Acoustic and sound engineering Books

Book SynopsisAudio Production and Critical Listening: Technical Ear Training, Second Edition develops your critical and expert listening skills, enabling you to listen to audio like an award-winning engineer. Featuring an accessible writing style, this new edition includes information on objective measurements of sound, technical descriptions of signal processing, and their relationships to subjective impressions of sound. It also includes information on hearing conservation, ear plugs, and listening levels, as well as bias in the listening process.The interactive web browser-based ear training software practice modules provide experience identifying various types of signal processes and manipulations. Working alongside the clear and detailed explanations in the book, this software completes the learning package that will help you train you ears to listen and really hear your recordings.This all-new edition has been updated to include: Audio and psychoaTable of ContentsList of Illustrations Introduction Chapter 1: Listening Chapter 2: Tonal Balance and Equalization Chapter 3: Spatial Attributes and Reverberation Chapter 4: Dynamic Range Control Chapter 5: Distortion and Noise Chapter 6: Amplitude Envelope and Audio Edit Points Chapter 7: Analysis of Sound Bibliography Index

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Book SynopsisOne of the Next Big Idea Club's Favorite Nonfiction Books A Behavioral Scientist Notable Book of 2022 A legendary record producer–turned–brain scientist explains why you fall in love with music.Trade Review"This Is What It Sounds Like is a revelation. Susan Rogers and Ogi Ogas offer extraordinary insights about music, emotion, and the brain, and they deliver them with great flair and flow. For all I thought I knew about these subjects, I learned a lot from this book—and was entertained at every turn, both by the ideas and the poetry of their expression. This instant classic should be read by anyone who has ever been moved by a piece of music—in other words, everyone." -- Dr. Daniel J. Levitin, author of This Is Your Brain on Music and The Organized Mind"A deliciously nerdy resource for music lovers, and for anyone who thinks deeply about music and how it moves them. What Rogers and Ogas do with This Is What It Sounds Like is distill the science around music into an accessible and wonderous new level of understanding, of the elusive why of loving and living for music." -- Jessica Hopper, author of The First Collection of Criticism by a Living Female Rock Critic"Susan Rogers found her superpower in the music world not as a musician, but as a master listener. Rogers’ book is a gift to music listeners of all kinds—because in listening we hear not only the music, we hear the sonic signature of our own soul." -- Dan Charnas, author of Dilla Time: The Life and Afterlife of J Dilla, the Hip-Hop Producer Who Reinvented Rhythm"Susan is one of the smartest people in the world of music and this book will help you hear music more deeply and more thoughtfully. You can tell why Prince loved working with her." -- Touré, author of I Would Die 4 U: Why Prince Became an Icon"This is the book that scholars and fans of popular music across all disciplines have impatiently waited for. It is truly inspiring, the kind of book you fall in love with, that causes us to reflect over how and why records become a condition of the heart." -- Stan Hawkins, Professor of Musicology, University of Oslo"[A] pitch-perfect deep-dive into the power of music….Combining erudite analysis with plenty of soul, this will have music lovers rapt." -- Publishers Weekly (starred review)"An intriguing look at how what enters our ears shapes our minds." -- Kirkus Reviews"It’s like two books in one: stories of some of our most beloved musicians, singers and songwriters, coupled with insights about how and why our brains decipher musical notes, melodies and lyrics in particular ways." -- BookPage (starred review)

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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 SynopsisThe Classic: De Marneffe's work (In French).- The Classic: De Marneffe's work (In French).- Current presentation of his work by De Marneffe.- Current presentation of his work by De Marneffe.- Anatomy and Physiology.- Morphology and Distribution of Blood Vessels and Blood Flow in Bone.- Microvascularization, Osteogenesis, and Myelopoiesis in Normal and Pathological Conditions.- Endothelial Cells and Bone Cells.- History of Discoveries of Bone Marrow and Bone Vascularisation and Innervation.- The Direct Effects of Acidosis and Alkalosis on Long Bone Vascular Resistance.- The Regulation of Blood Flow in Bone.- Methods of Investigation.- Measurement of Bone Blood Flow in Animals.- Arteriolar Blockade Revisited: Comparisons Between the Use of Resin Particles and Microspheres for Bone Haemodynamic Studies.- Measurement of Bone Blood Flow in Humans.- Skeletal Fluoride Kinetics of 18F- and Positron Emission Tomography (PET): in-vivo Estimation of Regional Bone Blood Flow and Influx Rate in Humans.- Intraosseous Pressure, Gas Tension and Bone Blood Flow; in Normal and Pathological Situations: A Survey of Methods and Results.- Fracture Healing and Bone Grafts.- The Role of the Vasculature in Fracture Healing.- Haemodynamics of Bone Healing in a Model Stable Fracture.- Perturbations of Vascularization and Circulation Due to Osteosynthetic Methods.- Comparative Vascular Evaluation by MRI of Autologous and Bovine Grafts.- The Importance of Flow Conductance of Cancellous Bone Grafts as a Critical Factor in Graft Incorporation.- Circulatory Aspects of Bone Disorders.- Myelogenous Osteopathies.- Circulatory Aspects of Bone Disease in Endocrinopathies.- Bone Turnover in Osteoporosis.- Bone Blood Flow and Spaceflight Osteopenia.- Bone Vascularization in Arthritis.- Vascular Aspectsin Degenerative Joint Disorders.- Circulatory Aspects of Reflex Sympathetic Dystrophy.- Osteonecrosis.- Atraumatic Necrosis of the Femoral Head: General Report.- Epidemiology and Risk Factors in Avascular Osteonecrosis of the Femoral Head.- Pathophysiology of Osteonecrosis.- Diagnosis of Osteonecrosis of the Femoral Head.- Bone Biopsy as Diagnostic Criteria for Aseptic Necrosis of the Femoral Head.- The Histology of Osteonecrosis and Its Distinction from Histologic Artifacts.- Bone Arteriography of the Femoral Head of Humans in Normal and Pathological Conditions.- Compared Microangiographic Images of Osteonecrosis of the Femoral Head and Osteoarthritis of the Hip.- Value of Quantified MRI to Predict Long-Term Prognosis of Early Stage Avascular Necrosis of the Femoral Head.- Conservative, Non Invasive Treatment of Osteonecrosis of the Femoral Head.- Long Term Results in Electromagnetic Fields (EMF) Treatment of Osteonecrosis.- Effects of Electric and Electromagnetic Fields on Bone Formation, Bone Circulation and Avascular Necrosis.- The Place of Core Decompression in the Treatment of Osteonecrosis of the Femoral Head.- 300 Cases of Core Decompression with Bone Grafting for Avascular Necrosis of the Femoral Head.- Proximal Femoral Osteotomies in the Treatment of Idiopathic and Steroid-Induced Osteonecrosis of the Femoral Head.- Methodologic Problems in Staging and Evaluating Osteonecrosis.- The ARCO Perspective for Reaching One Uniform Staging System of Osteonecrosis.Table of ContentsCurrent Presentation of his Work; De Marneffe. Anatomy and Physiology: Morphology and Distribution of Blood Vessels and Blood Flow in Bone; M. Brookes. Methods of Investigation: Measurement of Bone Blood Flow in Animals; P. Tothill. Fracture Healing and Bone Grafts: The Role of Vasculature in Fracture Healing; S.P.F. Hughes, et al. Circulatory Aspects of Bone Disorders: Bone Turnovers in Osteoporosis; A.M. Peters. Osteonecrosis: General Aspects of Osteonecrosis: Pathophysiology of Osteonecrosis; J.P. Jones. Methods of Diagnosis: Diagnosis of Osteonecrosis of the Femoral Head; D.S. Hungerford, L.C. Jones. Treatment: Long Term Results in Electromagnetic Fields Treatment of Osteonecrosis; M. Hinsenkamp, et al. ARCO Perspective for Staging: Methodologic Problems in Staging and Evaluating Osteonecrosis; B.N. Stulberg, J.W.M. Gardeniers. 34 additional articles. Index.

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Book SynopsisUsing a clear, heavily illustrated format, this book describes the relevant clinical scenarios and indications for injection, the evidence to support ultrasound use, relevant local anatomy, injection methods, and pearls and safety considerations.Table of ContentsIntroduction.- Shoulder.- Elbow.- Wrist and Hand.- Hip and Groin.- Knee.- Foot and Ankle.- Trigger Point.- Neuromuscular/Chemodenervation.- Spine.

