Handbook for Sound Engineers

32 Chapter 2 would not be concerned with the effects of such interac- tions since they came for the food and not the music. Conc ...

Fundamentals of Audio and Acoustics 33 Direct current (dc) flows in one direction only. In ac (alternating current) the directio ...

34 Chapter 2 An impedance phase plot often accompanies an impedance magnitude plot to show whether the loud- speaker load is res ...

Fundamentals of Audio and Acoustics 35 The Occupational Safety and Health Administration (OSHA) is responsible for assuring that ...

36 Chapter 2 must not exceed the peak output capability of any component in the system. Ironically the peaks have little to do w ...

Fundamentals of Audio and Acoustics 37 (2-21) This is the sound intensity level LI of the source and represents the amount of po ...

38 Chapter 2 expanding in two dimensions, the level change with increasing distance is half that of the point source radi- ator. ...

Fundamentals of Audio and Acoustics 39 Bibliography D. Davis and C. Davis, Sound System Engineering, Boston: Focal Press, 1997. ...

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41 Chapter 3 by Peter Xinya Zhang 3.1 Psychoacoustics and Subjective Quantities................................................. ...

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Psychoacoustics 43 3.1 Psychoacoustics and Subjective Quantities Unlike other senses, it is surprising how limited our vocabular ...

44 Chapter 3 us assume for the moment that we have no pinnae, just holes in the head, which is actually a simplest model for hum ...

Psychoacoustics 45 voice differently from how other people hear the voice. While not receiving much attention in everyday life, ...

46 Chapter 3 the oval window and the round window. The auditory portion of the inner ear is the snail-shaped cochlea. It is a me ...

Psychoacoustics 47 consume a lot of energy and nutrition, they are usually damaged first due to loud sound or ototoxic medicines ...

48 Chapter 3 audio professionals choose to monitor at very high levels? There could be many reasons. Loud levels may be more exc ...

Psychoacoustics 49 3.3.3 Auditory Filters and Critical Bands Experiments show that our ability to detect a signal depends on the ...

50 Chapter 3 ity—namely, harmonic distortion and combination tones. Harmonic distortion can be easily achieved by simply distort ...

Psychoacoustics 51 played out—low frequency or high, very soft or very intense. Speech does not utilize the entire auditory area ...