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Articles Tagged Dennis Bohn

  • Thursday, August 14, 2014
    analog digital conversion
    Dennis A. Bohn 08/14/14 02:08 PM,
    This article is provided by Rane Corporation.   Like everything else in the world, the audio industry has been radically and irrevocably changed by the digital revolution. No one has been spared. Arguments will ensue forever about whether the true nature of the real world is analog or digital; whether the fundamental essence, or dharma, of life is continuous (analog) or exists in tiny little chunks (digital). Seek not that answer here. Rather, let’s look at the dharma (essential function)… View this story
    Filed in: AVFeatureBlogStudy HallAnalogAVDigitalEthernetInterconnectNetworkingProcessorSignal

  • Thursday, April 17, 2014
    dennis bohn
    Dennis A. Bohn 04/17/14 12:17 PM,
    This article is provided by Rane Corporation.   This paper discusses the pitfalls (often subtle) of our industry’s failure to define and standardize what “unity gain” means, and the conditions necessary to measure it. It further discusses how people improperly use one piece of misinformation (impedance matching) to correct for this lack of standardization. All done, without knowing discrepancies exist between different pieces of equipment, and without knowing impedance matching is unnecessary, signal degrading, and wasteful. For me, it began… View this story
    Filed in: AVFeatureBlogStudy HallAmplifierAVInterconnectMeasurementPowerSignalSound Reinforcement

  • Monday, April 07, 2014
    Dennis A. Bohn 04/07/14 08:17 AM,
    This article is provided by Rane Corporation.   You may have heard it said that equalizers are nothing more than glorified tone controls. That’s pretty accurate and helps explain their usefulness and importance. Simply put, equalizers allow you to change the tonal balance of whatever you are controlling. You can increase (boost) or decrease (cut) on a band-by-band basis just the desired frequencies. Equalizers come in all different sizes and shapes, varying greatly in design and complexity. Select from a… View this story
    Filed in: AVFeatureBlogStudy HallAVMeasurementProcessorSound Reinforcement

  • Monday, August 26, 2013
    Dennis A. Bohn 08/26/13 10:10 AM,
    This article is provided by Rane Corporation.   Editor’s Note: Dennis originally wrote this article in 1986 and was last revised in 1998, yet the information is as relevant now as it was then. John Roberts is one of my heroes. John wrote a regular column for the now defunct magazine Recording Engineer/Producer (RE/P) entitled “Exposing Audio Mythology.” “Laying to Rest…or at least exposing the false premises upon which they are based…some of the pro audio industry’s more obvious ‘Old… View this story
    Filed in: AVFeatureBlogStudy HallAVMeasurementProcessorSignal

  • Tuesday, August 06, 2013
    Dennis A. Bohn 08/06/13 11:01 AM,
    This article is provided by Rane Corporation.   In space, no one can hear you scream ... because there is no air or other medium for sound to travel. Sound needs a medium; an intervening substance through which it can travel from point to point; it must be carried on something. That something can be solid, liquid or gas. They can hear you scream underwater ... briefly. Water is a medium. Air is a medium. Nightclub walls are a medium.… View this story
    Filed in: AVFeatureBlogStudy HallAnalogAVDigitalLoudspeakerProcessorSignalSound Reinforcement

  • Wednesday, April 10, 2013
    Dennis A. Bohn 04/10/13 11:22 AM,
    This article is provided by Rane Corporation.   Mainstream digital audio dates from the introduction of the compact disc in the early 1980s. Today two serial interfaces coexist: AES3 (aka AES/EBU) for professional use and S/PDIF for consumer products. Simple low-cost passive conversion between them is possible—even easy—but it is also filled with cautions. The old rule that direct connection between AES/EBU and S/PDIF equipment is bad practice is relaxed today with new receiver chips tolerant to either interface. With… View this story
    Filed in: AVFeatureBlogStudy HallAVDigitalInterconnectNetworkingSignal

  • Monday, November 26, 2012
    audio processing
    Dennis A. Bohn 11/26/12 12:12 PM,
    This article is provided by Rane Corporation.   Objectively comparing pro audio signal processing products is often impossible. Missing on too many data sheets are the conditions used to obtain the published data. Audio specifications come with conditions. Tests are not performed in a vacuum with random parameters. They are conducted using rigorous procedures and the conditions must be stated along with the test results. To understand the conditions, you must first understand the tests. This article introduces the classic… View this story
    Filed in: AVFeatureBlogStudy HallAVMeasurementProcessorSignalSound Reinforcement

  • Thursday, November 15, 2012
    Dennis A. Bohn 11/15/12 06:48 PM,
    This article is provided by Rane Corporation.   While selecting a power amplifier for a specific loudspeaker is often rather easy, selecting a preamp for a specific microphone is not. Terminology is the problem. At one end we find power amplifier and loudspeaker manufacturers speaking the same language, or at least using the same vocabulary. Power amps are rated in watts and ohms, while loudspeakers are rated in ohms with a maximum power handling capability stated in watts. Unfortunately, at… View this story
    Filed in: Live SoundFeatureBlogStudy HallMicrophoneSignalSound ReinforcementSystem

  • Tuesday, November 06, 2012
    Dennis A. Bohn 11/06/12 12:28 PM,
    This article is provided by Rane Corporation.   The dynamic range of an audio passage is the ratio of the loudest signal to the quietest signal. For signal processors the magnitude of the power supply voltages restricts the maximum output signal and the noise floor determines the minimum output signal. Professional-grade signal processing equipment can output maximum levels of +26 dBu, with the best noise floors being down around -94 dBu. This gives a dynamic range of 120 dB—an impressive… View this story
    Filed in: AVFeatureStudy HallProductionAudioAVProcessorSignalSound Reinforcement

  • Monday, July 30, 2012
    constant voltage
    Dennis A. Bohn 07/30/12 10:45 AM,
    This article is provided by Rane Corporation. Constant-voltage is the common name given to a general practice begun in the late 1920s and early 1930s (becoming a U.S. standard in 1949) governing the interface between power amplifiers and loudspeakers used in distributed sound systems. Installations employing ceiling-mounted loudspeakers, such as offices, restaurants and schools are examples of distributed sound systems. Other examples include installations requiring long cable runs, such as stadiums, factories and convention centers. The need to do it… View this story
    Filed in: AVFeaturePollAmplifierAVInstallationInterconnectLoudspeakerPowerSignal