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El. knyga: Master Handbook of Acoustics, Sixth Edition

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  • Formatas: 640 pages
  • Išleidimo metai: 08-Dec-2014
  • Leidėjas: McGraw-Hill Professional
  • Kalba: eng
  • ISBN-13: 9780071841030
Kitos knygos pagal šią temą:
  • Formatas: 640 pages
  • Išleidimo metai: 08-Dec-2014
  • Leidėjas: McGraw-Hill Professional
  • Kalba: eng
  • ISBN-13: 9780071841030
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Publisher's Note: Products purchased from Third Party sellers are not guaranteed by the publisher for quality, authenticity, or access to any online entitlements included with the product. The most complete and current guide to architectural acoustics principles and practicesDesign and construct audiophile-quality sonic environments of all sizes--from home theaters and project studios to large-scale recording studios. Thoroughly revised to include new acoustical design techniques, Master Handbook of Acoustics, Sixth Edition, explains the art and science of room acoustics and architecture by combining theoretical instruction with matter-of-fact engineering advice.

Written by renowned experts in the field and refined through several editions, this fully updated classic describes the fundamentals of acoustical properties, as well as the latest solutions to acoustical problems. Throughout, this authoritative text provides clear explanations, describes hands-on techniques, and features numerous room designs that can be built as presented, or adapted to your particular needs.





Understand how sound waves travel in free fields and in enclosed spaces Learn how human sound perception and psychoacoustics affect room design Calculate and predict reflections, reverberation times, and room modes Perform acoustical measurements and site surveys, and choose construction materials Design, build, and install treatment modules to optimize early reflections, reverberation, and diffusion Design and build home theaters, home 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 Understand the acoustics of auditoriums and concert halls Utilize the supplied cost-effective plans and specifications for a variety of recording and listening rooms
Introduction xvii
1 Fundamentals of Sound 1(18)
Simple Harmonic Motion and the Sine Wave
2(1)
Sound in Media
3(4)
Particle Motion
3(1)
Propagation of Sound
4(2)
Speed of Sound
6(1)
Wavelength and Frequency
7(1)
Complex Waves
8(3)
Harmonics
9(1)
Phase
10(1)
Partials
10(1)
Octaves
11(3)
Spectrum
14(3)
Electrical, Mechanical, and Acoustical Analogs
17(2)
2 Sound Levels and the Decibel 19(14)
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(3)
3 Sound in the Free Field 33(6)
The Free Field
33(1)
Sound Divergence
33(1)
Sound Intensity in the Free Field
34(1)
Sound Pressure in the Free Field
35(2)
Free-Field Sound Divergence
35(2)
Sound Fields in Enclosed Spaces
37(2)
Hemispherical Field and Propagation
38(1)
4 The Perception of Sound 39(30)
Sensitivity of the Ear
39(1)
Ear Anatomy
40(6)
The Outer Ear-Pinna
41(1)
A Demonstration of Directional Cues
41(1)
The Outer Ear-Auditory Canal
41(2)
The Middle Ear
43(2)
The Inner Ear
45(1)
Stereocilia
45(1)
Loudness versus Frequency
46(3)
Loudness Control
48(1)
Area of Audibility
48(1)
Loudness versus Sound-Pressure Level
49(2)
Loudness and Bandwidth
51(1)
Loudness of Impulses
52(2)
Audibility of Loudness Changes
54(1)
Pitch versus Frequency
54(2)
An Experiment in Pitch
56(1)
The Missing Fundamental
56(1)
Timbre versus Spectrum
56(1)
Localization of Sound Sources
56(3)
Binaural Localization
59(1)
Law of the First Wavefront