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Book SynopsisIn Working Musicians Timothy D. Taylor offers a behind-the-scenes look at the labor of the mostly unknown composers, music editors, orchestrators, recording engineers, and other workers involved in producing music for films, television, and video games. Drawing on dozens of interviews with music workers in Los Angeles, Taylor explores the nature of their work and how they understand their roles in the entertainment business. Taylor traces how these cultural laborers have adapted to and cope with the conditions of neoliberalism as, over the last decade, their working conditions have become increasingly precarious. Digital technologies have accelerated production timelines and changed how content is delivered, while new pay schemes have emerged that have transformed composers from artists into managers and paymasters. Taylor demonstrates that as bureaucratization and commercialization affect every aspect of media, the composers, musicians, music editors, engineers, and others whosTable 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 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 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 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 SynopsisRe-Making Sound is concise and flexible primer to sound studies. It takes students through six ways of conceptualizing sound and its links to other social phenomena: soundscapes; noise; sound and semiotics of the voice; sound and/through/in text; background sound/sound design; and sound art. Each chapter summarizes the history and scholarly theoretical underpinnings of these areas and concludes with a student activity that concretizes the historical and theoretical discussion via sound-making projects. With chapters designed to be flexible and non-sequential, the text fits within various course designs, and includes an introduction to key concepts in sound and sound studies, a cumulative concluding chapter with sound accompanying podcast exercise, and an extensive bibliography for students to pursue sound studies beyond the book itself.Trade ReviewRe-Making Sound is splendid. Porcello and Patch advance sound studies in unique and compelling fashion and a whole generation of future scholars of the audible will be in their debt. -- Mark Smith, Carolina Distinguished Professor of History at the University of South Carolina, author of A Sensory History Manifesto (2021)Porcello and Patch have crafted a thoughtful, wide-ranging, and ear-opening introduction to the broad and expansive field of sound studies. Re-making Sound creates a jumping-off point for students, teachers, and other readers interested in exploring the links between sound and society. -- David Novak, Associate Professor of Music, UC Santa Barbara, author of Japanoise: Music at the Edge of Circulation (2013)Re-Making Sound is a wonderful and innovative book, offering an immensely valuable and unique introduction to sound studies. By supporting their exposition with a focus on sensory experience and a set of classroom exercises geared towards making and listening, Thomas Porcello and Justin Patch’s original and timely contribution will make rewarding reading for sound focused scholars and students alike. -- Daniel Fisher, Associate Professor of Anthropology, UC Berkeley, USA, author of The Voice and Its Doubles: Music and Media in Northern Australia (2016)Table of ContentsFigures Biographies Preface Introduction 1. Soundscape: Sound, Space, and Listening 2. Noise: From the Everyday to the Exceptional 3. Voice: Hearing and Ascribing Individual and Social Identity 4. Sound on the Page: Echoes and Resonances in Writing 5. Sound Design/Designing Sounds: Intentionally Crafted Sonic Worlds 6. Sound Art: What is Sound? Debates and Examples Concluding Exercise: Putting the Pieces Together Through Audio Narratives Acknowledgments Index

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Book SynopsisSound Affects: A User's Guide is a collection of sonically-charged concepts ranging from those felt, heard' and repeated (silence, the oriental riff, shuffle), to the vocal (whispers, sing, the disembodied voice), to sounds at the threshold (tin/ny, thump, buzz) to sounds beyond the limits of audibility (inaudible tremors, distortion, sub-bass). Sound Affects invites the reader to reflect on the ways that sounds produce affects and the ways that affects can operate as sound. Each of the entries develops a particular perspective on sound and affect through a close analysis of audiovisual and/or sonic objects. The objects chosen not only illustrate the concept in question but also demonstrate how the object encourages us to rethink the relationships between sounds and affects. Influenced by the sound theory of Eugenie Brinkema (2011), the concepts of Sound Affects plot the shift in volume from silence that opens up a space to be heard to the audibly near, froTrade ReviewWe live in a saturated sonic envirornment. Noise is everywhere; and even at the extreme of absence, "silence is a rhythm too" (as the Slits once sang). Yet we rarely pay attention to the soundscape that accompanies us at all times. Sound Affects rectifies this omission, with seventeen essays about sound and how it touches and moves us. Topics range from rapping by Kanye West, to the noises made by urban traffic, to electronic distortions broadcast through gigantic speakers, to the barely audible squishes of worms crawling through the soil. All in all, this book brings us back to a heightened awareness of those aspects of existence that we tend, all too easily, to tune out. * Steven Shaviro, DeRoy Professor of English, Wayne State University, USA *As it heeds paradoxical challenges in addressing sensorial – or even "sensaural" – experiences that defy conventional representation and meaning, Sound Affects embraces multiple approaches to sound, affect and sound affect through its volume of rich and varied voices. Vitally, Sound Affects promotes an ethics of listening that fundamentally and ontologically examines our too human world. * Nadine Boljkovac, Screen Theorist and Assistant Professor in Film Studies, University of Colorado, Colorado Springs, USA *Table of ContentsList of Illustrations Acknowledgements The Clatter and Clang of Sound Affects Sharon Jane Mee (University of New South Wales, Australia) and Luke Robinson (University of New South Wales, Australia) Part 1: Start, Stop, Repeat Chapter 1. Silence Sandra Kazlauskaite (University of Lincoln, UK) Chapter 2. Shuffle Jim Drobnick (OCAD University, Canada) and Jennifer Fisher (York University, Canada) Chapter 3. Oriental Riff Runchao Liu (University of Denver, USA) Part 2: Voices and Vocals Chapter 4. aa ee ii oo uuuuu Rachel Shearer (Te Wananga Aronui o Tamaki Makau Rau/Auckland University of Technology, Aotearoa New Zealand) Chapter 5. Sympathetic Response Charlotte Eubanks (Pennsylvania State University, USA) Chapter 6. Whispers Christian de Mouilpied Sancto (University of Rochester, USA) Chapter 7. Sing Katherine Nolan (Technological University Dublin, Ireland) Chapter 8. The Disembodied Voice Julius Greve (University of Oldenburg, Germany) Part 3: Threshold Sounds Chapter 9. Tin/ny Rob Garbutt (Southern Cross University, Australia) Chapter 10. Vroom Andrija Filipovic (Singidunum University, Serbia) Chapter 11. Thump Andrea Avidad (New York University, USA) Chapter 12: Buzz Sharon Jane Mee (University of New South Wales, Australia) Part 4: Beyond Audibility Chapter 13: Inaudible Tremors Luke Robinson (University of New South Wales, Australia) Chapter 14: Distortion Greg Hainge (University of Queensland, Australia) Chapter 15. Feedback Manuel ‘Mandel’ CabreraJr. (Yonsei University, South Korea) Chapter 16. Sub-bass Aidan Delaney (Middlesex University, UK) Chapter 17. Squish, Squelch, Shlshlshlurpppp Norie Neumark (Victorian College of the Arts, University of Melbourne and La Trobe University, Australia) Bibliography Mediography Contributors Index

