Meisterhandbuch der Akustik ¦ Siebte Auflage ¦ Everest & Pohlmann ¦ Brandneu

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Verkäufer: gpxit ✉️ (4.324) 100%, Artikelstandort: Lanark, GB, Versand nach: GB und viele andere Länder, Artikelnummer: 275761215760 Meisterhandbuch der Akustik ¦ Siebte Auflage ¦ Everest & Pohlmann ¦ Brandneu.  

Master Handbook of Acoustics

Seventh Edition

F Alton Everest & Ken C Pohlmann

9781260473599

Condition: New (may be some minor creasing to corners due to storage)

Title: Master Handbook of Acoustics

Edition:  Seventh

Authors:  F Alton Everest & Ken C Pohlmann

Publisher:  McGraw Hill

ISBN: 9781260473599

 

The classic guide to modern acoustics—fully updated for the latest advances Written by renowned experts in the field, this revised classic resource presents the fundamentals of acoustical properties as well as time-tested and cost-effective solutions to acoustical problems.

New room designs added to this edition include a video teleconference room, and voice studio.

The book also contains new design details on sound studio construction. Master Handbook of Acoustics, Seventh Edition explains the art and science of room acoustics and architecture by combining theoretical instruction with matter-of-fact engineering advice.

Readers  will receive clear explanations of theory, and thorough descriptions of hands-on techniques.

Numerous room designs, including floor plans and an analysis of their performance, can be built as presented, or adapted to meet particular needs.

 

Presents a complete theoretical overview and practical examples for classroom or professional study

Shows, with construction details, how to design and construct audiophile-quality sonic environments of all types

Revised and updated from the classic text written by acoustics pioneer F. Alton Everest

 

You'll discover how to

 

Control and utilize sound reflection, absorption, diffraction, and diffusion

Calculate room reflections, reverberation times, and modal resonances

Perform acoustical measurements and site surveys and choose construction materials

Install modules to optimize early reflections, reverberation, and diffusion

Design and construct home theaters, project studios, control rooms, recording studios, and other acoustically sensitive spaces

Reduce HVAC noise levels and achieve excellent sound isolation with proven wall, window, and door designs

Analyze the acoustics of concert halls, auditoriums, and places of worship

Incorporate psychoacoustics in your designs to optimize room performance

Understand the operation of room acoustics modeling software

Utilize the supplied cost-effective plans and specifications for a variety of listening and recording rooms

Table of Contents

 

A - About the Authors

B - Dedication

C - Introduction

 

Chapter 1

Fundamentals of Sound

 

1.1 Simple Harmonic Motion and the Sine Wave

1.2 Sound in Media

1.3 Wavelength and Frequency

1.4 Complex Waveforms

1.5 Octaves

1.6 Spectrum

1.7 Key Points

 

Chapter 2

Sound Levels and the Decibel

 

2.1 Ratios versus Differences

2.2 Logarithms

2.3 Decibels

2.4 Reference Levels

2.5 Logarithmic and Exponential Forms Compared

2.6 Acoustic Power

2.7 Using Decibels

2.8 Measuring Sound-Pressure Level

2.9 Sine-Wave Measurements

2.10 Electrical, Mechanical, and Acoustical Analogs

2.11 Key Points

 

Chapter 3

Sound in the Free Field

 

3.1 The Free Field

3.2 Sound Divergence

3.3 Sound Intensity in the Free Field

3.4 Sound Pressure in the Free Field

3.5 Sound Fields in Enclosed Spaces

3.6 Hemispherical Field and Propagation

3.7 Key Points

 

Chapter 4

The Perception of Sound

 

4.1 Sensitivity of the Ear

4.2 Ear Anatomy

4.3 Loudness versus Frequency

4.4 Loudness versus Sound-Pressure Level

4.5 Loudness and Bandwidth

4.6 Loudness of Impulses

4.7 Audibility of Loudness Changes

4.8 Pitch versus Frequency

4.9 An Experiment in Pitch

4.10 Timbre versus Spectrum

4.11 Localization of Sound Sources

4.12 Binaural Localization

4.13 Law of the First Wavefront

4.14 Perception of Reflected Sound

4.15 The Cocktail-Party Effect

4.16 Aural Nonlinearity

4.17 Subjective versus Objective Evaluation

4.18 Occupational and Recreational Hearing Loss

4.19 Key Points

 

Chapter 5

Signals, Speech, Music, and Noise

 

5.1 Sound Spectrograph

5.2 Speech

5.3 Music

5.4 Dynamic Range of Speech and Music

5.5 Power in Speech and Music

5.6 Frequency Range of Speech and Music

5.7 Auditory Area of Speech and Music

5.8 Noise

5.9 Noise Measurements

5.10 Signal Distortion

5.11 Harmonic Distortion

5.12 Resonance

5.13 Audio Filters

5.14 Key Points

 

Chapter 6

Reflection

 

