dB SPL Sound Source (with distance) - Brian K. Shepard

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The Ear MUEA 474a – 02 Sound and Acoustics
The Outer Ear � Flesh and cartilage structure called the Pinna � Not the Earlobe � Earlobe is the little fleshy part at the bottom of the Pinna that you put your earring in � Pinna focuses sound energy into the ear canal � Ridge structures on Pinna help with sound localization MUEA 474a – 02 Sound and Acoustics
Page 1 and 2: Sound and Acoustics MUEA 474a • E
Page 3 and 4: What does sound look like? MUEA 474
Page 5 and 6: Speed of Sound � 343 meters per s
Page 7 and 8: Sound Wave Frequency 1 second � T
Page 9 and 10: Sound Wave Amplitude MUEA 474a - 02
Page 11: Hearing, Perception & Psychoacousti
Page 15 and 16: The Inner Ear � Cochlea has spira
Page 17 and 18: Hearing Frequencies Pitch Timbre or
Page 19 and 20: The Dyne � The amount of force re
Page 21 and 22: The Decibel � The Decibel is the
Page 23 and 24: The Decibel � Decibels always com
Page 25 and 26: dB SPL Meter MUEA 474a - 02 Sound a
Page 27 and 28: Common db SPL values dB SPL Sound S
Page 29 and 30: Hearing Amplitude Our ears do a nat
Page 31 and 32: Directional Perception MUEA 474a -
Page 33 and 34: Sound Localization Binaural Imaging
Page 35 and 36: Interaural Arrival-Time Difference
Page 37 and 38: Phantom Imaging � Depending on ho
Page 39 and 40: Perception of Space � Direct Soun
Page 41 and 42: Amplitude Masking Loud sounds make
Page 43 and 44: Temporal Masking Just as a bright f
Page 45: Sound Wavelength � Due to air mol
Page 48 and 49: Complex Sound Waves � Pure sine w
Page 50 and 51: Complex Sound Waves Wave 1 Wave 2 W
Page 52 and 53: Sound Wave Phase Position � Red w
Page 54 and 55: Sound Wavelength/Standing Waves �
Page 56 and 57: Standing Waves in Resonant Bodies
Page 58 and 59: Resonant Frequency MUEA 474a - 02 S
Page 60 and 61: Reflection of Sound � Incident so
Page 62 and 63:
Diffraction of Sound MUEA 474a - 02
Page 64 and 65:
Effects Processing � Alters the a
Page 66 and 67:
Time-Based Effects � Delay � Ph
Page 68 and 69:
Comb Filter When short delays are a
Page 70 and 71:
Common Delay Effects � Slap (or T
Page 72 and 73:
Delay Feedback � Sends some of th
Page 74 and 75:
Reverb � Reverberation Effects Pr
Page 76 and 77:
Anechoic Chamber Effects Processing
Page 78 and 79:
Concert Hall Effects Processing
Page 80 and 81:
Chamber/Room Effects Processing
Page 82 and 83:
Stage Effects Processing
Page 84 and 85:
Plate Reverb Effects Processing
Page 86 and 87:
Common Reverb Controls � Pre-Dela
Page 88 and 89:
Dynamics Processors � Compressor
Page 90 and 91:
Threshold Above Threshold Below Thr
Page 92 and 93:
Ratio � Determines how much the i
Page 94 and 95:
Knee � Adjusts how smoothly or ab
Page 96 and 97:
Knee Effects Processing Hard Knee
Page 98 and 99:
Release Time � The time the compr
Page 100 and 101:
Special Compressors � Key Input a
Page 102 and 103:
Ducker � A Compressor whose actio
Page 104 and 105:
Limiter � A compressor whose outp
Page 106 and 107:
Expander � Increases dynamic rang
Page 108 and 109:
Gate (Noise Gate) � An expander s
Page 110 and 111:
Microphones MUIN 277x • Introduct
Page 112 and 113:
Microphone Types - Dynamic � Dyna
Page 114 and 115:
