From: "Saved by Internet Explorer 11" Subject: M-S SPEAKER SYSTEM Date: Thu, 6 Mar 2014 15:37:38 -0800 MIME-Version: 1.0 Content-Type: multipart/related; type="text/html"; boundary="----=_NextPart_000_008C_01CF3952.00E03970" X-MimeOLE: Produced By Microsoft MimeOLE V6.1.7601.17609 This is a multi-part message in MIME format. ------=_NextPart_000_008C_01CF3952.00E03970 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Content-Location: file://C:\Users\R&D 1\Documents\Research\Microphones\Circuits\M-S Mic Technique\M-S SPEAKER SYSTEM.htm =20 M-S SPEAKER SYSTEM=20 =20

M-S = SPEAKERSYSTEM

BY = REIDWOODBURY

Published inSpeaker Builder magazine ONE/89.

Youcan add this design to your =93gee whiz=94 stack of novelty speakers = (Photo1). It = is based on=20 the M-S (middle-side) stereo mic=92ing technique, which is popular = formany=20 reasons, but few people seem to understand how this methodrealizes = stereo=20 signals.

The secret with = thesingular stereo=20 speaker I designed is that the front driver receives the sum of the left = and=20 right channels, and the difference is sent tothe rear drivers, which are = wired=20 out-of-phase, like the M-S microphone (see =93Theory"). My original = belief was=20 that the leftand right channel program material would hover to the left = and right of the speaker, but no such luck. I=92ve discovered it=92s = similar to=20 Lauridsen=92s method (Fig.1) for = producing=20 pseudo-stereofrom a mono source¹which = my speaker=20 does with some success. However, my single speakerdoes have an = incredible sense=20 of depth.

The M-S is my first and = only speaker=20 construction project and I continue to startle friends with the = sound.=20

ORIGINAL DESIGN. I came up with = thedesign in=20 1983, reflecting that I was rarely positioned front and center while = listening=20 to my stereo system, but either working ons ome project, homework, = cleaning or=20 cooking, and not positioned optimally to hear the stereo image, often = being in=20 the next room. My design produces the same acoustic energy as standard = stereo,=20 and since I am generally economical, I figured I shouldn=92t pay formore = speakers=20 than I absolutely needed. For normal stereo I=92d just wear = headphones.=20

I started this project = just prior to=20 subscribing to Speaker Builder. I=92d never built any kind of = furniture and=20 most of the electronic projects I=92d ever finished were kits. I = modified my=20 original design as my reading and building experience progressed. =

DRIVER SELECTION. I chose driversonly = by specs,=20 reputation, and by listening to similar drivers. These weren=92t my = first choices,=20 and in some cases the third or fourth choice, due to availability at the = time.

The =93front=94drivers use = a standard=20 three-way design with a Thiele/Small aligned enclosure. The recommended=20 enclosure specifications were supplied by the retailer (McGee Radio = & Electronics), which I found very useful and fit closely with Bullock = and=20 White=92s BOXRESPONSE program.²^,³

I chose a 10-inch woofer (Eminence = EM40WOAE) for my=20 design because Ithought it was the best compromise between full-sounding = and=20 tight bass. I chose a dome midrange (Peerless PMT51) for its smooth = sound and=20 wide dispersion, and a leaf tweeter (Foster E110T08) for = itsclarity.⁴

The crossover is a stock second-order design, rated at 150W, with crossover frequencies of 500Hz = and=20 7kHz. I chose a wide midrange bandwidth because the PMT51 has a much = greater=20 power rating (120W) than the other drivers do (85W and 50W,=20 respectively).

For the rear drivers, I = tried=20 full-range Philips AD5061/M8, but they were not of high enough quality, = power,=20 or sensitivity. An album of Carmina Burana, with its lush chorus, = has so=20 much out-of-phase material I was getting distortion from the amp trying = to drive=20 them, and the small speakers were bottoming out. I replaced them with = two of the=20 same dome midrange drivers PMT51) I used for the front.

In my enthusiasm while = choosing the=20 drivers, I=92d somehow lost the idea of keeping the cost down. I was = learning how=20 much is involved to make a good sounding speaker an excellent sounding = speaker.=20 Changing the rear drivers and adding adjustable L-pads to the more = efficient=20 front midrange and tweeter were two major changes.

