramount, as often operates under demanding conditions, including transportation, exposure, and rapid setup/teardown for touring productions. Central to live sound are PA systems, which range from compact powered configurations for smaller venues to expansive line arrays for stadium-scale events. Line arrays consist of vertically aligned speaker modules that utilize constructive interference to achieve controlled vertical dispersion and consistent coverage over long distances, often incorporating drivers where high-frequency and low-frequency elements share a common acoustic center for improved coherence and even sound projection. Powered PA systems integrate amplifiers and (DSP) within each speaker enclosure, simplifying setup by reducing cabling needs and enabling self-contained operation, whereas passive systems require external amplifiers, offering flexibility in power matching but demanding more infrastructure for distribution. This distinction allows sound engineers to scale systems based on venue size and power availability, with powered options favored for their ease in portable applications. Mixing in live environments relies on front-of-house (FOH) consoles, which serve as the central hub for blending inputs from microphones, instruments, and effects to create a balanced output for the main PA, often positioned at the rear of the venue for optimal listening perspective. For performers, stage monitoring uses floor wedges—angled speakers placed near musicians to provide personal mixes—allowing real-time adjustments via auxiliary sends on the console to combat stage noise and ensure precise cueing without interfering with the audience experience. These wedges, typically two-way designs with robust enclosures, help mitigate issues like vocal bleed and instrument isolation in high-volume settings. Feedback suppression is essential in live reinforcement to prevent unwanted oscillations from microphones picking up amplified sound, commonly addressed through notch filters that attenuate specific frequencies. Manual notch filters, adjustable via parametric equalizers, target resonant peaks identified during sound checks, but automatic DSP solutions like dbx's Advanced Feedback Suppression (AFS), introduced in the early 2000s, dynamically detect and deploy up to 24 narrow-band filters per channel to eliminate feedback in real time while preserving audio . The AFS algorithm, refined in subsequent models like the AFS224, uses adaptive filtering to set notches as narrow as 1/80th of an , minimizing tonal alterations and enabling seamless operation during performances. Power management underpins large-scale live events, where venue electricity may be insufficient, necessitating portable generators to supply stable, high-capacity power for amplifiers, , and gear. Distribution boxes, often customized with circuit breakers and multi-outlet panels, safely allocate power from generators or mains to various system components, preventing overloads and ensuring grounded, noise-free delivery in temporary setups. These units, rated for three-phase or single-phase loads, are critical for events like outdoor festivals, where they facilitate scalable infrastructure with minimal setup time. A landmark case in live sound history is the 1969 Woodstock festival, where sound engineer Bill Hanley deployed an innovative system featuring stacked JBL cabinets on 70-foot scaffolding towers to reach an audience of over 400,000. Each tower housed multiple custom enclosures loaded with four 15-inch JBL D130 drivers per bin, augmented by Altec horns for high frequencies, delivering unprecedented clarity and volume for the era despite logistical challenges like rain and power fluctuations. This setup, powered by McIntosh amplifiers, set a benchmark for large-scale reinforcement, influencing modern touring rigs.

