This fifth edition Acoustics and Psychoacoustics softcover from Routledge provides supportive tools and exercises to help you understand how music sounds and behaves in different spaces. Whether during a performance or a recording, when planning a control room or listening space, you will learn how sound is perceived by performers, listeners, and recording engineers.
With clear and simple style, authors David M. Howard and Jamie A.S. Angus cover both theory and practice by addressing the science of sound engineering and music production. They also cover the acoustics of musical instruments, the ways in which we hear musical sounds, the underlying principles of sound processing, and the application of these concepts in music spaces to create professional sound. This fifth edition is fully revised to reflect new psychoacoustic information related to timbre and temporal perception, including an updated discussion of vocal fold vibration principles, samples of recent acoustic treatments, and a description of variable acoustics in spaces, as well as coverage of the environment's effect on production listening, sonification, and other topics.
- Preface
- Chapter 1: Introduction to Sound
- Chapter 2: Introduction to Hearing
- Chapter 3: Notes and Harmony
- Chapter 4: Acoustic Model for Musical Instruments
- Chapter 5: Hearing Timbre and Deceiving the Ear
- Chapter 6: Hearing Music in Different Environments
- Chapter 7: Applications: Acoustics and Psychoacoustics Combined
- Appendix 1: The Fourier Transform
- Appendix 2: Solving the ERB Equation
- Appendix 3: Converting between Frequency Ratios and Cents
- Appendix 4: Deriving the Reverberation Time Equation
- Appendix 5: Deriving the Reverberation Time Equation for Different Frequencies and Surfaces
- Appendix 6: The Effect of Speaker Size on its Polar Pattern
- Appendix 7: Track Listing for the Audio Compact Disc
- Index
Jamie A.S. Angus is professor of audio technology in the School of Computing, Science, and Engineering at the University of Salford. She was one of the originators of the UK’s first university-level music technology course at the University of York in 1986. She teaches and researches in room and speech acoustics, diffuser design, GPGPU in acoustic simulation, and audio signal processing and coding. She invented the modulated and absorption diffuser structures and was awarded an AES Fellowship Prize and the IOA Peter Barnett Memorial Prize in 2004.