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Master Handbook of Acoustics, Seventh Edition 7th edition [Pehme köide]

  • Formaat: Paperback / softback, 656 pages, kõrgus x laius x paksus: 236x188x43 mm, kaal: 930 g, 50 Illustrations
  • Ilmumisaeg: 22-Oct-2021
  • Kirjastus: McGraw-Hill Education
  • ISBN-10: 1260473597
  • ISBN-13: 9781260473599
Teised raamatud teemal:
  • Formaat: Paperback / softback, 656 pages, kõrgus x laius x paksus: 236x188x43 mm, kaal: 930 g, 50 Illustrations
  • Ilmumisaeg: 22-Oct-2021
  • Kirjastus: McGraw-Hill Education
  • ISBN-10: 1260473597
  • ISBN-13: 9781260473599
Teised raamatud teemal:
The industry standard guide to room acousticsfully updated with the latest advances

Based on the classic text written by acoustics pioneer F. Alton Everest, this revised resource presents the fundamentals of acoustics along with time-tested solutions and detailed room designs. Master Handbook of Acoustics, Seventh Edition explains the art and science of room acoustics and architecture by combining theoretical instruction with matter-of-fact engineering advice. The numerous room designs insidecomplete with floor and elevation plans and performance analysescan be built as presented or adapted to meet specific needs. You will get designs new to this edition, including video teleconferencing rooms and voice studios, as well as new details on listening room and recording studio construction.

Inside, youll discover how to:





Control and utilize sound reflection, absorption, diffraction, and diffusion Calculate room reflections, reverberation times, and modal resonances Perform acoustical measurements and site surveys and choose construction materials Install modules to optimize early reflections, reverberation, and diffusion Design and construct home theaters, project studios, control rooms, recording studios, and other acoustically sensitive spaces Reduce HVAC noise levels and achieve excellent sound isolation with proven wall, window, and door designs Analyze the acoustics of concert halls, auditoriums, and places of worship Incorporate psychoacoustics in your designs to optimize room performance Understand the operation of room acoustics modeling software Utilize the supplied cost-effective plans and specifications for a variety of listening and recording rooms

 
Introduction xix
1 Fundamentals of Sound
1(18)
Simple Harmonic Motion and the Sine Wave
2(1)
Sound in Media
3(4)
Particle Motion
4(1)
Propagation of Sound
5(2)
Speed of Sound
7(1)
Wavelength and Frequency
7(1)
Complex Waveforms
8(5)
Harmonics
8(2)
Phase
10(3)
Partials
13(1)
Octaves
13(2)
Spectrum
15(3)
Key Points
18(1)
2 Sound Levels and the Decibel
19(16)
Ratios versus Differences
19(2)
Expressing Numbers
20(1)
Logarithms
21(1)
Decibels
21(2)
Reference Levels
23(1)
Logarithmic and Exponential Forms Compared
24(1)
Acoustic Power
25(1)
Using Decibels
26(3)
Measuring Sound-Pressure Level
29(1)
Sine-Wave Measurements
30(2)
Electrical, Mechanical, and Acoustical Analogs
32(1)
Key Points
32(3)
3 Sound in the Free Field
35(8)
The Free Field
35(1)
Sound Divergence
35(1)
Sound Intensity in the Free Field
36(1)
Sound Pressure in the Free Field
37(2)
Free-Field Sound Divergence
37(2)
Sound Fields in Enclosed Spaces
39(1)
Hemispherical Field and Propagation
39(2)
Key Points
41(2)
4 The Perception of Sound
43(30)
Sensitivity of the Ear
43(1)
Ear Anatomy
44(6)
The Outer Ear---Pinna
45(1)
A Demonstration of Directional Cues
45(1)
The Outer Ear---Auditory Canal
45(1)
The Middle Ear
46(2)
The Inner Ear
48(1)
Stereocilia
49(1)
Loudness versus Frequency
50(3)
Loudness Control
52(1)
Area of Audibility
52(1)
Loudness versus Sound-Pressure Level
