Skip to content

Master Handbook of Acoustics

Spend $50 to get a free DVD!

ISBN-10: 0071360972

ISBN-13: 9780071360975

Edition: 4th 2001 (Revised)

Authors: F. Alton Everest

List price: $39.95
Blue ribbon 30 day, 100% satisfaction guarantee!
Buy eBooks
what's this?
Rush Rewards U
Members Receive:
Carrot Coin icon
XP icon
You have reached 400 XP and carrot coins. That is the daily max!

Description:

*For the audio buff who needs a quick-read education on acoustical concepts and terminology, this not-bi-be-missed, heavily illustrated guide has it all. *Reviews acoustical principles and applies the theory to the design of special audio spaces: the home listening room, the control room, and the multi-track recording studio. *Features an entire chapter devoted to Acoustical Measurements and Calculations. *New coverage sheds light on the many computer programs currently available at both the professional and advanced audio level.
Customers also bought

Book details

List price: $39.95
Edition: 4th
Copyright year: 2001
Publisher: McGraw-Hill Professional Publishing
Publication date: 9/22/2000
Binding: Paperback
Pages: 592
Size: 7.50" wide x 9.50" long x 1.75" tall
Weight: 2.684
Language: English

F. Alton Everest, a leading expert and authority in the field of acoustics, was an emeritus member of the Acoustical Society of America, a life member of the Institute of Electrical and Electronics Engineers, and life fellow of the Society of Motion Picture and Television Engineers.Ken C. Pohlmann (Miami, FL) was director of the Music Engineering Technology program and is professor emeritus at the University of Miami in Coral Gables. He is the author of Principles of Digital Audio, Sixth Edition and coauthor of Handbook of Sound Studio Construction, Second Edition.