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Book SynopsisThe field of Sound Studies has changed and developed dramatically over the last two decades involving a vast and dizzying array of work produced by those working in the arts, social sciences and sciences. The study of sound is inherently interdisciplinary and is undertaken both by those who specialize in sound and by others who wish to include sound as an intrinsic and indispensable element in their research. This is the first resource to provide a wide ranging, cross-cultural and interdisciplinary investigation and analysis of the ways in which researchers use a broad range of methodologies in order to pursue their sonic investigations. It brings together 49 specially commissioned chapters that ask a wide range of questions including; how can sound be used in current academic disciplines? Is sound as a methodological tool indispensable for Sound Studies and what can sound artists contribute to the discourse on methodology in Sound Studies? The editors also present 3 original chapters Trade ReviewThe juxtaposition of such a large number of different and even contradictory approaches allows us to compose, by "diffraction", a multifaceted and complex picture that teaches us a lot about the interrelationships between listening regimes and discursive regimes as well as about the inevitable and at the same time fruitful precariousness of any sound methodology. * Drammaturgia *Sound studies is a disruptor. Sound cuts across the arts, sciences, engineering, history and the academy, reconfiguring things as it goes along. Its only rule is that it’s about the sound. This means its methods are as varied as can be and are often pitched as anti-methods. This vast methodological smorgasbord is like a sound walk. You hear echoes of standard methodologies from ethnomusicology, sound art and cultural and science studies and places like the exhibition, the archive, the studio and the field and you learn about new methods finely tuned to sound. The book and the editorial vignettes, set in a fascinating dialogical form because of the pandemic, are always smart and reflective. If you want to learn to think systematically about how sound is studied this is the place to begin your journey. * Trevor Pinch, pioneer in sound studies and Goldwin Smith Professor of Science and Technology Studies, Cornell University, USA *From music to geography, historical debate to epistemological arguments, the study of sound finds footing within a compelling range of academic and artistic contexts. The Bloomsbury Handbook of Sonic Methodologies offers a comprehensive, situated and deeply enriching view onto such diversity, capturing how researchers and practitioners approach sound as a topic and material. Such a compendium affords greater understanding of sound as the basis for a radical transdisciplinarity. * Brandon LaBelle, Professor, Art Academy, University of Bergen, Norway, and author of Acoustic Justice (Bloomsbury, 2021) *[The book], because of its vast scope -- I have only scratched the surface of its richness in this review -- may be very helpful in deciding if, and if so when, sonic method may be best suited to act as the "what" in research projects that in some way involve sound. * Journal of Sonic Studies *Table of ContentsContributors Introduction (Michael Bull and Marcel Cobussen) Section One: Disciplines, Methodologies, Epistemologies. 1. Introduction to Section 1: Sonic Forms and the Temporalities of Silence (Michael Bull, University of Sussex, UK) 2. Sonic Methodologies in Anthropology (Alexandrine Boudreault-Fournier, University of Victoria, Canada) 3. Sonic Methodologies by Way of Deconstruction (Naomi Waltham-Smith, University of Warwick, UK) 4. Nature’s Music: Sonic Methodologies in the Study of Environmental Biology (Wouter Halfwerk, Vrije Universiteit, Amsterdam, The Netherlands) 5. Hearing With: Researching the Histories of Sonic Encounter (James G. Mansell, University of Nottingham, UK) 6. Sonic Methodologies in Urban Studies (Christabel Stirling, University of Oxford, UK) 7. Sound and Pedagogy: Taking Podcasting into the Classroom (Neil Verma. Northwestern University, USA) 8. Sonic Methodologies in Literature (Justin St. Clair, University of South Alabama, USA) 9. Sonic Materialism and/as Method (Tyler Shoemaker, University of California, Santa Barbara, USA) 10. Sonic Methodology In Philosophy (Elvira Di Bona, The University of Turin, Italy) 11. Sonic Methodologies in Science and Technology Studies (Joeri Bruyninckx and Alexandra Supper, University of Maastricht, Holland) 12. The Sonic Environment in Urban Planning, Environmental Assessment and Management (A. Lex Brown, Griffith University, Australia) 13. Sonic Methodologies In Medicine (Jos J. Eggermont, University of Calgary, Canada) 14. Soundscape as Methodology in Psycho-Acoustics and Noise Management (André Fiebig and Brigitte Schulte-Fortkamp, TU, Berlin, Germany) 15. Sonic Methodologies of Sound (Salomé Voegelin, London College of Communication, UK) Section Two: Sound Arts, Musics, Spaces 16. Introduction to Section II: Art – Research – Method (Marcel Cobussen, Leiden University, The Netherlands) 17. Ambulatory Sound-making: Re-writing, Re-appropriating, “Presencing” Auditory Spaces (Elena Biserna, Independent Scholar, France) 18. Sound Installations for the Production of Atmosphere as a Limited Field of Sounds (Jordan Lacey, RMIT University, Australia) 19. Fragile Devices: Improvisation as an Interdisciplinary Research Methodology (Rebecca Caines, York University, Canada) 20. “The Music Comes from Me”: Sound as Auto-ethnography (Darla Crispin. Norwegian Academy of Music) 21. Sound Beyond Representation. Experimental Performance Practices in Music (Lucia D’Errico, Orpheus Institute, Ghent, Belgium) 22. Performing Centrifugal Sound (G Douglas Barrett, Independent Scholar, USA) 23. How to Cut Up a Record? (Paul Nataraj, University of Sussex, UK) 24. Directing Listening: Sound Design Methods from Film to Site-responsive Sonic Art (Ben Byrne, RMIT University, Australia) 25. Sound, Space, and Pneumatic Valves. Using Pneumatic Valves as Sound Sources to Create Spatial Environments (Edwin van der Heide, Leiden University, The Netherlands) 26. The Overheard - An Attuning Approach to Sound Art and Design in Public Spaces (Marie Højlund, Jonas R. Kirkegaard, Michael Sonne Kristensen, Morten Riis, University of Arhus, Denmark) 27. Sound on Sound: Considerations for the Use of Sonic Methods in Ethnographic Fieldwork inside the Recording Studio (Paul Thompson, Leeds Beckett University, UK) 28. Ecological Sound Art (Jonathan Gilmurray, University of the Arts, London, UK) 29. Hydrophonic Fields (Jana Winderen, Sound Artist, interviewed by Stefan Helmreich, MIT, USA) 30. Melt Me Into the Ocean: Sounds from Submarine Spaces (Yolande Harris, Rhode Island School of Design, USA) 31. Attentive Listening in Lo-fi Soundscapes: Some Notes on the Development of Sound Art Methodologies in Vietnam (Stefan Östersjö and Nguy?n Thanh Th?y, Luleå University of Technology, Sweden) Section Three: Geographies, Politics, Histories 32. Introduction to Section III: Listening as Method (Marcel Cobussen, Leiden University, The Netherlands) 33. Auditory Diagramming: A Research/Design Practice (Alex Arteaga, Universität der Kunste, Berlin, Germany) 34. Close Listening: Approaches to Research on Colonial Sound Archives (Annette Hoffman, University of Cape Town, South Africa) 35. Sonic Feminisms: Doing Gender in Neoliberal Times (Marie Thompson, University of Lincoln, UK) 36. Sound as City Maker: Developing Participatory Collaborative Process to Work With Sound as an Urban Resource. The Case of Mr. Visserplein (Amsterdam, NL) (Edda Bild, Michiel Huijsman, Renate Zentschnig, University of Amsterdam/Soundtrackcity, The Netherlands) 37. Dropping Down Low: Online Soundmaps, Critique, Genealogies, Alternatives (Angus Carlyle, University of the Arts, London, UK) 38. Listening as Methodological Tool: Sounding Soundwalking Methods (John L. Drever, Goldsmiths, London, UK) 39. Sounding Wild Spaces: Inclusive Mapmaking Through Multispecies Listening Across Scales (Alice Eldridge, Jonathan Carruthers-Jones, Roger Norum, University of Sussex, UK) 40. The Emergence of Voices in an Indian Bus Stand: An Ethnographic and Acoustic Approach (Christine Guillebaud, University of Paris Ouest, France) 41. Historical Sounds: A Case Study (Aimee Boutin, Florida State University, USA) 42. Sonic Writing(Holger Schulze, University of Copenhagen, Denmark) 43. Silence of Maua: An Atmospheric Ethnography of Urban Sounds (Jean-Paul Thibaud, CRESSON, France) 44. Sound Design Methodologies: Between Artistic Inspiration and Academic Perspiration (Nicolas Misdariis, IRCAM, Paris, France, and Daniel Hug, ZHDK, Zurich, Switzerland) 45. The Sounds of the 2001 Argentine Crises: Soundscapes of Protest, Music, and Sound Art (Violeta Nigro Giunta, EHESS-CRAL, Paris, France) 46. The Sound System of the State: Listening for Ideology in the Soundscape of Conflict (Tom Tlalim, The University of Winchester, UK) 47. Sonifications Sometimes Behave So Strangely (Paul Vickers, Northumbria University, UK) 48. The Conflicting Sounds of Urban Regeneration in Liverpool (Jacqueline Waldock, University of Liverpool, UK) 49. Ethnographies Sounded on What? Methodologies, Sounds, and Experience in Cairo (Vincent Battesti, CNRS, Paris, France) 50. Podcase Preservation and the Noise of Saved Sounds (Jeremy Wade Morris, University of Wisconsin-Madison, USA) 51. The Earview as a Border Epistemology: An Analytical and Pedagogical Proposition for Design (Pedro J.S. Vieira de Oliveira, Sound Designer, Brazil) 52. Hacking Composition: Dialogues with Musical Machines (Ezra J. Teboul, Independent Artist and Writer, USA)

