Acoustic and sound engineering Books

Book SynopsisTable of ContentsIntroduction 1 Part 1: Leaping into Logic Pro 5 Chapter 1: Getting Logic Pro Up and Sprinting 7 Chapter 2: Examining Logic Pro Projects 21 Chapter 3: Exploring the Main Window and Tracks Area 37 Chapter 4: Embracing Tracks and Regions 65 Part 2: Digital Recording and Using Prerecorded Media 81 Chapter 5: Introducing Digital Audio and MIDI 83 Chapter 6: Recording Audio 97 Chapter 7: Recording MIDI 111 Chapter 8: Adding Media to Your Project 123 Part 3: Making Music with Virtual Instruments 135 Chapter 9: Making Beats with Drum and Percussion Software Instruments 137 Chapter 10: Playing Virtual Vintage Instruments 163 Chapter 11: Sound Design with Synths and Samplers 185 Chapter 12: Conducting a Virtual Orchestra 213 Part 4: Arranging and Editing Your Project 225 Chapter 13: Arranging Your Music 227 Chapter 14: Editing Audio Tracks 255 Chapter 15: Editing MIDI Tracks 277 Part 5: Mixing, Mastering, and Sharing Your Music 297 Chapter 16: Mixing Your Project 299 Chapter 17: Shaping Your Mix with Effects 321 Chapter 18: Automating Your Mix 341 Chapter 19: Mastering Your Final Track 347 Chapter 20: Bouncing and Sharing Your Music 355 Part 6: The Part of Tens 363 Chapter 21: Ten Ways to Use an iPad with Logic Pro 365 Chapter 22: Ten Tips to Speed Your Workflow 377 Index 383

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Book SynopsisModern Recording Techniques is the bestselling, authoritative guide to sound and music recording. Whether youâre just starting out or are looking to improve your skills, this book provides an in-depth guide to the art and technologies of music production and is a must-have reference for all audio bookshelves. Using its familiar and accessible writing style, this new edition has been fully updated, presenting the latest production technologies and including detailed coverage of digital audio workstations (DAWs), networked audio, musical instrument digital interface (MIDI), signal processing and much more. Modern Recording Techniques is supported by a host of video tutorials, which provide additional listening and visual examples, making this text essential reading for students, instructors and professionals.This updated tenth edition includes: Newly expanded Art and Technology chapters, providing more tips, tricks and insights for getting the best out of your recording, mixing, monitoring and mastering An expanded MIDI chapter to include MIDI 2.0 More in-depth coverage of digital audio and the digital audio workstation Greater coverage of immersive audio, including Dolby Atmos Production Table of Contents1. Introduction 2. Sound and Hearing 3. Studio Acoustics and Design 4. Microphones: Design and Application 5. The Analog Tape Recorder 6. Digital Audio Technology 7. The Digital Audio Workstation 8. Groove Tools and Techniques 9. MIDI and Electronic Music Technology 10. The iOS in Music Production 11. Multimedia and the Web 12. Synchronization 13. Amplifiers 14. Power- and Ground-Related Issues 15. Signal Processing 16. The Art and Technology of Monitoring 17. The Art and Technology of Recording 18. The Art and Technology of Mixing 19. The Art and Technology of Mastering 20. Immersive Audio 21. Media Distribution and Manufacturing 22. It's all about the Journey

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Book SynopsisThe latest hot camera is pretty irrelevant if one can''t understand what''s happening on screen. The key to any narrative is in the dialogue and voice over, but if this is unintelligible or difficult to hear, viewers will soon lose interest. With real world applications and a narrative to keep the reader's interest, Production Sound Mixing is the indispensable guide for film and video audio recording. Written by veteran sound mixer John J. Murphy, the book offers a step by step collaborative journey through the basic physics of sound, concluding with a practical guide of the latest techniques and equipment available to all who are interested in the best audio for their projects. Structured to mimic a 14-week semester, each chapter begins with an audio problem to be solved and ends with a solution drawn from information gleaned from past chapters. Suggested movie scenes that demonstrate the relevant audio techniques will also be included. Equally applicable to studio and locationTrade ReviewAn excellent, comprehensive, and contemporary primer for those interested in becoming sound recordists or mixers. John J. Murphy’s Production Sound Mixing guides you through all you need to know to understand sound recording and technique. * Bill Linsman, Associate Professor of Film and Television, Boston University, USA, and Former Professional Sound Recordist and Mixer *Full of detailed, specific, practical knowledge as well as tips that only pros can teach, Production Sound Mixing is a valuable resource with a relaxed, readable style. With professional—but not overly technical—insights, John M. Murphy covers the physics of sound, equipment, work practice, and troubleshooting for faculty, students, and amateurs in sound production. * Peter Kiwitt, Assistant Professor, School of Film and Animation, Rochester Institute of Technology, USA, and Direcor Member of the Directors Guild of America *I've waited years for this book: it is far and away the most useful book on production audio for first-time students that I've encountered. * Piers Storey, University of Suffolk, UK *Comprehensive guide to the theory, technology and working practices involved in capturing location sound. With plenty of diagrams and an accessible style, this will be of huge value to Film sound students and aspiring professionals. * Simon Waite, Staffordshire University *Table of ContentsPreface Acknowledgements Introduction Chapter 1: What is Sound? Chapter 2: Microphones: The Basic Types and How They Work Chapter 3: The DSLR Shoot: Making the Most of What’s at Hand Chapter 4: The Audio Mixer Chapter 5: Choosing a Location Chapter 6: Booming: The View from Above Chapter 7: Wireless Microphones: What They Are, How They Work, and How and Why We Use Them Chapter 8: Interviews! Chapter 9: On the Set Chapter 10: Prep Is Everything: Your Basic Kit Chapter 11: Synchronization Chapter 12: Post-Production: Where Does It GO From Here? Chapter 13: Opportunities for Sound Work in Film/Video Chapter 14: Stereo: When Two Become One Appendix Glossary Index

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Book SynopsisIt was not until the beginning of the twentieth century that the physicist Wallace Clement Sabine developed his theory of reverberation, which has remained fundamental to architectural acoustics to this day, and has subsequently been applied to many building types, especially those for the performing arts. Yet the practice of architectural acoustics goes back much further with the impressive designs of the Greeks proving highly influential. This comprehensive book explores the development of acoustics in architectural design from the theatres of Classical Greece, through the early development of opera houses, concert halls and theatres, to the research work of Sabine and his successors and its influence on twentieth- and twenty-first-century buildings. Topics covered include: the fundamentals of acoustics; the influential legacy of the Greeks and Romans; the evolving design of opera houses, theatres and concert halls and, finally, the acoustics of schools, music schools and recital halls.Trade ReviewThroughout the book, Orlowski’s writing style is clear, concise, on-point and highly engaging. For students looking to study the history and theory of acoustics in architecture and those already plying their trade in the arts, the book is a valuable work. -- Simon Duff * Lighting & Sound International Magazine *The book is very informative. It will be a good reference for all those dealing with the design of classrooms, concert halls, and opera houses, etc. -- Applied Acoustics reviewer Siu-Kit Lau * Applied Acoustics Journal on Science Direct *Raf Orlowski’s book is a welcome addition to the literature on architectural acoustics. It provides a comprehensive review of the development of the acoustic design of many different types of building with particular emphasis on spaces for the performing arts such as opera houses, theatres and concert halls. -- Bridget Shield MBE, reviewer Acoustics Bulletin * Acoustics Bulletin *

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Book Synopsis'Once you start reading this utterly fascinating book it is nigh impossible to put it down ... This is a gem' Dame Evelyn Glennie Vic Tandy was a level-headed scientist, but there was no denying it: at this late hour in his lonely lab at Coventry University, he kept seeing a grey apparition out of the corner of his eye. Bathed in a cold sweat, his heart pounding in his chest, he questioned his own rational mind - could this really be a supernatural encounter? What on Earth could be sending such an eerie shudder through his body? Strange frequencies are all around us - in fact, there may be no limit to the marvellous power of vibration. So catch a wave with musical adventurer Richard Mainwaring and take a wild ride across the keys of his infinite piano. Along the way, you'll join the quest for the world's loneliest whale, whose tragically out-of-tune song has haunted oceanographers for decades. You'll discover what strange melodies are hidden in rats' whiskers and rainbows. And you'll find out how vibrations good and bad govern more or less everything around you.Trade ReviewExtraordinarily clear and concise science writing ... this is infotainment at its most charming and lightweight ... Mainwaring's garrulous offering is the real deal * Spectator *How can a book about sound, vibration and frequency be so enthralling, entertaining and informative? Once you start reading this utterly fascinating book it is nigh impossible to put it down. Richard Mainwaring is a master story-teller and communicator who whisks us into his world of child-like curiosity, unleashing stories from what can often be perplexing subjects. From frequencies of tsunamis, ghosts, rainbows to many aspects of our everyday lives, the author provides countless entry points to help us understand the sound world we live in. This is a gem -- Dame Evelyn GlennieTruly an eye opener, rewarding you with many 'oh my god I never knew that' moments -- Producer Steve Levine