60(2)
The Franssen Effect
60(1)
The Precedence Effect
60(2)
Perception of Reflected Sound
62(2)
The Cocktail-Party Effect
64(1)
Aural Nonlinearity
64(1)
Subjective versus Objective Evaluation
65(1)
Occupational and Recreational Hearing Loss
65(2)
Summary
67(2)
5 Signals, Speech, Music, and Noise 69(28)
Sound Spectrograph
69(2)
Speech
71(4)
Vocal Tract Molding of Speech
73(1)
Formation of Voiced Sounds
73(1)
Formation of Unvoiced Sounds
74(1)
Frequency Response of Speech
74(1)
Directionality of Speech
75(1)
Music
75(3)
String Instruments
76(1)
Wind Instruments
77(1)
Nonharmonic Overtones
78(1)
Dynamic Range of Speech and Music
78(1)
Power in Speech and Music
79(1)
Frequency Range of Speech and Music
80(1)
Auditory Area of Speech and Music
80(2)
Noise
82(1)
Noise Measurements
83(4)
Random Noise
84(1)
White and Pink Noise
85(2)
Signal Distortion
87(1)
Harmonic Distortion
88(3)
Resonance
91(1)
Audio Filters
92(5)
6 Reflection 97(12)
Specular Reflections
97(2)
Flutter Echoes
99(1)
Doubling of Pressure at Reflection
99(1)
Reflections from Convex Surfaces
100(1)
Reflections from Concave Surfaces
100(1)
Reflections from Parabolic Surfaces
101(1)
Whispering Galleries
101(2)
Standing Waves
103(1)
Corner Reflectors
103(1)
Mean Free Path
103(2)
Perception of Sound Reflections
105(4)
The Effect of Single Reflections
105(1)
Perception of Spaciousness, Images, and Echoes
106(1)
Effect of Angle of Incidence, Signal Type, and Spectrum on Audibility of Reflection
107(2)
7 Diffraction 109(10)
Diffraction and Wavefront Propagation
109(1)
Diffraction and Wavelength
110(1)
Diffraction by Obstacles
110(2)
Diffraction by Apertures
112(2)
Diffraction by a Slit
114(1)
Diffraction by a Zone Plate
114(1)
Diffraction around the Human Head
114(1)
Diffraction by Loudspeaker Cabinet Edges
114(4)
Diffraction by Various Objects
118(1)
8 Refraction 119(8)
The Nature of Refraction
119(1)
Refraction in Solids
120(1)
Refraction in the Atmosphere
120(4)
Refraction in Enclosed Spaces
124(1)
Refraction in the Ocean
125(2)
9 Diffusion 127(10)
The Perfectly Diffuse Sound Field
127(1)
Evaluating Diffusion in a Room
128(1)
Steady-State Measurements
128(1)
Decay Beats
129(1)
Exponential Decay
129(1)
Spatial Uniformity of Reverberation Time
130(3)
Geometrical Irregularities
133(1)
Absorbent in Patches
134(1)
Concave Surfaces
134(1)
Convex Surfaces: The Polycylindrical Diffuser
134(2)
Plane Surfaces
136(1)
10 Comb-Filter Effects 137(16)
Comb Filters
137(1)
Superposition of Sound
137(1)
Tonal Signals and Comb Filters
138(1)
Combing of Music and Speech Signals
139(5)
Combing of Direct and Reflected Sound
141(3)
Comb Filters and Critical Bands
144(2)
Comb Filters in Multichannel Playback
146(1)
Reflections and Spaciousness
146(1)
Comb Filters in Microphone Placement
147(1)
Comb-Filter Effects in Practice: Six Examples
147(3)
Estimating Comb-Filter Response
150(3)
11 Reverberation 153(30)
Growth of Sound in a Room
153(2)
Decay of Sound in a Room
155(1)
Idealized Growth and Decay of Sound
155(1)
Calculating Reverberation Time
155(5)
Sabine Equation
157(2)
Eyring-Norris Equation
159(1)
Air Absorption
160(1)
Measuring Reverberation Time
160(3)
Impulse Sources
160(1)
Steady-State Sources
161(1)
Measuring Equipment
161(1)
Measurement Procedure
162(1)
Reverberation and Normal Modes
163(3)
Analysis of Decay Traces
164(1)
Mode Decay Variations
165(1)
Frequency Effect
166(1)
Reverberation Characteristic
166(3)
Reverberation Time Variation with Position
168(1)
Decay Rate and the Reverberant Field
169(1)
Acoustically Coupled Spaces
169(1)
Electroacoustically Coupled Spaces
170(1)
Eliminating Decay Fluctuations
170(1)
Influence of Reverberation on Speech
