Case 6:21-cv-00984-ADA Document 55-13 Filed 05/25/22 Page 1 of 6
`Case 6:21-cv-00984-ADA Document 55-13 Filed 05/25/22 Page 1 of 6
`
`
`
`
`
`
`
`
`
`
`EXHIBIT 15
`EXHIBIT 15
`
`
`

`

`Case 6:21-cv-00984-ADA Document 55-13 Filed 05/25/22 Page 2 of 6
`Case 6:21-cv-00984-ADA Document 55-13 Filed 05/25/22 Page 2 of 6
`
`HANDBOOK FOR SOUND ENGINEERS
`
`THE NEW AUDIO CYCLOPEDIA
`
`APL-JAWBONE_00691166
`APL-JAWBONE_00691166
`
`

`

`Case 6:21-cv-00984-ADA Document 55-13 Filed 05/25/22 Page 3 of 6
`Case 6:21-cv-00984-ADA Document 55-13 Filed 05/25/22 Page 3 of 6
`
`HOWARD W. SAMS & COMPANY
`
`SL
`
`AUDIO LIBRARY
`
`Audio IC Op-Amp Applications, 3rd Edition
`Walter G. Jung
`Audio Production Techniques for Video
`David Miles Huber
`Handbook for Sound Engineers: The New Audio Cyclopedia
`Glen Ballou, Editor
`How to Build Speaker Enclosures
`Alexis Badmaieff and Don Davis
`Introduction to Professional Recording Techniques
`Bruce Bartlett
`(Vlohn Woram Audio Series)
`John D. Lenk’s Troubleshooting & Repair of Audio Equipment
`John D. Lenk
`Modern Recording Techniques, 2nd Edition
`Robert E. Runstein and David Miles Huber
`Musical Applications of Microprocessors, 2nd Edition
`Hal Chamberlin
`Principles of Digital Audio
`Ken C. Pohimann
`Random Access Audio
`David Miles Huber
`Recording Studio Technology
`John Woram
`Sound System Engineering, 2nd Edition
`Don and Carolyn Davis
`Stereo TV: The Production of Multi-Dimensional Audio
`Roman Olearczuk
`
`Forthe retailer nearest vou, or to order directly from the publisher, call
`800-428-SAMS.
`In indiana, Alaska, and Hawaii cali 317-298-5699.
`
`APL-JAWBONE_00691167
`APL-JAWBONE_00691167
`
`

`

`Case 6:21-cv-00984-ADA Document 55-13 Filed 05/25/22 Page 4 of 6
`Case 6:21-cv-00984-ADA Document 55-13 Filed 05/25/22 Page 4 of 6
`
`HANDBOOK FOR SOUND
`ENGINEERS
`
`THE NEW AUDIO CYCLOPEDIA
`
`Glen Ballou
`
`Editor
`
`HOWARD W. SAMS & COMPANY
`A Division of Macmillan, lac.
`
`4300 West 62nd Street
`
`indianapolis, Indiana 46268 USA
`
`APL-JAWBONE_00691168
`APL-JAWBONE_00691168
`
`

`

`Case 6:21-cv-00984-ADA Document 55-13 Filed 05/25/22 Page 5 of 6
`Case 6:21-cv-00984-ADA Document 55-13 Filed 05/25/22 Page 5 of 6
`
`© 1987 by Howard W. Sams & Co.
`A Division of Macmillan, Inc.
`
`FIRST EDITION
`THIRD PRINTING— 1988
`
`Ali rights reserved. No part of this book shail be
`reproduced, stored in a retrieval system, or
`transmitted by any means, electronic, mechanical,
`photocopying, recording, or otherwise, without
`written permission from the publisher. No patent
`liability is assumed with respect to the use of the
`information contained herein. While every
`precaution has been taken in the preparation of this
`book, the publisher assumes no responsibility for
`errors or omissions. Neither is any liability assumed
`for damages resulting from the useof the
`information contained herein.
`
`International Standard Book Number: 0-672-21983-2
`Library of Congress Catalog Card Number: 85-50023
`
`Acquisitions Editor: Charlie Dresser
`Editors: Pryor Associates & Sara Black
`Interior Design: Don Herrington
`Illustrator: William D. Basham
`Cover: Design—Meridian Design Studio, Inc.
`Embossing—Shirley Engraving Co., Inc.
`Photography—Visuals Unique
`Composition: Graphic Typesetting Service, Los Angeles
`Indexer: James M. Moore
`
`Printed in the United States of America
`
`APL-JAWBONE_00691169
`APL-JAWBONE_00691169
`
`

