SOUND 1 -- ACOUSTICS 1
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1 SOUND 1 -- ACOUSTICS 1
2 SOUND 1 ACOUSTICS AND PSYCHOACOUSTICS SOUND 1 -- ACOUSTICS 2
3 The Ear: SOUND 1 -- ACOUSTICS 3
4 The Ear: The ear is the organ of hearing. SOUND 1 -- ACOUSTICS 4
5 The Ear: The outer ear or "pinna" collects sound waves and directs them into the "ear canal". SOUND 1 -- ACOUSTICS 5
6 The Ear: The ear canal conducts vibrations to the "inner ear". SOUND 1 -- ACOUSTICS 6
7 The Ear: The "eustachian tube" serves to equalize air pressure differences between the inner and outer ear. SOUND 1 -- ACOUSTICS 7
8 The Ear: The ear canal ends in the ear drum or "tympanic membrane". Sound waves entering the ear canal cause the ear drum to vibrate. SOUND 1 -- ACOUSTICS 8
9 The Ear: A series of small bones, the "ossicles, attached to the ear drum, serve as a mechanical transformer, to maximize the transfer of energy from the ear drum to the liquid-filled "cochlea". SOUND 1 -- ACOUSTICS 9
10 The Ear: The cochlea is a spiral tube, filled with liquid and lined with small, hair-like fibres. Vibrations induced in the liquid, stimulate the auditory nerve which sends information to the brain. SOUND 1 -- ACOUSTICS 10
11 The Ear: This is a view of the cochlea, uncoiled for clarity. SOUND 1 -- ACOUSTICS 11
12 The Ear: The lower or "basal" end is sensitive to high frequencies; SOUND 1 -- ACOUSTICS 12
13 The Ear: The lower or "basal" end is sensitive to high frequencies; while the upper or "apical" end is sensitive to low frequencies. SOUND 1 -- ACOUSTICS 13
14 Vertical Localisation: Reflections from the pinna (outer ear) make the ear directional in the vertical plane. SOUND 1 -- ACOUSTICS 14
15 Vertical Localisation: Sound originating in front of a listener arrives at the ear canal via two paths: SOUND 1 -- ACOUSTICS 15
16 Vertical Localisation: Sound originating in front of a listener arrives at the ear canal via two paths: directly SOUND 1 -- ACOUSTICS 16
17 Vertical Localisation: Sound originating in front of a listener arrives at the ear canal via two paths: directly reflected from the folds of the pinna SOUND 1 -- ACOUSTICS 17
18 Vertical Localisation: The reflected path is slightly longer than the direct path. SOUND 1 -- ACOUSTICS 18
19 Vertical Localisation: At some frequency, the two paths will differ by a half wavelength. SOUND 1 -- ACOUSTICS 19
20 Vertical Localisation: At that frequency, the two waves will cancel each other out. SOUND 1 -- ACOUSTICS 20
21 Vertical Localisation: For instance, if the difference is 0.8 inches, the reflected sound would arrive msecs. after the direct sound. SOUND 1 -- ACOUSTICS 21
22 Vertical Localisation: For instance, if the difference is 0.8 inches, the reflected sound would arrive msecs. after the direct sound. SOUND 1 -- ACOUSTICS 22
23 Vertical Localisation: This would result in a cancellation at 8.1 khz. SOUND 1 -- ACOUSTICS 23
24 Vertical Localisation: If a sound originated from a higher elevation, the difference between the two paths would change, SOUND 1 -- ACOUSTICS 24
25 Vertical Localisation: If a sound originated a higher elevation, the difference between the two paths would change, causing the cancellation to happen at a different frequency. SOUND 1 -- ACOUSTICS 25
26 Horizontal Localisation: In the real world, the earbrain system uses two methods to identify horizontal direction: SOUND 1 -- ACOUSTICS 26
27 Horizontal Localisation: In the real world, the earbrain system uses two methods to identify horizontal direction: relative amplitude SOUND 1 -- ACOUSTICS 27
28 Horizontal Localisation: In the real world, the earbrain system uses two methods to identify horizontal direction: relative amplitude arrival time SOUND 1 -- ACOUSTICS 28
29 Horizontal Localisation: Sound from a source directly in front of the listener will arrive at both ears: Natural Localisation SOUND 1 -- ACOUSTICS 29
30 Horizontal Localisation: Sound from a source directly in front of the listener will arrive at both ears: equal in loudness Natural Localisation SOUND 1 -- ACOUSTICS 30
31 Horizontal Localisation: Sound from a source directly in front of the listener will arrive at both ears: equal in loudness coincident in time Natural Localisation SOUND 1 -- ACOUSTICS 31
32 Horizontal Localisation: Sound from a source slightly to the left of the listener will arrive at the left ear : Natural Localisation SOUND 1 -- ACOUSTICS 32