ELECTRONIC CIRCUIT. I naively tried to = come up=20 with a passive design to achieve the sum and difference, but this would = have=20 caused a tremendous signal loss. The active circuit I designed = (Fig.2) is = simple and=20 anyone with alittle knowledge of op amps could design one. The op amp = can be any=20 good quality device that is unity-gain stable or stabilized with proper=20 compensation. The design works well and parts are readily available (all = can be=20 found at a Radio Shack).

Basic Circuit. I added my = original=20 circuit to a parametric equalizer kit I=92d built some time before. I = chose the=20 TL084 quad op amp because it=92s similar to the TL074s that are used in = therest of the circuit. Not very scientific, but this saved me the trouble of = building a=20 power supply and enclosure for such a simple circuit, and I knew this = supply=20 would work. I=92ve since discovered many types of IC op amps with faster = and=20 quieterspecs.⁵

I used a pre-made = RadioShack IC=20 experimenter=92s board (Photo2 = and=20 Fig.3) for the project. The=93difference=94 circuit in the = Photo has about 10dB of gain (330k=BD feedback resistor on IC1c) because the rear = drivers=20 on my speaker are wired in series. I suggest you wire in parallel and = keep the=20 gain at unity as in the schematic, depending on the load your own power = amp can=20 handle. This is one likely cause of the amp=92s clipping distortion when = I was=20 using the AD5061s.

The circuit can be powered = by any=20 power supply giving =B16=9618v, or by two orfour 9v batteries. = D=92Appolito=92s power=20 supply is suitable also (SB 4/88, p. 20).⁶Be sure = not to=20 connect power to the ICs backwards, or this will fry them.

Use metal film = resistorsfor lowest=20 noise. I originally used carbon resistors, but I did hand match the = values of=20 the resistors around each op-amp to 0.1%. The circuit adds noise to my = system,=20 but it is below all my program material sources (LPs, FM stereo, my own=20 reel-to-reel, and digital masters).

The circuit associated = with IC2 can=20 be eliminated altogether if you know the output of the device feeding = it, and=20 the connecting lines are short enough (lessthan 2 feet). Inverting = amplifiers=20 should be isolated from the =93outside world=94 by a non-inverting = buffer (IC2c,=20 IC2d; Fig.2). In the schematic, the section within the dotted = line is shown=20 in the photo, the rest of thecircuit is on the original EQ board. The = input buffers are identicalto the ones on the EQ board. I picked up the = signal after=20 the inputbuffer on the EQ board and returned it to the same point after = thecut=20 in the trace. If you=92re unsure where the output of the sum/difference = circuit=20 will be connected, include the 100=BD resistorsand 1=B5F = capacitor.

BASSIC CONCERNS. An advantage = of this=20 speaker is the summed version of the bass is the actual program material = (see=20 =93LP Mastering=92"). Turntable rumble tends to be out-of-phase, which = cancels=20 itself in the front driver and remains in the rear where it can=92t be = heard. This=20 does eat up your system headroom, though, and should be filtered out. I = use the=20 matrix circuit in a tape loop, instead of between the pre-amp and power = amp,=20 with the left channel as the front and the right as the rear. This = allows me to=20 use the right channel bass control to cut the out-of-phase turntable = rumble and=20 control the balance between the front and rear drivers.

In the original circuit,I = added two=20 parallel .03=B5F capacitors to the output of the difference amp = (0.06=B5F to help=20 roll off the bass. Calculations show the circuit to be 3dB down at 27Hz = when=20 feeding a 100k=BD load.The resistance and capacitance can be slightly = smaller,=20 depending on the desired low rolloff.

CONSTRUCTION. The speaker cabinet = isconstructed=20 of 3/4-inch particleboard (Fig.4). = I=92ve included=20 the entire blueprint so you can compare my actual design with my = description of=20 the sound. I attached the corners with Elmer=92s glue and counter-sunk = cabinet=20 screws. I added cleats later, after tests with the woofer installed = indicated=20 air leaks. I lined the interiors with fiberglass. I mounted all the = drivers with bathroom silicone sealant.

