Acoustics and Hearing

By: Peter Damaske

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Paperback | 3 June 2008

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136 Pages

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22.86 x 15.24 x 1.27

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In a good concert hall, a big orchestra can evoke remarkably spacious sounds. The concertgoer is surrounded by the physical sound waves, and out of these waves the subjective sound impressions are created in the listener's head. This biological "measuring device" organized itself during childhood. With no special effort--and quite continuously--it performs parallel data proce- ing and makes no distinction between complex or simple analysis. Imagine that the orchestra, after complete silence, strikes a load, abrupt chord. In that moment we can watch the immediate response of the hall. The phenomenon is called the onset of reverberation. During this process the l- tener's auditory system has to evaluate the direct sound of each particular - sical instrument along with portions of sound re ected from the walls or the ceiling. If those sound re ections arrive at the listener's ears less than 50 ms later than the direct sound, they are called early re?ections. All these amounts of sound make up such an intricate mixture that the ear is unable to resolve it as a series of separate events. From a favourable seat in the auditorium the listener receives only one complex impression, which can be wide and yet very detailed and appears abruptly in the front. This subjective impression may brie y be named a sound image. Its width and its depth, its facets and the weights or contrasts of its different parts characterize "the acoustics" of the concert hall and also the orchestra.

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"... Beim Verfassen des englischen Textes ... achtete der Autor auf Verst¤ndlichkeit, besondere Fachkenntnisse werden beim Lesen nicht vorausgesetzt. ... Wie das Geh¶r mit derart komplexen Schallvorg¤ngen fertig wird, durch die es eigentlich permanent ¼berfordert ist, beschreibt Damaske in 'Acoustics and Hearing'. Dabei wird von spannenden Experimenten berichtet, die er 1971 in einem schalltoten Raum an der Universit¤t G¶ttingen durchf¼hrte ..." (Goslarsche Zeitung, 15/September/2009, S. 18)

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Head-Related Sound from Two Loudspeakers
Head-Related Stereophony	p. 3
Introduction	p. 3
Two Standard Stereophonic Methods	p. 6
Surround Sound in a Living Room, Pre-experiment	p. 12
Surround Sound in a Living Room, Main Experiment	p. 18
Experiences with Common Stereo Recordings	p. 20
Description of the Equipment	p. 21
The Loudspeakers	p. 22
The Compensation Filter	p. 27
The Dummy Head	p. 32
Conclusions	p. 40
The Hearing Process in Concert Halls
Powerful Onset of Reverberation	p. 45
Introduction and Definitions of Terms	p. 45
Sound Fields According to Haas	p. 47
Drift Thresholds and Subjective Sound Distributions	p. 50
Discussion of the Experimental Results	p. 60
Relation to Reality	p. 62
Definition of Diffuseness	p. 65
Introduction	p. 65
Diffusity versus Diffuseness	p. 66
Computer Program for Defining Diffuseness	p. 70
Application to the Onset of Reverberation	p. 75
Simplified Measuring Scheme	p. 76
Theory of Drift Thresholds	p. 79
Law of the First Wave Front	p. 79
Calculating Time Functions of the Loudness	p. 81
Loudness and Drift Thresholds	p. 85
Reflections at Realistic Level Values	p. 89
Loudness and Diffuseness	p. 93
Introduction	p. 93
Amounts of Neural Excitation	p. 94
Loudness Diagram versus Impulse Response	p. 95
Discussing Neural Excitation	p. 96
Effect of a Single Reflection	p. 96
Six Strong Early Reflections	p. 98
Boston Symphony Hall	p. 100
Interaural Cross-correlation	p. 101
Cross-correlator as a Neural Device	p. 102
Measured Cross-correlation, One Sound Direction	p. 103
Calculated Cross-correlation, Three Sound Directions	p. 104
Neural Cross-correlator as a Loudness Analyzer	p. 106
Testing the Generalized Interaural Cross-correlator	p. 107
Final Remarks	p. 109
Summary	p. 111
Appendix	p. 113
References	p. 117
Index	p. 119
Table of Contents provided by Ingram. All Rights Reserved.

Acoustics and Hearing

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