Epigraphp. xxi
Introductionp. xxiii
Fundamentals of Soundp. 1
The Simple Sinusoidp. 2
Sine-Wave Languagep. 3
Wavelength and Frequencyp. 10
Complex Wavesp. 12
Electrical, Mechanical, and Acoustical Analogsp. 20
Sound Levels and the Decibelp. 23
Ratios vs. Differencesp. 23
Logarithmsp. 26
Decibelsp. 26
Reference Levelsp. 28
Logarithmic and Exponential Forms Comparedp. 30
Acoustic Powerp. 31
Using Decibelsp. 33
Ratios and Octavesp. 37
Measuring Sound-Pressure Levelp. 39
The Ear and the Perception of Soundp. 41
Sensitivity of the Earp. 41
A Primer of Ear Anatomyp. 42
Loudness vs. Frequencyp. 50
Loudness Controlp. 51
Area of Audibilityp. 53
Loudness vs. Sound-Pressure Levelp. 54
Loudness and Bandwidthp. 56
Loudness of Impulsesp. 59
Audibility of Loudness Changesp. 61
Pitch vs. Frequencyp. 61
Timbre vs. Spectrump. 63
Localization of Sound Sourcesp. 64
Binaural Localizationp. 67
The Ear as an Analyzerp. 70
The Ear as a Measuring Instrumentp. 70
Meters vs. the Earp. 72
The Precedence Effectp. 73
Perception of Reflected Soundp. 75
Occupational and Recreational Deafnessp. 76
Summaryp. 79
Sound Waves in the Free Fieldp. 83
Free Sound Field: Definitionp. 83
Sound Divergencep. 84
Speech, Music, and Noisep. 89
The Voice Systemp. 89
Musicp. 99
Power in Speech and Musicp. 103
Frequency Range of Speech and Musicp. 104
Future Dynamic-Range Requirementsp. 104
Auditory Areap. 104
Noisep. 107
Signal Distortionp. 112
Harmonic Distortionp. 114
Analog and Digital Signal Processingp. 119
Resonancep. 120
Filtersp. 122
Application of Digital Signal Processing (DSP)p. 105
Application of DSP to Room Equalizationp. 106
Reverberationp. 129
Reverberation and Normal Modesp. 130
Growth of Sound in a Roomp. 132
Decay of Sound in a Roomp. 134
Idealized Growth and Decay of Soundp. 134
Reverberation Timep. 135
Measuring Reverberation Timep. 137
Impulse Sound Sourcesp. 137
Steady-State Sourcesp. 138
Equipmentp. 138
Measurement Procedurep. 140
Mode Decay Variationsp. 142
Reverberation Time Variation with Positionp. 145
Acoustically Coupled Spacesp. 146
Electroacoustically Coupled Spacesp. 146
Influence of Reverberation on Speechp. 148
Influence of Reverberation on Musicp. 149
Optimum Reverberation Timep. 150
Artificial Reverberation: The Pastp. 155
Artificial Reverberation: The Futurep. 156
Arrival Time Gapp. 157
The Sabine Equationp. 159
Reverberant Fieldp. 162
Control of Interfering Noisep. 165
Noise Sources and Some Solutionsp. 166
Sound Transmission Classification (STC)p. 170
Comparison of Wall Structuresp. 171
Double Windowsp. 173
Sound-Insulating Doorsp. 175
Absorption of Soundp. 179
Dissipation of Sound Energyp. 179
Evaluation of Sound Absorptionp. 181
Reverberation Chamber Methodp. 182
Impedance Tube Methodp. 182
Tone-Burst Methodp. 185
Mounting of Absorbentsp. 186
Mid/High Frequency Absorption by Porosityp. 187
Effect of Thickness of Absorbentp. 190
Effect of Airspace behind Absorbentp. 191
Effect of Density of Absorbentp. 192
Open-Cell Foamsp. 192
Drapes as Sound Absorbersp. 193
Carpet as Sound Absorberp. 196
Sound Absorption by Peoplep. 200
Absorption of Sound in Airp. 203
Low-Frequency Absorption by Resonancep. 203
Diaphragmatic Absorbersp. 205
Polycylindrical Absorbersp. 209
Poly Constructionp. 212
Membrane Absorbersp. 213
Helmholtz Resonatorsp. 215
Perforated Panel Absorbersp. 218
Slat Absorbersp. 224
Placement of Materialsp. 225
Reverberation Time of Helmholtz Resonatorsp. 225
Increasing Reverberation Timep. 229
Modulesp. 229
Reflection of Soundp. 235
Reflections from Flat Surfacesp. 235
Doubling of Pressure at Reflectionp. 237
Reflections from Convex Surfacesp. 237
Reflections from Concave Surfacesp. 237
Reflections from Parabolic Surfacesp. 238
Reflections inside a Cylinderp. 240
Standing Wavesp. 240
Reflection of Sound from Impedance Irregularitiesp. 240
The Corner Reflectorp. 243
Echo-Soundingp. 243
Perceptive Effects of Reflectionsp. 244
Diffraction of Soundp. 245
Rectilinear Propagationp. 245
Diffraction and Wavelengthp. 246
Diffraction of Sound by Large and Small Aperturesp. 247
Diffraction of Sound by Obstaclesp. 248
Diffraction of Sound by a Slitp. 249
Diffraction by the Zone Platep. 250
Diffraction around the Human Headp. 251
Diffraction by Loudspeaker Cabinet Edgesp. 253
Diffraction by Various Objectsp. 254
Refraction of Soundp. 257
Refraction of Soundp. 258
Diffusion of Soundp. 267
The Perfectly Diffuse Sound Fieldp. 267
Evaluating Diffusion in a Roomp. 268
Decay Beatsp. 269
Exponential Decayp. 270
Spatial Uniformity of Reverberation Timep. 271
Decay Shapesp. 275