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Book Synopsis

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Book SynopsisContains a foreword by Jens Blauert! This book systematically details the basic principles and applications of head-related transfer function (HRTF) and virtual auditory display (VAD), and reviews the latest developments in the field, especially those from the author's own state-of-the-art research group. Head-Related Transfer Function and Virtual Auditory Display covers binaural hearing and the basic principles, experimental measurements, computation, physical characteristics analyses, filter design, and customization of HRTFs. It also details the principles and applications of VADs, including headphone and loudspeaker-based binaural reproduction, virtual reproduction of stereophonic and multi-channel surround sound, binaural room simulation, rendering systems for dynamic and real-time virtual auditory environments, psychoacoustic evaluation and validation of VADs, and a variety of applications of VADs. This guide provides all the necessary knowledge and latest results for researchers, graduate students, and engineers who work in the field of HRTF and VAD.Trade Review"I find the book excellent and, as indicated by Professor Jens Blauert (whom I have known since 1986 and whose opinions I value and trust), it is extremely thorough, multifaceted, detailed, mathematically deep, yet clear - I agree. I give it an extremely positive review. The summary concluding each chapter or section is particularly valuable, an excellent idea and feature...I give the book top rank." - Wade R. Bray, HEAD acoustics, Inc.; "This book provides a thorough and comprehensive analysis of issues relevant to HRTFs. Many of them have not been covered in such a detailed, clear way in any other book. Professor Xie has devoted a considerable amount of time and effort creating a work that appeals to readers' demands. The international acoustical community will be pleased to have access to its important scientific and technological content, now available with this English translation." -Jens Blauert, Internationally renowned expert in spatial hearingTable of ContentsChapter 1: Spatial Hearing and Virtual Auditory Display 1.1. Spatial Coordinate Systems1.2. The Auditory System and Auditory Filter 1.2.1. The Auditory System and its Function 1.2.2. The Critical Band and Auditory Filter1.3. Spatial Hearing1.4. Localization Cues for a Single Sound Source 1.4.1. Interaural Time Difference 1.4.2. Interaural Level Difference 1.4.3. Cone of Confusion and Head Movement 1.4.4. Spectral Cue 1.4.5. Discussion on Directional Localization Cues 1.4.6. Auditory Distance Perception1.5. Head-Related Transfer Functions1.6. Summing Localization and Spatial Hearing with Multiple Sources 1.6.1. Summing Localization of Two Sound Sources and the Stereophonic Law of Sine 1.6.2. Summing Localization Law of More Than Two Sound Sources 1.6.3. Time Difference between Sound Sources and the Precedence Effect 1.6.4. Cocktail Party Effect1.7. Room Acoustics and Spatial Hearing 1.7.1. Sound Fields in Enclosed Spaces 1.7.2. Spatial Hearing in Enclosed Spaces1.8. Binaural Recording and Virtual Auditory Display 1.8.1. Artificial Head Models 1.8.2. Binaural Recording and Playback System 1.8.3. Virtual Auditory Display 1.8.4. Comparison with Multi-channel Surround Sound1.9. SummaryChapter 2: HRTF Measurements2.1. Transfer Function of a Linear-time-invariant (LTI) System and its Measurement Principle 2.1.1. Continuous-Time LTI System 2.1.2. Discrete-Time LTI System 2.1.3. Excitation Signals2.2. Principle and Design of HRTF Measurements 2.2.1. Overview 2.2.2. Subjects in HRTF Measurements 2.2.3. Measuring Point and Microphone Position 2.2.4. Measuring Circumstances and Mechanical Devices 2.2.5. Loudspeaker and Amplifier 2.2.6. Signal Generation and Processing 2.2.7. HRTF Equalization 2.2.8. Example of HRTF Measurement 2.2.9. Evaluation of Quality and Errors in HRTF Measurements2.3. Far-field HRTF Databases2.4. Some Specific Measurement Methods and Near-field HRTF Measurements 2.4.1 Some Specific HRTF measurement methods 2.4.2 Near-field HRTF Measurement 2.5. SummaryChapter 3: Primary Features of HRTFs3.1. Time- and Frequency-domain Features of HRTFs 3.1.1. Time-domain Features of Head-related Impulse Responses (HRIRs) 3.1.2. Frequency-domain Features of HRTFs 3.1.3. Minimum-phase Characteristics of HRTFs3.2. Interaural Time Difference (ITD) Analysis 3.2.1. Methods for Evaluating ITD 3.2.2. Calculation Results for ITD3.3. Interaural Level Difference (ILD) Analysis3.4. Spectral Features of HRTFs 3.4.1. Pinna-related Spectral Notches 3.4.2. Torso-related Spectral Cues3.5. Spatial Symmetry in HRTFs 3.5.1. Front-back Symmetry 3.5.2. Left-right Symmetry 3.5.3. Symmetry of ITD3.6. Near-field HRTFs and Distance Perception Cues3.7. HRTFs and Other Issues Related to Binaural Hearing3.8. SummaryChapter 4: Calculation of HRTFs 4.1. Spherical Head Model for HRTF Calculation 4.1.1. Determining Far-field HRTFs and their Characteristics on the Basis of a Spherical Head Model 4.1.2. Analysis of Interaural Localization Cues 4.1.3. Influence of Ear Location 4.1.4. Effect of Source Distance 4.1.5. Further Discussion on the Spherical Head Model4.2. Snowman Model for HRTF Calculation 4.2.1. Basic Concept of the Snowman Model 4.2.2. Results for the HRTFs of the Snowman Model4.3. Numerical Methods for HRTF Calculation 4.3.1. Boundary Element Method (BEM) for Acoustic Problems 4.3.2. Calculation of HRTFs by BEM 4.3.3. Results for BEM-based HRTF Calculation 4.3.4 Simplification of Head Shape 4.3.5. Other Numerical Methods for HRTF Calculation 4.4. SummaryChapter 5: HRTF Filter Models and Implementation5.1. Error Criteria for HRTF Approximation5.2. HRTF Filter Design: Model and Considerations 5.2.1. Filter Model for Discrete-time Linear-time-invariant (LTI) System 5.2.2. Basic Principles and Model Selection in HRTF Filter Design 5.2.3. Length and Simplification of Head-related Impulse Responses (HRIRs) 5.2.4. HRTF Filter Design Incorporating Auditory Properties 5.3. Methods for HRTF Filter Design 5.3.1. Finite Impulse Response (FIR) Representation 5.3.2. Infinite Impulse Response (IIR) Representation by Conventional Methods 5.3.3. Balanced Model Truncation for IIR Filter 5.3.4. HRTF Filter Design Using the Logarithmic Error Criterion 5.3.5. Common-acoustical-pole and Zero Model of HRTFs 5.3.6. Comparison of Results of HRTF Filter Design 5.4. Structure and Implementation of HRTF Filter5.5. Frequency-warped Filter for HRTFs 5.5.1. Frequency Warping 5.5.2. Frequency-warped Filter for HRTFs5.6. SummaryChapter 6: Spatial Interpolation and Decomposition of HRTFs 6.1. Directional Interpolation of HRTFs 6.1.1. Basic Concept of HRTF Directional Interpolation 6.1.2. Some Common Schemes for HRTF Directional Interpolation 6.1.3. Performance Analysis of HRTF Directional Interpolation 6.1.4. Problems and Improvements of HRTF Directional Interpolation6.2. Spectral Shape Basis Function Decomposition of HRTFs 6.2.1. Basic Concept of Spectral Shape Basis Function Decomposition 6.2.2. Principal Components Analysis (PCA) of HRTFs 6.2.3. Discussion of Applying PCA to HRTFs 6.2.4. PCA Results for HRTFs 6.2.5. Directional Interpolation under PCA Decomposition of HRTFs 6.2.6. Subset Selection of HRTFs6.3. Spatial Basis Function Decomposition of HRTFs 6.3.1. Basic Concept of Spatial Basis Function Decomposition 6.3.2. Azimuthal Fourier Analysis and Sampling Theorem of HRTFs 6.3.3. Analysis of Required Azimuthal Measurements of HRTFs 6.3.4. Spherical Harmonic Function Decomposition of HRTFs 6.3.5. Spatial Principal Components Analysis and Recovery of HRTFs from a Small Set of Measurements6.4. HRTF Spatial Interpolation and Signal Mixing for Multi-channel Surround Sound 6.4.1. Signal Mixing for