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Book SynopsisHow do we understand culture and shape its future? How do we cross the bridge between culture as ideas and feelings and physical, cultural objects, all this within the endless variety and complexity of modern and traditional societies? This book proposes a Physical Culture Theory, taking culture as a self-organizing impulse pattern of electric forces. Bridging the gap to consciousness, the Physical Culture Theory proposes that consciousness content, what we think, hear, feel, or see is also just this: spatio-temporal electric fields. Music is a perfect candidate to elaborate on such a Physical Culture Theory. Music is all three, musical instrument acoustics, music psychology, and music ethnology. They emerge into living musical systems like all life is self-organization. Therefore the Physical Culture Theory knows no split between nature and nurture, hard and soft sciences, brains and musical instruments. It formulates mathematically complex systems as Physical Models rather than Artificial Intelligence. It includes ethical rules for maintaining life and finds culture and arts to be Human Rights. Enlarging these ideas and mathematical methods into all fields of culture, ecology, economy, or the like will be the task for the next decades to come.Table of ContentsSome Fundamentals of Musical Acoustics.- Some Fundamentals of Music Psychology.- Some Fundamentals of Comparative Musicology.- Impulses.- Turbulence.- Saxophone.- More wind instruments.- Friction Instruments.- Guitars and Plucked String Instruments.- The Human Voice.- Neurophysiology of Music.- Music and Consciousness.- Reconstructing Impulses - The Ear and the Auditory Pathway.- Timbre.- Rhythm, Musical Form, and Memory.- Music, Meaning, and Emotion.- Physical Culture Theory.

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Book SynopsisCoinciding with the 75th anniversary of the first commercial LP, In the Groove is an authoritative and visual celebration of the history and culture of vinyl record collecting and turntables.Trade Review"...a fascinating read, and the accompanying photos are excellent in illustrating the story and are essential to this book...a brilliant book and would be the perfect Christmas gift for the collectors on your holiday shopping list. The book is full of detailed asides, which make it so fascinating to read. It is those little touches that add so much to the overall book and make it such a necessary addition to your library. * Spill Magazine *"Jam-packed with amazing photography, this fascinating book is the perfect gift for anyone who cherishes their stereo and vinyl collection but offers info and inspiration for others who are just starting theirs." * Addicted Magazine *Table of ContentsTHE BIRTH OF COOL - THE RISE OF THE LP (AND OTHER VINYL FORMATS) DROPPING THE NEEDLE - TURNTABLES AND OTHER HI-FI EQUIPMENT SOMETHING UP THE SLEEVE - THE ART OF THE LP SHOP AROUND - DOWN AT THE RECORD STORE BRINGING IT ALL BACK HOME - RECORD-COLLECTING CULTURE RESOURCES IMAGE CREDITS AUTHOR BIOGRAPHIES INDEX

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Book SynopsisThis Element provides a demonstration of how evolving external cues, and internal cognitive scripts interact with technology and social conventions in the recording studio to impact a popular music musician's performance and, in effect, the creation of a new Work.Table of Contents1. Repetition in performance; 2. The recording studio as a construction site; 3. The performer as a reflective practitioner; 4. That's perfect! Let's do it again; 5. Organisation can make it worth the risk; 6. Seeking out the slippery hills.

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Book SynopsisThe first edition of Sound Art Revisited (published as Sound Art: Beyond Music, Between Categories) served as a groundbreaking work toward defining this emerging field, and this fully updated volume significantly expands the story to include current research since the book's initial release. Viewed through a lens of music and art histories rather than philosophical theory, it covers dozens of artists and works not found in any other book on the subject. Locating sound art''s roots across the centuries from spatialized church music to the technological developments of radio, sound recording, and the telephone, the book traces the evolution of sound installations and sound sculpture, the rise of sound art exhibitions and galleries, and finally looks at the critical cross-pollination that marks some of the most important and challenging art with and about sound being produced today.Trade Review[An] important text for anyone involved in any form of sound studies. * The Wire (joint-reviewed with Acoustic Territories) *Alan Licht’s historical approach successfully unpacks the development of sound art and explains its development through a multitude of examples. He ... brings new clarity into the discussion of sound art and its variations, remembering its roots and perhaps more importantly bringing social perspectives to bear in the narrative for scrutinising conceptual, instrumental and performative aspects of this many-faceted art form. * Organised Sound *I am pleased to discover at last an English-language, far-reaching survey of sound art rightly focusing on both theoretical and historical aspects while dealing with challenging categorization and placement issues such as situating sound art with regard to the fields of experimental music, fine art, and even sound studies. Sound art is becoming an increasingly important art form; this volume, a highly revised and expanded version of Licht’s earlier Sound Art: Beyond Music, Between Categories, is long overdue. * Leigh Landy, Director of Music – Technology and Innovation, Institute for Sonic Creativity, De Montfort University, UK *Sound Art Revisited demonstrates in abundance that sound can--and must--be heard throughout all of the arts. Alan Licht’s book is brimming with examples that traverse art, music, and the spaces in between. From seminal figures such as Maryanne Amacher, Max Neuhaus, and Alvin Lucier through to contemporary artists including Christine Sun Kim, Marco Fusinato, and Camille Norment, this book is essential reading for those looking to discover the breadth of practices encompassed by the sonic turn of the arts. * Caleb Kelly, Senior Academic, UNSW Art & Design, Australia *Table of ContentsPreface 1. Introduction 2. Prehistories and Early Manifestations 3. Sound and the Art World 4. Recent Sound Art Notes Index

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Book SynopsisListening, Belonging, and Memory puts connected listening at the center of current debates around whose voices might be listened to, who by, and why. Arguing that listening has to be understood in relation to the self, nation, age, witnessing, and memory, it uses examples from digital storytelling, listening projects, and critical media analysis to highlight connections between listening and power. It centers on voices, stories, and silence, how they interweave, and are activated, maneuvered, reconfigured, and denied. It focuses on the small, microengagementsthat crouch within the superstructures of violent border control and the censorious policing of sonic citizenry, identifying cracks in the reshuffling of histories and hierarchies that connected listening affords.Trade ReviewGardner does for sound what Ellis did for vision in Seeing Things (2000), establish listening as witnessing, working through and in this book as thinking with your ears. Immersed as we are in podcasts, music streaming, radio, political speech, text-to-audio machine learning, and voices from the analogue past re-mastered, Gardner’s book is very timely. Listening, Belonging, and Memory addresses the multi-modality of contemporary listening, but also the social justice rationale for proper and careful listening in an age of multiple and conflicting claims to free speech in our slogan-dominated visual culture. * Joanne Garde-Hansen, Professor, Centre for Cultural and Media Policy Studies, University of Warwick, UK *Abigail Gardner ponders the taken-for-granted act of listening, to understand its contexts and nuanced relationship to how voices and the stories they tell are heard, to belonging, to memory and thus to understanding history, community and indeed one’s own self. This is a richly empirical book that listens to a range of voices and representations including those of war veterans, to migrants and their music, social media memorialization by the Auschwitz Museum of the victims of the Holocaust to everyday narratives recorded by public service broadcasting. Between sound, image, narrative, and silence (and the silenced) it is humanely attuned to and informative about the ways in which listening has been theorized and practiced. Central to this process is a lyrically expressed engagement with method as Gardner is vividly present in this book, her affective and accessible writing inviting us to understand the scholar’s own act of listening as research, reflective about her own position and processes of listening to others in the act of telling. Informed by a committed Cultural Studies tradition, a feminist politics and a sensitivity and respect for ordinary life, Gardner is someone to listen with and closer to in comprehending contemporary memory practice and everyday historiographical work. * Paul Long, Professor in Creative and Cultural Industries and Director, Monash Migration and Inclusion Centre, Monash University, Australia *Poetic in its tone and sensibility and yet carrying strong political and ethical threads, this book beautifully considers listening in the structures of communities and storytelling. Drawing on key work within memory studies, feminism, affect and media studies, the book takes a variety of approaches to carefully map the impact and power of listening. * Kristyn Gorton, Professor of Film and Television, Leeds University, UK *Table of ContentsList of Figures Preface Acknowledgements Introduction: Life as a Listener 1.Connecting Lineages 2. Applying Connected Listening 3. Listening Across Age(s) 4. Listening and Belonging 5. Listening, Migration, Voice, and Place 6. Echoes Bibliography Index

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisThe book presents a broad-scope analysis of piezoelectric electromechanical transducers and the related aspects of practical transducer design for underwater applications. It uses an energy method for analyzing transducer problems that provides the physical insight important for the understanding of electromechanical devices. Application of the method is first illustrated with transducer examples that can be modeled as systems with a single degree of freedom, (such as spheres, short cylinders, bars and flexural disks and plates made of piezoelectric ceramics). Thereupon, transducers are modeled as devices with multiple degrees of freedom. In all these cases, results of modeling are presented in the form of equivalent electromechanical circuits convenient for the calculation of the transducers’ operational characteristics. Special focus is made on the effects of coupled vibrations in mechanical systems on transducer performance. The book also provides extensive coverage of acoustic radiation including acoustic interaction between the transducers. The book is inherently multidisciplinary. It provides essential background regarding the vibration of elastic passive and piezoelectric bodies, piezoelectricity, acoustic radiation, and transducer characterization. Scientists and engineers working in the field of electroacoustics and those involved in education in the field will find this material useful not only for underwater acoustics, but also for electromechanics, energy conversion and medical ultrasonics. Part I contains an introduction to the energy method illustrated with examples of one degree of freedom transducers. It is self-sufficient and can be read independently.