I designed a square port = because the=20 area required would have been an unusual diameter.I=92ve since learned = the port=20 can be almost any diameter with a corresponding change in port = length.⁷

The upper chambers were = for the=20 original 5-inch full-range drivers.

Initially I thought the = speaker=20 would sound best in a corner. This improved the bass response but gave = the=20 ambient rear signal a constrained character. The=93stereo=94 image is = much wider=20 against a flat wall. I chose a30=B0 angle for the drivers so they = wouldn=92t be pointed directly into the walls of a corner or, conversely, be too = close tothe=20 line of sight on the sides mounted perpendicular to the front drivers. I = soldered all the electrical connections within the enclosure with = 16-gauge=20 stranded wire.

LISTENING IN. This speaker seems to = work best=20 with any source material that has major program material coming equally = and=20 in-phase from the left and right channels (panned center). This includes = M-S=20 mic=92ing, stereo trio mic=92ing, or pop music where leads and bass are = panned hard=20 center, and backgrounds and effects are left and right. This creates a = halo of sound around the center, letting the more expensive drivers handle the=20 important part of the sound. Changing the rear drivers to PMT51s = subjectively=20 improves the overall frequency response and seems to give a more even = sense of=20 depth, possibly because the front and rear drivers are more closely=20 matched.

I suggest you use a dome tweeter = rather than=20 the E110T08. The ribbon=92s dispersion is so narrow you must be = positioned=20 directly in front to really hear it. Otherwise it is a very nice driver = with aclean, clear sound.

One problem with playback = of=20 recordings made with wider spaced microphones: more out-of-phasematerial = is=20 present (see =93Theory"). When the level is balanced between the front = and rear,=20 the front drivers will sound weak. If thefront level is increased, the = image=20 sounds restrained.

Even though the direct = sound from=20 the rear drivers wraps around directly to the front, a greater = spaciousness is=20 apparent when the speaker sits farther from a wall or corner. Besides = the=20 initial direct sound, you hear reflections from more distant walls and = surfaces=20 in the room.

THEORY. I prefer minimalmic=92ing, = like a stereo=20 pair with no highlight mikes, forrecording classical ensembles. I=92ve = also heard=20 of jazz bandsthat are recorded with just a stereo trio = (left-center-right,=20 LCR).Even with minimal stereo mic=92ing, differences in sound can = begreat,=20 particularly recordings of classical music in a concert hail,caused by = different stereo mic=92ing techniques, but differentmusicians and halls add = variables,=20 also.

In designing sound for = live theater=20 (sound effects, music and live mic=92ing), I know speakers and their = placement=20 must fit the mic=92ing techniques used to record the effects or music. = I=92ve seen=20 SBarticles on driver and speaker design, but nothing on the = program=20 material they reproduce. Let=92s review the many different ways sound is = recorded,=20 and presented in the home; you can adapt my speaker design, or any other = design,=20 accordingly.

STEREO MIC=92ING. Two audio cues help = us perceive=20 direction between two loudspeakers: relative intensity, which is the = most=20 significant and relative arrival time. The sound will appear to come = completely=20 from the right speaker when the intensity of the right channel is 20dB = greater=20 or the arrival time is 2msec sooner than the left. This time difference = is also known as the precedence or Haas effect.⁸⁼²⁰Lowering the level in the right speaker about 8=9610dB, while = delaying the=20 left up to about 25ms will keep the stereo image centered, but will = broaden the=20 image between the speakers proportional to the amount of delay.⁹ Beyond = 25ms you=20 start to hear a distinct echo.

Different stereomic=92ing = techniques,=20 such as X-Y, ORTF,¹⁰⁼²⁰Blumlein,¹¹⁼and=20 M-S, use coincident (one microphone directly on top of the other), = slightly=20 spaced, and widely spaced pairs; and trios.

Slightly spaced pairs use = both time=20 delay (the Haas effect) and level differences to give localization. = Widely=20 spaced pairs generally use omni-directional (equal pickup in all = directions)=20 mikes, therefore only the Haas effect produces localization. The time = delay is=20 created by the distance between the two mikes, most apparent with sound = coming=20 from the sides.

Coincident mic=92inguses = only level=20 differences for localization because there is no delay between mikes for = sound=20 traveling from the sides.