Multi-channel Surround Sound 6.4.2. Pairwise Signal Mixing 6.4.3. Sound Field Signal Mixing 6.4.4. Further Discussion on Multi-channel Sound Reproduction6.5. Simplification of Signal Processing for Binaural Virtual Source Synthesis 6.5.1. Virtual Loudspeaker-based Algorithms 6.5.2. Basis Function Decomposition-based Algorithms6.6. Beamforming Model for Synthesizing Binaural Signals and HRTFs 6.6.1. Spherical Microphone Array for Synthesizing Binaural Signals 6.6.2. Other Array Beamforming Models for Synthesizing Binaural Signals and HRTFs 6.7. SummaryChapter 7: Customization of Individualized HRTFs7.1. Anthropometric Measurements and their Correlation with Localization Cues 7.1.1. Anthropometric Measurements 7.1.2. Correlations among Anthropometric Parameters and HRTFs or Localization Cues7.2. Individualized Interaural Time Difference (ITD) Model and Customization 7.2.1. Extension of the Spherical Head ITD Model 7.2.2. ITD Model Based on Azimuthal Fourier Analysis7.3. Anthropometry-based Customization of HRTFs 7.3.1. Anthropometry Matching Method 7.3.2. Frequency Scaling Method 7.3.3. Anthropometry-based Linear Regression Method7.4. Subjective Selection-based HRTF Customization7.5. Notes on Individualized HRTF Customization7.6. Structural Model of HRTFs 7.6.1. Basic Idea and Components of the Structural Model 7.6.2. Discussion and Improvements of the Structural Model7.7. SummaryChapter 8: Binaural Reproduction through Headphones8.1. Equalization of the Characteristics of Headphone-to-Ear Canal Transmission 8.1.1. Principle of Headphone Equalization 8.1.2. Free-field and Diffuse-field Equalization8.2. Repeatability and Individuality of Headphone-to-ear-canal Transfer Functions (HpTFs) 8.2.1. Repeatability of HpTF Measurement 8.2.2. Individuality of HpTFs8.3. Directional Error in Headphone Reproduction8.4. Externalization and Control of Perceived Virtual Source Distance in Headphone Reproduction 8.4.1. In-head Localization and Externalization 8.4.2. Control of Perceived Virtual Source Distance in Headphone Reproduction8.5. SummaryChapter 9: Binaural Reproduction through Loudspeakers9.1. Basic Principle of Binaural Reproduction through Loudspeakers 9.1.1. Binaural Reproduction through a Pair of Frontal Loudspeakers 9.1.2. General Theory for Binaural Reproduction through Loudspeakers 9.2. Head Rotation and Loudspeaker Reproduction 9.2.1. Virtual Source Distribution in Two-Front Loudspeaker Reproduction 9.2.2. Transaural Synthesis for Four-Loudspeaker Reproduction 9.2.3. Analysis of Dynamic Localization Cues in Loudspeaker Reproduction 9.2.4. Stability of the Perceived Virtual Source Azimuth against Head Rotation9.3. Head Translation and Stability of Virtual Sources in Loudspeaker Reproduction 9.3.1. Preliminary Analysis of Head Translation and Stability 9.3.2. Stereo Dipole 9.3.3. Quantitative Analysis of Stability against Head Translation 9.3.4. Linear System Theory for the Stability of Crosstalk Cancellation9.4. Effects of Mismatched HRTFs and Loudspeaker Pairs 9.4.1. Effect of Mismatched HRTFs 9.4.2. Effect of Mismatched Loudspeaker Pairs9.5. Coloration and Timbre Equalization in Loudspeaker Reproduction 9.5.1. Coloration and Timbre Equalization Algorithms 9.5.2. Analysis of Timbre Equalization Algorithms 9.6. Some Issues on Signal Processing in Loudspeaker Reproduction 9.6.1. Causality and Stability of a Crosstalk Canceller 9.6.2. Basic Implementation Methods for Signal Processing in Loudspeaker Reproduction 9.6.3. Other Implementation Methods for Signal Processing in Loudspeaker Reproduction 9.6.4. Bandlimited Implementation of Crosstalk Cancellation9.7. Some Approximate Methods for Solving the Crosstalk Cancellation Matrix 9.7.1. Cost Function Method for Solving the Crosstalk Cancellation Matrix 9.7.2. Adaptive Inverse Filter Scheme for Crosstalk Cancellation9.8. SummaryChapter 10: Virtual Reproduction of Stereophonic and Multi-channel Surround Sound 10.1 Binaural Reproduction of Stereophonic and Multi-channel Surround Sound through Headphones 10.1.1 Binaural Reproduction of Stereophonic Sound through Headphones 10.1.2 Basic Algorithm for Headphone-based Binaural Reproduction of 5.1 Channel Surround Sound 10.1.3 Improved Algorithm for Binaural Reproduction of 5.1 Channel Surround Sound through Headphones 10.1.4 Notes on Binaural Reproduction of Multi-channel Surround Sound10.2 Algorithms for Correcting Non-standard Stereophonic Loudspeaker Configurations10.3 Stereophonic Enhancement Algorithms10.4 Virtual Reproduction of Multi-channel Surround Sound through Loudspeakers 10.4.1 Virtual Reproduction of 5.1 Channel Surround Sound 10.4.2 Improvement of Virtual 5.1 Channel Surround Sound Reproduction through Stereophonic Loudspeakers 10.4.3 Virtual 5.1 Channel Surround Sound Reproduction through More than Two Loudspeakers 10.4.4 Notes on Virtual Surround Sound10.5 SummaryChapter 11: Binaural Room Modeling11.1 Physics-based Methods for Room Acoustics and Binaural Room Impulse Response (BRIR) Modeling 11.1.1 BRIR and Room Acoustics Modeling 11.1.2 Image-source Methods for Room Acoustics Modeling 11.1.3 Ray-tracing Methods for Room Acoustics Modeling 11.1.4 Other Methods for Room Acoustics Modeling 11.1.5 Source Directivity and Air Absorption 11.1.6 Calculation of Binaural Room Impulse Responses11.2 Artificial Delay and Reverberation Algorithms 11.2.1 Artificial Delay and Discrete Reflection Modeling 11.2.2 Late Reflection Modeling and Plain Reverberation Algorithm 11.2.3 Improvements on Reverberation Algorithm 11.2.4 Application of Delay and Reverberation Algorithms to Virtual Auditory Environments 11.3 SummaryChapter 12: Rendering System for Dynamic and Real-time Virtual Auditory Environments (VAEs) 12.1 Basic Structure of Dynamic VAE Systems 12.2 Simulation of Dynamic Auditory Information 12.2.1 Head Tracking and Simulation of Dynamic Auditory Information 12.2.2 Dynamic Information in Free-field Virtual Source Synthesis 12.2.3 Dynamic Information in Room Reflection Modeling 12.2.4 Dynamic Behaviors in Real-time Rendering Systems 12.2.5 Dynamic Crosstalk Cancellation in Loudspeaker Reproduction12.3 Simulation of Moving Virtual Sources12.4 Some Examples of Dynamic VAE Systems12.5 SummaryChapter 13: Psychoacoustic Evaluation and Validation of Virtual Auditory Displays (VADs) 13.1 Experimental Conditions for the Psychoacoustic Evaluation of VADs 13.2 Evaluation by Auditory Comparison and Discrimination Experiment 13.2.1 Auditory Comparison and Discrimination Experiment 13.2.2 Results of Auditory Discrimination Experiments13.3 Virtual Source Localization Experiment 13.3.1 Basic Methods for Virtual Source Localization Experiments 13.3.2 Preliminary Analysis of the Results of Virtual Source Localization Experiments 13.3.3 Results of Virtual Source Localization Experiments13.4 Quantitative Evaluation Methods for Subjective Attributes 13.5 Further Statistical Analysis of Psychoacoustic Experimental Results 13.5.1 Statistical Analysis Methods 13.5.2 Statistical Analysis Results13.6 Binaural Auditory Model and Objective Evaluation of VADs13.7 Summary Chapter 14: Applications of Virtual Auditory Displays (VADs) 14.1 VADs in Scientific Research Experiments14.2 Applications of Binaural Auralization 14.2.1 Application of Binaural Auralization in Room Acoustics 14.2.2 Existing Problems in Room Acoustic Binaural Auralization 14.2.3 Other Applications of Binaural Auralization14.3 Applications in Sound Reproduction and Program Recording14.4 Applications in Virtual Reality, Communication, and Multimedia 14.4.1 Applications in Virtual Reality 14.4.2 Applications in Communication 14.4.3 Applications in Multimedia and Mobile Products14.5 Applications in Clinical Auditory Evaluations14.6 Summary Appendix A: Spherical Harmonic FunctionsAppendix B: Multipole Re-expansions for Calculating the HRTFs of the Snowman ModelReferences Index