`

`Case 6:21-cv-00984-ADA Document 55-13 Filed 05/25/22 Page 6 of 6
`Case 6:21-cv-00984-ADA Document 55-13 Filed 05/25/22 Page 6 of 6
`
`MICROPHONES
`
`321
`
`Microphones are electroacoustic devices that convert
`acoustical energy into electrical energy. All microphones
`have some type of diaphragm or moving surface that is
`excited by the acoustical wave that hits it. The output is
`an electrical signal that is essentially equivalent in shape
`and amplitude to the acoustical input.
`Microphonesfall into two classes: pressure and veloc-
`ity. In a pressure microphone the diaphragm has only
`one surface exposed to the sound source; therefore, the
`output correspondsto the instantaneous sound pressure
`of the impressed sound waves. A pressure microphoneis
`a zero-order gradient microphone, which is the most
`common type of microphone, and includes carbon, crys-
`tal, dynamic, pressure, and capacitor types.
`The second class of microphoneis the velocity micro-
`phone, also called afirst-order gradient microphone. With
`this microphone, the effect of the sound waveis the dif-
`ference or gradient between the sound wave that hits
`the front and the rear of the diaphragm. In this type,
`the electrical output corresponds substantially to the
`instantaneous particle velocity in the impressed sound
`wave. Ribbon microphones as well as pressure micro-
`phonesthatare altered to produce front-to-back discrim-
`ination are of the velocity type.
`Another method of classifying microphonesis by their
`pickup pattern (i.e., whether or not they discriminate
`between the various directions the sound source comes
`from). These classifications (Fig. 13-1) are:
`
`Omnidirectional—pickupis equal in all directions.
`
`Bidirectional—pickupis equal from the front and back
`and zero from the sides.
`
`Unidirectional—pickupis from thefrontonly, the pickup
`appearing cardioid or heart-shaped.
`
`13.1 CARBON MICROPHONES
`
`One of the earliest types of microphones the carbon
`microphone is still in use today mostly in telephone
`handsets.
`A carbon microphone’ is shown in Fig. 13-2 and oper-
`ates in the following manner.
`Several hundred small carbon granules are held in close
`contact in a brass cup called a button whichis attached
`to the center of a metallic diaphragm. Sound wavesstrik-
`ing the surface of the diaphragm disturb the carbon
`granules, thus changing the contact resistance between
`their surfaces. A battery or dc power source is connected
`in series with the carbon button and the primary of an
`audio impedance-matching transformer. The change in
`contact resistance causes the current from the power
`supply to vary in amplitude resulting in a current wave-
`form similar to the acoustic waveform striking the
`diaphragm.
`The impedanceof the carbon button is low; therefore,
`a stepup transformer is used to increase the impedance
`and voltage output of the microphone andto eliminate
`dc from the output circuit.
`The current through the buttons should not exceed
`that recommended by the manufacturer, or the carbon
`granules maybe fused.If the microphoneis of the double-
`button type, the currents through each button must be
`the same when the diaphragm is at rest. Carbon micro-
`
`
`“SUPER-CARDIOID"|“HYPER-CARDIOID”
`MICROPHONE
`OMNIDIRECTIONAL
`BIDIRECTIONAL
`
`
`
`
`
`
`
`
`Directional Response
`Characteristic
`
`E
`=p teas 8)
`Voltage Output
`E=Eg cos 4
`Random Energy
`33 Efficiency (°)
`oo
`Front Response
`
`Back Response
`Front Random Response
` 067
`Total Random Response
`Front Random Response
`|
`Back Random Response
`
`7
`
`Equivalent Distance
`
`Pickup Angle (2 @)
`For 3 dB Attenuation
`Pickup Angle {2 0)
`For 6 dB Attenuation
`
`lef
`
`Figure 13-1 Performancecharacteristics of various microphones.
`
`APL-JAWBONE_00691502
`APL-JAWBONE_00691502
`
`