Introduction |
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xix | |
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1 | (18) |
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Simple Harmonic Motion and the Sine Wave |
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2 | (1) |
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3 | (4) |
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4 | (1) |
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5 | (2) |
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7 | (1) |
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7 | (1) |
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8 | (5) |
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8 | (2) |
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10 | (3) |
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13 | (1) |
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13 | (2) |
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15 | (3) |
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18 | (1) |
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2 Sound Levels and the Decibel |
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19 | (16) |
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Ratios versus Differences |
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19 | (2) |
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20 | (1) |
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21 | (1) |
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21 | (2) |
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23 | (1) |
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Logarithmic and Exponential Forms Compared |
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24 | (1) |
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25 | (1) |
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26 | (3) |
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Measuring Sound-Pressure Level |
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29 | (1) |
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30 | (2) |
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Electrical, Mechanical, and Acoustical Analogs |
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32 | (1) |
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32 | (3) |
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3 Sound in the Free Field |
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35 | (8) |
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35 | (1) |
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35 | (1) |
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Sound Intensity in the Free Field |
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36 | (1) |
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Sound Pressure in the Free Field |
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37 | (2) |
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Free-Field Sound Divergence |
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37 | (2) |
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Sound Fields in Enclosed Spaces |
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39 | (1) |
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Hemispherical Field and Propagation |
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39 | (2) |
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41 | (2) |
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4 The Perception of Sound |
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43 | (30) |
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43 | (1) |
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44 | (6) |
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45 | (1) |
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A Demonstration of Directional Cues |
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45 | (1) |
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The Outer Ear---Auditory Canal |
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45 | (1) |
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46 | (2) |
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48 | (1) |
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49 | (1) |
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Loudness versus Frequency |
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50 | (3) |
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52 | (1) |
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52 | (1) |
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Loudness versus Sound-Pressure Level |
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53 | (2) |
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55 | (2) |
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57 | (1) |
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Audibility of Loudness Changes |
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58 | (1) |
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58 | (1) |
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59 | (1) |
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60 | (1) |
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60 | (1) |
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Localization of Sound Sources |
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60 | (3) |
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63 | (1) |
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Law of the First Wavefront |
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63 | (2) |
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64 | (1) |
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The Precedence (Haas) Effect |
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64 | (1) |
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Perception of Reflected Sound |
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65 | (2) |
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The Cocktail-Party Effect |
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67 | (1) |
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68 | (1) |
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Subjective versus Objective Evaluation |
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68 | (1) |
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Occupational and Recreational Hearing Loss |
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69 | (2) |
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71 | (2) |
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5 Signals, Speech, Music, and Noise |
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73 | (28) |
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73 | (1) |
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74 | (5) |
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Vocal Tract Molding of Speech |
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77 | (1) |
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Formation of Voiced Sounds |
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77 | (1) |
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Formation of Unvoiced Sounds |
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77 | (1) |
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Frequency Response of Speech |
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78 | (1) |
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79 | (1) |
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79 | (3) |
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79 | (2) |
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81 | (1) |
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82 | (1) |
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Dynamic Range of Speech and Music |
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82 | (1) |
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Power in Speech and Music |
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83 | (1) |
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Frequency Range of Speech and Music |
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84 | (1) |
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Auditory Area of Speech and Music |
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84 | (2) |
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86 | (1) |
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87 | (4) |
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88 | (1) |
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89 | (2) |
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91 | (1) |
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92 | (3) |
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95 | (1) |
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96 | (3) |
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99 | (2) |
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101 | (14) |
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101 | (3) |
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103 | (1) |
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Doubling of Pressure at Reflection |
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104 | (1) |
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Reflections from Convex Surfaces |
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104 | (1) |
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Reflections from Concave Surfaces |
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105 | (1) |