Standards and Performance

Audio Specifications

Audio specifications encompass a set of standardized metrics that quantify the performance of audio equipment, ensuring fidelity in signal reproduction from input to output. These metrics evaluate aspects such as frequency coverage, distortion levels, noise immunity, and dynamic capabilities, allowing engineers and consumers to compare devices objectively. Key parameters include frequency response, total harmonic distortion (THD), signal-to-noise ratio (SNR), dynamic range, crosstalk, and slew rate, each contributing to overall sound quality without audible artifacts. Frequency response measures an audio device's ability to reproduce the full range of human hearing uniformly, typically specified as ±3 dB tolerance across 20 Hz to 20 kHz, which covers the audible spectrum from deep bass to high treble. This tolerance indicates that the output level varies by no more than 3 dB from the ideal flat response within this band, ensuring balanced tonal accuracy; deviations beyond this can introduce perceived emphasis or attenuation in specific frequencies. For high-quality equipment, achieving this flatness minimizes coloration, as deviations greater than ±3 dB become noticeable to trained listeners. Total harmonic distortion (THD) quantifies the unwanted frequencies introduced by nonlinearities in amplifiers or other components, expressed as a of the total content relative to the fundamental signal. An ideal THD value is below 0.1%, where distortion products are inaudible under normal listening conditions, as this level corresponds to approximately -60 dB relative to the signal. THD is calculated by summing the power of all harmonics and dividing by the fundamental's power, with lower values indicating cleaner amplification; professional gear often targets <0.01% for critical applications. Signal-to-noise ratio (SNR) assesses the ratio of the desired audio signal amplitude to background noise, typically exceeding 90 dB in professional equipment when measured on an A-weighted scale, which emphasizes frequencies where human hearing is most sensitive (1-4 kHz). This high SNR ensures that noise remains imperceptible during quiet passages, with values above 96 dB common in modern pro audio electronics to match or exceed recording demands. A-weighted measurement filters out inaudible low and high frequencies, providing a more perceptually relevant figure than unweighted SNR. Dynamic range represents the span between the quietest and loudest signals an audio system can handle without distortion or noise masking, theoretically reaching 144 dB for 24-bit digital audio due to the quantization levels (6 dB per bit × 24 bits). In practice, this exceeds human auditory limits (around 120 dB), enabling capture of subtle details in recordings while accommodating peaks; however, real-world implementations often achieve 120-130 dB after accounting for noise floors. This metric is crucial for digital formats, distinguishing them from analog systems limited to about 70-90 dB. Crosstalk, or channel separation, measures the isolation between stereo channels (left and right), with values greater than 60 dB indicating minimal signal leakage that preserves spatial imaging in stereo reproduction. At >60 dB, interference from one channel to the other is typically -60 dB or lower relative to the primary signal, ensuring clear stereo separation; higher figures (e.g., 80 dB) are ideal for immersive audio but become beyond audibility thresholds. This specification is vital for amplifiers and mixers to maintain the intended soundstage. Slew rate describes the maximum rate of voltage change at an amplifier's output in response to rapid input transients, measured in volts per microsecond (V/μs), and is essential for handling high-frequency or fast-rising signals without slewing-induced distortion. In audio amplifiers, a slew rate of at least 10-20 V/μs supports full-power reproduction up to 20 kHz, preventing phase shifts or intermodulation artifacts during musical peaks; insufficient slew rate can limit bandwidth and introduce harshness in transients. This parameter underscores the amplifier's transient response capabilities, particularly for dynamic content like percussion.

Testing and Measurement

Testing and measurement of audio equipment involve systematic evaluation techniques to ensure , , and compliance with industry benchmarks. These processes employ specialized instruments and protocols to quantify aspects such as , distortion levels, and floors, enabling engineers and technicians to calibrate systems for optimal sound reproduction. By identifying deviations from ideal behavior, testing helps mitigate issues like interference or environmental influences in both and setups. Key tools for waveform analysis include oscilloscopes, which visualize time-domain signals to detect clipping, overshoot, or transient anomalies in amplifiers and speakers. For instance, a can capture and replay audio waveforms at sampling rates exceeding 1 GHz, revealing subtle distortions not apparent in auditory listening tests. Spectrum analyzers complement this by performing (FFT) computations to generate frequency-domain plots, allowing precise identification of content and spectra across the audible range (20 Hz to 20 kHz). These analyzers typically offer resolutions down to 1 Hz for detailed analysis in chains. Calibration techniques often begin with sound pressure level (SPL) meters to set reference volumes, ensuring measurements align with standardized decibel scales like (A-weighted for human hearing). These devices, compliant with IEC 61672 standards, measure acoustic output from speakers or in controlled environments to achieve uniform playback levels, typically targeting 75-85 for critical listening. Room equalization (EQ) employs real-time analyzers (RTAs), which provide live feedback on room acoustics by averaging frequency responses over multiple microphone positions, correcting for modal resonances via parametric filters. This method is essential in studios where reflections can alter perceived bass response by up to 12 dB. Standards bodies like the (AES) provide comprehensive guidelines for audio testing, including AES17 for measurements that specify test signal levels and bandwidth limits to ensure reproducibility across devices. The (IEC) standard 60268 series details microphone testing protocols, such as sensitivity calibration using pistonphones at 250 Hz and directional response evaluation in anechoic chambers. These standards emphasize traceable methods, with tolerances like ±0.5 dB for accuracy, to facilitate global in audio . Common tests for distortion include intermodulation distortion (IMD) assessment using twin-tone signals, typically at frequencies like 60 Hz and 7 kHz in a 4:1 amplitude ratio, to quantify nonlinearities in amplifiers that produce sum and difference frequencies measurable via FFT. Phase response evaluation utilizes logarithmic sine sweeps from 20 Hz to 20 kHz, deconvolving the output to plot group delay variations, which should remain below 10 ms for transparent audio reproduction. These tests reveal how equipment handles complex signals, with IMD levels ideally under 0.1% for high-fidelity systems. Software tools integrate hardware measurements for user-friendly analysis, with Room EQ Wizard (REW), developed since the early 2000s, offering free acoustic measurement capabilities through USB microphone interfaces. REW generates impulse responses and waterfall plots from swept-sine signals, enabling automated room correction filters that reduce peaks and dips by 6-10 dB in typical listening spaces. Its adoption stems from compatibility with common sound cards and export options for professional EQ software.