X-Y generally refers to a coincident = or=20 near-coincident stereo pair of mikes, with one panned hard left and the = other=20 panned hard right, which can be applied to all these techniques except = M-S=20 (which uses a simple electronic matrix to derive the left and right channels).

Music in a studio is = generally=20 recorded with a large number of single mikes and each is assigned a = position in=20 the stereo image by panning or adjusting only the relative level between = the two=20 channels. Signal delay is use donly as an effect, that is, = reverberation, echo,=20 flanging, and chorusing.

Middle-Side. TheM-S = method=20 uses a coincident pair, however one is a cardioid pick uppattern mike = pointed=20 directly toward the ensemble (middle), and the other is a perpendicular=20 (side-to-side) figure-eight pickup pattern mike (Figs. 5a and 5b); the=20 positive lobe is usually pointed to the left.

The electronic matrix isa = simple sum=20 and difference, unity gain mixer. The sum of the twomikes is panned hard = left=20 and the difference is panned hard right. Varying the level between the = two=20 microphones allows you to adjustthe width of the stereo image (Figs.5c=96f). The = points where the=20 microphone pickups are equal, or where their pattern lines cross, = indicate where=20 a musician would be positioned to be heard from theleft or right = speaker. The=20 negative rear lobes which result from combining the two mike signals, = put some=20 reverberation out-of-phase in the stereo signal, so the reverberation = seems to=20 come from outside the normal stereo stage between the speakers. =

The closer the microphone = elements=20 are matched, the clearer the stereo image; the best resultsare obtained = with=20 stereo microphone where the elements are factory matched.

Inverting the phase of one = microphone will cause the left and right signals to exchange outputs. = This is=20 handy if you accidentally place the figure-eight mike backward or hang = the=20 stereo mike upside down.

M-S stereo (or other = coincident=20 techniques) is also perfectly mono compatible. When you add left and = right=20 channels together, the figure-eight sides cancel,leaving only the middle = cardioid mike signal, as if only one mike was used. Commercial FM radio = also=20 uses this matrix to broadcast in stereo and be mono compatible. M-S = recordings=20 are more likely to broadcast unscathed.

My M-S speaker matrix = circuit can=20 also be used for the M-S microphone matrix. The signal from the = microphones must=20 go through an appropriate mike pre-amp before going through this = matrix.=20 This design is too noisy for professional applications, though. If = there=92s a=20 demand I=92ll make a more esoteric design available, but the = corresponding parts may be hard to find. In addition, I suggest you read Walt = Jung=92sAudio IC=20 Op-Amp Applications.¹²

X-Y mic=92ing can = sometimes suffer=20 from a =93hole in the middle=94 effect. Performers situated at the = center of the=20 microphones are off-axis from both, and the recording sounds different = than the=20 live performance. One cure for this hole is to add a third, center mike = with its=20 signal going equally to both the left and right channels.

M-S mic=92ingdoesn=92t = suffer from this=20 problem; the middle element is pointed toward the center. Both M-S and = stereo=20 trio mic=92ing have the advantage of three on-axis directions, giving a = much more pleasant recording of the concert hall sound. While M-S requires only = two=20 microphones or one stereo mike, it does require the electronic matrix. = Even=20 though Blumlein=92s method has four on-axis directions, a soloist is = still=20 off-axis from both microphones. Interestingly, performers tend to prefer = M-S,=20 while engineers prefer ORTF.¹³

LPMASTERING. I believe you can=92t detect the = direction of=20 asignal source below about 200Hz, except by moving around andlistening = closer=20 and farther away from the source. The wavelength is long enough to go = around the=20 head and affect both ears equally. The same effect occurs when recording = with=20 coincident or near-coincident microphones. Also, excessive out-of-phase = bass,=20 which on LPs could cause the stylus to skip out of the groove, is = filtered out=20 during disc mastering, using an elliptical equalizer and leaving only=20 thein-phase bass.