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Reflections from Parabolic Surfaces |
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105 | (1) |
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105 | (2) |
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107 | (1) |
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107 | (1) |
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108 | (1) |
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Perception of Sound Reflections |
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108 | (4) |
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The Effect of Single Reflections |
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108 | (3) |
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Perception of Spaciousness, Images, and Echoes |
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111 | (1) |
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Effect of Angle of Incidence, Signal Type, and Spectrum on Audibility of Reflection |
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111 | (1) |
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112 | (3) |
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115 | (10) |
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Diffraction and Wavefront Propagation |
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115 | (1) |
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Diffraction and Wavelength |
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116 | (1) |
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116 | (3) |
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119 | (1) |
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120 | (1) |
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Diffraction by a Zone Plate |
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120 | (1) |
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Diffraction around the Human Head |
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120 | (1) |
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Diffraction by Loudspeaker Cabinet Edges |
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120 | (4) |
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Diffraction by Various Objects |
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124 | (1) |
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124 | (1) |
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125 | (8) |
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125 | (1) |
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126 | (1) |
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Refraction in the Atmosphere |
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127 | (3) |
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Refraction in Enclosed Spaces |
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130 | (1) |
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130 | (1) |
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131 | (2) |
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133 | (10) |
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The Perfectly Diffuse Sound Field |
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133 | (1) |
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Evaluating Diffusion in a Room |
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134 | (1) |
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Steady-State Measurements |
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134 | (1) |
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135 | (1) |
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135 | (1) |
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Spatial Uniformity of Reverberation Time |
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136 | (3) |
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Geometrical Irregularities |
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139 | (1) |
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140 | (1) |
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140 | (1) |
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Convex Surfaces: The Polycylindrical Diffuser |
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140 | (2) |
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142 | (1) |
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142 | (1) |
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143 | (18) |
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143 | (1) |
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143 | (1) |
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Tonal Signals and Comb Filters |
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144 | (2) |
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Comb Filtering of Music and Speech Signals |
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146 | (1) |
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Comb Filtering of Direct and Reflected Sound |
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147 | (4) |
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Comb Filters and Critical Bands |
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151 | (1) |
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Comb Filters in Multichannel Playback |
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152 | (1) |
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Controlling Comb Filtering |
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153 | (1) |
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Reflections and Spaciousness |
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153 | (1) |
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Comb Filters in Microphone Placement |
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154 | (1) |
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Comb-Filter Effects in Practice: Six Examples |
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154 | (3) |
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Estimating Comb-Filter Response |
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157 | (2) |
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159 | (2) |
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161 | (32) |
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Growth of Sound in a Room |
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161 | (2) |
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163 | (1) |
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Idealized Growth and Decay of Sound |
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163 | (1) |
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Calculating Reverberation Time |
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164 | (4) |
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165 | (2) |
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167 | (1) |
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168 | (1) |
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Measuring Reverberation Time |
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168 | (3) |
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169 | (1) |
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169 | (1) |
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170 | (1) |
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171 | (1) |
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Reverberation and Normal Modes |
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171 | (4) |
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173 | (1) |
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173 | (2) |
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175 | (1) |
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Reverberation Characteristic |
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175 | (1) |
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Reverberation Time Variation with Position |
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176 | (1) |
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Decay Rate and the Reverberant Field |
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176 | (2) |
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Acoustically Coupled Spaces |
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178 | (1) |
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Electroacoustically Coupled Spaces |
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178 | (1) |
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Eliminating Decay Fluctuations |
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179 | (1) |
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Influence of Reverberation on Speech |
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179 | (1) |
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Influence of Reverberation on Music |
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180 | (1) |
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Optimum Reverberation Time |
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181 | (5) |
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Bass Rise of Reverberation Time |
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184 | (1) |
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185 | (1) |
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Listening Room Reverberation Time |
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185 | (1) |
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186 | (2) |