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Book SynopsisThis book is an authoritative but uniquely accessible and highly illustrated guide to good acoustic design practice for architects, interior designers and acoustic professionals. It provides a user-friendly introduction to architectural acoustics and acoustics technology where the market is crowded with dense and technical texts. It will go through each typology in turn explaining the key acoustic concepts with highly illustrated and international case studies that demonstrate cutting-edge practice and technology, innovative design techniques and common challenges and solutions.Table of ContentsAcknowledgementsForeword1. Introduction to Acoustics2. Acoustic Technology3. Case Studies by typology3.1 Commercial – office spaces, warehouses, lofts, industrial spaces, atriums3.2 Education – lecture and meeting spaces, class rooms, class rooms of future3.3 Courthouses – Courtrooms3.4 Healthcare – Acoustics and the role in recovery. Hospital Design3.5 Hotels – Key issues – what makes a successful hotel entertainment and good sleep3.6 Immersive Spaces – Future of Multimedia based design3.7 Labs/Research3.8 Libraries3.9 Movie Theatre/Cinema3.10 Museums and Galleries The challenge of sound and light3.11 Performing Arts/Entertainment Concert Halls - Recital spaces - Theatre - Opera - Dance- Amplified Music - What’s the Difference?How to design well for each – key things to consider3.12 Recording/Broadcast3.13 Restaurants3.14 Retail3.15 Sport – Stadiums, Arenas, Aquatics Centres – the importance of sound for winning3.16 Transport-Air-Road-Rail3.17 Worship3.18 Urban design and soundscapes3.19 Sound for Art3.20 ResidentialConclusion Glossary of basic termsindex of project names and/or design issue

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Book SynopsisAs featured in Wallpaper*, The Wall Street Journal, Monocle, and New York Magazine’s, The Strategist The design, history, and cultural impact of turntables and vinyl technology: the twin powerhouses of the 'vinyl revival' phenomenon Interest in turntables and records is enjoying a renaissance as analog natives and new converts find their enduring style and extraordinary sound inimitable. Revolution, a follow-up to Phaidon's beloved Hi-Fi: The History of High-End Audio Design, explores the design and cultural impact of the turntable, the component at the center of the 'vinyl revival'. An essential book for audiophiles, collectors, and design fans, Revolution showcases the fascinating history of turntables and vinyl technology from the 1950s to today's cutting-edge designs. Written by Schwartz, author of Hi-Fi: The History of High-End Audio Design, who is an audio design expert and passionate about analog music, this book includes 300 illustrations from the world of turntables, from affordable to high-end, and everything in between. An essential addition to the bookshelf for analog natives and those new to the vinyl revival as well as music and design lovers.Trade Review 'An entertaining insight into the many ways that designers have shaped the simple record player over the decades... Excellent.' – Wallpaper*‘If you love vinyl, you’ll want to give hi-fi enthusiast Gideon Schwartz’s new book a spin.’ – Wall Street Journal‘Essential for both seasoned collectors and anyone new to the vinyl-revival movement.’ – New York Magazine, The Strategist 'A lavishly photographed survey of the ever-evolving turntable.' – Fast Company‘The turntable is once again in the spotlight.’ – HYPEBEAST 'A magnificent title.' – Ecoustics 'A celebration of the designs that brought music to life.' – Acquire 'Audiophiles will find curiosities to salivate over.' – WIRED 'Stunning devices [are] on display in this sumptuous book featuring inventive brands.' – Globe and Mail 'This coffee table book is loaded with stunning visuals and impressive details about the making of eye-catching record players.' – Cool Material 'A perfect marriage of sound and vision.' – Departures 'Captures the staying power of turntables.' – The Creative Factor 'A history rich with numerous luminaries of industrial design.' – Design Milk‘[A] favorite to spruce up someone's space and pique their intellectual curiosity.’ – Valet Mag 'Explores the cultural impact of a musical format that's still going strong.' – The Dieline 'Vinyl's resurgence shows no signs of slowing down and… audio design expert Gideon Schwartz…examines the impact of these machines from both a design and cultural standpoint.' – Uncrate 'Hundreds of images of turntables, their stories, and the rise, fall, and rebirth of the medium.' – The Awesomer 'Schwartz tracks the record player from its earliest days as a blueprint… through its current high-end/high-tech iterations… with no shortage of detail.' – Psychobabble

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Book SynopsisTable of ContentsContents List of Illustrations Acknowledgments Introduction: Stereo Front and Center 1. Widescreens, Headphones, and Concert Halls: Film Stereo’s Identity Crisis 2. Fantasia and Failure on a Theme by Bell Telephone 3. The Cinerama Experience 83 4. The Triple-Track Disruption and the CinemaScope Solution 5. Perspecta, Todd-AO, and the Emergence of Monocentrism 6. Dolby Stereo: The End of an Era Conclusion: Life’s the Same, Movies in Stereo Notes Bibliography Illustration Credits Index

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Book SynopsisMichel Chion’s landmark Audio-Vision has exerted significant influence on our understanding of sound-image relations since its original publication in 1994. In this updated and expanded edition, Chion considers many additional examples from recent world cinema and formulates new questions for the contemporary media environment.Trade ReviewAn original and useful model for the audiovisual analysis of film. * Production Expert *Updated and expanded, with additional material from recent film production, the 2019 edition of Audio-Vision will soon take its place as a valuable textbook for those interested in literary research and practice of cinematic soundtrack. -- Dr. Nick Poulakis * CINEJ Cinema Journal *Without a shadow of a doubt one of the best books I have ever read, Audio-Vision’s reprinting is a cause for great celebration. After a quarter of a century, it remains the first port of call for scholars and students of audiovisual culture, offering a cornucopia of theories that conceptualize sound's relationship with the moving image. Never less than enthralling, its acuity has not been dulled by more recent theory and scholarship. -- K. J. Donnelly, author of Occult Aesthetics: Synchronization in Sound FilmWhen Audio-Vision first appeared in 1994, it became a lifeline for the burgeoning field of sound/media studies, providing a veritable roadmap to a discourse just beginning to crystallize. The second edition is no less momentous; Chion seamlessly brings current cinematic offerings into his theoretical purview, showing that his understanding of the filmic soundspace is as insightful to historians, theorists, and students as ever. A fundamental text for soundtrack studies. -- Daniel Goldmark, author of Tunes for 'Toons: Music and the Hollywood CartoonMichel Chion’s work is a thrilling exploration of film sound in all its forms: real and symbolic, technical and conceptual, dimensional and suggestive. He gives us all the tools we need for describing what films allow us to hear. Chion’s many neologisms are like notes that can reverberate infinitely for every filmgoer, and through innumerable films. This revised edition of Audio-Vision is a new benchmark for any film scholar. -- Elsie Walker, author of Understanding Sound Tracks Through Film TheoryTable of ContentsForeword (1994), by Walter MurchPrefacePart I. The Audiovisual Contract1. Projections of Sound on Image2. The Three Listening Modes3. Lines and Points: Horizontal and Vertical Perspectives on Audiovisual Relations4. The Audiovisual Scene5. The Real and the Rendered6. Phantom Audio-Vision; or, The Audio-DivisualPart II. Beyond Sounds and Images7. Sound Film Worthy of the Name8. Toward an Audio-Logo-Visual Poetics9. An Introduction to Audiovisual AnalysisGlossaryChronology: Landmarks of the Sound FilmNotesBibliographyIndex

