Master handbook of acoustics PDF
Preview Master handbook of acoustics
THE MASTER HANDBOOK OF ACOUSTICS This page intentionally left blank THE MASTER HANDBOOK OF ACOUSTICS F. Alton Everest FOURTH EDITION McCraw-Hill New York San Francisco Washington, D.C. Auckland Bogota Caracas Lisbon London Madrid Mexico City Milan Montreal New Delhi San Juan Singapore Sydney Tokyo Toronto Copyright O 2001 by T h M cGraw-Hill Companies, Inc.Al1 rights reserved. Manufactured inthe UnitedStates ofAmerica. Except as permitted under the UnitedStates Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system without the prior written permission of the publisher. The material inthiseBook also appears in the print version ofthis title: 0-07-136097-2, All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trade- marked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringe- ment of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill eBooks are available at special quantity discounts to use as premiums and sales promotions, or for use in corporate training programs. For more information, please contact George Hoare, Special Sales, at [email protected] or (212) 9044069. TERMS OF USE This is a copyrighted work and The McGraw-Hill Companies, Inc. ("McGraw-Hill") and ib licensors reserve all rights in and to the work. Use of this work is subject to these terms. Except as permitted under the Copyright Act of 1976 and the right to store and retrieve one copy of the work, you may not decompile, disassemble, reverse engineer, reproduce, modify, create derivative works based upon, transmit, distribute, disseminate, sell, publish or sublicerm the work or ary part of it without McGraw-Hill's prior con- sent.You may use the work for your own noncommercial and personal use; any other use of the work is strictly prohibited. Your right to use the work may be terminated if you fail to comply with these terms. THE WORK IS PROVIDED "AS IS". McGRAW-HILL AND F SL ICENSORS MAKE NO GUARANTEES OR WARRANTIES AS TO THE ACCURACY, ADEQUACY OR COMPLETENESS OF OR RESULTS TO BE OBTAINED FROM USING THE WORK, INCLUDING ANY INFORMATION THAT CAN BE ACCESSED THROUGH THE WORK VIA HYPERLINK OR OTHERWISE, AND EXPRESSLY DISCLAIM ANY WARRANTY, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. McGraw-Hill and its licensors do not warrant or guarantee that the functions contained in the work will meet your requirements or that its operation will be unintermpted or error free. Neither McGraw-Hill nor its licensors shall be liable to you or anyone eke for any inaccuracy, error or omission, regardless of caw, in the work or for any damages resulting therefrom. McGraw-Hill has no responsibility for the con- tent of any information accemdthroughthe work. Under no circumstances shall McGraw-Hill andlor its licensors be liable for any indirect, incidental special punitive, cormquential or similar damages that result from the use of or inability to use the work, even if ary of them has been advised of the possibility of such damages. This limitation of liability shall apply to any claim or caw what- soever whether such claim or caw arises in contract. tort or otherwise. DOI: 10,103610071399747 To Bonnie Gail, whose love of art, nature, and the author now embraces acoustics. This page intentionally left blank I I C O N T E N T S Epigraph xxi Introduction xxiii Chapter 1 Fundamentals of Sound The Simple Sinusoid Sine-Wave Language Propagation of sound The dance of the particles How a sound wave is propagated Sound in free space Wavelength and Frequency Complex Waves Harmonics Phase Partials Octaves The concept of spectrum Electrical, Mechanical, and Acoustical Analogs Chapter 2 Sound Levels and the Decibel Ratios vs. Differences Handling numb ers Logarithms Decibels Reference Levels Logarithmic and Exponential Forms Compared Acoustic Power Copyright 2001 The McGraw-Hill Companies, Inc. Click Here for Terms of Use. Using Decibels Example: Sound-pressure level Example: Loudspeaker SPL Example: Microphone specifications Example: Line amplifier Example: General-purpose amplifier Example: Concert hall Example: Combining decibels Ratios and Octaves Measuring Sound-Pressure Level Chapter 3 The Ear and the Perception of Sound Sensitivity of the Ear A Primer of Ear Anatomy The pinna: Directional encoder of sound Directional cues: An experiment The ear canal The middle ear The inner ear Stereocilia Loudness vs. Frequency Loudness Control Area of Audibility Loudness vs. Sound-Pressure Level Loudness and Bandwidth Loudness of Impulses Audibility of Loudness Changes Pitch vs. Frequency An experiment Timbre vs. Spectrum Localization of Sound Sources Binaural Localization Aural harmonics: Experiment #1 Aural harmonics: Experiment #2 The missing fundamental The Ear as an Analyzer The Ear as a Measuring Instrument An audito~yan alyzer: An experiment Wi CONTENTS Meters vs. the Ear The Precedence Effect Perception of Reflected Sound Occupational and Recreational Deafness Summary Chapter 4 Sound Waves in the Free Field Free Sound Field: Definition Sound Divergence Examples: Free-field sound divergence Inverse square in enclosed spaces Hemispherical propagation Chapter 5 Speech, Music, and Noise The Voice System Artificial larynx Sound spectrograph Sound sources for speech Vocal tract molding of speech Formation of voiced sounds Formation of unvoiced sounds Putting it all together Synthesized speech Digital speech synthesis Directionality of speech Music Wind instruments Nonharmonic overtones Dynamic range of speech and music Power in Speech and Music Frequency Range of Speech and Music Future Dynamic-Range Requirements Auditory Area Noise Nois-The good kind Random noise White and pink noise Signal Distortion Harmonic Distortion
Description:The list of books you might like