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Examples of Reverberation Time Calculations |
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188 | (2) |
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190 | (3) |
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193 | (48) |
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Dissipation of Sound Energy |
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193 | (1) |
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194 | (6) |
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Reverberation Chamber Method |
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196 | (1) |
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196 | (2) |
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198 | (2) |
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200 | (1) |
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Mid/High-Frequency Absorption by Porosity |
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201 | (1) |
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Glass-Fiber Low-Density Materials |
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201 | (2) |
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Glass-Fiber High-Density Boards |
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203 | (1) |
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Glass-Fiber Acoustical Tile |
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204 | (1) |
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Effect of Thickness of Absorbent |
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205 | (1) |
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Effect of Airspace behind Absorbent |
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205 | (1) |
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Effect of Density of Absorbent |
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205 | (1) |
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206 | (2) |
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Drapes as Sound Absorbers |
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208 | (2) |
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210 | (3) |
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Effect of Carpet Type on Absorbance |
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212 | (1) |
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Effect of Carpet Underlay on Absorbance |
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212 | (1) |
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Carpet Absorption Coefficients |
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213 | (1) |
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Sound Absorption by People |
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213 | (2) |
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215 | (1) |
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Panel (Diaphragmatic) Absorbers |
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215 | (5) |
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Polycylindrical Absorbers |
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220 | (3) |
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Polycylindrical Absorber Construction |
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222 | (1) |
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Bass Traps: Low-Frequency Absorption by Resonance |
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223 | (1) |
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Helmholtz (Volume) Resonators |
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224 | (3) |
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Perforated Panel Absorbers |
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227 | (4) |
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231 | (1) |
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231 | (1) |
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Reverberation Time of Helmholtz Resonators |
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231 | (5) |
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Reducing Room Modes with Absorbers |
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234 | (2) |
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Increasing Reverberation Time |
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236 | (1) |
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236 | (2) |
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238 | (3) |
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241 | (36) |
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Early Experiments and Examples |
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241 | (1) |
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242 | (2) |
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244 | (2) |
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246 | (1) |
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247 | (2) |
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249 | (5) |
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Mode Calculations---An Example |
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250 | (3) |
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Experimental Verification |
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253 | (1) |
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254 | (1) |
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255 | (5) |
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260 | (3) |
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263 | (1) |
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Mode Spacing and Timbral Defects |
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264 | (2) |
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Audibility of Timbral Defects |
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265 | (1) |
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266 | (3) |
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269 | (1) |
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269 | (4) |
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270 | (3) |
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Controlling Problem Modes |
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273 | (1) |
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Simplified Axial-Mode Analysis |
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273 | (2) |
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275 | (2) |
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277 | (22) |
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277 | (1) |
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Reflection Phase-Grating Diffusers |
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278 | (1) |
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Quadratic Residue Diffusers |
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279 | (1) |
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280 | (1) |
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Performance of Diffraction-Grating Diffusers |
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281 | (2) |
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Reflection Phase-Grating Diffuser Applications |
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283 | (12) |
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287 | (2) |
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289 | (3) |
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Diffusion in Three Dimensions |
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292 | (1) |
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Diffusing Concrete Blocks |
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293 | (1) |
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Measuring Diffusion Efficiency |
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293 | (2) |
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Comparison of Gratings with Conventional Approaches |
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295 | (2) |
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297 | (2) |
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299 | (14) |
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299 | (1) |
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Portable Absorptive Panels |
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300 | (3) |
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303 | (1) |
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303 | (1) |
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Absorptive/Diffusive Adjustable Panels |
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304 | (1) |
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Variable Resonant Devices |
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305 | (1) |
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306 | (2) |
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Modular Low-Frequency Absorptive Devices |
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308 | (3) |
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311 | (2) |
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16 Sound Isolation and Site Selection |
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313 | (24) |
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Propagation through Barriers |
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314 | (1) |
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Approaches to Noise Control |