Left and right (lateral) = stylus=20 motion is center program material, and up and down (vertical) motion is=20 out-of-phase or ambient material. The popular Neumann system has = switchable=20 turnover frequencies of 150Hz and 300Hz.¹⁴^,¹⁵

Even on CDs, because of = the mic=92ing=20 techniques and LP engineering habits, the low-frequency information = tends to be=20 the same in both channels. In regular stereo (or P.A. setups, for that = matter),=20 out-of-phase bass will sound weak for the same amount of program power. = Still, I=20 prefer stereo using two woofers. Recordings are likely to be monitored = and adjusted with two equally full-range speakers and then checked on one full-range speaker for mono compatibility, rather than on an odd stereo = setup=20 with different frequencies getting a different number of speakers. = Boosting the=20 bass of the front driver of my M-S speaker at all frequencies below that = of the=20 rear drivers (about 300Hz with the PMT51s) takes care of this = consideration, but=20 is not a perfect solution.

TV STEREO. Many movies are broadcastor = released=20 on video tape with the original surround encoding of a Dolby stereo = optical=20 print. The two-channel recording is decoded to four channels (Dolby = started by=20 using a technique similar to the Sansui QS quadraphonic matrix¹⁶) but, = instead of=20 speakers in the four corners of a room, the new format specifies three = speakers=20 across the front-left, center, and right; the surround channel is the=20 fourth.

Soundtracks must pinpoint information across the front and keep the center material in the center = because=20 phantom center material of two-channel stereo drifts toward you if you = sit at=20 the sides of a listening space. The closest speaker is louder and its = sound=20 arrives sooner. This is not as big a problem in the home, though = dialogue and=20 effects in stereo television shows are kept fairly close to center in = the stereo=20 field to keep the sound of the on-screen action from running off the = small=20 screen. The 70mm, six-track stereo format does not use this encode/decodeprocess.

When a theatrical show is = mixed, the=20 dialogue program material is always given to the center channel; never = panned=20 from speaker to speaker. Through psychoacoustics (the study of how = people=20 perceive sound), movement, even following the characters across a = screen, was=20 found to be distracting. Panning is only used for an effect, On the set, = a shotgun or other narrow pattern microphone records the action and = dialogue. If=20 a stereo recorder is used, one track gets the main mix and the other is = used for=20 backup-rarely a stereo mix. Replaced dialogue is recorded mono and = effects are=20 recorded mono and stereo. Room tone and other atmospherics may be = recorded in=20 stereo after the main =93take.=94 On the simplest stereo shows, only the = musicis stereo.

The surround channel = alsohas a very=20 limited bandwidth, 500Hz=967kHz.¹⁷ = (Matching these=20 frequencies with the front crossover of my speakerwas unintentional.) = Surround=20 information is kept to a minimum for compatibility with mono-only = theater=20 systems. Any bass information comes only from the front speakers. The = 7kHz=20 low-pass filter keeps distracting optical noise out of the surrounds. = You can=20 design your own home surround speakers with a limited bandwidth, = also.=20

The simplest surround = decoder takes=20 the left and right recorded signals (left total and right total) and = sends them=20 to the left and right speakers; makes a sum and sends it to the center = speaker;=20 and takes the difference signal and sends that to the surrounds. At the = other=20 end of the spectrum, professional theater decoders use a complex phase detection, steering circuitry and surround-channel delay to increase = separation=20 between speakers. Home units fall somewhere in-between. Interestingly, = M-S=20 recorded material is easily encoded and decoded through the Dolby = process. The=20 middle mike is sent to the center speaker, matrixed left and right to = the left=20 and right speakers, and the surrounds are fed by the figure-eight mike = (which=20 picks up mostly reverberation).

This mix type works well = with my M-S=20 speaker. It=92s great for television or stereo video, since sound = effects tend to=20 run off the picture with a normal stereo setup. For movie theater = systems,=20 recordings are mixed with the left and right speaker behind the screen, = not on=20 each side. With the M-S speaker, the action takes place in the center, = and the=20 music and atmospherics take place all around. As with the M-S = microphone, the M-S speaker has a direct center element so center program material has = an=20 actual driver and not a phantom combination of other elements to produce = the=20 sound.

My 13-inch color = television sits=20 comfortably on my speaker, but the magnets in the speaker cause the = color to=20 change. The sky turns red, grass turns yellow, and faces turn green. I = stacked=20 three large phone books under the television and this works fine. If = you=92re=20 going to add this speaker to your television, be sure to include = magnetic shielding.