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Book SynopsisAcoustic Justice engages issues of recognition and misrecognition by mobilizing an acoustic framework. From the vibrational intensities of common life to the rhythm of bodies in movement, and drawing from his ongoing work on sound and agency, Brandon LaBelle positions acoustics, and the broader experience of listening, as a dynamic means for fostering responsiveness, understanding, dispute, and the work of reorientation. As such, acoustic justice emerges as a compelling platform for engaging struggles over the right to speak and to be heard that extends toward a broader materialist and planetary view. This entails critically addressing questions of space, borders, community, and the acoustic norms defining capacities of listening, leading to what LaBelle terms poetic ecologies of resonance. Acoustic Justice works at issues of recognition and resistance, place and displacement, by moving across a range of pertinent references and topics, from social practices and sound artTrade ReviewThis is yet another delightful read on sonic agency by Brandon LaBelle, highlighting this time what is at stake when we think of social and political transformation as an acoustic question. In Acoustic Justice, LaBelle takes the readers through thrilling discussions on ‘hearing differently,’ on ‘generous infrastructure’ and ‘relating otherwise’ – all of them involved in reconfiguring our capacity to act politically. LaBelle's unique approach offers insight into the temporal and situational realms of sound and listening that are fleeting yet necessary for any process of reimagining political possibilities. In the world today, marked by intense structural feelings of uncertainty and fragility, his theorizing of an impersonal, distributed, and collaborative political agency is not just refreshing but indeed very much needed. This book resonates across various fields of social sciences and humanities and is an essential reading for those interested in political theory, sound studies, resistance, and affect theory. * Ana Hofman, Senior Research Fellow, Research Centre of Slovenian Academy of Sciences and Arts, Slovenia *Brandon LaBelle’s Acoustic Justice makes important contributions to the scholarship on sound, politics and the public sphere. Exploring how listening as a form of attentiveness functions in an arena of sonic agency, LaBelle deftly illustrates how an acoustic justice exercises a democratic collective action. This is a non-state form of democracy with the capacity to bring into being an extrajudicial civic body, one with greater capacity for what he calls ‘hearing differently.’ Hearing differently accounts for differences in what is or can be heard as a result of silences, gaps, deafnesses, or absences. Offering up acoustics as a metric for both material and social relations, LaBelle dynamically reads the encounter between the organic and built environments as a ‘distribution of the heard’ invigorating our understanding of the polis as a social acoustic phenomenon. * Roshanak Kheshti, Associate Professor of Ethnic Studies, University of California, San Diego, USA *Labelle is such a playful and expansive thinker. Acoustic Justice draws so much together across art, philosophy, activism, and beyond to sound an urgent intervention in the politics of attention: a commitment both to hearing differently and to hearing difference. This is an account of acoustics unbound from the audible and an account of justice just 'to the side of law,' that migrates in and out of the legal system and insists on the need for a fair hearing 'in the space of the ordinary.' * James E K Parker, author of Acoustic Jurisprudence: Listening to the Trial of Simon Bikindi (2015) *Table of Contents1. Holding, Healing, Attending: Towards Collaborative Living 2. Acoustic Performativity: Practices of Composition 3. Poetic Ecologies: Resonance, Imagination, Repair 4. Skin-Work: Queer Acoustics, Borderspaces, Economies of Desire 5. Deaf Attention: Peripheral Visions, Spatial Meanings, Sensory Politics 6. Acoustic Support

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Book SynopsisFeaturing chapters by emerging and established scholars as well as by leading practitioners in the field, this Handbook both describes the state of algorithmic composition and also set the agenda for critical research on and analysis of algorithmic music.Trade Reviewit is undoubtedly an important didactic resource for students of algorithmic composition, including beginners, who want to get a wide and up-to-date overview of the various applications of algorithms in music scenarios. * Alessandro Anatrini, Musicae Scientiae *Table of ContentsSection 1: Grounding algorithmic music 1. Musical Algorithms as Tools, Languages and Partners: A Perspective Alex McLean, Roger T. Dean 2. Algorithmic Music and the Philosophy of Time Julian Rohrhuber 3. Action and Perception: Embodying Algorithms and the Extended Mind Palle Dahlstedt 4. Origins of Algorithmic Thinking in Music Nick Collins 5. Algorithmic Thinking and Central Javanese Gamelan Charles Matthews Perspectives on Practice A 6. Thoughts on Composing with Algorithms Laurie Spiegel 7. Mexico and India: Diversifying and Expanding the Live Coding Community Alexandra Cardenas 8. Deautomatization of Breakfast Perceptions Renate Wieser 9. Why Do We Want Our Computers to Improvise? George Lewis Section 2: What can algorithms in music do? 10. Compositions Created with Constraint Programming Torsten Anders 11. Linking Sonic Aesthetics With Mathematical Theories Andy Milne 12. Machine Learning and Listening in Composition and Performance Rebecca Fiebrink and Baptiste Caramiaux 13. Biologically-Inspired and Agent-Based Algorithms for Music Alice Eldridge and Oliver Bown 14. Performing with Patterns of Time Thor Magnusson, University of Sussex, Alex McLean, FoAM Kernow 15. Computational Creativity and Live Algorithms Geraint Wiggins and Jamie Forth 16. Tensions and Techniques in Live Coding Performance Charlie Roberts and Graham Wakefield Perspectives on Practice B 17. When Algorithms Meet Machines Sarah Angliss 18. Notes on Pattern Synthesis Mark Fell 19. Performing algorithms Kristin Erickson Section 3: Purposes of algorithms for the music maker 20. Network music and the algorithmic ensemble David Ogborn 21. Sonification != music Carla Scaletti 22. Color is the Keyboard: Transcoding from Visual to Sonic Margaret Schedel 23. Designing Interfaces for Musical Algorithms Jamie Bullock, Integra Lab, Birmingham Conservatoire 24. Ecooperatic Music Game Theory David Kanaga 25. Algorithmic Spatialisation Jan C Schacher Perspectives on Practice C 26. Form, Chaos and the Nuance of Beauty Mileece I'Anson 27. Beyond Me Kaffe Matthews 28. Mathematical Theory in Music Practice Jan Beran 29. Thoughts on Algorithmic Practice Warren Burt Section 4: Algorithmic Culture 30. The Audience Reception of Algorithmic Music Mary Simoni 31. Technology, Creativity and The Social in Algorithmic Music Christopher Haworth 32. Algorithms and Computation in Music Education Andrew Brown 33. (Micro) Politics of Algorithmic Music: Towards a Tactical Media Archaeology Geoff Cox and Morten Riis 34. Algorithmic Music for Mass Consumption and Universal Production Yuli Levtov Perspectives on Practice D 35. Algorithmic Trajectories Alex McLean and Roger Dean

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Book SynopsisFinding Your Career in the Modern Audio Industry equips the reader with the skills they need to turn an interest in audio, sound, or music technology into a career.This book provides insight for aspiring professionals seeking audio-related opportunities in entertainment, technology, education, and more. In the audio industry, there is typically a gap between those in-training and those with professional (and financially sustainable) careers. This book bridges the information gap, offering practical and real-world advice to those in this volatile stage of their career. Including 70+ interviews with professionals from over 20 countries, Finding Your Career in the Modern Audio Industry offers insight into how others (across the industry and the world) have applied entrepreneurial thinking, problem-solving, and creative solutions to build their careers.Including international case studies and interviews with diverse professionals, Finding Your Career iTrade Review"When I received word about this book, I first thought "How could anyone write about finding a career in the audio biz?" The possibilities and personal experiences of this lifelong process are simply too big and varied to write about. Then, I started reading and, WOW, through the use of straightforward talk and first-hand excerpts from industry pro experiences, I think she nailed it! I'm a huge fan of anyone who'll take the time to help others find their way in the audio and music production industry. We all need guidance to make it through our own personal maze in life. I'd truly recommend it to anyone who wants to devote their life towards getting and maintaining a career in the music industry." David Miles Huber, 4X Grammy-nominated musician and producer"April’s book contains immensely valuable information and detailed advice for anyone trying to carve out a career in the audio industry where freelancing is now the norm. The interviews with so many varied professionals are especially informative – they form a tapestry of different experiences from which April draws out the key messages and common themes. It is refreshing to hear from so many different voices in the audio world, and I really wish I had been able to read this book 20 years ago! I can recommend this to anyone currently working in audio, whatever their career stage, but especially to those trying to start out."Caroline Haigh, Institute of Sound Recording, University of Surrey"You need non-audio skills to succeed in the audio industry. April Tucker’s Finding Your Career in the Modern Audio Industry spells it out, showing a structure and a process for introspective assessments of your goals, your limits, your dreams, as well as essential outward-facing action: networking, job searching, marketing yourself, and more. Business acumen can’t be ignored, and can be mastered: negotiating rates and salaries, contracts, accounting, etc. You might be focused on one career path, but this book widens your view to full range of possibilities in the wide world of audio. With quotes and advice from folks across all facets of the industry throughout each chapter, Tucker’s book is a pleasure to read, and you’ll see there is no mystery to beginning your career in the modern audio industry."Alex U. Case, Sound Recording Technology, University of Massachusetts LowellTable of ContentsAcknowledgementsPrefacePart 1 – PlanningPart 1 helps the reader define their personal preferences, challenges and barriers and how that can affect the direction of a career path. These chapters teach the fundamentals of networking, business relationships, marketing, sales, and finding opportunities, all of which are critical foundational skills towards any career in the entertainment or audio industry. Industry Introduction Defining Your Dream & Goals Defining Your Barriers Networking Business Relationships Preparing to Seek Out Opportunities The Search for Work Marketing & Sales (How to Land the Gig) What Makes You Stand Out? Part 2 – Operations Part 2 addresses the logistics of operating a business, whether doing an occasional freelance gig or making a living off of freelance work. These chapters help readers with common business concerns: learning how to set rates, create an invoice, offers and contracts, and managing financial information. Rates and Knowing Your Worth Offers, Bids & Contracts Accounting & Financial Planning for Your Business Part 3 - Career Paths Part 3 takes the principles and ideas of the earlier chapters and puts them into practice. Each chapter addresses the needs specific or unique to these industries. These chapters are largely based on quotes, interviews, stories, and case studies. What business advice would someone who’s been through it give to someone who’s just getting started? Live Sound & Theater Music Production Interactive Media (Game Audio) Sound for Picture (Broadcast, Production & Post-Production) Spoken Word Audio Beyond Entertainment Part 4 The Audio Industry Around the World Q&A Moving Forward Appendix: Bios of intervieweesSupplemental material available online Recommendations, sample contracts, other resources Index