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314 | (1) |
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315 | (2) |
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316 | (1) |
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Effect of Mass and Frequency |
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317 | (2) |
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318 | (1) |
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319 | (1) |
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319 | (1) |
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320 | (2) |
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322 | (1) |
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Noise Transmitted by Diaphragmatic Action |
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323 | (1) |
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Noise and Room Resonances |
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323 | (1) |
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323 | (2) |
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325 | (3) |
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Assessment of Environmental Noise |
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328 | (2) |
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Measurement and Testing Standards |
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329 | (1) |
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330 | (2) |
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Noise Measurements and Construction |
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332 | (2) |
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Floor Plan Considerations |
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334 | (1) |
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Designing within a Frame Structure |
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335 | (1) |
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Designing within a Concrete Structure |
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335 | (1) |
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335 | (2) |
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17 Sound Isolation: Walls, Floors, and Ceilings |
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337 | (34) |
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Walls as Effective Noise Barriers |
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337 | (2) |
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The Role of Porous Absorbers |
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338 | (1) |
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The Mass Law and Wall Design |
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339 | (3) |
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Separation of Mass in Wall Design |
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342 | (3) |
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345 | (5) |
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Improving an Existing Wall |
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350 | (1) |
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351 | (1) |
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Gypsum Board Walls as Sound Barriers |
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351 | (1) |
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Masonry Walls as Sound Barriers |
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352 | (3) |
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355 | (1) |
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Summary of Wall STC Ratings |
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356 | (2) |
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358 | (4) |
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Floating Walls and Ceilings |
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360 | (1) |
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361 | (1) |
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Floor/Ceiling Construction |
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362 | (3) |
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Case Study of Footfall Noise |
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363 | (2) |
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Floor/Ceiling Structures and Their IIC Performance |
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365 | (1) |
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Floor/Ceilings in Frame Buildings |
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365 | (5) |
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Floor Attenuation with Concrete Layers |
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366 | (2) |
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Plywood Web versus Solid Wood Joists |
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368 | (2) |
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370 | (1) |
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18 Sound Isolation: Windows and Doors |
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371 | (22) |
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372 | (1) |
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373 | (1) |
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Acoustical Holes in Glass: Mass-Air-Mass Resonance |
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374 | (2) |
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Acoustical Holes in Glass: Coincidence Resonance |
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376 | (1) |
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Acoustical Holes in Glass: Standing Waves in the Cavity |
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377 | (1) |
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378 | (2) |
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380 | (1) |
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380 | (1) |
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380 | (1) |
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381 | (1) |
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381 | (1) |
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381 | (1) |
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381 | (1) |
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Example of an Optimized Double-Pane Window |
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381 | (1) |
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Construction of an Observation Window |
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382 | (3) |
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Proprietary Observation Windows |
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385 | (1) |
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386 | (4) |
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390 | (1) |
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390 | (2) |
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392 | (1) |
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19 Noise Control in Ventilating Systems |
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393 | (20) |
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Selection of Noise Criteria |
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393 | (3) |
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396 | (2) |
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Machinery Noise and Vibration |
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398 | (3) |
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401 | (1) |
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402 | (1) |
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403 | (2) |
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405 | (1) |
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406 | (1) |
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407 | (1) |
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408 | (1) |
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408 | (1) |
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409 | (1) |
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410 | (1) |
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411 | (2) |
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20 Acoustics of Listening Rooms and Home Theaters |
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413 | (26) |
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413 | (2) |
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Planning the Playback Room |
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415 | (1) |
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Acoustical Treatment of Playback Rooms |
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416 | (1) |
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Peculiarities of Small-Room Acoustics |
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416 | (1) |
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417 | (1) |
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417 | (1) |
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Low-Frequency Considerations |
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417 | (6) |
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421 | (1) |
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Control of Modal Resonances |
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421 | (1) |
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Bass Traps for Playback Rooms |
