Acoustic and sound engineering Books
Taylor & Francis Ltd Loudspeakers
Book SynopsisLoudspeakers: For Music Recording and Reproduction, Second Edition is a comprehensive guide, offering the tools and understanding needed to cut out the guesswork from loudspeaker choice and set-up. Philip Newell and Keith Holland, with the assistance of Sergio Castro and Julius Newell, combine their years of experience in the design, application, and use of loudspeakers to cover a range of topics from drivers, cabinets, and crossovers, to amplifiers, cables, and surround sound. Whether using loudspeakers in a recording studio, mastering facility, broadcasting studio, film post-production facility, home, or musician's studio, or if you simply aspire to improve your music-production system this book will help you make the right decisions.This new edition provides significant updates on the topics of digital control, calibration, and cinema loudspeaker systems.Trade Review"If electro-acoustics happens to be a subject you wish you understood more, or if before a speaker purchase you'd like to be better informed, there is, as far as I'm aware, absolutely no better place to start." - Phil Ward, Sound on Sound"This new edition finds the book continuing in its place [...] as one of the essential reference books on loudspeakers." - Mark Gander, Journal of the Audio Engineering SocietyTable of ContentsIntroduction 1. What Is a Loudspeaker?2. Diversity of Design 3. Loudspeaker Cabinets 4. Horns5. Crossovers 6. Amplifiers and Loudspeaker Cables - A General Review7. Loudspeaker Behaviour in Rooms 8. Form Follows Function 9. Subjective and Objective Assessment 10. The Mix, the Music and the Monitors - The Instability of Perception 11. Low Frequency and Transient-Response Dilemmas 12. The Challenges of Surround Sound 13. Loudspeakers for Cinema Soundtrack Mixing14. What to Measure: And Why - The Influence of Advanced Measurement and Psychoacoustic Concepts on Loudspeaker DesignGlossary of TermsIndex
£68.39
Taylor & Francis Ltd Audio Production and Critical Listening
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
£61.74
Cambridge University Press Modern Signal Processing 46 Mathematical Sciences Research Institute Publications Series Number 46
Book SynopsisSignal processing is everywhere in modern technology. Its mathematical basis and many areas of application are the subject of this book, based on a series of graduate-level lectures held at the Mathematical Sciences Research Institute. Emphasis is on challenges in the subject, particular techniques adapted to particular technologies, and certain advances in algorithms and theory. The book covers two main areas: computational harmonic analysis, envisioned as a technology for efficiently analysing real data using inherent symmetries; and the challenges inherent in the acquisition, processing and analysis of images and sensing data in general [EMDASH] ranging from sonar on a submarine to a neuroscientist's fMRI study.Table of Contents1. Introduction D. Rockmore and D. Healy; 2. Hyperbolic geometry, Nehari's theorem, electric circuits, and analog signal processing J. Allen and D. Healy; 3. Engineering applications of the motion-group Fourier transform G. Chirikjian and Y. Wang; 4. Fast x-ray and beamlet transforms for three-dimensional data D. Donoho and O. Levi; 5. Fourier analysis and phylogenetic trees S. Evans; 6. Diffuse tomography as a source of challenging nonlinear inverse problems for a general class of networks A. Grunbaum; 7. An invitation to matrix-valued spherical functions A. Grunbaum, I. Pacharoni and J. Tirao; 8. Image registration for MRI P. Kostelec and S. Periaswamy; 9. The mathematics of JPEG 2000 Jin Li; 10. Integrated sensing and processing for statistical pattern recognition C. Priebe, D. Marchette and D. Healy; 11. Sampling of functions and sections for compact groups D. Maslen; 12. The Cooley-Tukey FFT and group theory D. Maslen and D. Rockmore; 13. Mathematical challenges for optical communications U. Osterberg; 14. The generalized spike process, sparsity and statistical independence N. Saito.
£39.89
Cambridge University Press New Directions in Linear Acoustics and Vibration Quantum Chaos Random Matrix Theory and Complexity
a huge range and FREE tracked UK delivery on ALL orders.
£104.00
Cambridge University Press Repetition and Performance in the Recording Studio
a huge range and FREE tracked UK delivery on ALL orders.
£47.49
Bloomsbury Publishing Plc Sound Affects
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
£111.09
J Ross Publishing Acoustics and Audio Technology: Acoustics:
Book Synopsis
£57.00
Counterpoint Now You're Talking: Human Conversation from the
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.
£18.04
ISTE Ltd and John Wiley & Sons Inc Sonar and Underwater Acoustics
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
£194.70
ISTE Ltd and John Wiley & Sons Inc Acoustic Particle Velocity Measurements Using
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
£999.99
Adventures Unlimited Press Water: the Key to New Energy: Cavitating
Book Synopsis
£16.65
Prestel Publishing The World of Analog
Book Synopsis
£40.00
Logos Verlag Berlin GmbH The Influence of Room Acoustics on Solo Music
Book Synopsis
£999.99
Sternberg Press Master of Voice
Book SynopsisA collection that looks at the role and use of the human and nonhuman voice in art.The (non)human voice has always been part of modern art, notably within performance art, sound art, and conceptual art. However, the Master of Voice graduate program mutates from this history, examining the voice as a unique discipline. The focus is on the (non) human voice, as a means to an end or an end in itself, within artistic practice. A special orientation of the Master of Voice curriculum, co-developed with a team of artists with a longstanding interest in the (non)human voice, is the voice in relation to technology and gender. This book captures a two-year-long period of research--of thinking, talking, sharing, learning, making, acting, and creating by students and teachers, artists, and other practitioners--to find possible answers and approaches to the question of the voice and its prominent role in our postindustrial society.ContributorsTyler Coburn, Angelo Custódio, Thom Driver, Paul Elliman, Amelia Groom, Miyuki Inoue, Danae Io, Jamila Johnson-Small, Bin Koh, Snejanka Mihaylova, Maria Montesi, MPA, Natasha Papadopoulou, Duncan Robertson, Marnie Slater, Lisette Smits, Eva Šusová, Cécile Tafanelli, Mavi Veloso, Geo Wyeth
£14.50
