By Douglas Self
All of the layout and improvement thought and path an audio engineer wishes in a single blockbuster publication! Douglas Self has chosen some of the best sound engineering layout fabric from the Focal and Newnes portfolio and complied it into this quantity. the result's a e-book masking the gamut of sound engineering.The fabric has been chosen for its timelessness in addition to for its relevance to modern sound engineering concerns. * Hand picked content material, offers every thing you need to be aware of in a single quantity * confirmed most sensible layout practices * Case histories and layout examples get you off and operating in your present venture
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Additional info for Audio Engineering Explained - For Professional Audio Recording
12 shows the equal loudness contours for the human ear. These contours, originally measured by Fletcher and Munson (1933) and by others since, represent the relationship between the measured sound pressure level and the perceived loudness of the sound. The curves show how loud a sound must be in terms of the measured sound pressure level to be perceived as being of the same loudness as a 1 kHz tone of a given level. There are two major features to take note of, which are discussed below. The first is that there are some humps and bumps in the contours above 1 kHz.
For example, the audience at a concert may well experience brief peaks above this, especially at particular instants in works such as Elgar’s Dreams of Gerontius, or Orff’s Carmina Burana. Also, in many practical industrial and social situations the noise level may be louder than the second action level of 85 dBA, in Europe for only part of the time. How can we relate intermittent periods of noise exposure to continuous noise exposure? For example, how damaging is a short exposure to a sound of 96 dBA?
Note that because this enhancement is due to an acoustic effect in the outer ear it is independent of signal level. The second effect is an amplitude dependence of sensitivity which is due to the way the ear transduces and interprets the sound and, as a result, the frequency response is a function of amplitude. This effect is particularly noticeable at low frequencies but there is also an effect at higher frequencies. The net result of these effects is that the sensitivity of the ear is a function of both frequency and amplitude.
Audio Engineering Explained - For Professional Audio Recording by Douglas Self