Compatibility and Interfacing

Audio equipment compatibility relies on standardized connectors and protocols to ensure seamless integration across devices, minimizing signal degradation and facilitating reliable transmission. These standards have evolved from analog interconnections to digital and networked solutions, addressing challenges like noise interference and latency in professional and consumer environments. Analog connectors form the backbone of traditional audio interfacing. The XLR connector, a three-pin design developed in the 1930s, is widely used in professional audio for its balanced configuration, which employs differential signaling to reject common-mode noise over long cable runs. In contrast, the RCA connector, introduced by the Radio Corporation of America in the 1940s, is an unbalanced, two-conductor interface prevalent in consumer electronics for its simplicity and low cost, though it is more susceptible to electromagnetic interference. The 1/4-inch TRS (Tip-Ring-Sleeve) jack, originating from telephone switchboard technology in the early 20th century, supports both balanced (stereo or mono) and unbalanced connections, making it versatile for instruments and studio patching. Digital interface protocols extend compatibility to uncompressed audio transmission. AES/EBU (Audio Engineering Society/European Broadcasting Union), standardized in 1985, uses XLR connectors with a 110-ohm impedance for professional over balanced lines, enabling synchronous transfer of stereo PCM signals up to 24-bit/192 kHz. For consumer applications, (Sony/Philips Digital Interface), introduced in 1983, employs coaxial RCA cables or optical fibers to carry the same IEC 60958-formatted data, though limited to shorter distances and typically unbalanced transmission. Analog balancing techniques enhance compatibility in wired systems by mitigating noise. Differential signaling, the core of balanced lines, transmits the audio signal as two complementary voltages across conductors (e.g., hot and cold), with the receiver amplifying only the difference while canceling noise picked up equally on both lines, as defined in AES standards for professional interconnects. Modern standards address the demands of digital workflows and networking. USB Audio Class 2.0, ratified by the USB Implementers Forum in 2006, provides low-latency bidirectional audio streaming up to 24-bit/192 kHz without custom drivers on compatible operating systems, bridging computers with peripherals like interfaces and mixers. Subsequent USB Audio Device Class 3.0, released in 2016, extends these capabilities with support for higher-resolution audio up to 384 kHz, advanced codec formats, reduced power consumption, and integration with USB Type-C for modern devices. Networked protocols such as Dante, launched by Audinate in 2006, and AES67 (published by the AES in 2013), enable IP-based audio distribution over Ethernet, supporting multicast transmission of uncompressed audio with sub-millisecond synchronization across large-scale systems. Impedance bridging ensures efficient signal transfer between devices. Legacy professional equipment often uses 600-ohm for both inputs and outputs, stemming from early standards, while modern designs favor high-impedance inputs (typically 10 kΩ or more) to accommodate low-impedance sources without loading effects, preventing voltage drops and as outlined in audio guidelines.

