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The evolution of One Audio Processor

机译:一个音频处理器的演变

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The advent of the "Talkies" was immediately followed by the 1929 Stock market Crash, and as a result few Cinemas could find the £4000 or so needed to equip their typically noisy and reverberant "Hall" auditoria.rnFor those who could afford to add sound, amplifier design was clearly in its infancy. The existing "Public Address" (PA) Amplifiers of the 1930s used low power triodes in basic transformer coupled circuits without any negative feedback. 10 to 20 Watts output was all most Cinemas could afford, and high loudspeaker efficiencies were needed to fill those large spaces. This need for high sound levels from so little power led to a number of impressive split frequency horn-loaded loudspeaker designs, and some of these designs were not only used well into later cinema sound eras, but their influence spread deep into the live music market during the 1960s and onwards up to today.
机译:“ Talkies”的问世紧随其后的是1929年的股市崩盘,结果,很少有电影院能找到4000英镑左右的装备来装备他们通常嘈杂和混响的“ Hall”礼堂。rn对于那些有能力负担得起的人声音,放大器的设计显然还处于初期。 1930年代现有的“公共地址”(PA)放大器在基本变压器耦合电路中使用低功率三极管,而没有任何负反馈。大多数电影院都可以承受10至20瓦的输出功率,并且需要高扬声器效率来填充这些大空间。如此低的功率对高声音水平的需求导致了许多令人印象深刻的分频号角扬声器设计,其中一些设计不仅在后来的电影音响时代得到了很好的应用,而且其影响力已深入到现场音乐市场在1960年代直到今天。

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    《Cinema Technology》 |2009年第2期|18-2022|共4页
  • 作者

    John Emmett;

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