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Acoustics and Psychoacoustics, 4th Edition

Book Description

The acoustics of a recording space can have a real impact on the sounds you create and capture. The book gives an essential grounding and understanding to how real music sounds behave and are perceived in real spaces.

With a clear and simple style Howard and Angus walk you through the theory- the science of sound engineering and music production, and the practical ? how to apply it to music spaces so create professional sound, using real world examples and providing audio clips and recorded sounds to work with.

Updated throughout the new edition uncovers the acoustic application for today's recording industry. The website is packed with audio clips, questions and answers, a calculation facility as well as links and resources.

Table of Contents

  1. Cover
  2. Title Page
  3. Copyright
  4. Contents
  5. Preface
  6. Chapter 1: Introduction to Sound
    1. 1.1 Pressure Waves and Sound Transmission
    2. 1.2 Sound Intensity, Power and Pressure Level
    3. 1.3 Adding Sounds Together
    4. 1.4 The Inverse Square Law
    5. 1.5 Sound Interactions
    6. 1.6 Time and Frequency Domains
    7. 1.7 Analyzing Spectra
    8. Bibliography
  7. Chapter 2: Introduction to Hearing
    1. 2.1 The Anatomy of the Hearing System
    2. 2.2 Critical Bands
    3. 2.3 Frequency and Pressure Sensitivity Ranges
    4. 2.4 Loudness Perception
    5. 2.5 Noise-induced Hearing Loss
    6. 2.6 Perception of Sound Source Direction
    7. References
  8. Chapter 3: Notes and Harmony
    1. 3.1 Musical Notes
    2. 3.2 Hearing Pitch
    3. 3.3 Hearing Notes
    4. 3.4 Tuning Systems
    5. References
  9. Chapter 4: Acoustic Model for Musical Instruments
    1. 4.1 A “Black Box” Model of Musical Instruments
    2. 4.2 Stringed Instruments
    3. 4.3 Wind Instruments
    4. 4.4 Percussion Instruments
    5. 4.5 The Speaking and Singing Voice
    6. References
  10. Chapter 5: Hearing Timbre and Deceiving the Ear
    1. 5.1 What is Timbre?
    2. 5.2 Acoustics of Timbre
    3. 5.3 Psychoacoustics of Timbre
    4. 5.4 The Pipe Organ as a Timbral Synthesizer
    5. 5.5 Deceiving the Ear
    6. References
  11. Chapter 6: Hearing Music in Different Environments
    1. 6.1 Acoustics of Enclosed Spaces
    2. 6.2 Room Modes and Standing Waves
    3. 6.3 Absorption Materials
    4. 6.4 Diffusion Materials
    5. 6.5 Sound Isolation
    6. 6.6 The Effect of Room Boundaries on Loudspeaker Output
    7. 6.7 Reduction of Enclosure Diffraction Effects
    8. References
    9. Further Reading
  12. Chapter 7: Applications: Acoustics and Psychoacoustics Combined
    1. 7.1 Critical Listening Room Design
    2. 7.2 Pure-Tone and Speech Audiometry
    3. 7.3 Psychoacoustic Testing
    4. 7.4 Filtering and Equalization
    5. 7.5 Public Address Systems
    6. 7.6 Noise-reducing Headphones
    7. 7.7 “Mosquito” Units and “Teen Buzz” Ring Tones
    8. 7.8 Audio Coding Systems
    9. 7.9 Summary
    10. References
    11. Further Reading
  13. Appendix 1: The Fourier Transform
    1. A1.1 Fourier’s Theorem
    2. A1.2 Fourier Analysis
    3. A1.3 The Complex Fourier Series
    4. A1.4 Frequency Analysis of Non-periodic Signals: The Fourier Transform
    5. A1.5 The Convolution Theorem
    6. A1.6 A Fourier Transform Example: The Single Pulse
    7. A1.7 The Discrete Fourier Transform
  14. Appendix 2: Solving the ERB Equation
  15. Appendix 3: Converting between Frequency Ratios and Cents
  16. Appendix 4: Deriving the Reverberation Time Equation
  17. Appendix 5: Deriving the Reverberation Time Equation for Different Frequencies and Surfaces
  18. Appendix 6: The Effect of Speaker Size on its Polar Pattern
    1. A6.1 An Array of Point Sources
    2. A6.2 Application to Diffuser Design
    3. A6.3 Application to Array Loudspeakers
    4. A6.4 Application to Constant Directivity Horns
    5. A6.5 The Effect of Mouth, or Array, Size on Beamwidth
    6. References
    7. Further Reading
  19. Appendix 7: Track Listing for the Audio Compact Disc
  20. Index