6.1 Specular Reflections

6.2 Doubling of Pressure at Reflection

6.3 Reflections from Convex Surfaces

6.4 Reflections from Concave Surfaces

6.5 Reflections from Parabolic Surfaces

6.6 Whispering Galleries

6.7 Standing Waves

6.8 Corner Reflectors

6.9 Mean Free Path

6.10 Perception of Sound Reflections

6.11 Key Points

 

Chapter 7

Diffraction

 

7.1 Diffraction and Wavefront Propagation

7.2 Diffraction and Wavelength

7.3 Diffraction by Obstacles

7.4 Diffraction by Apertures

7.5 Diffraction by a Slit

7.6 Diffraction by a Zone Plate

7.7 Diffraction around the Human Head

7.8 Diffraction by Loudspeaker Cabinet Edges

7.9 Diffraction by Various Objects

7.10 Key Points

 

Chapter 8

Refraction

 

8.1 The Nature of Refraction

8.2 Refraction in Solids

8.3 Refraction in the Atmosphere

8.4 Refraction in Enclosed Spaces

8.5 Refraction in the Ocean

8.6 Key Points

 

Chapter 9

Diffusion

 

9.1 The Perfectly Diffuse Sound Field

9.2 Evaluating Diffusion in a Room

9.3 Decay Beats

9.4 Exponential Decay

9.5 Spatial Uniformity of Reverberation Time

9.6 Geometrical Irregularities

9.7 Absorbent in Patches

9.8 Concave Surfaces

9.9 Convex Surfaces: The Polycylindrical Diffuser

9.10 Plane Surfaces

9.11 Key Points

 

Chapter 10

Comb-Filter Effects

 

10.1 Comb Filters

10.2 Superposition of Sound

10.3 Tonal Signals and Comb Filters

10.4 Comb Filtering of Music and Speech Signals

10.5 Comb Filtering of Direct and Reflected Sound

10.6 Comb Filters and Critical Bands

10.7 Comb Filters in Multichannel Playback

10.8 Controlling Comb Filtering

10.9 Reflections and Spaciousness

10.10 Comb Filters in Microphone Placement

10.11 Comb-Filter Effects in Practice: Six Examples

10.12 Estimating Comb-Filter Response

10.13 Key Points

 

Chapter 11

Reverberation

 

11.1 Growth of Sound in a Room

11.2 Decay of Sound in a Room

11.3 Idealized Growth and Decay of Sound

11.4 Calculating Reverberation Time

11.5 Measuring Reverberation Time

11.6 Reverberation and Normal Modes

11.7 Reverberation Characteristic

11.8 Decay Rate and the Reverberant Field

11.9 Acoustically Coupled Spaces

11.10 Electroacoustically Coupled Spaces

11.11 Eliminating Decay Fluctuations

11.12 Influence of Reverberation on Speech

11.13 Influence of Reverberation on Music

11.14 Optimum Reverberation Time

11.15 Artificial Reverberation

11.16 Examples of Reverberation Time Calculations

11.17 Key Points

 

Chapter 12

Absorption

 

12.1 Dissipation of Sound Energy

12.2 Absorption Coefficients

12.3 Mounting of Absorbents

12.4 Mid/High-Frequency Absorption by Porosity

12.5 Glass-Fiber Low-Density Materials

12.6 Glass-Fiber High-Density Boards

12.7 Glass-Fiber Acoustical Tile

12.8 Effect of Thickness of Absorbent

12.9 Effect of Airspace behind Absorbent

12.10 Effect of Density of Absorbent

12.11 Open-Cell Foams

12.12 Drapes as Sound Absorbers

12.13 Carpet as Sound Absorber

12.14 Sound Absorption by People

12.15 Sound Absorption in Air

12.16 Panel (Diaphragmatic) Absorbers

12.17 Polycylindrical Absorbers

12.18 Bass Traps: Low-Frequency Absorption by Resonance

12.19 Helmholtz (Volume) Resonators

12.20 Perforated Panel Absorbers

12.21 Slat Absorbers

12.22 Placement of Materials

12.23 Reverberation Time of Helmholtz Resonators

12.24 Increasing Reverberation Time

12.25 Absorption Module Design

12.26 Key Points

 

Chapter 13

Modal Resonances

 

13.1 Early Experiments and Examples

13.2 Resonance in a Pipe

13.3 Indoor Reflections

13.4 Two-Wall Resonance

13.5 Frequency Regions

13.6 Room-Mode Equation

13.7 Mode Decay

13.8 Mode Bandwidth

13.9 Mode Pressure Plots

13.10 Mode Density

13.11 Mode Spacing and Timbral Defects

13.12 Optimal Room Proportions

13.13 Splaying Room Surfaces

13.14 Controlling Problem Modes

13.15 Simplified Axial-Mode Analysis

13.16 Key Points

 

Chapter 14

Schroeder Diffusers

 