References

  1. https://www.avixa.org/pro-av-trends/articles/What-Is-AV-Equipment-A-Guide-For-All-Your-AV-Needs
  2. https://www.aes.org/aeshc/docs/audio.history.timeline.html
  3. https://www.avixa.org/pro-av-trends/articles/types-of-microphones
  4. https://www.osha.gov/sic-manual/3651
  5. https://www.aes.org/publications/standards/search.cfm?docID=21
  6. https://metlabs.com/emc/en55032-replacing-en55022-multimedia-equiptment-march-5-2017/
  7. https://www.montana.edu/rmaher/eele417_fl16/transducer_tutorial_rcm.pdf
  8. https://www.adorama.com/alc/analog-vs-digital-audio/
  9. https://musicstudio.bigredroo.com.au/Recording_Gear_DAW_Options_01.html
  10. https://www.focusonics.com/evolution-of-audio-technology/
  11. https://audiofusion.com/lesson/sound-equipment-technologies/
  12. https://opentext.wsu.edu/psych105/chapter/waves-wavelengths/
  13. http://ffden-2.phys.uaf.edu/webproj/211_fall_2020/Jared_Bowden/Jared_Bowden/harmony_page_2.html
  14. https://courses.lumenlearning.com/suny-physics/chapter/17-6-hearing/
  15. https://service.shure.com/s/article/primer-on-microphone-types-and-operation
  16. https://www.sonarworks.com/blog/learn/sample-rate
  17. https://science-of-sound.net/2016/02/about-sampling-rates-in-digital-audio/
  18. https://www.prosoundweb.com/answers-to-frequently-asked-questions-about-impedance-impedance-matching-in-sound-systems/
  19. https://www.allaboutcircuits.com/textbook/direct-current/chpt-2/voltage-current-resistance-relate/
  20. https://www.analogethos.com/post/core-concepts-sound
  21. https://www.loc.gov/collections/edison-company-motion-pictures-and-sound-recordings/articles-and-essays/history-of-edison-sound-recordings/history-of-the-cylinder-phonograph/
  22. https://www.loc.gov/collections/emile-berliner/articles-and-essays/gramophone/
  23. https://www.loc.gov/collections/national-jukebox/articles-and-essays/acoustical-recording/
  24. https://www.loc.gov/programs/national-recording-preservation-plan/tools-and-resources/historical-background/timeline/
  25. https://lemelson.mit.edu/resources/lee-deforest
  26. https://americanhistory.si.edu/collections/object/nmah_1289117
  27. https://spectrum.ieee.org/the-cool-sound-of-tubes
  28. https://americanhistory.si.edu/collections/object/nmah_1301345
  29. https://www.loc.gov/static/programs/national-recording-preservation-plan/tools-and-resources/documents/A-Tale-of-Tape.pdf
  30. https://www.open.edu/openlearn/history-the-arts/recording-music-and-sound/content-section-2.6
  31. https://edison.rutgers.edu/resources/links/edison-related-technologies?task=weblink.go&id=76
  32. https://blogs.loc.gov/now-see-hear/2019/04/inside-the-archival-box-the-first-long-playing-disc/
  33. https://spectrum.ieee.org/transistor-radio-invented
  34. https://www.philips.com/c-dam/corporate/research/technologies/cd/The-Emergence-of-the-Compact-Disc_v2.pdf
  35. https://www.sony.com/en/SonyInfo/CorporateInfo/History/SonyHistory/2-08.html
  36. https://audioxpress.com/article/the-evolution-of-audio-dsps
  37. https://www.utmel.com/blog/categories/microprocessors/an-overview-of-digital-signal-processor
  38. https://www.iis.fraunhofer.de/en/magazin/panorama/2025/30-years-of-mp3.html
  39. http://www.mp3-tech.org/programmer/docs/audiopaper1.pdf
  40. https://www.researchgate.net/publication/332954874_High-Resolution_Audio_A_History_and_Perspective
  41. https://www.bluetooth.com/press/bluetooth-sig-unveils-le-audio-the-next-generation-of-bluetooth-audio/
  42. https://www.aes.org/publications/anthologies/downloads/jaes_microphone-anthology.pdf
  43. https://www.dpamicrophones.com/mic-university/technology/microphone-technology-the-essentials/
  44. https://www.shure.com/en-us/insights/the-history-of-ribbon-microphones-and-artifacts-from-the-shure-archives/
  45. https://www.gibson.com/blogs/gibson-gazette/the-history-of-gibson-electric-guitar-pickups-from-the-p-90-to-the-humbucker-and-beyond
  46. https://www.vintageguitar.com/3600/gibson-humbucker/
  47. https://www.sweetwater.com/insync/understanding-signal-levels-audio-gear/
  48. https://audiouniversityonline.com/mic-level-vs-line-level-audio-levels-explained/
  49. https://www.shure.com/en-us/insights/what-is-phantom-power-why-do-i-need-it/
  50. https://www.fcc.gov/wireless/bureau-divisions/broadband-division/wireless-microphones
  51. https://service.shure.com/s/article/What-Wireless-Frequency-Bands-are-Legal-to-Use-in-the-United-States
  52. https://www.soundonsound.com/sound-advice/anatomy-mixer
  53. https://www.soundonsound.com/sound-advice/q-why-does-class-matter-amplifier
