Background
Eargle, John Morgan was born on January 6, 1931 in Tulsa. Son of Robert Gray and Josephine Virginia (Tennison) Eargle.
(The second edition of Loudspeaker Handbook follows the sa...)
The second edition of Loudspeaker Handbook follows the same general outlines as the highly successful first edition and has been augmented and updated in many areas of technology. Most notable are the developments in large-scale, programmable line arrays, distributed mode loudspeakers, and ultrasonic-based audio transduction. Additionally, the core chapters on low frequency systems, system concepts, and horn systems have been expanded to include both more analytical material and a richer array of examples. Much of the success of the first edition has been due to its accessibility both to loudspeaker engineers and to lay technicians working in the field - a point of view the author maintains in the present work. A full understanding of the underlying technology requires a fairly rigorous engineering background through the second year of professional study. At the same time, the generous use of graphs, with their intuitive thrust, will be useful to all readers. Loudspeaker Handbook, Second Edition continues to be appropriate for use in courses at the undergraduate senior level, for graduate students, and for professionals in audio and acoustical engineering.
http://www.amazon.com/gp/product/B00SLSKJCM/?tag=2022091-20
(Since its publication in 1990, the first edition of Music...)
Since its publication in 1990, the first edition of Music, Sound, and Technology has enjoyed wide success and has become a popular text in musical acoustical studies at the university level. In preparing the new edition we have included recent developments in all aspects of music and sound technology, and we have added data on acoustical characteristics of musical in struments. The first edition has been cited for the scope and clarity of its graphics; we have emphasized this to an even greater degree in the second edition. /ME xi Preface to the First Edition This book is about music. the instruments and players who produce it. and the technologies that support it. Although much modern music is produced by electronic means. its underlying basis is still traditional acoustical sound production. and that broad topic provides the basis for this book. There are many fine books available that treat musical acoustics largely from the physical point of view. The approach taken here is to present only the fundamentals of musical phys ics. while giving special emphasis to the relation between instrument and player and stressing the characteristics of instruments that are of special concern to engineers and tech nicians involved in the fields of recording. sound reinforcement. and broadcasting. In order to understand musical instruments in their normal performance environments.
http://www.amazon.com/gp/product/147575938X/?tag=2022091-20
(The Handbook of Recording Engineering is a logical outgro...)
The Handbook of Recording Engineering is a logical outgrowth of the first two editions of Sound Recording. The ten years since the first edition have seen no slackening in the development of recording technology, and they have wit nessed an almost phenomenal growth in the teaching of recording and audio engineering at all academic levels. The earlier editions of Sound Recording have been widely used as texts at all educational levels, and it is the author's intent in the Handbook of Recording Engineering to produce a book which is even more suited to these purposes. At the same time, the book has been organized as a true handbook, which presents of reference material in easily accessible form. a broad array The organization of the book is unique in that it progresses as the signal transmission chain itself does-from the recording venue on through the micro phone, transmission channel, and finally to the listening environment. The first six chapters thus form a logical sequence, and the author recommends that in structors using the Handbook follow them accordingly. Chapter One presents a discussion of acoustical fundamentals, including an introduction to some basic psychoacoustical considerations having to do with performance spaces. Chapter Two covers the basic operating principles of mi crophones, while Chapter Three extends the discussion of microphones to cover the entire range of stereophonic imaging phenomena.
http://www.amazon.com/gp/product/9401093687/?tag=2022091-20
( John Eargle's 4th edition of The Handbook of Recording ...)
John Eargle's 4th edition of The Handbook of Recording Engineering is the latest version of his long-time classic hands-on book for aspiring recording engineers. It follows the broad outline of its predecessors, but has been completely recast for the benefit of today's training in recording and its allied arts and sciences. Digital recording and signal processing are covered in detail, as are actual studio miking and production techniques -- including the developing field of surround sound. As always, the traditional topics of basic stereo, studio acoustics, analog tape recording, and the stereo LP are covered in greater detail than you are likely to find anywhere except in archival references. This book has been completely updated with numerous new topics added and outdated material removed. Many technical descriptions are now presented in Sidebars, leaving the primary text for more general descriptions. Handbook of Recording Engineering, Fourth Edition is for students preparing for careers in audio, recording, broadcast, and motion picture sound work. It will also be useful as a handbook for professionals already in the audio workplace.
http://www.amazon.com/gp/product/0412097419/?tag=2022091-20
( The second edition of Loudspeaker Handbook follows the...)