33 Horizontal Localisation: Sound from a source slightly to the left of the listener will arrive at the left ear : slightly louder Natural Localisation SOUND 1 -- ACOUSTICS 33
34 Horizontal Localisation: Sound from a source slightly to the left of the listener will arrive at the left ear : slightly louder slightly earlier Natural Localisation SOUND 1 -- ACOUSTICS 34
35 Horizontal Localisation: Sound from a source extremely to the left of the listener will arrive at the left ear : Natural Localisation SOUND 1 -- ACOUSTICS 35
36 Horizontal Localisation: Sound from a source extremely to the left of the listener will arrive at the left ear : much louder Natural Localisation SOUND 1 -- ACOUSTICS 36
37 Horizontal Localisation: Sound from a source extremely to the left of the listener will arrive at the left ear : much louder much earlier Natural Localisation SOUND 1 -- ACOUSTICS 37
38 Horizontal Localisation: In the theatre, one could use an individual speaker to reproduce the location of every possible sound source. SOUND 1 -- ACOUSTICS 38
39 Horizontal Localisation: For some productions, or for a moving source, this could result in an unmanageable number of speakers. SOUND 1 -- ACOUSTICS 39
40 Horizontal Localisation: It is more practical to use two loudspeakers to simulate left-right directionality in the horizontal plane. SOUND 1 -- ACOUSTICS 40
41 Horizontal Localisation: In the Casgrain, for instance, we have speakers placed to the left and right of the proscenium. SOUND 1 -- ACOUSTICS 41
42 Horizontal Localisation: If a sound is played at equal level on two speakers, the sound seems to emanate from the centre line of the speakers. Amplitude Difference SOUND 1 -- ACOUSTICS 42
43 Horizontal Localisation: If a sound is played at equal level on two speakers, the sound seems to emanate from the centre line of the speakers. If a sound is played slightly louder on the left speaker, it seems to emanate from slightly to the left of the centre line of the speakers. Amplitude Difference SOUND 1 -- ACOUSTICS 43
44 Horizontal Localisation: If a sound is played at equal level on two speakers, the sound seems to emanate from the centre line of the speakers. If a sound is played slightly louder on the left speaker, it seems to emanate from slightly to the left of the centre line of the speakers. Amplitude Difference If a sound is played much louder on the left speaker, it seems to emanate from the left speaker only. SOUND 1 -- ACOUSTICS 44
45 Horizontal Localisation: If a sound is played at equal level on two speakers, the sound seems to emanate from the centre line of the speakers. If a sound is played slightly louder on the left speaker, it seems to emanate from slightly to the left of the centre line of the speakers. Amplitude Difference If a sound is played much louder on the left speaker, seems to emanate from the left speaker only. No matter how much louder the sound is played on one speaker, we cannot make the sound appear to emanate from beyond the location of that speaker. SOUND 1 -- ACOUSTICS 45
46 Horizontal Localisation: On the console, we use the pan pot to adjust the apparent left-right directionality of a sound. Amplitude Difference SOUND 1 -- ACOUSTICS 46
47 Horizontal Localisation: On the console, we use the pan pot to adjust the apparent left-right directionality of a sound. Amplitude Difference SOUND 1 -- ACOUSTICS 47
48 Horizontal Localisation: On the console, we use the pan pot to adjust the apparent left-right directionality of a sound. Amplitude Difference SOUND 1 -- ACOUSTICS 48
49 Horizontal Localisation: On the console, we use the pan pot to adjust the apparent left-right directionality of a sound. Amplitude Difference SOUND 1 -- ACOUSTICS 49
50 Horizontal Localisation: On the console, we use the pan pot to adjust the apparent left-right directionality of a sound. Amplitude Difference SOUND 1 -- ACOUSTICS 50
51 Horizontal Localisation: On the console, we use the pan pot to adjust the apparent left-right directionality of a sound. Amplitude Difference SOUND 1 -- ACOUSTICS 51
52 Horizontal Localisation: On the console, we use the pan pot to adjust the apparent left-right directionality of a sound. Amplitude Difference SOUND 1 -- ACOUSTICS 52
53 Haas Effect: An acoustic or electronic delay can be used to mask the apparent direction of a sound source. SOUND 1 -- ACOUSTICS 53
54 Haas Effect: This is known as the precedence or Haas effect, after the Dutch acoustician who first studied it. SOUND 1 -- ACOUSTICS 54