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Book SynopsisWorship Sound Spaces unites specialists from architecture, acoustic engineering and the social sciences to encourage closer analysis of the sound environments within places of worship. Gathering a wide range of case studies set in Europe, Asia, North America, the Middle East and Africa, the book presents investigations into Muslim, Christian and Hindu spaces. These diverse cultural contexts demonstrate the composite nature of designing and experiencing places of worship. Beginning with a historical overview of the three primary indicators in acoustic design of religious buildings, reverberation, intelligibility and clarity, the second part of this edited collection offers a series of field studies devoted to perception, before moving onto recent examples of restoration of the sound ambiances of former religious buildings. Written for academics and students interested in architecture, cultural heritage, acoustics, sensory studies and sound.The multimedia documents of Table of ContentsIntroduction: Religious Listenings: A multidisciplinary approach Christine Guillebaud and Catherine Lavandier PART 1. Sonic architecture: Acoustic intentions in worship buildings 1. Characterizing the acoustics of places of worship: Should we believe in acoustic indicators? Marc Asselineau 2. Towards a history of architectural acoustics using archeological evidence: What recent research on the uses of acoustic pots contributes to understanding of the quest for sound quality in 11th to 17th century churches Jean-Christophe Valière and Bénédicte Palazzo-Bertholon 3. Temple soundspaces and ancient Hindu ritual texts Gérard Colas PART 2. Experiencing the sacred through sound 4. The worldmaking ways of church bells: Three stories about the Cathedral Notre-Dame de Paris Gaspard Salatko 5. What should the reverberation inside a masjid be? A study exploring the demands of Imams Ahmed Elkhateeb 6. ‘Soundwalks in Shiva temple’: A situated approach to perceived ambiance Christine Guillebaud 7. Bells, auspiciousness and the god of music: Reflections on sound in ritual space in Nepalese Hindu traditions Astrid Zotter 8. Resonant voices and spatial politics: An acoustemology of citizenship in a Muslim neighbourhood of the Kenyan coast Andrew J. Eisenberg PART 3. Restoring the sound ambiances of the past 9. The church beyond worship: Experiencing monumental soundspaces in the Roman Catholic churches of Montréal (Québec, Canada) Josée Laplace 10. Sound heterotopia in a Cistercian monastery Pascal Joanne 11. The original acoustics of the sixteenth-century Mughal heritage of Burhanpur (India) Amit J. Wahurwagh Akshay P. Patil Alpana R. Dongre AFTERWORD A world of attunements Jean-Paul Thibaud

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Book SynopsisThis book, the first English-language translation of Acoustique des instruments de musique, Second Edition, presents the necessary foundations for understanding the complex physical phenomena involved in musical instruments.Trade Review“This book is a great repository of state of the art knowledge. It is a handbook for looking-up concepts, derivations and mathematical methodologies currently developed and employed in the field of musical acoustics. … This book is a handbook and a great reference for researchers and PhD level graduate students … . This book will definitely become a classic like the one by Fletcher and Rossing … .” (Wilfried Kausel, Euracoustics.org, April, 2017)“Antoine Chaigne and Jean Kergomard have applied mathematical rigor with comprehensive scope, and the result is remarkable. … The text and math are lucid throughout and should be easily understood by readers with a basic grasp of mechanics. The authors are justified in recommending the book to ‘students at master’s and doctorate levels [and] researchers, engineers and other physicists with a strong interest in music’–each of those groups will find the information they need in Acoustics of Musical Instruments.” (Barry Greenhut, Physics Today, April, 2017)“Each author has extensive research experience, a publication record of note, familiarity with the literature, and interaction with French and international colleagues. … Acoustics of Musical Instruments provides a quantitative analysis of many instruments found in the classical repertoire. The text will be of use to players, including students and instructors, and those concerned with the physical production of sound from these instruments, including makers of real and simulated instruments.” (William Strong, Journal of the Audio Engineering Society, Vol. 65 (1-2), January, 2017)Table of ContentsPart I - Basic Equations and Oscillators.- 1. Continuous models. 1.1 Strings, membranes, bars, plates and shells. 1.2 3D acoustic waves. 1.3 Energy, intensity, power.- 2. Single-degree-of-freedom oscillator. 2.1 Introduction. 2.2 Solution with and without a source. Green's function. 2.3 Examples of free and forced oscillations.- Part II - Waves and modes.- 3. Modes. 3.1 Introduction. 3.2 Time scale. Transition from wave to mode. 3.3 Definitions and basic properties of the eigenmodes.- 4. Waves. 4.1 Introduction. 4.2 Solutions without source, first reflection. 4.3 Successive reflections of waves produced by a pulse source.- 5. Dissipation and damping. 5.1 Introduction: dissipative phenomena in musical acoustics. 5.2 Generalizing the concept of mode. 5.3 Damping mechanisms in solid materials.- 6. Coupled systems. 6.1 Introduction. 6.2 Structure-cavity interaction. 6.3 Coupling of piano strings.- 7. Wind Instruments: variable cross section and toneholes. 7.1 Introduction. 7.2 Pipes with variable cross section: general equations. 7.3 Pipes with cross section discontinuities: first approximation.- Part III - Nonlinearities and self-oscillations.- 8. Nonlinearities. 8.1 An example of asymmetry: the interrupted pendulum. 8.2 Duffing equation. 8.3 Nonlinear vibration of strings.- 9. Reed instruments. 9.1 Background on self-sustained oscillations. 9.2 Reed-instruments models. 9.3 Behavior of the two-equation model (regimes, existence and stability, transients) without reed dynamics.- 10. Flute-like instruments. 10.1 An introduction and general description. 10.2 A global model for the instrument. 10.3 A modeling for the jet oscillation.- 11. Bowed string instruments. 11.1 Introduction. 11.2 Bow-string interaction. 11.3 Bow models.- Part IV - Radiation and sound-structure interaction. - 12. Elementary sources and multipoles. 12.1 Introduction: acoustical radiation of musical instruments. 12.2 Elementary sources. 12.3 Pulsating sphere.- 13. Radiation of vibrating structures. 13.1 Introduction. 13.2 Basic concepts in structural acoustics. 13.3 Radiation of an infinite thin plate.- 14. Radiation of complex systems. 14.1 Example of the vibraphone. 14.2 Example of the kettledrum. 14.3 Example of the guitar.- Glossary.- Index.

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Book SynopsisThe book presents a broad-scope analysis of piezoelectric electromechanical transducers and the related aspects of practical transducer design for underwater applications. It uses an energy method for analyzing transducer problems that provides the physical insight important for the understanding of electromechanical devices. Application of the method is first illustrated with transducer examples that can be modeled as systems with a single degree of freedom, (such as spheres, short cylinders, bars and flexural disks and plates made of piezoelectric ceramics). Thereupon, transducers are modeled as devices with multiple degrees of freedom. In all these cases, results of modeling are presented in the form of equivalent electromechanical circuits convenient for the calculation of the transducers’ operational characteristics. Special focus is made on the effects of coupled vibrations in mechanical systems on transducer performance. The book also provides extensive coverage of acoustic radiation including acoustic interaction between the transducers. The book is inherently multidisciplinary. It provides essential background regarding the vibration of elastic passive and piezoelectric bodies, piezoelectricity, acoustic radiation, and transducer characterization. Scientists and engineers working in the field of electroacoustics and those involved in education in the field will find this material useful not only for underwater acoustics, but also for electromechanics, energy conversion and medical ultrasonics. Part II contains general information on vibration of mechanical systems, electromechanical conversion in the deformed piezoceramic bodies, and acoustic radiation that can be used independently for treatment transducers of different type.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisThe aim of this book is to educate and train practitioners in the safe and professional use of diagnostic ultrasound imaging in the visualization and interpretation of various cerebral conditions not only in neurointensive care, but also in the operating room and, in general, cardiothoracic and neurocritical care settings. It is chiefly intended for anaesthetists and intensivists with a basic knowledge of ultrasound physics, but also for neurosurgeons and neurologists.All chapters were coordinated by the Editors, with experiences in hands-on courses on Echography and Doppler of the Brain, and prepared by international experts. The book covers from basic principles to estimation of intracranial pressure and cerebral perfusion. The topics cover emergency department and prehospital brain US as part of POCUS and US multiorgan evaluation to general intensive care, neurointensive care and anesthesia, including special populations as pregnant and children and setting as LMIC. Clinical scenarios complete the book. An innovative and unique guide that equips readers to perform bedside and non-invasive assessments for a range of cerebrovascular diseases.Trade ReviewTable of ContentsPart I. Technology, views and normal echo anatomy.- Physical principles probe/Technology.- Basic anatomy with TCCD and vessels.- Windows and practical approach: the MoTOr.- ONSD.- Limitations and pitfalls.- The minimal, intermediate and advanced skills: how to boost your competencies.- Part II. PI, FV, Autoregulation, Cr Cl.- Intracranial pressure.- Brain US for cerebral perfusion.- Part III. Pathology and clinical applications: Emergency department.- Emergency department and prehospital brain US as part of POCUS and US multiorgan evaluation.- Part IV. Liver failure, metabolic coma, sepsis.- Meningitis, stroke.- Cardiac arrest.- ARDS (protective ventilation), ECMO.- Part V. Intracerebral haematomas, midlineshift, hydrocephalus.- SAH Vasospasm.- Brain US in the neurologic settings.- Brain death.- Part VI. Pathology and clinical applications: Applications in neurosurgery.- Applications in neurosurgery.- Applications in low middle income countries.- Part VII. Pathology and clinical applications: specific considerations.- Pediatric population.- Pregnant patients.- Part VIII. Pathology and clinical applications: Intraoperative applications.- Non cardiac surgery.- Cardiac surgery.- Part X. Pathology and clinical applications.- Clinical cases images: clinical scenarios.