OTHER IDEAS. The left and right = signals don=92t=20 recombine on the left and right sides of the speaker because of many=20 inaccuracies, such as diffraction problems from the recessed front = panel, and=20 drivers not vertically aligned. I=92ve come up with a few possible cures = you might=20 try, also, the best application I=92ve thought of for this design=97a=93ghetto-blaster."=92

Front Delay. Mark = Rumreich=92s electronic=20 time delay project (SB 3/88) would be perfect to try on this speaker.¹⁸⁼I=20 agree with his philosophy that sound from each driver must reach the = listener at=20 the same time for the best imaging. Try to delay the front signal so it = will=20 reach you at the same time as the rear signal, for my design. The amount = of=20 delay may depend on the distance between your front and rear drivers or = on the=20 length of the sound=92s path from the rear drivers, reflecting off a = wall, to the=20 plane of the front drivers. If you align the front signal to match the=20 reflections of a speaker sitting far from the wall, the delay time must = stretch=20 into milliseconds.

To calculate rough delay = times for=20 most situations, I use as a rule of thumb one foot per millisecond; thus = estimating sound travel at 1000ft./sec. Sound actually travels a little = faster:=20 in dry air at 32=B0F (0=B0C), 1087ft/s (331m/s); and at 68=B0F (20=B0C), = 1130ft/s (343m/s).¹⁹ This = is about=20 73.7=9676.3 =B5sec/in.

Driver = Considerations. You=20 could vertically align the front drivers bymoving the midrange, = high-frequency=20 and rear drivers to the top of awoofer cabinet in a triangle = configuration, or=20 three sides of asquare. This brings them to a near coincident position = without adding delay.

Wall reflections from = therear=20 drivers may be more desirable than sound that wraps around from the = sides by=20 diffraction. Cone midrange drivers rather than dome types may work = better for=20 this. Also, cabinet designs to isolate the direct sound from the rear = drivers=20 may be necessary.

I thought about using = electrostatic=20 panels in a =93T=94 configuration (an ES-T?) The top or bottom of the = =93T=94 could be=20 pointed toward the listener. Adding delay to the front driver would make = the=20 drivers effectively coincident. Could changing the delay of whichever = panel is=20 in front affect how the phantom left and right channels are beamed into = the=20 listening room?²⁰ = Should the back=20 be covered by sound absorbing material?²¹

I no longer have access to = a wood=20 shop to try these ideas so I=92m turning my many questions over to you. = I=92ve=20 started with my design and the theory behind it, and you can experiment = to your=20 heart=92s delight. Have fun.

NOTE. Please contact the author = concerning=20 licensing arrangements for commercial manufacture.(How arrogant! RAW 00/02/21)

ABOUT THE AUTHOR

Reid Woodbury is a freelance = audio-for-video=20 (sweetening) engineer in Los Angeles, working with sound for TV and = film, and=20 has done sound designs for various live theaters in the US. He graduated = from=20 the University of Missouri at Kansas City Conservatory of Music and also = studied=20 two years of electrical engineering. He recorded recitals, concerts and = radio programs for the Missouri Repertory Theater and the Conservatory=92s = recording=20 department, and currently runs his own location classical recording=20 service.

FIGURE1: = Lauridsen=92s=20 method for pseudo-stereo (from Sound Recording, p. 74).

PHOTO1: = Beauty shot of=20 finished speaker.

PARTS LIST

2  TL084/74s
12 100k=BD=20 resistors
4  100=BD resistors
4  0.1=B5F = ceramic=20 capacitors
3  1.0=B5F nonpolar electrolytic capacitors
2  0.03=B5F ceramic capacitors
1  switch, = DPDT
1  circuit board, Radio Shack #276-159

Misc.: hardware, screws, nuts, = spacers,=20 bipolar power supply or batteries, box, RCA input and output = connectors.=20

FIGURE2: Sum = and=20 difference circuit with low rolloff. Labels in parentheses mark = connections for=20 M-S microphone.

PHOTO2: = Finished board=20 installed in EQ enclosure with an unstuffed board, foil side. Signal = hook-up=20 wires are two-conductor shielded (left, right, and ground).

FIGURE3: M-S = circuit=20 pattern and component layout. Resistors are rectangular and capacitors = areoval.=20 All resistors are 100k except whore marked.