53(2)
Loudness and Bandwidth
55(2)
Loudness of Impulses
57(1)
Audibility of Loudness Changes
58(1)
Pitch versus Frequency
58(1)
An Experiment in Pitch
59(1)
The Missing Fundamental
60(1)
Timbre versus Spectrum
60(1)
Localization of Sound Sources
60(3)
Binaural Localization
63(1)
Law of the First Wavefront
63(2)
The Franssen Effect
64(1)
The Precedence (Haas) Effect
64(1)
Perception of Reflected Sound
65(2)
The Cocktail-Party Effect
67(1)
Aural Nonlinearity
68(1)
Subjective versus Objective Evaluation
68(1)
Occupational and Recreational Hearing Loss
69(2)
Key Points
71(2)
5 Signals, Speech, Music, and Noise
73(28)
Sound Spectrograph
73(1)
Speech
74(5)
Vocal Tract Molding of Speech
77(1)
Formation of Voiced Sounds
77(1)
Formation of Unvoiced Sounds
77(1)
Frequency Response of Speech
78(1)
Directionality of Speech
79(1)
Music
79(3)
String Instruments
79(2)
Wind Instruments
81(1)
Nonharmonic Overtones
82(1)
Dynamic Range of Speech and Music
82(1)
Power in Speech and Music
83(1)
Frequency Range of Speech and Music
84(1)
Auditory Area of Speech and Music
84(2)
Noise
86(1)
Noise Measurements
87(4)
Random Noise
88(1)
White and Pink Noise
89(2)
Signal Distortion
91(1)
Harmonic Distortion
92(3)
Resonance
95(1)
Audio Filters
96(3)
Key Points
99(2)
6 Reflection
101(14)
Specular Reflections
101(3)
Flutter Echoes
103(1)
Doubling of Pressure at Reflection
104(1)
Reflections from Convex Surfaces
104(1)
Reflections from Concave Surfaces
105(1)
Reflections from Parabolic Surfaces
105(1)
Whispering Galleries
105(2)
Standing Waves
107(1)
Corner Reflectors
107(1)
Mean Free Path
108(1)
Perception of Sound Reflections
108(4)
The Effect of Single Reflections
108(3)
Perception of Spaciousness, Images, and Echoes
111(1)
Effect of Angle of Incidence, Signal Type, and Spectrum on Audibility of Reflection
111(1)
Key Points
112(3)
7 Diffraction
115(10)
Diffraction and Wavefront Propagation
115(1)
Diffraction and Wavelength
116(1)
Diffraction by Obstacles
116(3)
Diffraction by Apertures
119(1)
Diffraction by a Slit
120(1)
Diffraction by a Zone Plate
120(1)
Diffraction around the Human Head
120(1)
Diffraction by Loudspeaker Cabinet Edges
120(4)
Diffraction by Various Objects
124(1)
Key Points
124(1)
8 Refraction
125(8)
The Nature of Refraction
125(1)
Refraction in Solids
126(1)
Refraction in the Atmosphere
127(3)
Refraction in Enclosed Spaces
130(1)
Refraction in the Ocean
130(1)
Key Points
131(2)
9 Diffusion
133(10)
The Perfectly Diffuse Sound Field
133(1)
Evaluating Diffusion in a Room
134(1)
Steady-State Measurements
134(1)
Decay Beats
135(1)
Exponential Decay
135(1)
Spatial Uniformity of Reverberation Time
136(3)
Geometrical Irregularities
139(1)
Absorbent in Patches
140(1)
Concave Surfaces
140(1)
Convex Surfaces: The Polycylindrical Diffuser
140(2)
Plane Surfaces
142(1)
Key Points
142(1)
10 Comb-Filter Effects
143(18)
Comb Filters
143(1)
Superposition of Sound
143(1)
Tonal Signals and Comb Filters
144(2)
Comb Filtering of Music and Speech Signals
146(1)
Comb Filtering of Direct and Reflected Sound
147(4)
Comb Filters and Critical Bands
151(1)
Comb Filters in Multichannel Playback
152(1)
Controlling Comb Filtering
153(1)
Reflections and Spaciousness
153(1)
Comb Filters in Microphone Placement
154(1)
Comb-Filter Effects in Practice: Six Examples
154(3)
Estimating Comb-Filter Response
157(2)
Key Points
159(2)
11 Reverberation
161(32)
Growth of Sound in a Room
161(2)
Decay of Sound in a Room
163(1)
Idealized Growth and Decay of Sound
163(1)
Calculating Reverberation Time
164(4)
Sabine Equation
165(2)
Eyring-Norris Equation
167(1)
Air Absorption
168(1)
Measuring Reverberation Time
168(3)
Impulse Sources
169(1)
