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Even if there is only one sound source, acoustic waves reflect from the walls, ceiling, and floor of a room. Some concert halls have baffles strategically placed to reflect the sound from the stage toward the audience. In Fig. 31-1 the three sound paths X, Y, and Z are likely to have different lengths. Therefore, the three reflected waves will not arrive in the same phase at the listener s ears. The direct path (D), a straight line from the speaker to the listener, is always the shortest path. In this situation, there are at least four different paths via which sound gets from the speaker to the listener. In many practical situations there are more. Suppose that, at a frequency of 700 Hz, the acoustic waves for all four paths arrive in exactly the same phase in the listener s ears. Then sounds at that frequency will be exaggerated in volume. The same phase coincidence might also occur at harmonics of 700 Hz: that is, 1.4, 2.1, 2.8 kHz, and so on. But it is not likely to happen at any other frequencies. This is an undesirable effect because it causes acoustic peaks, called antinodes, at specific frequencies, distorting the original sound. At some frequencies, the waves might mix in phase opposition, so that the energy is nearly canceled out. This produces dead zones, also called nodes, a phenomenon that acoustics engineers dread.
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Technical considerations 587 If the listener moves a few feet, the antinodes will no longer be observed at 700 Hz and its harmonics. The frequency might change; the effect might diminish or even seem to disappear altogether. As produced by the set of baffles, the antinode for 700 Hz and its harmonics might well be confined to a single, small spot in the room. One of the most important considerations in acoustical design is the avoidance, to the greatest extent possible, of significant nodes and antinodes at any frequency within the range of human hearing. The perfect acoustic chamber delivers sound effectively to all members of the listening audience, without favoring any particular regions of the room or frequencies of the sound.
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High-fidelity, or hi-fi, audio systems can be found in most homes, in many cars and trucks, in businesses, and even in government offices. They range in size from tiny headphone radios that operate from one AAA cell to huge, multicomponent systems that consume thousands of watts and provide the sound for musical concerts in auditoriums and stadiums. However big or small the system, it must have certain characteristics to truly earn the label hi-fi.
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Linearity is the extent to which the output waveform of an amplifier is a faithful reproduction of the input waveform. In hi-fi equipment, all the amplifiers must be as linear as the state of the art allows. If you connect a dual-trace oscilloscope (one that lets you observe two waveforms at the same time) to the input and output terminals of a good hi-fi audio amplifier, the output waveform will appear as a vertically magnified duplicate of the input waveform. If you adjust the vertical gain control of the oscilloscope so the two waveforms have the same peak-to-peak displacement on the screen, the input and output waveforms will look identical. When the input signal is applied to the horizontal scope input and the output signal is applied to the vertical scope input, the display will be a straight line. Figures 31-2 and 31-3 illustrate the principle of linearity. The graph and waveforms in Fig. 31-2 show the characteristics of a linear circuit. The graph of the instantaneous output versus the instantaneous input is a straight line. When the input is a sine wave, the output is also a sine wave. Figure 31-3 shows what takes place in a hypothetical nonlinear circuit. The instantaneous output-versus-input function is not a straight line. Therefore, the output waveform is not a faithful reproduction of the input, and distortion occurs. In this case, as the input increases, the output-to-input ratio (amplification factor, or gain) decreases, as indicated by the decreasing slope of the curve. At high input levels, the circuit doesn t amplify as much as it does at low input levels, which flattens the peaks of the output wave. This happens with all amplifiers if the input signal amplitude is great enough. In some radio-frequency circuits this is all right; in hi-fi audio systems, it is not. Linear amplifiers are designed to work with input signals up to a certain peak (maximum instantaneous) amplitude. If the peak input exceeds this level, the amplifier will become nonlinear, and distortion will result. In a hi-fi system equipped with VU or
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