  54. https://www.soundonsound.com/techniques/what-class-d-amplification
  55. https://www.soundonsound.com/techniques/effects-all-you-need-know-and-little-bit-more
  56. https://www.radiolocman.com/shem/schematics.html?di=18850
  57. https://www.aes.org/par/d/
  58. https://www.mixonline.com/technology/digital-consoles-371255
  59. https://www.soundonsound.com/music-business/history-of-roland-part5
  60. https://www.audioholics.com/loudspeaker-design/subwoofer-extension
  61. https://forums.audioholics.com/forums/threads/horn-vs-dome.43122/
  62. https://www.audioholics.com/loudspeaker-design/crossover
  63. https://www.audioholics.com/loudspeaker-design/sealed-vs-ported
  64. https://www.perrymarshall.com/articles/industrial/transmission-line/
  65. https://www.moon-audio.com/blogs/expert-advice/closed-back-v-open-back-headphone-guide
  66. https://www.soundonsound.com/reviews/audeze-lcd-x-el8
  67. https://www.audioholics.com/loudspeaker-design/loudspeaker-sensitivity
  68. https://hsuresearch.com/blogs/how-tos/the-ultimate-guide-to-choosing-a-subwoofer
  69. https://www.crutchfield.com/learn/learningcenter/home/receivers.html
  70. https://www.dolby.com/experience/home-entertainment/articles/what-is-surround-sound-and-how-it-works/
  71. https://www.denon.com/en-us/category/av-receivers/
  72. https://dts.com/home-entertainment/
  73. https://www.whathifi.com/advice/what-are-the-best-bluetooth-codecs-aptx-aac-ldac-and-more-explained
  74. https://www.pcmag.com/picks/the-best-waterproof-headphones
  75. https://www.amazon.science/blog/alexa-at-five-looking-back-looking-forward
  76. https://www.sonos.com/en-us/how-it-started
  77. https://www.sweetwater.com/insync/hi-fi-streamers-and-cd-players-for-high-end-audio-systems-explained/
  78. https://www.forbes.com/sites/caitlinkelley/2020/12/31/riaa-reports-that-music-streaming-went-from-7-to-80-of-the-us-market-this-decade/
  79. https://www.grandviewresearch.com/industry-analysis/wireless-audio-device-market
  80. https://www.soundonsound.com/reviews/yamaha-ns10-story?page=2
  81. https://www.soundonsound.com/pdfs/ns10m.pdf
  82. https://www.soundonsound.com/reviews/universal-audio-studer-a800
  83. https://www.mixonline.com/technology/1991-alesis-adat-modular-digltal-multitrack-383615
  84. https://www.soundonsound.com/reviews/universal-appeal
  85. https://rupertneve.com/news/20-years-tape-op-first-rupert-neve-designs-mic-preamp
  86. https://rme-audio.de/fireface-ucx.html
  87. https://rme-audio.de/fireface-ufx.html
  88. https://www.presonus.com/blogs/technical/how-do-i-calibrate-my-studio-monitors
  89. https://tech.ebu.ch/docs/tech/tech3343.pdf
  90. https://martin-audio.com/live
  91. https://pro.harman.com/insights/jbl-pro/active-vs-passive-loudspeakers/
  92. https://audioeffetti.com/en/blog/line-array-systems-performance-and-innovation-in-live-sound-n175357
  93. https://www.sweetwater.com/insync/pa-speaker-buying-guide/
  94. https://pro.harman.com/insights/entertainment/the-art-of-foh-monitor-mixing-part-1-configuring-the-system/
  95. https://www.soundonsound.com/techniques/stage-monitoring-monitor-mixing
  96. https://www.prosoundweb.com/effective-efficient-tips-for-setting-up-a-digital-console-for-monitor-mixing/
  97. https://www.sweetwater.com/insync/notch/
  98. https://dbxpro.com/en/product_documents/afs_whitepaperpdf
  99. https://www.soundonsound.com/reviews/dbx-afs2
  100. https://www.aggreko.com/en-us/sectors/events
  101. https://lexproducts.com/general/entertainment-products
  102. https://sxpowercase.com/the-practicality-of-power-distribution-box-in-concerts/
  103. https://fohonline.com/articles/milestones/woodstock-50-years-after/
  104. https://www.soundguys.com/frequency-response-explained-16507/
  105. https://www.electronics-tutorials.ws/amplifier/frequency-response.html
  106. https://www.ap.com/blog/thd-and-thdn-similar-but-not-the-same
  107. https://benchmarkmedia.com/blogs/application_notes/interpreting-thd-measurements-think-db-not-percent
  108. https://www.prosoundweb.com/the-differences-between-dynamic-range-signal-to-noise-ratio/
  109. https://hub.yamaha.com/audio/music/what-is-dynamic-range-and-why-does-it-matter/
  110. https://www.mojo-audio.com/blog/the-24bit-delusion/
  111. https://homestudiobasics.com/what-is-crosstalk/
  112. https://www.audioholics.com/audio-amplifier/amplifier-slew-rate
  113. https://www.usb.org/sites/default/files/article_files/USB_Audio_Specification_USB-IF_September_2016_FINAL.pdf
Add your contribution
Related Hubs
User Avatar
No comments yet.