Glossary Common Terminology & Definitions
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White Paper: Acoustics Primer for Music Spaces
WHITE PAPER: ACOUSTICS PRIMER FOR MUSIC SPACES ACOUSTICS PRIMER Music is learned by listening. To be effective, rehearsal rooms, practice rooms and performance areas must provide an environment designed to support musical sound. It’s no surprise then that the most common questions we hear and the most frustrating problems we see have to do with acoustics. That’s why we’ve put this Acoustics Primer together. In simple terms we explain the fundamental acoustical concepts that affect music areas. Our hope is that music educators, musicians, school administrators and even architects and planners can use this information to better understand what they are, and are not, hearing in their music spaces. And, by better understanding the many variables that impact acoustical environ- ments, we believe we can help you with accurate diagnosis and ultimately, better solutions. For our purposes here, it is not our intention to provide an exhaustive, technical resource on the physics of sound and acoustical construction methods — that has already been done and many of the best works are listed in our bibliography and recommended readings on page 10. Rather, we want to help you establish a base-line knowledge of acoustical concepts that affect music education and performance spaces. This publication contains information reviewed by Professor M. David Egan. Egan is a consultant in acoustics and Professor Emeritus at the College of Architecture, Clemson University. He has been principal consultant of Egan Acoustics in Anderson, South Carolina for more than 35 years. A graduate of Lafayette College (B.S.) and MIT (M.S.), Professor Eagan also has taught at Tulane University, Georgia Institute of Technology, University of North Carolina at Charlotte, and Washington University. -
Physics of Music PHY103 Lab Manual
Physics of Music PHY103 Lab Manual Lab #6 – Room Acoustics EQUIPMENT • Tape measures • Noise making devices (pieces of wood for clappers). • Microphones, stands, preamps connected to computers. • Extra XLR microphone cables so the microphones can reach the padded closet and hallway. • Key to the infamous padded closet INTRODUCTION One important application of the study of sound is in the area of acoustics. The acoustic properties of a room are important for rooms such as lecture halls, auditoriums, libraries and theatres. In this lab we will record and measure the properties of impulsive sounds in different rooms. There are three rooms we can easily study near the lab: the lab itself, the “anechoic” chamber (i.e. padded closet across the hall, B+L417C, that isn’t anechoic) and the hallway (that has noticeable echoes). Anechoic means no echoes. An anechoic chamber is a room built specifically with walls that absorb sound. Such a room should be considerably quieter than a normal room. Step into the padded closet and snap your fingers and speak a few words. The sound should be muffled. For those of us living in Rochester this will not be a new sensation as freshly fallen snow absorbs sound well. If you close your eyes you could almost imagine that you are outside in the snow (except for the warmth, and bizarre smell in there). The reverberant sound in an auditorium dies away with time as the sound energy is absorbed by multiple interactions with the surfaces of the room. In a more reflective room, it will take longer for the sound to die away and the room is said to be 'live'. -
Acoustics & Ultrasonics
Dr.R.Vasuki Associate professor & Head Department of Physics Thiagarajar College of Engineering Madurai-625015 Science of sound that deals with origin, propagation and auditory sensation of sound. Sound production Propagation by human beings/machines Reception Classification of Sound waves Infrasonic audible ultrasonic Inaudible Inaudible < 20 Hz 20 Hz to 20,000 Hz ˃20,000 Hz Music – The sound which produces rhythmic sensation on the ears Noise-The sound which produces jarring & unpleasant effect To differentiate sound & noise Regularity of vibration Degree of damping Ability of ear to recognize the components Sound is a form of energy Sound is produced by the vibration of the body Sound requires a material medium for its propagation. When sound is conveyed from one medium to another medium there is no bodily motion of the medium Sound can be transmitted through solids, liquids and gases. Velocity of sound is higher in solids and lower in gases. Sound travels with velocity less than the velocity 8 of light. c= 3x 10 V0 =330 m/s at 0° degree Lightning comes first than thunder VT= V0+0.6 T Sound may be reflected, refracted or scattered. It undergoes diffraction and interference. Pitch or frequency Quality or timbre Intensity or Loudness Pitch is defined as the no of vibrations/sec. Frequency is a physical quantity but pitch is a physiological quantity. Mosquito- high pitch Lion- low pitch Quality or timbre is the one which helps to distinguish between the musical notes emitted by the different instruments or voices even though they have the same pitch. Intensity or loudness It is the average rate of flow of acoustic energy (Q) per unit area(A) situated normally to the direction of propagation of sound waves. -