55 Haas Effect: This is known as the precedence or Haas effect, after the Dutch acoustician who first studied it. SOUND 1 -- ACOUSTICS 55
56 Haas Effect: A sound, arriving at the listener's ears within a window of 5 to 30 msec. after another, will be interpreted as a reflection of the earlier sound. SOUND 1 -- ACOUSTICS 56
57 Haas Effect: We often use a delay of 20 msec., as this value falls in the centre of the range over which the effect is operative. SOUND 1 -- ACOUSTICS 57
58 Haas Effect: The ear-brain system will take the direction of the earlier sound as the point of origin. SOUND 1 -- ACOUSTICS 58
59 Haas Effect: The ear-brain system will take the direction of the earlier sound as the point of origin, even if the delayed sound is as much as 10 db louder. SOUND 1 -- ACOUSTICS 59
60 Haas Effect: If a sound is played at equal level on two speakers, the sound seems to emanate from the centre line of the speakers. SOUND 1 -- ACOUSTICS 60
61 Haas Effect: If the sound to the left speaker is delayed by 20 msec., the sound will appear to come from the direction of the right speaker. SOUND 1 -- ACOUSTICS 61
62 Haas Effect: If the sound to the left speaker is delayed by 20 msec., the sound will appear to come from the direction of the right speaker, even if the left speaker is 10dB louder. SOUND 1 -- ACOUSTICS 62
63 Haas Effect: If we feed a sound to an upstage speaker, while delaying the same sound to a proscenium speaker, the sound will appear to come from the direction of the upstage speaker. SOUND 1 -- ACOUSTICS 63
64 Haas Effect: We can use this effect to simulate an onstage radio or television. The audience will perceive the sound as coming from the upstage source. SOUND 1 -- ACOUSTICS 64
65 Haas Effect: The time delay to the proscenium speaker would have to be 20 msec. longer than the travel time from the upstage speaker. SOUND 1 -- ACOUSTICS 65
66 Haas Effect: At 35 ft., the travel time for the upstage speaker would be about 35 msec. At 15 ft., the travel time for the proscenium speaker would be about 15 msec. SOUND 1 -- ACOUSTICS 66
67 Haas Effect: If we want the sound from the proscenium speaker to arrive 20 msec. after the sound of the upstage speaker, we would have to set the electronic delay to 40 msec. SOUND 1 -- ACOUSTICS 67
68 Haas Effect: This would make the sound appear to arrive from the upstage speaker, even though it is much louder coming from the proscenium. SOUND 1 -- ACOUSTICS 68
69 Haas Effect: To invoke the Haas effect, we could use an acoustic, rather than electronic delay. SOUND 1 -- ACOUSTICS 69
70 Haas Effect: The centre proscenium speaker in the Casgrain, is flown at a height that results in an acoustic travel time of 30 msec. at the centre of the house. SOUND 1 -- ACOUSTICS 70
71 Haas Effect: This is 5-10 msec. longer than the direct travel time throughout most of the house. SOUND 1 -- ACOUSTICS 71
72 Haas Effect: If we use the centre speaker to reinforce vocal mics., the audience will perceive the vocals as coming from the stage, rather than the speaker. SOUND 1 -- ACOUSTICS 72
73 Haas Effect: In a large theatre, to fill in the acoustic shadow under the balcony, additional speakers can be added. SOUND 1 -- ACOUSTICS 73
74 Haas Effect: The signal to these speakers can be delayed electronically 20 msec. longer than the acoustic delay from the main speakers. SOUND 1 -- ACOUSTICS 74
75 Haas Effect: The sound will appear to come from the main speakers, even if the level from the under-balcony speakers is 10 db louder. SOUND 1 -- ACOUSTICS 75
76 Modes of Propagation: Reflection: SOUND 1 -- ACOUSTICS 76
77 Modes of Propagation: Reflection: SOUND 1 -- ACOUSTICS 77
78 Modes of Propagation: Diffraction: SOUND 1 -- ACOUSTICS 78
79 Modes of Propagation: Diffraction: SOUND 1 -- ACOUSTICS 79
80 Modes of Propagation: Refraction: SOUND 1 -- ACOUSTICS 80
81 Modes of Propagation: Refraction: SOUND 1 -- ACOUSTICS 81
82 Reverberation: In an enclosed space, the sound heard by the audience is comprised of: SOUND 1 -- ACOUSTICS 82
83 Reverberation: In an enclosed space, the sound heard by the audience is comprised of: direct sound SOUND 1 -- ACOUSTICS 83
84 Reverberation: In an enclosed space, the sound heard by the audience is comprised of: direct sound early reflections SOUND 1 -- ACOUSTICS 84
