Use of Tapped Delay Lines in Speaker Work

Fryer PA, Lee R. Use of Tapped Delay Lines in Speaker Work. In: AES Convention 65. Audio Engineering Society; 1980. Paper 1588. Available from: https://aes.org/publications/elibrary-page/?id=3780

@inproceedings{Fryer1980_3780,
  author = {Fryer, Peter A. and Lee, Richard},
  title = {{Use of Tapped Delay Lines in Speaker Work}},
  booktitle = {AES Convention 65},
  note = {Paper 1588},
  year = {1980},
  month = feb,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=3780}
}

TY  - CPAPER
TI  - Use of Tapped Delay Lines in Speaker Work
AU  - Fryer, Peter A.
AU  - Lee, Richard
T2  - AES Convention 65
M1  - Paper 1588
PY  - 1980
DA  - 1980/02/06
UR  - https://aes.org/publications/elibrary-page/?id=3780
PB  - Audio Engineering Society
LA  - en
AB  - A set of 10, 32 stage tapped analogue delay lines has been used to simulate impulse responses. In one mode of operation the taps are set up in order to pre distort the signal fed to a loudspeaker. This pre-distorted impulse response can be arranged under certain circumstances, to be the inverse of the real speaker impulse response. When analyzed it would be found to contain peaks and dips where the real speakers frequency response would contain dips and peaks and it would also contain resonances of the same amplitude and frequency but opposite phase to the real speaker. In this way all linear distortions such as diffraction, resonances, phase errors, amplitude irregularities etx. can be concelled out. The line can also be used to simulate any impulse response desired such as low, high or band pass filters or the impulse response of any electrical circuit. Finally the Hilbert transform can be accomplished by setting the taps appropriately and feeding the frequency reponse into the delay line. The phase response corresponding to this minimum phase frequency response will be found at the summed tap output of the line.
ER  -