Steady-State Sources
169(1)
Measuring Equipment
170(1)
Measurement Procedure
171(1)
Reverberation and Normal Modes
171(4)
Analysis of Decay Traces
173(1)
Mode Decay Variations
173(2)
Frequency Effect
175(1)
Reverberation Characteristic
175(1)
Reverberation Time Variation with Position
176(1)
Decay Rate and the Reverberant Field
176(2)
Acoustically Coupled Spaces
178(1)
Electroacoustically Coupled Spaces
178(1)
Eliminating Decay Fluctuations
179(1)
Influence of Reverberation on Speech
179(1)
Influence of Reverberation on Music
180(1)
Optimum Reverberation Time
181(5)
Bass Rise of Reverberation Time
184(1)
Initial Time-Delay Gap
185(1)
Listening Room Reverberation Time
185(1)
Artificial Reverberation
186(2)
Examples of Reverberation Time Calculations
188(2)
Key Points
190(3)
12 Absorption
193(48)
Dissipation of Sound Energy
193(1)
Absorption Coefficients
194(6)
Reverberation Chamber Method
196(1)
Impedance Tube Method
196(2)
Tone-Burst Method
198(2)
Mounting of Absorbents
200(1)
Mid/High-Frequency Absorption by Porosity
201(1)
Glass-Fiber Low-Density Materials
201(2)
Glass-Fiber High-Density Boards
203(1)
Glass-Fiber Acoustical Tile
204(1)
Effect of Thickness of Absorbent
205(1)
Effect of Airspace behind Absorbent
205(1)
Effect of Density of Absorbent
205(1)
Open-Cell Foams
206(2)
Drapes as Sound Absorbers
208(2)
Carpet as Sound Absorber
210(3)
Effect of Carpet Type on Absorbance
212(1)
Effect of Carpet Underlay on Absorbance
212(1)
Carpet Absorption Coefficients
213(1)
Sound Absorption by People
213(2)
Sound Absorption in Air
215(1)
Panel (Diaphragmatic) Absorbers
215(5)
Polycylindrical Absorbers
220(3)
Polycylindrical Absorber Construction
222(1)
Bass Traps: Low-Frequency Absorption by Resonance
223(1)
Helmholtz (Volume) Resonators
224(3)
Perforated Panel Absorbers
227(4)
Slat Absorbers
231(1)
Placement of Materials
231(1)
Reverberation Time of Helmholtz Resonators
231(5)
Reducing Room Modes with Absorbers
234(2)
Increasing Reverberation Time
236(1)
Absorption Module Design
236(2)
Key Points
238(3)
13 Modal Resonances
241(36)
Early Experiments and Examples
241(1)
Resonance in a Pipe
242(2)
Indoor Reflections
244(2)
Two-Wall Resonance
246(1)
Frequency Regions
247(2)
Room-Mode Equation
249(5)
Mode Calculations---An Example
250(3)
Experimental Verification
253(1)
Mode Decay
254(1)
Mode Bandwidth
255(5)
Mode Pressure Plots
260(3)
Mode Density
263(1)
Mode Spacing and Timbral Defects
264(2)
Audibility of Timbral Defects
265(1)
Optimal Room Proportions
266(3)
Bonello Criterion
269(1)
Splaying Room Surfaces
269(4)
Nonrectangular Rooms
270(3)
Controlling Problem Modes
273(1)
Simplified Axial-Mode Analysis
273(2)
Key Points
275(2)
14 Schroeder Diffusers
277(22)
Experimentation
277(1)
Reflection Phase-Grating Diffusers
278(1)
Quadratic Residue Diffusers
279(1)
Primitive Root Diffusers
280(1)
Performance of Diffraction-Grating Diffusers
281(2)
Reflection Phase-Grating Diffuser Applications
283(12)
Flutter Echo
287(2)
Application of Fractals
289(3)
Diffusion in Three Dimensions
292(1)
Diffusing Concrete Blocks
293(1)
Measuring Diffusion Efficiency
293(2)
Comparison of Gratings with Conventional Approaches
295(2)
Key Points
297(2)
15 Adjustable Acoustics
299(14)
Draperies
299(1)
Portable Absorptive Panels
300(3)
Hinged Panels
303(1)
Louvered Panels
303(1)
Absorptive/Diffusive Adjustable Panels
304(1)
Variable Resonant Devices
305(1)
Rotating Elements
306(2)
Modular Low-Frequency Absorptive Devices
308(3)
Key Points
311(2)
16 Sound Isolation and Site Selection
313(24)
Propagation through Barriers
314(1)
Approaches to Noise Control
314(1)
Airborne Noise
315(2)
Transmission Loss
316(1)
Effect of Mass and Frequency