Acoustic Textiles - the Case of Wall Panels for Home Environment
Acoustic Textiles - The case of wall panels for home environment Bachelor Thesis Work Bachelor of Science in Engineering in Textile Technology Spring 2013 The Swedish school of Textiles, Borås, Sweden Report number: 2013.2.4 Written by: Louise Wintzell, Ti10, [email protected] Abstract Noise has become an increasing public health problem and has become serious environment pollution in our daily life. This indicates that it is in time to control and reduce noise from traffic and installations in homes and houses. Today a plethora of products are available for business, but none for the private market. The project describes a start up of development of a sound absorbing wall panel for the private market. It will examine whether it is possible to make a wall panel that can lower the sound pressure level with 3 dB, or reach 0.3 s in reverberation time, in a normally furnished bedroom and still follow the demands of price and environmental awareness. To start the project a limitation was made to use the textiles available per meter within the range of IKEA. The test were made according to applicable standards and calculation of reverberation time and sound pressure level using Sabine’s formula and a formula for sound pressure equals sound effect. During the project, tests were made whether it was possible to achieve a sound classification C on a A-E grade scale according to ISO 11654, where A is the best, with only textiles or if a classic sound absorbing mineral wool had to be used. To reach a sound classification C, a weighted sound absorption coefficient (αw) of 0.6 as a minimum must be reached. -
Making It Sound As Good As It Tastes: Noise Reverberation Reduction in a Micro Distillery Tasting Room Andrew Sheehy Montana Tech of the University of Montana
Montana Tech Library Digital Commons @ Montana Tech Graduate Theses & Non-Theses Student Scholarship Spring 2016 Making it Sound as Good as it Tastes: Noise Reverberation Reduction in a Micro Distillery Tasting Room Andrew Sheehy Montana Tech of the University of Montana Follow this and additional works at: http://digitalcommons.mtech.edu/grad_rsch Part of the Occupational Health and Industrial Hygiene Commons Recommended Citation Sheehy, Andrew, "Making it Sound as Good as it Tastes: Noise Reverberation Reduction in a Micro Distillery Tasting Room" (2016). Graduate Theses & Non-Theses. 89. http://digitalcommons.mtech.edu/grad_rsch/89 This Publishable Paper is brought to you for free and open access by the Student Scholarship at Digital Commons @ Montana Tech. It has been accepted for inclusion in Graduate Theses & Non-Theses by an authorized administrator of Digital Commons @ Montana Tech. For more information, please contact [email protected]. 1 Making it Sound as Good as it Tastes: Noise Reverberation Reduction in a Micro Distillery Tasting Room Andrew John Sheehy, Dan Autenrieth, Julie Hart, and Scott Risser Montana Tech Publishable Paper submitted to Artisan Spirit Magazine 2 Abstract Noise reverberation in micro distillery tasting rooms can interfere with speech communication and negatively impact the acoustic quality of live music. Noise reverberation was characterized in a tasting room in Butte, MT by calculated and quantified methods. Sound absorbing baffles were then installed in an effort to reduce reverberation and improve room acoustics. The overall reverberation time and speech interference level were decreased by measureable amounts that corresponded with an increase in overall absorption in the space. Reverberation time decreased from 0.85 seconds to 0.49 seconds on average. -
Psychoacoustics Perception of Normal and Impaired Hearing with Audiology Applications Editor-In-Chief for Audiology Brad A
PSYCHOACOUSTICS Perception of Normal and Impaired Hearing with Audiology Applications Editor-in-Chief for Audiology Brad A. Stach, PhD PSYCHOACOUSTICS Perception of Normal and Impaired Hearing with Audiology Applications Jennifer J. Lentz, PhD 5521 Ruffin Road San Diego, CA 92123 e-mail: [email protected] Website: http://www.pluralpublishing.com Copyright © 2020 by Plural Publishing, Inc. Typeset in 11/13 Adobe Garamond by Flanagan’s Publishing Services, Inc. Printed in the United States of America by McNaughton & Gunn, Inc. All rights, including that of translation, reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording, or otherwise, including photocopying, recording, taping, Web distribution, or information storage and retrieval systems without the prior written consent of the publisher. For permission to use material from this text, contact us by Telephone: (866) 758-7251 Fax: (888) 758-7255 e-mail: [email protected] Every attempt has been made to contact the copyright holders for material originally printed in another source. If any have been inadvertently overlooked, the publishers will gladly make the necessary arrangements at the first opportunity. Library of Congress Cataloging-in-Publication Data Names: Lentz, Jennifer J., author. Title: Psychoacoustics : perception of normal and impaired hearing with audiology applications / Jennifer J. Lentz. Description: San Diego, CA : Plural Publishing, -
Investigation of the Time Dependent Nature of Infrasound Measured Near a Wind Farm Branko ZAJAMŠEK1; Kristy HANSEN1; Colin HANSEN1
