SOUNd REiNfoRCEMENT HANdbook

AckNowLEdGEMENTSMy associate Ralph Jones made asubstantial contribution to the writingand illustrations that are in this handbook.Ralph's background with MeyerSound Labs, and his formal musiceducation, served to balance theknowledge I have gleaned from myinvolvement with many other soundequipment manufacturers, and my ownphysics background. Many thanks,Ralph. And thanks also to your wife,Claudette, who helped with some of theearly deadlines.As I mentioned in the Preface, thepeople at Yamaha Corporation ofAmerica and of Japan (formerly Nippon-Gakkiin Japan) have supportedthis project - both financially and withconsiderable assistance in terms ofsuggested contents, proofreading, andhelping to secure expert consultingassistance when that was required.They also deserve praise for giving mea free hand to write as much as wasrequired, to include all we wished(including a number of competitors'names, when that information seemedimportant), and to not make this asales presentation for any particularYamaha equipment. Special thanks goto John Gatts and Bob Davis foroverseeing the project at Yamaha, andto Craig Olsen for his help with theinitial outline. Nancy Mastroianni, askilled proofreader, was employed byYamaha to highlight my inconsistenthyphenation, dangling participles, andother typographical errors. SoundmanSteve Getson of Trenton, NJ, kindlyidentified many typos after the firstprinting. At our request, Brian WeissofWord'sworth also did extensive proofreading. Mind you, we exercised ourright of editorial license, so if some ofthe usage remains non-standard, itmay not be Brian's or Nancy's fault.Bob Davis, who collated all thecomments and edits at Yamaha forboth editions, was assisted byYamahaDistrict Manager Ray Bloom and by independentconsultant Rolly Brook.Without this valuable input, I wouldstill be choking on my left foot. Thanks,guys.I made many phone calls to engineerJohn Windt, whose extensiveknowledge of system grounding andsystem design added considerably tothis book. Thanks also to the lateDeane Jensen (of Jensen Transformers,Inc.), who provided very usefulinformation on transformer anddifferential balancing, mic splitting,and other aspects of circuit design.Lynn McCroskey and Alvis Wales ofSonics, Associates were very helpfulwith regard to interconnect of balancedand unbalanced circuitry, and theyalso made some useful suggestionsregarding the relatively minor directeffects of wind on sound propagation.Bill Swintek of Swintek WirelessMicrophones gave us permission to useportions of data we wrote for himseveral years ago, and the people atlIME submitted a major portion ofthedata dealing with wireless microphonesand wireless intercom systems,which together make this portion of thebook far more accurate and completethan it otherwise would have been.Thanks to engineer Bob Ludwig forexplaining the pros and cons of consoleplacement. Thanks to Crown InternationalCorporation for sending photosand information on their PZM microphones.Composer/synthesist/consultantChristopher L. Stone of DragonsenseStudio was most helpful in guiding ourMIDI and SMPTE discussions, andspecial thanks go to Jim Cooper of J.L.Cooper Electronics for proofreadingthe MIDI material and offeringvaluable corrections and suggestions.I also wish to thank Carolyn andDon Davis, whose Syn-Aud-Con seminarand whose book, Sound SystemEngineering, have significantly augmentedmy understanding of soundand acoustics.Last, but certainly not least, manythanks to Georgia Galey, my hardworkingoffice manager who did somuch to help bring this book fromconcept to reality: typing some datainto the computer, proofing the typedand typeset copy, following up onphone calls, photocopying and thenecessary go-fer jobs - in other words,filling in wherever and whenever shecould.GDDPS: The answer to the unasked question:No. Bob Davis, Don Davis and Gary Davisare not related to one another. They alljusthappen to share the same surname andwork in the same general industry.