171(1)
Influence of Reverberation on Music
172(1)
Optimum Reverberation Time
173(5)
Bass Rise of Reverberation Time
175(1)
Initial Time-Delay Gap
176(1)
Listening Room Reverberation Time
177(1)
Artificial Reverberation
178(1)
Examples of Reverberation Time Calculations
179(4)
12 Absorption 183(46)
Dissipation of Sound Energy
183(1)
Absorption Coefficients
184(6)
Reverberation Chamber Method
186(1)
Impedance Tube Method
186(2)
Tone-Burst Method
188(2)
Mounting of Absorbents
190(1)
Mid/High-Frequency Absorption by Porosity
191(1)
Glass-Fiber Low-Density Materials
191(2)
Glass-Fiber High-Density Boards
193(1)
Glass-Fiber Acoustical Tile
194(1)
Effect of Thickness of Absorbent
195(1)
Effect of Airspace behind Absorbent
195(1)
Effect of Density of Absorbent
195(1)
Open-Cell Foams
196(2)
Drapes as Sound Absorbers
198(2)
Carpet as Sound Absorber
200(3)
Effect of Carpet Type on Absorbance
201(1)
Effect of Carpet Underlay on Absorbance
201(1)
Carpet Absorption Coefficients
202(1)
Sound Absorption by People
203(2)
Sound Absorption in Air
205(1)
Panel (Diaphragmatic) Absorbers
205(3)
Polycylindrical Absorbers
208(5)
Poly Construction
210(3)
Bass Traps: Low-Frequency Absorption by Resonance
213(1)
Helmholtz (Volume) Resonators
214(3)
Perforated Panel Absorbers
217(1)
Slat Absorbers
218(4)
Placement of Materials
222(1)
Reverberation Time of Helmholtz Resonators
222(3)
Reducing Room Modes with Absorbers
223(2)
Increasing Reverberation Time
225(1)
Absorption Module Design
225(4)
13 Modal Resonances 229(36)
Early Experiments and Examples
229(1)
Resonance in a Pipe
230(2)
Indoor Reflections
232(2)
Two-Wall Resonance
234(1)
Frequency Regions
235(1)
Room-Mode Equation
236(6)
Mode Calculations-An Example
238(1)
Experimental Verification
239(3)
Mode Decay
242(3)
Mode Bandwidth
245(2)
Mode Pressure Plots
247(1)
Mode Density
248(3)
Mode Spacing and Timbral Defects
251(1)
Audibility of Timbral Defects
252(1)
Optimal Room Proportions
252(5)
Bonello Criterion
256(1)
Splaying Room Surfaces
257(3)
Nonrectangular Rooms
257(3)
Controlling Problem Modes
260(1)
Simplified Axial-Mode Analysis
260(1)
Summary
261(4)
14 Schroeder Diffusers 265(20)
Experimentation
265(1)
Reflection Phase-Grating Diffusers
266(1)
Quadratic Residue Diffusers
267(2)
Primitive Root Diffusers
269(1)
Performance of Diffraction-Grating Diffusers
270(1)
Reflection Phase-Grating Diffuser Applications
271(12)
Flutter Echo
275(2)
Application of Fractals
277(1)
Diffusion in Three Dimensions
278(1)
Diffusing Concrete Blocks
278(2)
Measuring Diffusion Efficiency
280(3)
Comparison of Gratings with Conventional Approaches
283(2)
15 Adjustable Acoustics 285(12)
Draperies
285(1)
Absorptive Adjustable Panels
286(3)
Hinged Panels
289(1)
Louvered Panels
289(1)
Absorptive/Diffusive Adjustable Panels
290(1)
Variable Resonant Devices
290(3)
Rotating Elements
293(1)
Portable Units
294(3)
16 Sound Isolation and Site Selection 297(24)
Propagation through Barriers
297(1)
Approaches to Noise Control
298(1)
Airborne Noise
299(2)
Transmission Loss
300(1)
Effect of Mass and Frequency
301(2)
Coincidence Effect
302(1)
Separation of Mass
303(1)
Porous Materials
303(1)
Sound Transmission Class
304(2)
Structureborne Noise
306(1)
Noise Transmitted by Diaphragm Action
307(1)
Noise and Room Resonances
307(1)
Site Selection
307(2)
The Noise Survey
309(2)
Assessment of Environmental Noise
311(3)
Measurement and Testing Standards
313(1)
Recommended Practices
314(1)
Noise Measurements and Construction
315(3)
Floor Plan Considerations
318(3)
Designing within a Frame Structure
318(1)
Designing within a Concrete Structure
319(2)
17 Sound Isolation: Walls, Floors, and Ceilings 321(34)