The second edition of Loudspeaker Handbook follows the same general outlines as the highly successful first edition and has been augmented and updated in many areas of technology. Most notable are the developments in large-scale, programmable line arrays, distributed mode loudspeakers, and ultrasonic-based audio transduction. Additionally, the core chapters on low frequency systems, system concepts, and horn systems have been expanded to include both more analytical material and a richer array of examples. Much of the success of the first edition has been due to its accessibility both to loudspeaker engineers and to lay technicians working in the field - a point of view the author maintains in the present work. A full understanding of the underlying technology requires a fairly rigorous engineering background through the second year of professional study. At the same time, the generous use of graphs, with their intuitive thrust, will be useful to all readers. Loudspeaker Handbook, Second Edition continues to be appropriate for use in courses at the undergraduate senior level, for graduate students, and for professionals in audio and acoustical engineering.
http://www.amazon.com/gp/product/1402075847/?tag=2022091-20
(This book is about music. the instruments and players who...)
This book is about music. the instruments and players who produce it. and the technologies that support it. Although much modern music is produced by electronic means. its underlying basis is still traditional acoustical sound production. and that broad topic provides the basis for this book. There are many fine books available that treat musical acoustics largely from the physical point of view. The approach taken here is to present only the fundamentals of musical physics. while giving special emphasis to the relation between instrument and player and stressing the characteristics of instruments that are of special concern to engineers and technicians in volved in the fields of recording. sound reinforcement. and broadcasting. In order to understand musical instruments in their normal performance environments. the student must have a basic working knowledge of physical and architectural acoustics. The book begins with a review of the elements of acoustics. stressing the nature of sound fields and phenomena that are wavelength-dependent. The book then moves on to a discussion of those aspects of psychological acoustics that are of special concern to music technicians. most notably concepts of stereophonic imaging. loudness-related phenomena. and critical band theory.
http://www.amazon.com/gp/product/940117072X/?tag=2022091-20
executive Consulting electroacoustics engineer
Eargle, John Morgan was born on January 6, 1931 in Tulsa. Son of Robert Gray and Josephine Virginia (Tennison) Eargle.
Bachelor of Music, Eastman School Music, Rochester, New York, 1953. Master of Music, University Michigan, 1954. Bachelor of Science in Electrical Engineering, University Texas, 1961.
Master Engineering, Cooper Union, New York City, 1970.
Development engineer, Jensen Manufacturing Company, Chicago, 1962; recording manager, Radio Corporation of America Victor Records, New York City, 1962-1969; chief engineer, Mercury Record Production, New York City, 1969-1971; director, Altec Corporation, Anaheim, California, 1971-1974; manager, JME Associations, Los Angeles, 1974-1976; vice president, JBL Inc., Northridge, California, 1976-1982; president, JME Cons. Corporation, Los Angeles, since 1982. Member corporation board Music Associations Aspen, Colorado, since 1993.
(Since its publication in 1990, the first edition of Music...)
(The second edition of Loudspeaker Handbook follows the sa...)
( The second edition of Loudspeaker Handbook follows the...)
( John Eargle's 4th edition of The Handbook of Recording ...)
( John Eargle's 4th edition of The Handbook of Recording ...)
(The Handbook of Recording Engineering is a logical outgro...)
(***** INTERNATIONAL EDITION ***** ***** INTERNATIONAL EDI...)
(This book is about music. the instruments and players who...)
(2nd)
With United States Army, 1954-1956. Fellow Audio Engineering Society (president 1975-1976, Bronze medal 1984). Member Institute of Electrical and Electronics Engineers (senior ), Acoustical Society of America, Society Motion Picture and television Engineers, Academy Motion Picture Arts and Sciences.