Acoustics and PsychoacousticsThe acoustics of a recording space can have a real impact on the sounds you create and capture. The book gives an essential grounding and understanding to how real music sounds behave and are perceived in real spaces. With a clear and simple style Howard and Angus walk you through the theory- the science of sound engineering and music production, and the practical ? how to apply it to music spaces so create professional sound, using real world examples and providing audio clips and recorded sounds to work with. Updated throughout the new edition uncovers the acoustic application for today's recording industry. The website is packed with audio clips, questions and answers, a calculation facility as well as links and resources. |
Contents
Chapter 1 Introduction to Sound | 1 |
Chapter 2 Introduction to Hearing | 73 |
Chapter 3 Notes and Harmony | 121 |
Chapter 4
Acoustic Model for Musical Instruments | 167 |
Chapter 5
Hearing Timbre and Deceiving the Ear | 231 |
Chapter 6
Hearing Music in Different Environments | 277 |
Acoustics and Psychoacoustics Combined | 365 |
The Fourier Transform | 437 |
Solving the ERB
Equation | 447 |
Converting Between Frequency Ratios and Cents | 449 |
Deriving the Reverberation Time Equation | 451 |
Deriving the Reverberation Time Equation for Different Frequencies and Surfaces | 455 |
The Effect of Speaker Size on its Polar Pattern | 459 |
Track Listing for the Audio Compact Disc | 473 |
| 479 | |
Other editions - View all
Common terms and phrases
absorbers absorption coefficient Acoustics and Psychoacoustics amplitude antinode approximately arpeggio audio basilar membrane bass boundaries brass instrument calculated center frequency Chapter consonance critical band critical bandwidth decay delay diffuse direct sound distance early reflections effect equal Equation example filter flue formant frequency components frequency range frequency ratio function given harmonic series hearing system increase input length listening loudness loudspeaker masking measure modal modes musical intervals noise octave output perceived perfect fifth phase pipe pitch perception played plotted propagation psychoacoustic pulse pure tones quantization quency region resonator response result reverberant field reverberant sound reverberation scale semitones shown in Figure shows signal sine wave singing sound energy sound intensity sound intensity level sound level sound pressure level sound source sound wave space speaker spectrogram spectrum speech standing wave stopped string surface timbre transverse tuning vibration violin vocal folds waveform wavelength