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Book SynopsisThis book provides a true A to Z of recorded sound, from its inception to the present day, outlining how technologies, techniques, and social attitudes have changed things, noting what is good and what is less good. The author starts by discussing the physics of sound generation and propagation. He then moves on to outline the history of recorded sound and early techniques and technologies, such as the rise of multi-channel tape recorders and their impact on recorded sound. He goes on to debate live sound versus recorded sound and why there is a difference, particularly with classical music. Other topics covered are the sound of real instruments and how that sound is produced and how to record it; microphone techniques and true stereo sound; digital workstations, sampling, and digital media; and music reproduction in the home and how it has changed. The author wraps up the book by discussing where we should be headed for both popular and classical music recording and reproduction, the role of the Audio Engineer in the 21st century, and a brief look at technology today and where it is headed. This book is ideal for anyone interested in recorded sound. “[Julian Ashbourn] strives for perfection and reaches it through his recordings… His deep knowledge of both technology and music is extensive and it is with great pleasure that I see he is passing this on for the benefit of others. I have no doubt that this book will be highly valued by many in the music industry, as it will be by me.” -- Claudio Di Meo, Composer, Pianist and Principal Conductor of The Kensington Philharmonic Orchestra, The Hemel Symphony Orchestra and The Lumina ChoirTable of ContentsIntroduction.- How the war changed audio.- The V record label for US troops.- Stereo sound, multi-channel sound, film sound and more.- The physics of sound.- The advent of tape and moving coil microphones.- The development of microphone techniques.- Multi-channel Tape recorders.- The advent of the Big Studios.- The record business.- The Maverick producers and freelance engineers.- The big time with 24 track everywhere and heaps of signal processing.- How the technology changed the music.- Classical music recording is effectively broken by the technology.- Digital arrives, but something is not right.- A to D and D to A convertors and compressors in the digital domain.- High resolution Digital recording and re-sampling.- Lossless compression.- The revolution in playback technology.- The social revolution in consumed music.- The change in musicians.- How to do things properly.- The use of Digital Audio Workstations and the impact on music.- Why recordings sound worse now than they did in the 50s and 60s.- Music and Civilisation and why it is important.- Where is the future archive for serious music being produced now.- Are advances in technology always good.- Teaching Audio Engineers.- The future.- Conclusion.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisAlthough the technology required for the successful application of contrast echo cardiography has evolved rapidly over the past few years, the technique has not yet gained widespread clinical acceptance. One important reason for the lack of clinical acceptance is the relative complexity of the technique, particularly in respect to myocardial perfusion imaging. The interaction between micro bubbles and ultrasound is an entire field by itsel£ as is the coronary microvasculature. It is in this regard that practicing echocardiographers, cardiologists in training, radiologists, so no­ graphers, and students will find 'A Handbook of Contrast Echocardiography' particularly useful. Written by two leaders in the field who have presented illustrative cases not only from their own laboratories but also from others around the world, this volume is a lucid, concise, and practical guide for the day-to-day use of contrast echocardiography. Dr Peter Burns has been involved in almost all the technical advances in the imaging methods that have made it possible to detect opacification of the left ventricular cavity and myocardium from a venous injection of microbubbles. He has been responsible to a large degree for advancing our understanding of the interaction between micro bubbles and ultrasound, which he describes in clear and easy to understand terms in this book. Dr Harald Becher has been active in the clincal application of contrast echocardiography for several years and has gained considerable experience with many imaging techniques and microbubbles, which he describes in this volume in some detail.Table of ContentsUnderstanding Ultrasound Contrast Agents for Echocardiography: Principles and Instrumentation. Introduction; The Need for Contrast Agents in Echocardiography; Contrast Agents for Ultrasound; Mode of Action; New Developments in Contrast Imaging; Conclusion; Assessment of LV Function by Contrast Echo Physiology and Pathophysiology of LV Function; Available Methods; Indications and Selection of Methods; How to Perfom Contrast Enhanced LV Studies; Assessment of Myocardial Perfusion by Contrast Echo; Coronary Flow and Flow Reserve; Tissue Perfusion

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Book SynopsisThis book describes in detail the use of duplex ultrasound for exploration of the superficial veins and their pathology. It has a practical orientation, presenting numerous clinical situations and explaining how to identify the different sources of reflux, especially in the groin. The investigation of pathology of the saphenous trunks, perforators and side branches is described in detail. As duplex ultrasound plays an important role during various venous surgical procedures, its application pre, intra and postoperatively is presented. Furthermore, the sonographic appearances of thrombotic pathology of superficial and deep veins, edema and other conditions that may be observed while exploring the veins are fully described. The book is based on the authors’ extensive clinical experience and is intended to assist fellow practitioners who want to learn more about the technique it will be equally valuable for physicians and technicians. A wealth of informative images is included with the aim of covering every potential situation.Trade ReviewFrom the book reviews:“This book starts with the basics of ultrasound and venous anatomy and then delves into the specifics of evaluation of the superficial venous system. … The intended audience includes all practitioners involved in the diagnosis and treatment of patients with chronic venous diseases. The book does a great job of pairing ultrasound figures with descriptive text to aid in visual learning. Readers can find additional supplementary images and videos online.” (Michael Nooromid, Doody’s Book Reviews, January, 2015)Table of ContentsThe Ultrasound Scanner.- Anatomy of the superficial veins. Pathophysiology of the superficial venous system.- Ultrasound based classifications of varicose veins.- Duplex Ultrasound examination of superficial leg veins.- Flow provocation manoeuvres for the diagnosis of venous disease using duplex ultrasound.- Examination of the great saphenous vein.- Examination of the small saphenous vein.- Perforating veins.- Tributaries.- Superficial vein thrombosis.- Ultrasound in varicose vein treatment.- Ultrasound after venous intervention.- Deep leg veins.- Examination of superficial veins in the presence of deep venous disease.- Differential diagnosis of leg oedemas of venous and lymphatic origin.- Incidental findings during a venous examination of the leg.

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Book SynopsisThe book presents a broad-scope analysis of piezoelectric electromechanical transducers and the related aspects of practical transducer design for underwater applications. It uses an energy method for analyzing transducer problems that provides the physical insight important for the understanding of electromechanical devices. Application of the method is first illustrated with transducer examples that can be modeled as systems with a single degree of freedom, (such as spheres, short cylinders, bars and flexural disks and plates made of piezoelectric ceramics). Thereupon, transducers are modeled as devices with multiple degrees of freedom. In all these cases, results of modeling are presented in the form of equivalent electromechanical circuits convenient for the calculation of the transducers’ operational characteristics. Special focus is made on the effects of coupled vibrations in mechanical systems on transducer performance. The book also provides extensive coverage of acoustic radiation including acoustic interaction between the transducers. The book is inherently multidisciplinary. It provides essential background regarding the vibration of elastic passive and piezoelectric bodies, piezoelectricity, acoustic radiation, and transducer characterization. Scientists and engineers working in the field of electroacoustics and those involved in education in the field will find this material useful not only for underwater acoustics, but also for electromechanics, energy conversion and medical ultrasonics.