Walls as Effective Noise Barriers
321(3)
The Role of Porous Absorbers
324(1)
The Mass Law and Wall Design
324(2)
Separation of Mass in Wall Design
326(4)
Wall Design Summary
330(3)
Improving an Existing Wall
333(1)
Flanking Sound
333(2)
Gypsum Board Walls as Sound Barriers
335(1)
Masonry Walls as Sound Barriers
336(1)
Weak Links
337(3)
Summary of Wall STC Ratings
340(1)
Floating Floors
341(4)
Floating Walls and Ceiling
344(1)
Resilient Hangers
344(1)
Floor/Ceiling Construction
345(1)
Footfall Noise
346(2)
Floor/Ceiling Structures and Their IIC Performance
348(1)
Floor/Ceilings in Frame Buildings
348(7)
Floor Attenuation with Concrete Layers
349(2)
Plywood Web versus Solid Wood Joists
351(4)
18 Sound Isolation: Windows and Doors 355(22)
Single-Pane Windows
356(1)
Double-Pane Windows
357(1)
Acoustical Holes in Glass: Mass-Air-Mass Resonance
358(3)
Acoustical Holes in Glass: Coincidence Resonance
361(1)
Acoustical Holes in Glass: Standing Waves in the Cavity
361(1)
Glass Mass and Spacing
362(2)
Dissimilar Panes
364(1)
Laminated Glass
364(1)
Plastic Panes
364(1)
Slanting the Glass
365(1)
Third Pane
365(1)
Cavity Absorbent
365(1)
Thermal Glass
365(1)
Example of an Optimized Double-Pane Window
365(1)
Construction of an Observation Window
366(3)
Proprietary Observation Windows
369(1)
Sound-Insulating Doors
369(4)
Sound Locks
373(1)
Composite Partitions
374(3)
19 Noise Control in Ventilating Systems 377(20)
Selection of Noise Criterion
377(3)
Fan Noise
380(2)
Machinery Noise and Vibration
382(3)
Air Velocity
385(1)
Natural Attenuation
386(2)
Duct Lining
388(1)
Plenum Silencers
388(1)
Packaged Attenuators
389(1)
Reactive Silencers
390(2)
Tuned Silencers
392(1)
Duct Location
392(2)
ASHRAE
394(1)
Active Noise Control
394(1)
Some Practical Suggestions
395(2)
20 Acoustics of Listening Rooms and Home Theaters 397(24)
Playback Criteria
397(2)
Planning the Playback Room
399(1)
Acoustical Treatment of Playback Rooms
399(1)
Peculiarities of Small-Room Acoustics
400(1)
Room Size and Proportion
400(1)
Reverberation Time
401(1)
Low-Frequency Considerations
401(5)
Modal Anomalies
404(1)
Control of Modal Resonances
404(1)
Bass Traps for Playback Rooms
405(1)
Mid/High-Frequency Considerations
406(4)
Identification and Treatment of Reflection Points
409(1)
Lateral Reflections and Control of Spaciousness
410(1)
Loudspeaker Placement
410(1)
Listening Room Plan
411(3)
Home-Theater Plan
414(7)
Controlling Early Reflections
416(1)
Other Treatment Details
417(4)
21 Acoustics of Home Studios 421(12)
Home Acoustics: Modes
421(1)
Home Acoustics: Reverberation
422(1)
Home Acoustics: Noise Control
422(1)
Studio Budget
423(1)
Studio Treatment
423(3)
Home Studio Plan
426(3)
Recording in the Studio
429(1)
Garage Studio
429(4)
22 Acoustics of Small Recording Studios 433(12)
Ambient Noise Requirements
433(1)
Acoustical Characteristics of a Studio
434(2)
Direct and Indirect Sound
434(1)
Role of Room Treatment
434(2)
Room Modes and Room Volume
436(2)
Mode Analysis for Different Room Sizes
436(2)
Reverberation Time
438(1)
Reverberation in Small Rooms
438(1)
Optimal Reverberation Time
439(1)
Diffusion
439(1)
Noise
440(1)
Studio Design Example
440(5)
Absorption Design Goal
440(1)
Proposed Room Treatment
441(4)
23 Acoustics of Large Recording Studios 445(12)
Design Criteria
446(1)
Floor Plan
446(1)
Wall Sections
446(4)
Section D-D
446(3)
Section E-E
449(1)
Sections F-F and G-G
449(1)
Studio Treatment
450(1)
Drum Booth
451(1)
Vocal Booth
452(1)
Sound-Lock Corridor
453(1)
Reverberation Time
453(4)
24 Acoustics of Control Rooms 457(18)
Initial Time-Delay Gap
457(2)
Live End-Dead End
459(1)
Specular Reflections versus Diffusion
460(1)
