Outside of recording conditions themselves, there is more variability in loudspeakers than in any other element or process in the sound recording-reproduction chain. No other element has received such wide attention in the pages of the Journal of the Audio Engineering Society, and we will assume that the reader is familiar with the basic methods of transduction employed in loudspeakers. Principles have not changed over the years, but attributes and specific goals have. We will look at the major developments of the last fifty years and attempt to point directions for the future.
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