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Book SynopsisTimothy D. Taylor offers a behind-the-scenes look at the working composers, musicians, and engineers who create soundtracks for film, television, and video games.Table of ContentsAcknowledgments ix Introduction: Working Musicians 1 1. Group Production, the Collective Laborer, Supply Chains, and Fields 19 2. Creativity 48 3. Composers’ Labor 81 4. The Music Supply Chain after the Composer: Adding Value 119 5. Challenges 138 6. It’s a Man’s, Man’s, Man’s, Man’s World 156 7. Neoliberalization as (Self-)Exploitation 177 8. “Thousands of Guys Like Me” 212 Notes 217 References 231 Index 245

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Book SynopsisThe first edition of this book is considered the bible of this topic... Suffice it to say that there is no other published treatise that approaches the depth of treatment offered by this book. The coverage is the state of the published art, while the added contents cover the new known developments in the field. Haisam Osman; Technology Development Manager, United Launch Alliance This long-awaited second edition of a respected text from world leaders in the field of acoustic materials covers the state of the art with a depth of treatment unrivalled elsewhere. Allard and Atalla employ a logical and progressive approach that leads to a thorough understanding of porous material modelling. The first edition of Propagation of Sound in Porous Media introduced the basic theory of acoustics and the related techniques. Research and development in sound absorption has however progressed significantly since the first edition, and the models and methods described, at the tiTrade Review"All in all this is an impressive book which will serve as an excellent reference for those working in the acoustics of porous media, and as a perfect introduction to the subject for novices." (Journal of Sound & Vibration, 2010)Table of ContentsPreface to the second edition. 1 Plane waves in isotropic fluids and solids. 1.1 Introduction. 1.2 Notation – vector operators. 1.3 Strain in a deformable medium. 1.4 Stress in a deformable medium. 1.5 Stress–strain relations for an isotropic elastic medium. 1.6 Equations of motion. 1.7 Wave equation in a fluid. 1.8 Wave equations in an elastic solid. References. 2 Acoustic impedance at normal incidence of fluids. Substitution of a fluid layer for a porous layer. 2.1 Introduction. 2.2 Plane waves in unbounded fluids. 2.3 Main properties of impedance at normal incidence. 2.4 Reflection coefficient and absorption coefficient at normal incidence. 2.5 Fluids equivalent to porous materials: the laws of Delany and Bazley. 2.6 Examples. 2.7 The complex exponential representation. References. 3 Acoustic impedance at oblique incidence in fluids. Substitution of a fluid layer for a porous layer. 3.1 Introduction. 3.2 Inhomogeneous plane waves in isotropic fluids. 3.3 Reflection and refraction at oblique incidence. 3.4 Impedance at oblique incidence in isotropic fluids. 3.5 Reflection coefficient and absorption coefficient at oblique incidence. 3.6 Examples. 3.7 Plane waves in fluids equivalent to transversely isotropic porous media. 3.8 Impedance at oblique incidence at the surface of a fluid equivalent to an anisotropic porous material. 3.9 Example. References. 4 Sound propagation in cylindrical tubes and porous materials having cylindrical pores. 4.1 Introduction. 4.2 Viscosity effects. 4.3 Thermal effects. 4.4 Effective density and bulk modulus for cylindrical tubes having triangular, rectangular and hexagonal cross-sections. 4.5 High- and low-frequency approximation. 4.6 Evaluation of the effective density and the bulk modulus of the air in layers of porous materials with identical pores perpendicular to the surface. 4.7 The biot model for rigid framed materials. 4.8 Impedance of a layer with identical pores perpendicular to the surface. 4.9 Tortuosity and flow resistivity in a simple anisotropic material. 4.10 Impedance at normal incidence and sound propagation in oblique pores. Appendix 4.A Important expressions. Description on the microscopic scale. Effective density and bulk modulus. References. 5 Sound propagation in porous materials having a rigid frame. 5.1 Introduction. 5.2 Viscous and thermal dynamic and static permeability. 5.3 Classical tortuosity, characteristic dimensions, quasi-static tortuosity. 5.4 Models for the effective density and the bulk modulus of the saturating fluid. 5.5 Simpler models. 5.6 Prediction of the effective density and the bulk modulus of open cell foams and fibrous materials with the different models. 5.7 Fluid layer equivalent to a porous layer. 5.8 Summary of the semi-phenomenological models. 5.9 Homogenization. 5.10 Double porosity media. Appendix 5.A: Simplified calculation of the tortuosity for a porous material having pores made up of an alternating sequence of cylinders. Appendix 5.B: Calculation of the characteristic length Λ'. Appendix 5.C: Calculation of the characteristic length Λ for a cylinder perpendicular to the direction of propagation. References. 6 Biot theory of sound propagation in porous materials having an elastic frame. 6.1 Introduction. 6.2 Stress and strain in porous materials. 6.3 Inertial forces in the biot theory. 6.4 Wave equations. 6.5 The two compressional waves and the shear wave. 6.6 Prediction of surface impedance at normal incidence for a layer of porous material backed by an impervious rigid wall. Appendix 6.A: Other representations of the Biot theory. References. 7 Point source above rigid framed porous layers. 7.1 Introduction. 7.2 Sommerfeld representation of the monopole field over a plane reflecting surface. 7.3 The complex sinθ plane. 7.4 The method of steepest descent (passage path method). 7.5 Poles of the reflection coefficient. 7.6 The pole subtraction method. 7.7 Pole localization. 7.8 The modified version of the Chien and Soroka model. Appendix 7.A Evaluation of N. Appendix 7.B Evaluation of pr by the pole subtraction method. Appendix 7.C From the pole subtraction to the passage path: Locally reacting surface. References. 8 Porous frame excitation by point sources in air and by stress circular and line sources – modes of air saturated porous frames. 8.1 Introduction. 8.2 Prediction of the frame displacement. 8.3 Semi-infinite layer – Rayleigh wave. 8.4 Layer of finite thickness – modified Rayleigh wave. 8.5 Layer of finite thickness – modes and resonances. Appendix 8.A Coefficients rij and Mi,j. Appendix 8.B Double Fourier transform and Hankel transform. Appendix 8.B Appendix .C Rayleigh pole contribution. References. 9 Porous materials with perforated facings. 9.1 Introduction. 9.2 Inertial effect and flow resistance. 9.3 Impedance at normal incidence of a layered porous material covered by a perforated facing – Helmoltz resonator. 9.4 Impedance at oblique incidence of a layered porous material covered by a facing having cirular perforations. References. 10 Transversally isotropic poroelastic media. 10.1 Introduction. 10.2 Frame in vacuum. 10.3 Transversally isotropic poroelastic layer. 10.4 Waves with a given slowness component in the symmetry plane. 10.5 Sound source in air above a layer of finite thickness. 10.6 Mechanical excitation at the surface of the porous layer. 10.7 Symmetry axis different from the normal to the surface. 10.8 Rayleigh poles and Rayleigh waves. 10.9 Transfer matrix representation of transversally isotropic poroelastic media. Appendix 10.A: Coefficients Ti in Equation (10.46). Appendix 10.B: Coefficients Ai in Equation (10.97). References. 11 Modelling multilayered systems with porous materials using the transfer matrix method. 11.1 Introduction. 11.2 Transfer matrix method. 11.3 Matrix representation of classical media. 11.4 Coupling transfer matrices. 11.5 Assembling the global transfer matrix. 11.6 Calculation of the acoustic indicators. 11.7 Applications. Appendix 11.A The elements Tij of the Transfer Matrix T ]. References. 12 Extensions to the transfer matrix method. 12.1 Introduction. 12.2 Finite size correction for the transmission problem. 12.3 Finite size correction for the absorption problem. 12.4 Point load excitation. 12.5 Point source excitation. 12.6 Other applications. Appendix 12.A: An algorithm to evaluate the geometrical radiation impedance. References. 13 Finite element modelling of poroelastic materials. 13.1 Introduction. 13.2 Displacement based formulations. 13.3 The mixed displacement–pressure formulation. 13.4 Coupling conditions. 13.5 Other formulations in terms of mixed variables. 13.6 Numerical implementation. 13.7 Dissipated power within a porous medium. 13.8 Radiation conditions. 13.9 Examples. References. Index.