Low-Frequency Resonances in Control Rooms
461(2)
Initial Time-Delay Gaps in Practice
463(1)
Loudspeaker Placement and Reflection Paths
463(2)
The Reflection-Free-Zone Control Room
465(2)
Control-Room Frequency Range
467(1)
Outer Shell and Inner Shell of the Control Room
467(1)
Design Criteria
467(2)
Design Example 1: Control Room with Rectangular Walls
469(1)
Design Example 2: Double-Shell Control Room with Splayed Walls
470(1)
Design Example 3: Single-Shell Control Room with Splayed Walls
470(5)
25 Acoustics of Audio/Video Rooms 475(10)
Design Factors
475(1)
Acoustical Treatment
476(1)
Audio/Video Room Example
476(4)
Appraisal of Room Resonances
476(1)
Control of Room Resonances
476(1)
Absorption Calculation
477(1)
Proposed Treatment
478(2)
Specialized Treatment
480(1)
Voice-Over Booth
480(3)
Dead versus Live Ambience
480(1)
Early Reflections
481(2)
Live End-Dead End Voice Studio
483(2)
26 Acoustics of Large Halls 485(20)
Essential Design Criteria
485(1)
Reverberation and Echo Control
486(2)
Air Absorption
488(1)
Hall Design for Speech
489(2)
Volume
489(1)
Hall Geometry
489(1)
Absorption Treatment
490(1)
Ceiling, Walls, and Floor
491(1)
Speech Intelligibility
491(3)
Speech Frequencies and Duration
492(1)
Subject-Based Measures
492(1)
Analytical Measures
492(2)
Concert Hall Acoustical Design
494(3)
Reverberation
494(1)
Clarity
495(1)
Brilliance
495(1)
Gain
495(1)
Seating Capacity
496(1)
Volume
496(1)
Spaciousness
496(1)
Apparent Source Width
497(1)
Initial Time-Delay Gap
497(1)
Bass Ratio and Warmth
497(1)
Concert Hall Architectural Design
497(3)
Balcony
498(1)
Ceiling and Walls
498(1)
Raked Floor
499(1)
Virtual Image Source Analysis
500(1)
Hall Design Procedure
501(1)
Case Studies
501(4)
27 Acoustical Distortion 505(10)
Acoustical Distortion and the Perception of Sound
505(1)
Sources of Acoustical Distortion
505(9)
Coupling of Room Modes
505(1)
Speaker-Boundary Interference Response
506(1)
Comb Filtering
507(4)
Diffusion
511(1)
Diffusion Measurement
512(2)
Design Approach
514(1)
28 Room Acoustics Measurement Software 515(20)
Acoustical Measurements
515(1)
Basic Analysis Instruments
516(1)
Time-Delay Spectrometry Techniques
517(2)
Maximum-Length Sequence Techniques
519(1)
AcoustiSoft ETF Program
520(15)
Frequency-Response Measurements
523(3)
Resonance Measurements
526(1)
Fractional-Octave Measurements
526(3)
Energy-Time Curve Measurements
529(3)
Reverberation Time
532(3)
29 Room Optimizer 535(24)
Modal Response
535(2)
Speaker-Boundary Interference Response
537(1)
Optimization
538(1)
Theory of Operation
539(6)
Prediction of Room Response
540(4)
Optimizing Procedure
544(1)
Cost Parameter
544(1)
Optimization Procedure
545(3)
Results of Operation
548(9)
Stereo Pair
549(1)
Stereo Pair with Two Woofers per Loudspeaker
549(2)
5.1-Channel Home Theater with Dipole Surrounds
551(1)
5.1-Channel Home Theater with Matched Satellites
552(3)
Subwoofer
555(2)
Summary
557(2)
30 Room Auralization 559(16)
History of Acoustical Modeling
559(3)
The Auralization Process
562(10)
Scattering Coefficients
562(2)
Receiver Characterization
564(1)
Echogram Processing
564(1)
Room Model Data
564(5)
Room Model Mapping
569(2)
Binaural Playback
571(1)
Summary
572(3)
Bibliography 575(18)
Appendix: Selected Absorption Coefficients 593(2)
Glossary 595(12)
Index 607
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.





Ken C. Pohlmann is Professor and Chairman of the Music Engineering program at the University of Miami at Coral Gables, FL. He is also the President of Hammer Laboratories. He has written over 800 articles on audio topics, speaks all over the world, and received the Audio Engineering Societys Fellowship Award for his work.