Investigation of the time dependent nature of infrasound measured near a wind farm Branko ZAJAMŠEK1; Kristy HANSEN1; Colin HANSEN1 1 University of Adelaide, Australia ABSTRACT It is well-known that wind farm noise is dominated by low-frequency energy at large distances from the wind farm, where the high frequency noise has been more attenuated than low-frequency noise. It has also been found that wind farm noise is highly variable with time due to the influence of atmospheric factors such as atmospheric turbulence, wake turbulence from upstream turbines and wind shear, as well as effects that can be attributed to blade rotation. Nevertheless, many standards that are used to determine wind farm compliance are based on overall A-weighted levels which have been averaged over a period of time. Therefore the aim of the work described in this paper is to investigate the time dependent nature of unweighted wind farm noise and its perceptibility, with a focus on infrasound. Measurements were carried out during shutdown and operational conditions and results show that wind farm infrasound could be detectable by the human ear although not perceived as sound. Keywords: wind farm noise, on and off wind farm, infrasound, OHC threshold, crest factor I-INCE Classification of Subjects Number(s): 14.5.4 1. INTRODUCTION Wind turbine noise is influenced by atmospheric effects, which cause significant variations in the sound pressure level magnitude over time. In particular, factors causing amplitude variations include wind shear (1), directivity (2) and variations in the wind speed and direction. Wind shear, wind speed variations and yaw error (deviation of the turbine blade angle from optimum with respect to wind direction) cause changes in the blade loading and in the worst case, can lead to dynamic stall (3). -
Reverb 101: Room Reverberation and Better Listening Experiences
Reverb 101: Room Reverberation and Better Listening Experiences A great listening experience involves more than just high-quality audio equipment—the way sound moves around the room matters just as much. You don’t have to be an expert acoustician to create an impressive listening environment —just an understanding of some basic acoustic concepts will get you well on your way. The Basics of Reverberation Reverberation (or reverb) is important to think about when planning the acoustical treatments for your room. To define reverb, we first need to understand how sound travels from the source to your ear. When sound is emitted, sound waves take off in every direction. Some waves will travel the straight path from the source to your ear, and the rest will bounce around the room, ricocheting off of hard surfaces until they reach your ear or lose steam and die out. You hear the unadulterated direct sound first—then you start hearing indirect sounds as they arrive. Given that sound travels roughly 770 miles per hour, this happens very fast, and your brain interprets all the copies of sound together as one. The ratio of direct and indirect sounds determines the sound quality. That is where reverberation comes in. Reverberation is the collection of indirect sounds in an enclosed space. The more sound copies that pile up, the muddier the sound becomes. How Does Reverberation Affect the Listening Experience? When direct sound and reverberation combine in a favorable ratio, the sound is rich and full. The effect can bring music to life and even smooth out transitions between musical notes, creating a pleasant, desirable sound. -
The Physics of Sound 1
The Physics of Sound 1 The Physics of Sound Sound lies at the very center of speech communication. A sound wave is both the end product of the speech production mechanism and the primary source of raw material used by the listener to recover the speaker's message. Because of the central role played by sound in speech communication, it is important to have a good understanding of how sound is produced, modified, and measured. The purpose of this chapter will be to review some basic principles underlying the physics of sound, with a particular focus on two ideas that play an especially important role in both speech and hearing: the concept of the spectrum and acoustic filtering. The speech production mechanism is a kind of assembly line that operates by generating some relatively simple sounds consisting of various combinations of buzzes, hisses, and pops, and then filtering those sounds by making a number of fine adjustments to the tongue, lips, jaw, soft palate, and other articulators. We will also see that a crucial step at the receiving end occurs when the ear breaks this complex sound into its individual frequency components in much the same way that a prism breaks white light into components of different optical frequencies. Before getting into these ideas it is first necessary to cover the basic principles of vibration and sound propagation. Sound and Vibration A sound wave is an air pressure disturbance that results from vibration. The vibration can come from a tuning fork, a guitar string, the column of air in an organ pipe, the head (or rim) of a snare drum, steam escaping from a radiator, the reed on a clarinet, the diaphragm of a loudspeaker, the vocal cords, or virtually anything that vibrates in a frequency range that is audible to a listener (roughly 20 to 20,000 cycles per second for humans). -