85 Reverberation: In an enclosed space, the sound heard by the audience is comprised of: direct sound early reflections reverberation SOUND 1 -- ACOUSTICS 85
86 Reverberation: Early reflections, which arrive at the listener within 35 msec. of the direct sound, are perceived by the ear-brain as adding to the intensity of the direct sound. SOUND 1 -- ACOUSTICS 86
87 Reverberation: Reflections arriving at the listener later than 50 msec. after the direct sound, tend to decrease intelligibility of the direct sound. SOUND 1 -- ACOUSTICS 87
88 Reverberation: In general: SOUND 1 -- ACOUSTICS 88
89 Reverberation: In general: early reflections = good SOUND 1 -- ACOUSTICS 89
90 Reverberation: In general: early reflections = good late reflections = bad SOUND 1 -- ACOUSTICS 90
91 Reverberation: The time it takes for the reverberant field to die away to 60 db less than the original sound, is called the reverberation time or RT 60 of a space. SOUND 1 -- ACOUSTICS 91
92 Reverberation: The time it takes for the reverberant field to die away to 60 db less than the original sound, is called the reverberation time or RT 60 of a space. SOUND 1 -- ACOUSTICS 92
93 Reverberation: Ideal RT 60 for a space varies depending on its: intended use volume SOUND 1 -- ACOUSTICS 93
94 Reverberation: Ideal RT 60 for a space varies depending on its: intended use volume SOUND 1 -- ACOUSTICS 94
95 Reverberation: The RT 60 of the Casgrain is 1.75 sec.: SOUND 1 -- ACOUSTICS 95
96 Reverberation: The RT 60 of the Casgrain is 1.75 sec.: excellent for spoken word SOUND 1 -- ACOUSTICS 96
97 Reverberation: The RT 60 of the Casgrain is 1.75 sec.: excellent for spoken word somewhat short for music SOUND 1 -- ACOUSTICS 97
98 Reverberation: Because of this, for a musical, we often mic. the singers voices in order to add artificial reverberation. SOUND 1 -- ACOUSTICS 98
99 Directivity: Human voice: SOUND 1 -- ACOUSTICS 99
100 Directivity: Human voice: Horizontal Plane SOUND 1 -- ACOUSTICS 100
101 Directivity: Human voice: Horizontal Plane approx. 4 khz SOUND 1 -- ACOUSTICS 101
102 Directivity: Human voice: Horizontal Plane splayed side walls SOUND 1 -- ACOUSTICS 102
103 Directivity: Human voice: Horizontal Plane splayed side walls redirect early reflections to audience SOUND 1 -- ACOUSTICS 103
104 Directivity: Human voice: Vertical Plane SOUND 1 -- ACOUSTICS 104
105 Directivity: Human voice: Vertical Plane approx. 4 khz SOUND 1 -- ACOUSTICS 105
106 Directivity: Human voice: Vertical Plane approx. 4 khz 15 above horizontal SOUND 1 -- ACOUSTICS 106
107 Directivity: Human voice: Vertical Plane SOUND 1 -- ACOUSTICS 107
108 Directivity: Human voice: Vertical Plane raked seating SOUND 1 -- ACOUSTICS 108
109 Directivity: SOUND 1 -- ACOUSTICS 109
110 Directivity: SOUND 1 -- ACOUSTICS 110
111 Inverse Square Law: Sound intensity decreases with the square of the distance from the source: SOUND 1 -- ACOUSTICS 111
112 Inverse Square Law: Sound intensity decreases with the square of the distance from the source: -6 db for doubling SOUND 1 -- ACOUSTICS 112
113 Inverse Square Law: Sound intensity decreases with the square of the distance from the source: -6 db for doubling -20dB for factor of 10x SOUND 1 -- ACOUSTICS 113
114 Inverse Square Law: Sound intensity decreases with the square of the distance from the source: -6 db for each doubling SOUND 1 -- ACOUSTICS 114
115 Critical Distance: Indoors or out, direct sound decreases with the square of the distance from the source -- 6 db less for every doubling, or 20 db for every factor of 10. SOUND 1 -- ACOUSTICS 115
116 Critical Distance: The reverberant sound field is constant. It doesn't vary with distance from the source. SOUND 1 -- ACOUSTICS 116
117 Critical Distance: At some distance from the source, both direct and reverberant sound fields are equal in level. SOUND 1 -- ACOUSTICS 117
118 Critical Distance: We call this the critical distance. Beyond this distance, the listener hears more reverberant sound than direct sound. SOUND 1 -- ACOUSTICS 118
119 Critical Distance: Critical distance (Dc) can be increased by increasing the directivity (Q) of the source, or by decreasing the reverberation time (RT 60 ) of the room. SOUND 1 -- ACOUSTICS 119
120 Critical Distance: Critical distance (Dc) can be increased by increasing the directivity (Q) of the source, or by decreasing the reverberation time (RT 60 ) of the room. SOUND 1 -- ACOUSTICS 120
121 SOUND 1 -- ACOUSTICS 121
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