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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 SynopsisA history of how humans developed our capacity for conversation—and what might happen now that computers are catching up.Trevor Cox has been described by The Observer as a David Attenborough of the acoustic realm. In Now You're Talking, he takes us on a journey through the wonders of human speech, starting with the evolution of language and our biological capability to speak (and listen), and bringing us up to date with the latest computer technology.Language is what makes us human, and how we speak is integral to our personal identity. But with the invention of sound recording and the arrival of the electrified voice, human communication changed forever; now advances in computer science and artificial intelligence are promising an even greater transformation. And with it come the possibilities to reproduce, manipulate, and replicate the human voice—sometimes with disturbing consequences.Now You're Talking is the fascinating story of our ability to converse. It takes us back to the core of our humanity, asking important questions about what makes us human and how this uniqueness might be threatened. On this illuminating tour we meet vocal coaches and record producers, neuroscientists and computer programmers, whose experience and research provide us with a deeper understanding of something that most of us take for granted—our ability to talk and listen.

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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 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 SynopsisCapturing, recording and broadcasting the voice is often difficult. Many factors must be taken into account and achieving a true representation is much more complex than one might think. The capture devices such as the position of the singer(s) or narrator(s), the acoustics, atmosphere and equipment are just some of the physical aspects that need to be mastered. Then there is the passage through the analog or digital channel, which disrupts the audio signal, as well as the processes that are often required to enrich, improve or even transform the vocal timbre and tessitura. While in the past these processes were purely material, today digital technologies and software produce surprising results that every professional in recording and broadcasting should know how to master.Recording and Voice Processing 1 addresses some general theoretical concepts. A history of recording and the physiology of the vocal apparatus are detailed in order to give the reader an understanding of the fundamental aspects of the subject. This volume also includes an advanced study of microphones, addressing their characteristics and typologies. The acoustic environment and its treatment are also considered in terms of the location of the sound capture - whether in a home studio, recording studio, live or natural environment - in order to achieve a satisfactory sound recording.Table of ContentsPreface ix Introduction xiii Chapter 1 Recording History 1 1.1 In the beginning was the phonautograph 1 1.2 When it really started 2 1.3 Magnetic recording 8 1.4 The advent of 78 rpm 9 1.5 The magnetic tape and the LP 15 1.6 8-track cartridges, mini-cassette and Trimicron 20 1.7 The compact disk and the advent of digital technology 27 1.8 Digital technology is essential 29 1.9 Hard disk recorder and minidisc 36 1.10 Microcomputer, direct-to-disk and DAW 38 1.11 To conclude 42 Chapter 2 The Voice 45 2.1 The vocal apparatus and its functioning 45 2.2 Voice and breath 48 2.3 Song and speech 49 2.4 Frequency, intensity and timbre 50 2.5 Voice and range 51 2.6 Voice quality 54 2.7 Characteristics of the vocal timbre 55 2.8 Conclusion 57 Chapter 3 Microphones 59 3.1 A little history 59 3.2 The characteristics of a microphone 71 3.2.1 General characteristics 71 3.2.2 Specific characteristics 91 3.3 Microphone families 93 3.3.1 Microphone and transformer 94 3.3.2 Dynamic moving coil microphones 96 3.3.3 Ribbon microphones 98 3.3.4 Condenser microphones 100 3.3.5 USB microphones 104 3.4 Uses of microphones according to their directivity 107 3.4.1 Omnidirectional microphones 107 3.4.2 Bidirectional microphones (figure-8) 107 3.4.3 Cardioid microphones 109 3.5 Conclusion 110 Chapter 4 The Acoustic Environment 111 4.1 Location of pickup and sound isolation 111 4.2 Acoustic processing 112 4.2.1 State of the art 112 4.2.2 Bass traps 114 4.2.3 Acoustic diffusers 123 4.3 Acoustic booths 130 4.4 Accessories 132 4.4.1 Acoustic shields 132 4.4.2 Pop filters 135 4.4.3 Headphones 136 4.4.4 Microphone suspensions 142 4.4.5 Feet, poles, and arms 142 4.4.6 Bonnets 146 4.5 Conclusion 148 Conclusion 149 Appendices 151 Appendix 1 Sound Unit 153 Appendix 2 Audio Connectivity 161 Appendix 3 Audio Processing Plugins 171 Appendix 4 Tube and JFET Microphone Amplifiers 177 Appendix 5 Microphone Pairs 181 Glossary 195 References 203 Index 213

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Book SynopsisSubtractive sound synthesis has been one of the most widely used techniques in electronic music and for many analog synthesizers since the early 1960s. It is based on a simple principle, but its operation remains complex, involving many parameters. It can be enriched by a variety of effects that give the sound its authenticity. It does not just imitate musical instruments, but can also transcribe noises present in natural soundscapes, or generate entirely synthetic sounds. Synthesizers and Subtractive Synthesis 1 presents the theoretical basis of a sound phenomenon, the different types of synthesis, the components that are required and present in synthesizers, the working environment specific to the study of subtractive synthesis, and the hardware and software available. After reading the various chapters of this book, readers will have a clear vision of the tools and actions required to grasp the world of subtractive sound.

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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 SynopsisThis series of books comprises a major social and cultural history of Britain, reflected through the prism of music — mostly folk music. It amounts to a hidden history of both Britain and music, and is part oral history and part incisive criticism, with a fair amount of humour thrown in. The ten part series is based on the life of 90-year-old Bill Leader, the prolific sound engineer and producer, who was the first to record Bert Jansch, the Watersons, Anne Briggs, Nic Jones and Connollys Billy and Riognach, and among the last to record Jeannie Robertson, Fred Jordan and Walter Pardon. Bill straddled the golden age of traditional singing and the folk revival. He agreed to the biographical treatment if due prominence be given to colleagues who may have since slipped from the world’s eyes. Through the series, a parade of the great and good come and go. These include Paul Simon, Brendan Behan, Pink Floyd and Christy Moore, all recorded by Bill at one time or another. Secrets, surprises and heresies are rife and something jaw dropping happens at least every four pages. Each book comes with illustrations by PETER SEAL and rare photographs.

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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 SynopsisSonar and Underwater Acoustics brings together all the concepts necessary for designers and users of sonar systems. Unlike other books on this subject, which are often too specialized, this book is accessible to a wider audience. The first part focuses on the acoustic environment, antenna structures, and electric acoustic interface. The latter provides knowledge required to design, as well as the development and implementation of chain processes for an active sonar from the conditioning input to output processing. The reader will find a comprehensive range of all problems encountered in underwater acoustics for a sonar application, from physical phenomena governing the environment and the corresponding constraints, through to the technical definition of transducers and antennas, and the types of signal processing involved. In one section, measures in underwater acoustics are also proposed.Table of ContentsPreface ix PART 1. THE MARINE ENVIRONMENT 1 Part 1. Introduction 3 Chapter 1. Problematics 5 1.1. History 5 1.2. Underwater acoustics 7 1.3. Applications 9 1.4. Comparison with radar 10 1.5. Submarine detection and warfare 11 1.6. Submarine detection 11 1.7. Submarine detection: a veritable challenge 12 1.8. Overcoming the effects of the ocean 13 1.9. Sonar and information processing 16 Chapter 2. Sound Propagation in the Marine Environment 19 2.1. General points 19 2.2. Characteristics of the marine environment 19 2.3. Models used 22 2.4. Propagation phenomena 28 2.5. Application examples 33 Chapter 3. Noises and Reverberation 41 3.1. Classification of ambient noises 41 3.2. Analysis of noise sources 45 3.3. Wenz’ model of sea noise 51 3.4. Directivity of sea noise 52 3.5. Reverberation 55 Chapter 4. Radiated and Inherent Noises 65 4.1. Radiated noise 65 Chapter 5. Transmission of the Acoustic Signal: Sonar Equations 79 5.1. Introduction 79 5.2. Detection contrast and detection index 80 5.3. Transmission equation 81 5.4. Equation of passive sonar 88 5.5. Equation of active sonar 89 PART 2. ACOUSTIC-ELECTRIC INTERFACE ANTENNA STRUCTURES 93 Part 2. Introduction 95 Chapter 6. Electric-acoustic and Acoustic-electric Transformations 97 6.1. Transducers and hydrophones 97 Chapter 7. Performance and Structures of Acoustic Antennas 113 7.1. Antennas and radiation 113 7.2. Structures of sources and antennas 189 Chapter 8. Electronic Transducer-hydrophone Adaptation 211 8.1. Hydrophones 211 8.2. Transducers 243 Chapter 9. Electro-mechano-acoustic Analogies 269 9.1. Methods of studying transducers and hydrophones 269 9.2. Mechanic-electric equivalence 270 9.3. Electric-acoustic equivalence 275 9.4. Finite element method (FEM) 320 PART 3. PROCESSING CHAIN OF ACTIVE SONAR 323 Part 3. Introduction 325 Chapter 10. Selection Criteria in Active Processing 327 10.1. Selection criteria related to propagation 327 10.2. Selection criteria relative to noise 331 10.3. Selection criteria related to reverberation 332 10.4. Selection criteria related to emission power 333 10.5. Selection criteria related to the antenna 335 10.6. Selection criteria for the operating frequency 336 10.7. Selection criteria related to operational considerations 337 10.8. Selection criteria related to the nature of targets 337 Chapter 11. Processing Chain in Active Sonar 341 11.1. General points 341 11.2. Emission 341 11.3. Reception 345 Chapter 12. Basic Theoretical Notions in Active Processing 459 12.1. The Doppler effect 459 12.2. The Doppler effect in active sonar conditions 464 12.3. Treatment of the signal 485 12.4. Choice of an emission signal under active sonar conditions 503 Chapter 13. Measurement in Underwater Acoustics 525 13.1. Introduction 525 13.2. Wave train method 531 13.3. Precautions before measuring 539 13.4. Acoustic measurements and calibrations of transducers 542 13.5. Notion of uncertainty estimation and of maximum tolerated difference 551 13.6. Other types of measurements in underwater acoustics 553 APPENDICES 555 Appendix 1. Logarithmic Scales 557 Appendix 2. Equation of Sound in Fluids 563 Appendix 3. Piezoelectricity Fundamentals 571 Appendix 4. Vector Analysis ?Ï?nFundamentals 579 Appendix 5. Reciprocity Theorem 593 Appendix 6. Concrete Example of Uncertainty Estimation Based on the Reciprocity Calibration Method 601 Bibliography 619 Index 623