Synchronization of a Thermoacoustic Oscillator by an External Sound Source G
Synchronization of a thermoacoustic oscillator by an external sound source G. Penelet and T. Biwa Citation: Am. J. Phys. 81, 290 (2013); doi: 10.1119/1.4776189 View online: http://dx.doi.org/10.1119/1.4776189 View Table of Contents: http://ajp.aapt.org/resource/1/AJPIAS/v81/i4 Published by the American Association of Physics Teachers Related Articles Reinventing the wheel: The chaotic sandwheel Am. J. Phys. 81, 127 (2013) Chaos: The Science of Predictable Random Motion. Am. J. Phys. 80, 843 (2012) Cavity quantum electrodynamics of a two-level atom with modulated fields Am. J. Phys. 80, 612 (2012) Stretching and folding versus cutting and shuffling: An illustrated perspective on mixing and deformations of continua Am. J. Phys. 79, 359 (2011) Anti-Newtonian dynamics Am. J. Phys. 77, 783 (2009) Additional information on Am. J. Phys. Journal Homepage: http://ajp.aapt.org/ Journal Information: http://ajp.aapt.org/about/about_the_journal Top downloads: http://ajp.aapt.org/most_downloaded Information for Authors: http://ajp.dickinson.edu/Contributors/contGenInfo.html Downloaded 21 Mar 2013 to 130.34.95.66. Redistribution subject to AAPT license or copyright; see http://ajp.aapt.org/authors/copyright_permission Synchronization of a thermoacoustic oscillator by an external sound source G. Peneleta) LUNAM Universite, Universite du Maine, CNRS UMR 6613, Laboratoire d’Acoustique de l’Universitedu Maine, Avenue Olivier Messiaen, 72085 Le Mans Cedex 9, France T. Biwa Department of Mechanical Systems and Design, Tohoku University, 980-8579 Sendai, Japan (Received 23 July 2012; accepted 29 December 2012) Since the pioneering work of Christiaan Huygens on the sympathy of pendulum clocks, synchronization phenomena have been widely observed in nature and science. -
Web-Based Psychoacoustics: Hearing Screening, Infrastructure, And
bioRxiv preprint doi: https://doi.org/10.1101/2021.05.10.443520; this version posted May 11, 2021. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY-NC-ND 4.0 International license. Web-based Psychoacoustics: Hearing Screening, Infrastructure, and Validation Brittany A. Moka, Vibha Viswanathanb, Agudemu Borjiginb, Ravinderjit Singhb, Homeira Kafib, and ∗Hari M. Bharadwaja,b aDepartment of Speech, Language, and Hearing Sciences, Purdue University, West Lafayette, IN, United States bWeldon School of Biomedical Engineering, Purdue University, West Lafayette, IN, United States Abstract Anonymous web-based experiments are increasingly and successfully used in many domains of behavioral research. However, online studies of auditory perception, especially of psychoacoustic phe- nomena pertaining to low-level sensory processing, are challenging because of limited available control of the acoustics, and the unknown hearing status of participants. Here, we outline our approach to mitigate these challenges and validate our procedures by comparing web-based measurements to lab- based data on a range of classic psychoacoustic tasks. Individual tasks were created using jsPsych, an open-source javascript front-end library. Dynamic sequences of psychoacoustic tasks were imple- mented using Django, an open-source library for web applications, and combined with consent pages, questionnaires, and debriefing pages. Subjects were recruited via Prolific, a web-based human-subject marketplace. Guided by a meta-analysis of normative data, we developed and validated a screening pro- cedure to select participants for (putative) normal-hearing status; this procedure combined thresholding of scores in a suprathreshold cocktail-party task with filtering based on survey responses. -
The Sound Design Guide
The Sound Design Guide a transparent resource for sound & fire information get your LEED on! Scan this code to access our LEED credit calculator and score points for your project! if your walls could talk they would ask for us Architects and specifi ers face many design challenges, knowing what your walls really want shouldn’t be one of them. Walls and ceilings are not something just to hold up paint, they play a critical role in your building design. As a manufacturer, we have taken great strides in simplifying this part of the building envelope by providing new comprehensive tools and rich online resources to you, the architect and specifi er. Our product specifi cations and sustainability tools, available at www.PABCOgypsum.com and ARCAT, have been paired with new continuing education courses that cover everything from sound and acoustic challenges to discussions related to new 2015 industry standards. Meet your design goals with ease. Be it our trusted FLAME CURB®, light-weight LITECORE®, protective PABCO GLASS® or our award winning QuietRock®; we have what the job demands. what the job demands PABCO® Gypsum technical services: 866.282.9298 www.PABCOgypsum.com QuietRock® acoustical products: 800.797.8159 www.QuietRock.com get your LEED on! Scan this code to access our LEED credit calculator and score points for your project! if your walls could talk they would ask for us Architects and specifi ers face many design challenges, knowing what your walls really want shouldn’t be one of them. Walls and ceilings are not something just to hold up paint, they play a critical role in your building design.