FIGURE4: = Blueprint of=20 enclosure. Panels were cut from 3/4-inch particle board.

FIGURE5: = Cardioid (M)=20 andfigure-eight (S) microphone pickup patterns and their resulting = matrixed=20 patterns (L and R). Drawings are on a linear scale. The dotted arrow is = the=20 =93on-axis=94 direction of the right matrix output. The solid arrow is = the=20 performer=92s physical direction from the mikes, to be heard only from = the right=20 speaker in standard stereo.

1. Eargle, = John, Sound=20 Recording, Van Nostrand Reinhold Co., New York, 1980, pp. = 73=9679.

2. Bullock, = Robert M., and=20 Bob White, =93BoxResponse,=94 SB 1/84,pp. 13=9618, 42. =

3. I took the = Bullock and=20 White program and typed it into a powerful spreadsheet program that has = built-in=20 graphing (Excel for the Macintosh). I=92ve spent many hours subtly = changing a=20 speaker enclosure=92s parameters with a particular driver and studying = the numbers=20 and frequency response graphs. I modified the input of the program, = i.e., instead of entering the compliance/box volume ratio, I enter just the = box=20 volume and the spreadsheet calculates the ratio. I enlarged my enclosure = slightly and I always use the 30Hz rumble filter in my pre-amp as the = program=20 suggests.

4. McGee = Radio&=20 Electronics Corp. Catalog, Kansas City, MO, 1983.

5. Pennington, = Terry, and=20 Larry Winter, =93Understanding Circuit Principles,=94 Recording=20 Engineer/Producer, March 1987, pp. 60=9665.

6. = D=92Appolito, Joseph and=20 James W. Bock, =93The Swan IV SpeakerSystem,=94 SB 4/88, pp. = 9=9621.=20

7. Bullock, = Robert M., and=20 Bob White, =93BoxResponse,=94 SB 1/84, pp. 13=9618, 42. =

8. db: The = Sound=20 Engineering Magazine Dec. 1979, pp. 42=9646.

9. Eargle, = John, Sound=20 Recording, Van Nostrand Reinhold Co., New York, 1980, pp. = 41=9642.

10. ORTF is a = microphone=20 setup specified by the French Broadcasting Organization where two = cardioid mikes=20 are at a 110=B0 angle and 17cm apart.

11. Blumlein = or=20 =93stereosonic=94 mic=92ing uses two coincident figure-eight mikes at a = 90=B0=20 angle.

12. Jung, = Walt, Audio IC=20 Op-Amp Applications, 3rd ed., Howard W. Sams & Co., = Indianapolis, IN,=20 1987.

13. Cross, = Lowell,=20 =93=85Assessments of Studio Microphones,=94 Recording = Engineer/Producer April=20 1984, pp. 120-129, and Dec. 1985, pp. 70=9685.

14. Runstein, = Robert E.,=20 Modern Recording Techniques, Howard W. Sams& Co., Inc., = Indianapolis,=20 IN, 1974, p. 300.

15. Eargle, = John, Sound=20 Recording, Van Nostrand Reinhold Co., New York, 1980, p. 298. =

16. Blake, = Larry, =93Mixing=20 Dolby Stereo Film Sound,=94 Recording Engineer/Producer, Feb. = 1981.=20

17. Blake, = Larry, =93Mixing=20 Techniques for Dolby Stereo Film and Video Releases,=94 Recording=20 Engineer/Producer, June 1985, pp. 94=96107.

18. Rumreich, = Mark,=20 =93Electronic Time Delay Line for Speakers,=94 SB3/88, pp. = 15=9621, 67.=20

19. Halliday, = David, and=20 Robert Resnick, Fundamentals of Physics, John Wiley& Sons = Inc., New=20 York, 1981, p. 319.

20. = Williamson, Reg, =93The=20 Quad 63,=94 SB 1/82, pp. 10=9618.

21. Cox, = Thomas, =93Spot=20 Sound Absorption,=94 SB 3/88, pp. 40=9643.

=20

ACKNOWLEDGMENTS =

Thanks to Ray Taylor for the = photography, my=20 mom for makin=92 me do good English, and the University of Missouri at = Kansas City=20 Conservatory of Music Recording Department for the space to try out my = crazy=20 ideas.

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