Monitor Loudspeakers

  • John Eargle


To a large extent, today’s high-level monitor loudspeakers had their origins in motion picture technology that began in the late 1920s. Subsequent development of high-frequency (HF) compression driver and horn systems during the 1930s gave us an art that has remained largely unchanged in its fundamental aspects for more than half a century. Recent years have seen remarkable developments in areas once thought to be the domain of consumer high fidelity, and it is now possible to design monitor loudspeakers using direct radiator components that have high output capability with reliability and low distortion. The base of measurement has broadened substantially in the last decade, and we now find monitor loudspeaker designs that have been refined in areas scarcely thought of earlier.


Monitor System Directivity Index Power Response Recording Engineering Monitor Design 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.


  1. 1.
    “Symposium on Auditory Perspective,” Electrical Engineering, pp. 9–32, 214–219 (January 1934).Google Scholar
  2. 2.
    Acoustics Handbook, Hewlett-Packard Applications Note 100 (November 1968).Google Scholar
  3. 3.
    G. Augspurger, “The Importance of Speaker Efficiency,” Electronics World (January 1962).Google Scholar
  4. 4.
    G. Augspurger, “Versatile Low-Level Crossover Networks,” db Magazine (March 1975).Google Scholar
  5. 5.
    J. Benson, “Theory and Design of Loudspeaker Enclosures,” AWA Technical Review, vol. 14, no. 1 (August 1968) .Google Scholar
  6. 6.
    J. Blauert and P. Laws, “Group Delay Distortion in Electroacoustical Systems,” J. Acoustical Society of America, vol. 63, no. 5 (May 1978).Google Scholar
  7. 7.
    M. Collums, High Performance Loudspeakers, Pentech Press, London (1978).Google Scholar
  8. 8.
    L. Beranek, Acoustics, pp. 313–322. McGraw-Hill, New York (1954).Google Scholar
  9. 9.
    M. Engebretson, “Low Frequency Sound Reproduction,” J. Audio Engineering Society, vol. 32, no. 5 (1984).Google Scholar
  10. 10.
    J. Eargle, “Equalizing the Monitoring Environment,” J. Audio Engineering Society, vol. 21, no. 2 (1973).Google Scholar
  11. 11.
    J. Eargle, “Requirements for Studio Monitoring,” db Magazine, (February 1979).Google Scholar
  12. 12.
    J. Eargle, and M. Engebretson, “A Survey of Recording Studio Monitoring Problems,” Recording Engineer/Producer, vol. 4, no. 3 (1973).Google Scholar
  13. 13.
    C. Molloy, “Calculation of the Directivity Index for Various Types of Radiators,” J. Acoustical Society of America, vol. 20, pp. 387–405 (1948).CrossRefGoogle Scholar
  14. 14.
    C. Davis and G. Meeks, “History and Development of the LEDE Control Room Concept,” Preprint number 1954; paper delivered at the AES Convention, Los Angeles, 1982.Google Scholar
  15. 15.
    D. Smith, D. Keele, and J. Eargle, “Improvements in Monitor Loudspeaker Design,” J. Audio Engineering Society, vol. 31, no. 6 (1983).Google Scholar
  16. 16.
    Loudspeakers, an anthology of articles appearing in J. Audio Engineering Society, 1953 to 1983.Google Scholar

Copyright information

© Springer Science+Business Media New York 1992

Authors and Affiliations

  • John Eargle

There are no affiliations available

Personalised recommendations