317(2)
Coincidence Effect
318(1)
Separation of Mass
319(1)
Porous Materials
319(1)
Sound Transmission Class
320(2)
Structureborne Noise
322(1)
Noise Transmitted by Diaphragmatic Action
323(1)
Noise and Room Resonances
323(1)
Site Selection
323(2)
The Noise Survey
325(3)
Assessment of Environmental Noise
328(2)
Measurement and Testing Standards
329(1)
Recommended Practices
330(2)
Noise Measurements and Construction
332(2)
Floor Plan Considerations
334(1)
Designing within a Frame Structure
335(1)
Designing within a Concrete Structure
335(1)
Key Points
335(2)
17 Sound Isolation: Walls, Floors, and Ceilings
337(34)
Walls as Effective Noise Barriers
337(2)
The Role of Porous Absorbers
338(1)
The Mass Law and Wall Design
339(3)
Separation of Mass in Wall Design
342(3)
Wall Design Summary
345(5)
Improving an Existing Wall
350(1)
Flanking Sound
351(1)
Gypsum Board Walls as Sound Barriers
351(1)
Masonry Walls as Sound Barriers
352(3)
Weak Links
355(1)
Summary of Wall STC Ratings
356(2)
Floating Floors
358(4)
Floating Walls and Ceilings
360(1)
Resilient Hangers
361(1)
Floor/Ceiling Construction
362(3)
Case Study of Footfall Noise
363(2)
Floor/Ceiling Structures and Their IIC Performance
365(1)
Floor/Ceilings in Frame Buildings
365(5)
Floor Attenuation with Concrete Layers
366(2)
Plywood Web versus Solid Wood Joists
368(2)
Key Points
370(1)
18 Sound Isolation: Windows and Doors
371(22)
Single-Pane Windows
372(1)
Double-Pane Windows
373(1)
Acoustical Holes in Glass: Mass-Air-Mass Resonance
374(2)
Acoustical Holes in Glass: Coincidence Resonance
376(1)
Acoustical Holes in Glass: Standing Waves in the Cavity
377(1)
Glass Mass and Spacing
378(2)
Dissimilar Panes
380(1)
Laminated Glass
380(1)
Plastic Panes
380(1)
Slanting the Glass
381(1)
Third Pane
381(1)
Cavity Absorbent
381(1)
Thermal Glass
381(1)
Example of an Optimized Double-Pane Window
381(1)
Construction of an Observation Window
382(3)
Proprietary Observation Windows
385(1)
Sound-Isolating Doors
386(4)
Sound Locks
390(1)
Composite Partitions
390(2)
Key Points
392(1)
19 Noise Control in Ventilating Systems
393(20)
Selection of Noise Criteria
393(3)
Fan Noise
396(2)
Machinery Noise and Vibration
398(3)
Air Velocity
401(1)
Natural Attenuation
402(1)
Duct Lining
403(2)
Plenum Silencers
405(1)
Proprietary Attenuators
406(1)
Reactive Silencers
407(1)
Tuned Silencers
408(1)
Duct Location
408(1)
ASHRAE
409(1)
Active Noise Control
410(1)
Key Points
411(2)
20 Acoustics of Listening Rooms and Home Theaters
413(26)
Playback Criteria
413(2)
Planning the Playback Room
415(1)
Acoustical Treatment of Playback Rooms
416(1)
Peculiarities of Small-Room Acoustics
416(1)
Room Size and Proportion
417(1)
Reverberation Time
417(1)
Low-Frequency Considerations
417(6)
Modal Anomalies
421(1)
Control of Modal Resonances
421(1)
Bass Traps for Playback Rooms
421(2)
Mid/High-Frequency Considerations
423(4)
Identification and Treatment of Reflection Points
425(1)
Lateral Reflections and Control of Spaciousness
426(1)
Loudspeaker Placement
427(1)
Listening Room Plan
428(3)
Home-Theater Plan
431(6)
Controlling Early Reflections
433(1)
Other Treatment Details
434(3)
Key Points
437(2)
21 Acoustics of Home Studios
439(12)
Home Acoustics: Modes
439(1)
Home Acoustics: Reverberation
440(1)
Home Acoustics: Noise Control
440(1)
Home Studio Budget
441(1)
Home Studio Treatment
442(2)
Home Studio Plan
444(2)
Recording in the Home Studio
446(2)
Garage Studio
448(1)
Key Points
449(2)
22 Acoustics of Small Recording Studios
451(14)
Ambient Noise Requirements
451(1)
Acoustical Characteristics of Small Studios
452(2)
Direct and Indirect Sound
452(1)
Role of Room Treatment
452(2)
Room Modes and Room Volume