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Book SynopsisA comprehensive guide to wind farm noise prediction, measurement, assessment, control and effects on people Wind Farm Noise covers all aspects associated with the generation, measurement, propagation, regulation and adverse health effects of noise produced by large horizontal-axis wind turbines of the type used in wind farms. The book begins with a brief history of wind turbine development and the regulation of their noise at sensitive receivers. Also included is an introductory chapter on the fundamentals of acoustics relevant to wind turbine noise so that readers are well prepared for understanding later chapters on noise measurements, noise generation mechanisms, noise propagation modelling and the assessment of the noise at surrounding residences. Key features: Potential adverse health effects of wind farm noise are discussed in an objective way. Means for calculating the noise at residences due to a wind farm prior to conTable of ContentsPreface xiii 1 Wind Energy and Noise 1 1.1 Introduction 1 1.2 Development of the Wind Energy Industry 2 1.3 History of Wind Turbine Noise Studies 13 1.4 Current Wind Farm Noise Guidelines and Assessment Procedures 18 1.5 Wind Farm Noise Standards 30 1.6 Regulations 33 1.7 Enquiries/Government Investigations 44 1.8 Current Consensus on Wind Farm Noise 53 References 55 2 Fundamentals of Acoustics 59 2.1 Introduction 59 2.2 Basic Acoustics Concepts 59 2.3 Basic Frequency Analysis 82 2.4 Advanced Frequency Analysis 89 2.5 Summary 121 References 122 3 Noise Generation 123 3.1 Introduction 123 3.2 Aeroacoustics 125 3.3 Aerodynamic noise generation on wind turbines 131 3.4 Aeroelasticity and Noise 152 3.5 Other Noise Sources 153 3.6 Summary and Outlook 155 References 157 4 Wind Turbine Sound Power Estimation 161 4.1 Introduction 161 4.2 Aerodynamic noise prediction 161 4.3 Simple models 162 4.4 Semi-empirical methods (Class II models) 163 4.5 Computational methods (Class III models) 173 4.6 Estimations of Sound Power From Measurements 174 4.7 Summary 182 References 183 5 Noise propagation 185 5.1 Introduction 185 5.2 Principles Underpinning Noise Propagation Modelling 186 5.3 Simplest Noise Propagation Models 217 5.4 Danish Low-Frequency Propagation Model 219 5.5 CONCAWE (1981) 220 5.6 ISO9613-2 (1996) Noise Propagation Model 229 5.7 NMPB-2008 Noise Propagation Model 238 5.8 Nord2000 Noise Propagation Model 250 5.9 Harmonoise (2002) Noise Propagation Engineering Model 269 5.10 Required Input Data for the Various Propagation Models 277 5.11 Off-Shore Wind Farm Propagation Models 281 5.12 Propagation Model Prediction Uncertainty 281 5.13 Outside vs Inside Noise at Residences 286 5.14 Vibration Propagation 289 5.15 Summary 294 References 295 6 Measurement 299 6.1 Introduction 299 6.2 Measurement of Environmental Noise Near Wind Farms 300 6.3 Vibration 406 6.4 Wind, Wind Shear and Turbulence 408 6.5 Reporting on Noise, Vibration and Meteorological Conditions 417 6.6 Wind Tunnel Testing 423 6.7 Conclusions 439 References 440 7 Effects of wind farm noise and vibration on people 447 7.1 Introduction 447 7.2 Annoyance and Adverse Health Effects 452 7.3 Hearing Mechanism 466 7.4 Reproduction of Wind Farm Noise for Adverse Effects Studies 476 7.5 Vibration Effects 478 7.6 Nocebo Effect 479 7.7 Summary and Conclusion 480 References 482 8 Wind Farm Noise Control 487 8.1 Introduction 487 8.2 Noise Control by Turbine Design Modification 488 8.3 Optimisation of turbine layout 498 8.4 Options for Noise Control at the Residences 499 8.5 Administrative Controls 503 8.6 Summary 504 References 505 9 Where to from here 507 9.1 Introduction 507 9.2 Further Investigation of the Effects of Wind Farm Noise on People 508 9.3 Improvements to Regulations and Guidelines 510 9.4 Propagation Model Improvements 515 9.5 Identification and Amelioration of the Problem Noise Sources on Wind Turbines 516 9.6 Reducing Low-Frequency Noise Levels in Residences 517 References 518 A Basic mathematics 519 A.1 Introduction 519 A.2 Logarithms 519 A.3 Complex Numbers 520 A.4 Exponential Function 520 B The BPM model 521 B.1 Boundary layer parameters 521 B.2 Turbulent trailing edge noise model 523 B.3 Blunt trailing edge noise model 525 References 527 C Ground Reflection Coefficient Calculations 529 C.1 Introduction 529 C.2 Flow Resistivity 530 C.3 Characteristic Impedance 530 C.4 Plane Wave Reflection Coefficient 533 C.5 Spherical Wave Reflection Coefficient 533 C.6 Incoherent Reflection Coefficient 537 References 539 D Calculation of Ray Path Distances and Propagation Times for the Nord2000 Model 541 D.1 Introduction 541 D.2 Equivalent Linear Atmospheric Vertical Sound Speed Profile 542 D.3 Calculation of Ray Path Lengths and Propagation Times 544 D.3.1 Direct ray 544 D.3.2 Reflected ray 546 References 549 E Calculation of Terrain Parameters for the Nord2000 Sound Propagation Model 551 E.1 Introduction 551 E.2 Terrain Effects 551 E.3 Approximating Terrain profiles by Straight Line Segments 556 E.4 Calculation of the Excess Attenuation Due to the Ground Effect for Relatively Flat Terrain with no Diffraction Edges 558 E.5 Calculation of the Excess Attenuation Due to the Ground Effect for Relatively Flat Terrain with a Variable Impedance Surface and no Diffraction Edges 559 E.6 Calculation of the Excess Attenuation Due to the Ground Effect for Valley-Shaped Terrain 561 E.7 Identification of the Two Most Efficient Diffraction Edges 561 E.8 Calculation of the Sound Pressure at the Receiver for Each Diffracted Path in Hilly Terrain 564 E.9 Calculation of the Combined Ground and Barrier Excess Attenuation Effects 575 References 583 F Calculation of Fresnel Zone Sizes and Weights 585 F.1 Introduction 585 F.2 Fresnel Zone for Reflection From Flat Ground 585 F.3 Fresnel Weights for Reflection From a Concave or Transition Ground Segment589 F.4 Fresnel Weights for Reflection from a Convex Ground Segment 591 References 592 G Calculation of Diffraction and Ground Effects for the Harmonoise Model 593 G.1 Introduction 593 G.2 Diffraction Effect, _LD 596 G.3 Ground Effect 598 G.3.1 Concave model 600 G.3.2 Transition model 604 G.4 Fresnel Zone for Reflection from a Ground Segment 606 References 610 H Active Noise Control System Algorithms 611 H.1 Introduction 611 References 616

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Book SynopsisThis book on mechanical vibrations and noise engineering offers tools for addressing vibration and noise issues in machines and structures. It focuses on mechanical engineering applications, includes examples, and covers sound levels, noise effects, and regulations. Suitable for students and practicing engineers in various engineering disciplines.

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Book SynopsisTinnitus is a benign condition, which can nonetheless have upsetting consequences for the patients. Understanding the physiopathologic mechanisms underlying this symptom is crucial for orienting management and treatment. A world-class group of neuroscientists gathered together to write this book, and they have done a skilful job. Apart from delineating their area of expertise, they have managed to give the reader an accurate understanding about what the current implications of studying tinnitus are, both in research and clinically, allowing those involved in the field to also stay abreast on the advancements in this area of research. This book is ideal for researchers and clinicians, and it can be a valuable reference for anyone, including students, residents or seasoned specialists, seeking to keep up to date with the latest developments in both basic and clinical research on this condition.

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Book SynopsisIn this newly updated directory, the latest in cutting-edge audio equipment is provided, including how to choose the best audio equipment on a budget, how to get the best sound for the money, and how to set up a system for maximum performance. Revised and expanded to include all the latest audio technologies, this book is packed with expert advice how to make speakers sound up to 50 percent better at no cost, avoid the most common system set-up mistakes, and how to choose the one speaker in 50 worth owning. Among the new topics covered are streaming audio, computer-based music servers, music-management apps, wireless streaming, high-resolution digital audio. A short course on listening-room acoustics is presented and additional information on audio for home theater, multichannel audio, system set-up secrets, and what each component's specifications and measurements mean is also provided.Trade Review"Its impressive breadth and depth make it a valuable guide to audio's gold mine. . . You'll learn valuable things from Harley's book, not just at first reading, but as you come back to it over and over. Peter Moncrieff, International Audio Review"This is the best guidebook we've seen on the subject." Wayne Thompson, The OregonianTable of ContentsContents Foreword xvi Preface to the Sixth Edition xviii About the Author xx 1 What Is High-End Audio? 1 2 Choosing a High-End Audio System 7 3 Becoming a Better Listener 27 4 Preamplifiers and Phono Stages 57 5 Power and Integrated Amplifiers 81 6 Loudspeakers 117 7 Digital Source Components: DACs, Music Servers, Streaming, Disc Players, Interfaces 173 8 Turntables, Tonearms, and Cartridges: The LP Playback System 255 10 Audio for Home Theater 317 11 Multichannel Audio 345 12 Personal Audio: Headphones, Desktop, and Mobile Audio 361 13 System Setup Secrets, Part One: Loudspeaker Placement and Room Acoustics 381 14 System Setup Secrets, Part Two: Expert Tuning Techniques, Accessories, Equipment Racks, and AC Power Conditioners 425 15 Specifications and Measurements 451 Appendix A: Sound and Hearing 463 Appendix B: Audio and Electronics Basics 479 Appendix C: Digital Audio Basics 503 Glossary 519 Index 559

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Book Synopsis"Resonant Alterities" bridges the gap between sound studies and literary criticism. A queer ghost story by Vernon Lee, an occultist novel of psychic adventure by Algernon Blackwood, a dystopian science fiction tale by J.G. Ballard and a post-traumatic short novel by Don DeLillo are its primary objects of analysis. Each is explored within the context of its contemporary cultural debates on sound. Meanwhile, all four theory-enriched readings focus on intersecting and desire-laden processes of meaning making, knowledge production and subject formation. Focal points are aurally/audio-visually structured phenomena expressive of both collective and individual anxieties.Trade ReviewReviewed in: The Chronicle, 01.05.2015

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a huge range and FREE tracked UK delivery on ALL orders.

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