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Book SynopsisThis book concerns the presentation of particle velocity measurement for acoustics using lasers, including Laser Doppler Velocimetry (LDV or Anemometry (LDA)) and Particle Imagery Velocimetry (PIV).The objective is first to present the importance of measuring the acoustic velocity, especially when the acoustic equations are nonlinear as well as characterizing the near fields. However, these applications need to use non-invasive sensors. Some optical techniques, initially developed for fluid mechanics, have been adapted to the field of acoustics in recent years. This book summarizes 15 years of research in this area, highlighting the improvements that have been made, particularly in signal processing, and showing applications for which they have proven to be a carrier of innovation.Table of ContentsPREFACE ix CHAPTER 1. SUMMARY OF ACOUSTIC EQUATIONS 1 1.1. Basic equations 1 1.1.1. Fluid- and thermodynamics 1 1.1.2. Hypothesis of linear acoustics without losses 4 1.2. Acoustic equations 5 1.2.1. Linear acoustic equations with sources 5 1.2.2. Some remarks on acoustic sources 6 1.2.3. Without sources 7 1.2.4. Acoustic intensity and source power 9 1.2.5. Acoustic impedance and border conditions 10 1.3. Constants, units and magnitude orders of linear acoustics 12 1.4. Acoustic velocity measurement and applications 16 1.4.1. Velocity estimation from pressure gradient 16 1.4.2. Intensity estimation 17 1.4.3. Application to impedance estimation 18 1.5. Beyond linear equations 18 1.5.1. Acoustic equations with mean flow 19 1.5.2. High acoustic displacement 20 1.5.3. Acoustic streaming 22 1.6. Bibliography 22 CHAPTER 2. SOME TOPICS ON SIGNAL PROCESSING 25 2.1. Measurement signal 25 2.1.1. Random signals 25 2.1.2. Statistical averages 27 2.1.3. Time averages 28 2.1.4. Acoustic signal model 29 2.2. Reminder of Fourier analysis tools 30 2.2.1. Fourier transform 30 2.2.2. Uniform sampling and recovery of signals 31 2.2.3. Fourier transform of discrete signals 32 2.2.4. Discrete Fourier transform 33 2.3. Correlations and spectra 34 2.3.1. Definitions 34 2.3.2. Stationary and ergodic process 35 2.3.3. Properties of correlation functions and examples 36 2.3.4. PSD and cross-spectral density properties 38 2.4. Basis of estimation theory 39 2.4.1. Definition and properties of an estimation method 39 2.4.2. Mean estimator 40 2.4.3. Correlation estimators 41 2.4.4. Spectrum estimators 42 2.4.5. Spectrum estimator by synchronous detection approach 45 2.5. Non-uniform sampling 47 2.5.1. Poisson processes 47 2.5.2. Empirical estimators 48 2.5.3. Comparison of spectrum estimation of random sampling sequences 56 2.6. Bibliography 57 2.7. Appendix 58 2.7.1. Properties of the Fourier transform 58 2.7.2. Fourier transforms of typical functions 59 2.7.3. Properties of the discrete Fourier transform (DFT) 60 CHAPTER 3. LDV FOR ACOUSTICS 61 3.1. Bases of LDV 61 3.1.1. Optical principles 61 3.1.2. Signal processing of burst analyses in the context of fluid mechanics 64 3.2. Models for acoustics 67 3.2.1. Model of the Doppler signal 68 3.2.2. Model of the sampling in the context of acoustics 70 3.2.3. Case of low acoustic displacement with few mean flows 73 3.2.4. Case of high acoustic displacement with few mean flows 76 3.2.5. Other cases 79 3.3. Estimation method for low acoustic displacement 80 3.3.1. Theoretical limitations 80 3.3.2. Estimation methods based on IF detection 84 3.3.3. Estimation based on parametrical models 87 3.3.4. Simultaneous detection of flow velocity and small acoustic velocity 91 3.3.5. Comparison between methods for low-level acoustics 95 3.4. Estimation method for high displacement 99 3.4.1. Experimental condition 99 3.4.2. Theoretical limitations 101 3.4.3. Estimation for SPP 102 3.4.4. Estimation for highly NSPP 103 3.5. Bibliography 107 CHAPTER 4. PIV FOR ACOUSTICS 111 4.1. Principle of PIV 111 4.1.1. Setting up 112 4.1.2. Model of the 2D signal and image processing 114 4.1.3. Postprocessing adapted for acoustic measurement 121 4.2. Validity domain concerning PIV for acoustic 125 4.2.1. Lower bound inspired by fluid measurement approach 125 4.2.2. Lower bound in case of linear acoustics 126 4.3. Examples and comparisons 131 4.3.1. Acoustic measurement 131 4.3.2. Acoustic streaming measurement 133 4.4. Bibliography 134 CONCLUSION 137 INDEX 141