454(2)
Mode Analysis for Different Room Sizes
454(2)
Reverberation Time
456(1)
Reverberation in Small Rooms
456(1)
Optimal Reverberation Time
457(1)
Diffusion
457(1)
Noise
458(1)
Small Studio Design Example
458(5)
Absorption Design Goal
458(1)
Proposed Room Treatment
459(4)
Key Points
463(2)
23 Acoustics of Large Recording Studios
465(14)
Design Criteria of a Large Studio
466(1)
Floor Plan
466(1)
Wall Sections
466(4)
Section D-D
467(2)
Section E-E
469(1)
Sections F-F and G-G
470(1)
Studio Treatment
470(2)
Drum Booth
472(1)
Vocal Booth
473(2)
Sound-Lock Corridor
475(1)
Reverberation Time
475(2)
Key Points
477(2)
24 Acoustics of Control Rooms
479(20)
Initial Time-Delay Gap
479(2)
Live End-Dead End
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)
Key Points
496(3)
25 Acoustics of Isolation Booths
499(22)
Applications
499(1)
Design Criteria
500(1)
Isolation Requirements
501(1)
The Small-Room Problem
501(1)
Design Example 1 Traditional Isolation Booth
502(3)
Axial Modes
503(1)
Reverberation Time
503(2)
Design Example 2 Isolation Booth with Cylindrical Traps
505(7)
Acoustical Measurements
510(1)
Reverberation Time
510(2)
Design Example 3 Isolation Booth with Diffusers
512(3)
Reverberation Time
514(1)
Evaluation and Comparison
515(4)
Live End-Dead End Isolation Booth
519(1)
Key Points
519(2)
26 Acoustics of Audiovisual Postproduction Rooms
521(16)
Design Criteria
521(1)
Design Example 1 Small Postproduction Room
522(4)
Appraisal of Room Resonances
522(1)
Proposed Treatment
522(4)
Design Example 2 Large Postproduction Room
526(10)
Appraisal of Room Resonances
526(1)
Monitor Loudspeakers and Early Sound
526(4)
Late Sound
530(1)
Proposed Treatment
531(3)
Workbench
534(1)
Mixing Engineer's Workstation
534(1)
Video Display and Lighting
535(1)
Key Points
536(1)
27 Acoustics of Teleconference Rooms
537(8)
Design Criteria
537(1)
Shape and Size of the Room
538(1)
Floor Plan
539(1)
Ceiling Plan
539(1)
Elevation Views
540(1)
Reverberation Time
541(2)
Key Points
543(2)
28 Acoustics of Large Halls
545(24)
Design Criteria
546(1)
Reverberation and Echo Control
546(2)
Air Absorption
548(1)
Hall Design for Speech
549(3)
Volume
549(1)
Hall Geometry
549(2)
Absorption Treatment
551(1)
Ceiling, Walls, and Floor
551(1)
Speech Intelligibility
552(2)
Speech Frequencies and Duration
552(1)
Subject-Based Measures
552(1)
Analytical Measures
552(2)
Concert Hall Acoustical Design
554(4)
Reverberation
554(1)
Clarity
555(1)
Brilliance
555(1)
Gain
555(1)
Seating Capacity
556(1)
Volume
556(1)
Diffusion
557(1)
Spaciousness
557(1)
Apparent Source Width
557(1)
Initial Time-Delay Gap
557(1)
Bass Ratio and Warmth
558(1)
Concert Hall Architectural Design
558(2)
Balcony
558(1)
Ceiling and Walls
559(1)
Raked Floor
560(1)
Virtual Image Source Analysis
560(2)
Hall Design Procedure
562(1)
Case Studies
562(2)
Postscript
564(1)
Key Points
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
F. Alton Everest is a legend in the world of sound. The creator of numerous technical innovations, and the author of scores of books and scholarly papers, he has been a leader in television engineering, sound recording, motion pictures, radio, and multimedia. A co-founder and director of the Science Film Production division of the Moody Institute of Science, he was also a section chief of the Subsea Sound Research section of the University of California. An educator who has taught at several leading institutions, he has consulted on acoustics to numerous industries for nearly 30 years. Having touched many of the technical highlights of the 20th century, he celebrated his 90th birthday in 1999. He and his wife live in Santa Barbara, California.