Microphone Types - Dynamic MUIN 277
Page 116 and 117:
Microphone Types - Ribbon � Micro
Page 118 and 119:
Microphone Types - Condenser � Me
Page 120 and 121:
Microphone Types - Condenser MUIN 2
Page 122 and 123:
Microphone Types - Condenser � So
Page 124 and 125:
Diaphragm Size � Yes, size matter
Page 126 and 127:
Microphone Polar Patterns Response
Page 128 and 129:
Bidirectional or “Figure-8” Pat
Page 130 and 131:
Supercardioid Pattern The Supercard
Page 132 and 133:
Boundary Microphone The Boundary Mi
Page 134 and 135:
Microphone Preamp Controls � Trim
Page 136 and 137:
Phantom Power MUIN 277 - 08 Microph
Page 138 and 139:
Microphone Frequency Response Relat
Page 140 and 141:
Microphone Terminology � Self Noi
Page 142 and 143:
Microphone Shockmount Reduces Vibra
Page 144 and 145:
Microphone Techniques MUIN 277 - 08
Page 146 and 147:
Microphone Placement � Close Mic
Page 148 and 149:
Stereo Microphone Techniques A pair
Page 150 and 151:
Interaural Arrival-Time Difference
Page 152 and 153:
Stereophonic Imaging A Left Speaker
Page 154 and 155:
Stereophonic Imaging A Left Speaker
Page 156 and 157:
Microphone Elevation A B C D = A B
Page 158 and 159:
Spaced Pair Technique D MUIN 277 -
Page 160 and 161:
Coincident (X-Y) Technique MUIN 277
Page 162 and 163:
Blumlein (X-Y) Technique MUIN 277 -
Page 164 and 165:
Mid-Side Pair Technique M/S Microph
Page 166 and 167:
Near-Coincident (ORTF) Technique SC
Page 168 and 169:
Binaural Technique MUIN 277 - 08 Mi
Page 170 and 171:
Intellectual Property & Copyright M
Page 172 and 173:
Copyright © � The Congress shall
Page 174 and 175:
Copyright © � The five "pillars"
Page 176 and 177:
Copyright © � Copyright protecti
Page 178 and 179:
Copyright © � © Copyright Symbo
Page 180 and 181:
Fair Use � Under the fair use doc
Page 182 and 183:
Fair Use Consideration � Quotatio
Page 184 and 185:
Copy Protection � Until very rece
Page 186 and 187:
Copy Protection � Even with the p
Page 188 and 189:
Copy Protection � The cassette ta
Page 190 and 191:
Copy Protection � The Internet ha
Page 192 and 193:
Software License Agreement Cycling
Page 194 and 195:
Software License Agreement 1. Licen
Page 196 and 197:
Digital Rights Management (DRM) �
Page 198 and 199:
DMCA Compliance at USC � Institut
Page 200 and 201:
Please, Don’t Steal Music and Sof
Page 202 and 203:
Analog A continuous, and often grap
Page 204 and 205:
Acoustical to Electrical Conversion
Page 206 and 207:
Digital Audio In Digital recording,
Page 208 and 209:
Sampling Rate � In the Digital Au
Page 210 and 211:
Bit Depth � The measurement of th
Page 212 and 213:
Decimal (base 10) math � Counting
Page 214 and 215:
Counting in Binary Counting in bina
Page 216 and 217:
Digitization Electrical analog wave
Page 218 and 219:
Page 220 and 221:
Page 222 and 223:
Quantization Error The difference b
Page 224 and 225:
Common Sample Rates & Bit Depths
Page 226 and 227:
Aliasing If the sampling rate is to
Page 228 and 229:
Digital Levels � Levels in Digita
Page 230 and 231:
Normalizing Normalizing increases t
Page 232:
Word Clock In order to work correct
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dB SPL Sound Source (with distance) - Brian K. Shepard

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