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Book SynopsisThis didactic book presents the main elements of acoustics, aeroacoustics and vibrations. Illustrated with numerous concrete examples linked to solid and fluid continua, Acoustics, Aeroacoustics and Vibrations proposes a selection of applications encountered in the three fields, whether in room acoustics, transport, energy production systems or environmental problems. Theoretical approaches enable us to analyze the different processes in play. Typical results, mostly from numerical simulations, are used to illustrate the main phenomena (fluid acoustics, radiation, diffraction, vibroacoustics, etc.).Table of ContentsPreface xi Chapter 1. A Bit of History 1 1.1. The production of sound 1 1.2. The propagation of sound 4 1.3. The reception of sound 6 1.4. Aeroacoustics 7 Chapter 2. Elements of Continuum Mechanics 9 2.1. Mechanics of deformable media 9 2.1.1. Continuum 9 2.1.2. Kinematics of deformable media 10 2.1.3. Deformation tensor (or Green’s tensor) 12 2.2. Conservation laws 13 2.2.1. Conservation of mass 13 2.2.2. Conservation of momentum 14 2.2.3. Conservation of energy 15 2.3. Constitutive laws 15 2.3.1. Elasticity 16 2.3.2. Thermoelasticity and effects of temperature variations 19 2.3.3. Viscoelasticity 21 2.3.4. Fluid medium 28 2.4. Hamilton principle 29 2.5. Characteristics of materials 29 Chapter 3. Small Mathematics Travel Kit 31 3.1. Measure theory and Lebesgue integration 32 3.1.1. Boolean algebra 32 3.1.2. Measure on a σ-algebra 33 3.1.3. Convergence and integration of measurable functions 33 3.1.4. Functional space – functional 35 3.1.5. Measure as linear functional 36 3.2. Distributions 37 3.2.1. The space D of test functions 37 3.2.2. Distributions definition 37 3.2.3. Operations on distributions 39 3.2.4. N-dimensional generalization 43 3.2.5. Distributions tensor product 47 3.3. Convolution 48 3.3.1. Definition and first properties 48 3.3.2. Convolution algebra and Green’s function 50 3.4. Modal methods 52 3.4.1. Eigenmodes of a conservative system 52 3.4.2. Eigenmodes of a non-conservative system 55 Chapter 4. Fluid Acoustics 65 4.1. Acoustics equations 66 4.1.1. Conservation equations 66 4.1.2. Establishment of general equations 67 4.1.3. Establishment of the wave equation 68 4.1.4. Velocity potential 69 4.2. Propagation and general solutions 69 4.2.1. One-dimensional motion 69 4.2.2. Three-dimensional motion 70 4.3. Permanent regime: Helmholtz equation 71 4.3.1. General solutions 72 4.3.2. Green’s kernels 76 4.3.3. Wave group, phase velocity and group velocity 78 4.4. Discontinuity equations 80 4.4.1. Interface between two propagating media 80 4.4.2. Interface between a propagating and a non-propagating medium 82 4.5. Impedance: measurement and model 83 4.5.1. Kundt’s tube 83 4.5.2. Delany–Bazley model 85 4.6. Homogeneous anisotropic medium 87 4.7. Medium with a slowly varying celerity 88 4.8. Media in motion 89 4.8.1. Homogeneous medium in uniform motion 89 4.8.2. Plane interface between media in motion 90 4.8.3. Cylindrical interface between media in motion 92 4.8.4. Acoustic radiation of a moving surface 94 Chapter 5. Radiation, Diffraction, Enclosed Space 105 5.1. Acoustic radiation 106 5.1.1. A simple example 106 5.2. Acoustic radiation of point sources 107 5.2.1. Multipolar sources in a harmonic regime 107 5.2.2. Far-field 111 5.3. Radiation of distributed sources 111 5.3.1. Layer potentials 111 5.3.2. Green’s representation of pressure and introduction to the theory of diffraction 114 5.4. Acoustic radiation of a piston in a plane 119 5.4.1. Far-field radiation of a circular piston: directivity 122 5.4.2. Radiation along the axis of a circular piston 125 5.5. Acoustic radiation of a rectangular baffled structure 126 5.6. Acoustic radiation of moving sources 131 5.6.1. Compact and non-compact sources 131 5.6.2. Sources in uniform and non-uniform motion 135 5.7. Sound propagation in a bounded medium 138 5.7.1. Eigenfrequencies and resonance frequencies 138 5.7.2. The Helmholtz resonator 139 5.7.3. Example in dimension 1 140 5.7.4. Example in dimension 3 141 5.7.5. Propagation of pure sound in a circular enclosure 143 5.8. Basics of room acoustics 149 5.8.1. The concept of acoustic power 149 5.8.2. Directivity index 149 5.8.3. Reverberation duration 150 5.8.4. Reverberant fields 153 5.8.5. Pressure level in rooms 154 5.8.6. Crossover frequency and the reverberation distance 155 5.9. Sound propagation in a wave guide 156 5.9.1. General solution in a wave guide 156 5.9.2. Physical interpretation and theory of modes 157 5.9.3. Green’s function 160 5.9.4. Section change 161 5.9.5. Propagation in a conduit in the presence of flow 164 Chapter 6. Wave Propagation in Elastic Media 167 6.1. Equation of mechanical wave propagation 168 6.2. Free waves 169 6.2.1. Volumic waves 169 6.2.2. Plane wave case 170 6.2.3. Surface waves 171 6.3. Green’s kernels in a harmonic regime 176 6.4. Thin body approximation for plannar structures 177 6.4.1. Straight beams 178 6.4.2. Plane plates 186 6.5. Thin body approximation for cylindrical structures 198 6.5.1. Cylinder 198 6.5.2. Ring 212 Chapter 7. Vibrations of Thin Structures 219 7.1. Beam vibrations 219 7.1.1. Beam compression vibrations 219 7.1.2. Beam bending vibrations 223 7.2. Plate vibrations 233 7.2.1. Infinite plate 233 7.2.2. Finite plate 239 7.2.3. Plate of arbitrary shape 256 7.3. Cylindrical shell vibrations 260 7.3.1. Infinite shell 260 7.3.2. Finite shell 264 Chapter 8. Acoustic Radiation of Thin Plates 275 8.1. First notions of vibroacoustics: a simple example 276 8.1.1. Motion equations 277 8.1.2. Acoustic radiation 278 8.1.3. “Light fluid” approximation 280 8.1.4. Sound transmission 281 8.1.5. Transient regime 290 8.2. Free waves in an infinite plate immersed in a fluid 294 8.2.1. Roots of the dispersion equation 295 8.2.2. Light fluid approximation 297 8.3. Transmission of a plane wave by a thin plate 299 8.4. Radiation of an infinite plate under point excitation 302 8.4.1. Integro-differential equation with respect to u 303 8.4.2. Fourier transform of u 303 8.4.3. Calculation of u(r) 305 8.4.4. Radiated acoustic pressure 306 8.5. Acoustic radiation and vibration of finite plates 307 8.5.1. Statement of the problem 307 8.5.2. Exact methods 308 8.5.3. Light fluid approximation 313 8.5.4. Higher order approximations 319 8.6. Heavy fluid coupling: resonance estimation 327 8.6.1. Clamped rectangular plate coupled with a heavy fluid 327 8.6.2. Location of resonances of a coupled plate 343 8.7. Vibrations of a thin plate in a turbulent flow 346 8.7.1. Interspectral density: simple models 347 8.7.2. Green’s representation of a coupled plate 350 8.8. Aeroelastic coupling and sloshing 354 8.8.1. Sloshing 354 8.8.2. Convective instability 356 8.8.3. Kelvin–Helmholtz instability 360 Chapter 9. Basic Theoretical Aeroacoustics Models 363 9.1. Preamble 363 9.2. Lighthill’s equation and some of the generalizations that have followed 365 9.3. Reminder of some notions on turbulence which will be useful here 376 9.4. The Proudman model for homogeneous and isotropic turbulence 381 9.5. The Lilley model for homogeneous and isotropic turbulence 386 9.6. The recent models and a few experimental validations 387 9.7. The Powell Howe equation for vorticity-generated sound 397 Chapter 10. A Few Situations Closer to Reality 403 10.1. The Ribner model for jets 403 10.2. Problems and approaches specific to boundary layers 416 10.3. Flame-generated noise 426 10.4. Noise generated by blades 432 10.4.1. Noise generated by a solid body in motion, in the temporal domain 433 10.4.2. Noise generated by a set of rotating blades and fixed cascading blades, in the frequency domain 440 10.4.3. Noise generated by blade–vortex interaction, using the vortex sound generation method 449 10.5. Noise generated and propagation in the outer atmosphere: accounting for the thermal stratification and for likely obstacles 454 10.5.1. Characteristic properties of the atmospheric boundary layer and impacts on sound propagation 455 10.5.2. Models of sound wave propagation in the atmosphere 464 Chapter 11. Implementation and Usage of Numerical Simulations 475 11.1. Hybrid methods 476 11.2. Direct numerical simulations/large eddy simulations 478 11.3. Conclusion 488 Bibliography 491 Index 507

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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 Synopsis

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Book Synopsis

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Book SynopsisThis undergraduate textbook aids readers in studying music and color, which involve nearly the entire gamut of the fundamental laws of classical as well as atomic physics. The objective bases for these two subjects are, respectively, sound and light. Their corresponding underlying physical principles overlap greatly: Both music and color are manifestations of wave phenomena. As a result, commonalities exist as to the production, transmission, and detection of sound and light. Whereas traditional introductory physics textbooks are styled so that the basic principles are introduced first and are then applied, this book is based on a motivational approach: It introduces a subject with a set of related phenomena, challenging readers by calling for a physical basis for what is observed. A novel topic in the first edition and this second edition is a non-mathematical study of electric and magnetic fields and how they provide the basis for the propagation of electromagnetic waves, of light in particular. The book provides details for the calculation of color coordinates and luminosity from the spectral intensity of a beam of light as well as the relationship between these coordinates and the color coordinates of a color monitor. The second edition contains corrections to the first edition, the addition of more than ten new topics, new color figures, as well as more than forty new sample problems and end-of-chapter problems. The most notable additional topics are: the identification of two distinct spectral intensities and how they are related, beats in the sound from a Tibetan bell, AM and FM radio, the spectrogram, the short-time Fourier transform and its relation to the perception of a changing pitch, a detailed analysis of the transmittance of polarized light by a Polaroid sheet, brightness and luminosity, and the mysterious behavior of the photon.The Physics of Music and Color is written at a level suitable for college students without any scientific background, requiring only simple algebra and a passing familiarity with trigonometry. The numerous problems at the end of each chapter help the reader to fully grasp the subject.Table of ContentsChapter1: Introductory Remarks.- Chapter2: The Vibrating String.- Chapter3: The Nature of Sound; The Vibrating Air Column.- Chapter4: Energy.- Chapter5: Electricity & Magnetism.- Chapter6: The Atom as a Source of Light.- Chapter7: The Principle of Superposition.- Chapter 8: Complex Waves.- Chapter9: Propagation Phenomena.- Chapter10: The Ear.- Chapter11: Psychoacoustics.- Chapter12: Tuning, Intonation, and Temperament - Choosing Frequencies for Musical Notes.- Chapter13: The Eye.- Chapter14: Characterizing Light Sources, Color Filters, and Pigments.-Chapter15: Theory of Color Vision.- Appendices.

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