Microphone Directivityp. 275
Room Shapep. 275
Splaying Room Surfacesp. 281
Geometrical Irregularitiesp. 282
Absorbent in Patchesp. 282
Concave Surfacesp. 286
Convex Surfaces: The Polyp. 286
Plane Surfacesp. 287
The Schroeder Diffusorp. 289
Schroeder's First Acoustic Diffusorp. 290
Maximum-Length Sequencesp. 292
Reflection Phase-Grating Diffusorsp. 292
Quadratic-Residue Diffusorsp. 293
Primitive-Root Diffusorsp. 296
Quadratic-Residue Applicationsp. 298
Performance of Diffraction-Grating Diffusorsp. 298
Comparison of Gratings with Conventional Approachesp. 312
Modal Resonances in Enclosed Spacesp. 317
Resonance in a Pipep. 318
Bathroom Acousticsp. 319
Reflections Indoorsp. 320
Two-Wall Resonancep. 322
Waves vs. Raysp. 322
Frequency Regionsp. 323
Dividing the Audio Spectrump. 325
Wave Acousticsp. 326
Experimental Verificationp. 331
Mode Identificationp. 331
Mode Decayp. 333
Mode Bandwidthp. 334
Mode Pressure Plotsp. 339
Modal Densityp. 341
Mode Spacing and Colorationp. 342
Experiments with Colorationsp. 344
Simplified Axial Mode Analysisp. 346
The Bonello Criterionp. 348
Controlling Problem Modesp. 348
Mode Summaryp. 350
Reflections in Enclosed Spacesp. 353
Law of the First Wavefrontp. 353
Mean Free Pathp. 354
Large Spacesp. 359
Spaciousnessp. 360
Comb-Filter Effectsp. 363
What Is a Comb Filter?p. 363
Superposition of Soundp. 364
Tonal Signals and Comb Filtersp. 365
Comb Filters and Critical Bandsp. 371
Comb Filters in Stereo Listeningp. 374
Coloration and Spaciousnessp. 374
Combing in Stereo Microphone Pickupsp. 375
Audibility of Comb-Filter Effectsp. 375
Quiet Air for the Studiop. 385
Selection of Noise Criterionp. 386
Fan Noisep. 388
Ashraep. 389
Machinery Noisep. 390
Air Velocityp. 390
Effect of Terminal Fittingsp. 391
"Natural" Attenuationp. 391
Duct Liningp. 392
Plenum Silencersp. 393
Packaged Attenuatorsp. 394
Reactive Silencersp. 394
Resonator Silencerp. 395
Duct Locationp. 395
Some Practical Suggestionsp. 395
Acoustics of the Listening Roomp. 399
The Acoustical Linkp. 399
Peculiarities of Small-Room Acousticsp. 400
The Listening Room: Low Frequenciesp. 403
The Listening Room: The Mid-High Frequenciesp. 409
Acoustics of the Small Recording Studiop. 415
Acoustical Characteristics of a Studiop. 416
Reverberationp. 418
Studio Designp. 419
Studio Volumep. 419
Room Proportionsp. 421
Reverberation Timep. 422
Diffusionp. 423
Noisep. 424
Studio Design Procedurep. 424
Some Studio Featuresp. 424
Elements Common to all Studiosp. 427
Acoustics of the Control Roomp. 429
The Initial Time-Delay Gapp. 429
The Live Endp. 431
Specular Reflections vs. Diffusionp. 432
Low-Frequency Resonances in the Control Roomp. 434
Initial Time-Delay Gaps in Practicep. 436
Managing Reflectionsp. 438
The Reflection-Free-Zone Control Roomp. 439
Control-Room Frequency Rangep. 441
Outer Shell of the Control Roomp. 442
Inner Shell of the Control Roomp. 442
Representative Control Roomsp. 442
Some European Designsp. 444
Consultantsp. 450
Acoustics for Multitrack Recordingp. 453
Flexibilityp. 545
Advantages of Multitrackp. 455
Disadvantages of Multitrackp. 456
Achieving Track Separationp. 457
Studio Acousticsp. 458
The Future of Multichannelp. 460
Automationp. 460
Audio/Video Tech Room and Voice-Over Recordingp. 461
Selection of Space: External Factorsp. 462
Selection of Space: Internal Factorsp. 462
Work Space Treatmentp. 462
Audio/Video Work Place Examplep. 463
Appraisal of Room Resonancesp. 463
Calculationsp. 465
The Voice-Over Boothp. 468
Dead-End Live-End Voice Studiop. 468
Voice-Over Boothsp. 468
The Quick Sound Fieldp. 469
Adjustable Acousticsp. 473
Draperiesp. 473
Adjustable Panels: Absorptionp. 474
Adjustable Panels: The Abffusorp. 476
Hinged Panelsp. 478
Louvered Panelsp. 479
Variable Resonant Devicesp. 480
Rotating Elementsp. 483
Portable Units: The Tube Trapp. 484
Portable Units: The Korner Killerp. 485
Acoustical Distortionp. 489
Acoustic Distortion and the Perception of Soundp. 489
Sources of Acoustic Distortionp. 490
Conclusionp. 500
Room Acoustics Measurement Softwarep. 501
The Evolution of Measurement Technologiesp. 502
Building a Better Analyzerp. 504
AcoustiSoft's ETF Programp. 509
Conclusionp. 526
Room Optimizerp. 529
Introductionp. 529
Modal Responsep. 530
Speaker-Boundary Interference Responsep. 531
Optimizationp. 533
Theoryp. 536
Optimization Procedurep. 545
Resultsp. 549
Conclusionp. 558
Desktop Auralizationp. 565
Introductionp. 565
The Auralization Processp. 569
Summaryp. 581
Appendixp. 585
Glossaryp. 589
Indexp. 599
Table of Contents provided by Syndetics. All Rights Reserved.