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421 | (2) |
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Mid/High-Frequency Considerations |
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423 | (4) |
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Identification and Treatment of Reflection Points |
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425 | (1) |
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Lateral Reflections and Control of Spaciousness |
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426 | (1) |
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427 | (1) |
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428 | (3) |
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431 | (6) |
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Controlling Early Reflections |
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433 | (1) |
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434 | (3) |
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437 | (2) |
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21 Acoustics of Home Studios |
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439 | (12) |
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439 | (1) |
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Home Acoustics: Reverberation |
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440 | (1) |
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Home Acoustics: Noise Control |
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440 | (1) |
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441 | (1) |
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442 | (2) |
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444 | (2) |
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Recording in the Home Studio |
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446 | (2) |
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448 | (1) |
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449 | (2) |
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22 Acoustics of Small Recording Studios |
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451 | (14) |
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Ambient Noise Requirements |
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451 | (1) |
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Acoustical Characteristics of Small Studios |
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452 | (2) |
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Direct and Indirect Sound |
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452 | (1) |
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452 | (2) |
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Room Modes and Room Volume |
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454 | (2) |
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Mode Analysis for Different Room Sizes |
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454 | (2) |
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456 | (1) |
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Reverberation in Small Rooms |
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456 | (1) |
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Optimal Reverberation Time |
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457 | (1) |
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457 | (1) |
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458 | (1) |
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Small Studio Design Example |
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458 | (5) |
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458 | (1) |
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459 | (4) |
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463 | (2) |
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23 Acoustics of Large Recording Studios |
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465 | (14) |
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Design Criteria of a Large Studio |
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466 | (1) |
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466 | (1) |
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466 | (4) |
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467 | (2) |
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469 | (1) |
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470 | (1) |
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|
470 | (2) |
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|
472 | (1) |
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473 | (2) |
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475 | (1) |
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475 | (2) |
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|
477 | (2) |
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24 Acoustics of Control Rooms |
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479 | (20) |
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|
479 | (2) |
|
|
481 | (1) |
|
Specular Reflections versus Diffusion |
|
|
482 | (2) |
|
Low-Frequency Resonances in Control Rooms |
|
|
484 | (1) |
|
Initial Time-Delay Gaps in Practice |
|
|
485 | (1) |
|
Loudspeaker Placement, Reflection Paths, and Near-Field Monitoring |
|
|
485 | (2) |
|
The Reflection-Free-Zone Control Room |
|
|
487 | (2) |
|
Control-Room Frequency Range |
|
|
489 | (1) |
|
Outer Shell and Inner Shell of the Control Room |
|
|
490 | (1) |
|
Design Criteria of a Control Room |
|
|
490 | (1) |
|
Design Example 1 Control Room with Rectangular Walls |
|
|
491 | (2) |
|
Design Example 2 Double-Shell Control Room with Splayed Walls |
|
|
493 | (1) |
|
Design Example 3 Single-Shell Control Room with Splayed Walls |
|
|
494 | (2) |
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|
496 | (3) |
|
25 Acoustics of Isolation Booths |
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|
499 | (22) |
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|
499 | (1) |
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|
500 | (1) |
|
|
501 | (1) |
|
|
501 | (1) |
|
Design Example 1 Traditional Isolation Booth |
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|
502 | (3) |
|
|
503 | (1) |
|
|
503 | (2) |
|
Design Example 2 Isolation Booth with Cylindrical Traps |
|
|
505 | (7) |
|
|
510 | (1) |
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|
510 | (2) |
|
Design Example 3 Isolation Booth with Diffusers |
|
|
512 | (3) |
|
|
514 | (1) |
|
Evaluation and Comparison |
|
|
515 | (4) |
|
Live End-Dead End Isolation Booth |
|
|
519 | (1) |
|
|
519 | (2) |
|
26 Acoustics of Audiovisual Postproduction Rooms |
|
|
521 | (16) |
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|
521 | (1) |
|
Design Example 1 Small Postproduction Room |
|
|
522 | (4) |
|
Appraisal of Room Resonances |
|
|
522 | (1) |
|
|
522 | (4) |
|
Design Example 2 Large Postproduction Room |
|
|
526 | (10) |
|
Appraisal of Room Resonances |
|
|
526 | (1) |
|
Monitor Loudspeakers and Early Sound |
|
|
526 | (4) |
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|
530 | (1) |
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|
531 | (3) |
|
|
534 | (1) |
|
Mixing Engineer's Workstation |
|
|
534 | (1) |
|
Video Display and Lighting |
|
|
535 | (1) |
|
|
536 | (1) |
|
27 Acoustics of Teleconference Rooms |
|
|
537 | (8) |
|
|
537 | (1) |
|
Shape and Size of the Room |
|
|
538 | (1) |
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|
539 | (1) |
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|
539 | (1) |
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|
540 | (1) |
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|
541 | (2) |
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|
543 | (2) |
|
28 Acoustics of Large Halls |
|
|
545 | (24) |
|
|
546 | (1) |
|
Reverberation and Echo Control |
|
|
546 | (2) |
|
|
548 | (1) |
|
|
549 | (3) |
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|
549 | (1) |
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|
549 | (2) |
|
|
551 | (1) |
|
Ceiling, Walls, and Floor |
|
|
551 | (1) |
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|
552 | (2) |
|
Speech Frequencies and Duration |
|
|
552 | (1) |
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|
552 | (1) |
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|
552 | (2) |
|
Concert Hall Acoustical Design |
|
|
554 | (4) |
|
|
554 | (1) |
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555 | (1) |
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|
555 | (1) |
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|
555 | (1) |
|
|
556 | (1) |
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|
556 | (1) |
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|
557 | (1) |
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|
557 | (1) |
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|
557 | (1) |
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|
557 | (1) |
|
|
558 | (1) |
|
Concert Hall Architectural Design |
|
|
558 | (2) |
|
|
558 | (1) |
|
|
559 | (1) |
|
|
560 | (1) |
|
Virtual Image Source Analysis |
|
|
560 | (2) |
|
|
562 | (1) |
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|
562 | (2) |
|
|
564 | (1) |
|
|
565 | (4) |
A Overview of TDS and MLS Analysis |
|
569 | (6) |
B Room Auralization |
|
575 | (12) |
C Selected Absorption Coefficients |
|
587 | (2) |
Bibliography |
|
589 | (16) |
Glossary |
|
605 | (14) |
Index |
|
619 | |