14.1 Experimentation

14.2 Reflection Phase-Grating Diffusers

14.3 Quadratic Residue Diffusers

14.4 Primitive Root Diffusers

14.5 Performance of Diffraction-Grating Diffusers

14.6 Reflection Phase-Grating Diffuser Applications

14.7 Comparison of Gratings with Conventional Approaches

14.8 Key Points

 

Chapter 15

Adjustable Acoustics

 

15.1 Draperies

15.2 Portable Absorptive Panels

15.3 Hinged Panels

15.4 Louvered Panels

15.5 Absorptive/Diffusive Adjustable Panels

15.6 Variable Resonant Devices

15.7 Rotating Elements

15.8 Modular Low-Frequency Absorptive Devices

15.9 Key Points

 

Chapter 16

Sound Isolation and Site Selection

 

16.1 Propagation through Barriers

16.2 Approaches to Noise Control

16.3 Airborne Noise

16.4 Effect of Mass and Frequency

16.5 Porous Materials

16.6 Sound Transmission Class

16.7 Structureborne Noise

16.8 Noise and Room Resonances

16.9 Site Selection

16.10 The Noise Survey

16.11 Assessment of Environmental Noise

16.12 Recommended Practices

16.13 Noise Measurements and Construction

16.14 Floor Plan Considerations

16.15 Key Points

 

Chapter 17

Sound Isolation: Walls, Floors, and Ceilings

 

17.1 Walls as Effective Noise Barriers

17.2 The Mass Law and Wall Design

17.3 Separation of Mass in Wall Design

17.4 Wall Design Summary

17.5 Improving an Existing Wall

17.6 Flanking Sound

17.7 Gypsum Board Walls as Sound Barriers

17.8 Masonry Walls as Sound Barriers

17.9 Weak Links

17.10 Summary of Wall STC Ratings

17.11 Floating Floors

17.12 Floor/Ceiling Construction

17.13 Floor/Ceiling Structures and Their IIC Performance

17.14 Floor/Ceilings in Frame Buildings

17.15 Key Points

 

Chapter 18

Sound Isolation: Windows and Doors

 

18.1 Single-Pane Windows

18.2 Double-Pane Windows

18.3 Acoustical Holes in Glass: Mass-Air-Mass Resonance

18.4 Acoustical Holes in Glass: Coincidence Resonance

18.5 Acoustical Holes in Glass: Standing Waves in the Cavity

18.6 Glass Mass and Spacing

18.7 Dissimilar Panes

18.8 Laminated Glass

18.9 Plastic Panes

18.10 Slanting the Glass

18.11 Third Pane

18.12 Cavity Absorbent

18.13 Thermal Glass

18.14 Example of an Optimized Double-Pane Window

18.15 Construction of an Observation Window

18.16 Proprietary Observation Windows

18.17 Sound-Isolating Doors

18.18 Sound Locks

18.19 Composite Partitions

18.20 Key Points

 

Chapter 19

Noise Control in Ventilating Systems

 

19.1 Selection of Noise Criteria

19.2 Fan Noise

19.3 Machinery Noise and Vibration

19.4 Air Velocity

19.5 Natural Attenuation

19.6 Duct Lining

19.7 Plenum Silencers

19.8 Proprietary Attenuators

19.9 Reactive Silencers

19.10 Tuned Silencers

19.11 Duct Location

19.12 ASHRAE

19.13 Active Noise Control

19.14 Key Points

 

Chapter 20

Acoustics of Listening Rooms and Home Theaters

 

20.1 Playback Criteria

20.2 Planning the Playback Room

20.3 Acoustical Treatment of Playback Rooms

20.4 Peculiarities of Small-Room Acoustics

20.5 Low-Frequency Considerations

20.6 Mid/High-Frequency Considerations

20.7 Loudspeaker Placement

20.8 Listening Room Plan

20.9 Home-Theater Plan

20.10 Key Points

 

Chapter 21

Acoustics of Home Studios

 

21.1 Home Acoustics: Modes

21.2 Home Acoustics: Reverberation

21.3 Home Acoustics: Noise Control

21.4 Home Studio Budget

21.5 Home Studio Treatment

21.6 Home Studio Plan

21.7 Recording in the Home Studio

21.8 Garage Studio

21.9 Key Points

 

Chapter 22

Acoustics of Small Recording Studios

 

22.1 Ambient Noise Requirements

22.2 Acoustical Characteristics of Small Studios

22.3 Room Modes and Room Volume

22.4 Reverberation Time

22.5 Diffusion

22.6 Noise

22.7 Small Studio Design Example

22.8 Key Points

 

Chapter 23

Acoustics of Large Recording Studios

 

23.1 Design Criteria of a Large Studio

23.2 Floor Plan

23.3 Wall Sections

23.4 Studio Treatment

23.5 Drum Booth

23.6 Vocal Booth

23.7 Sound-Lock Corridor

23.8 Reverberation Time

23.9 Key Points

 

Chapter 24

Acoustics of Control Rooms

 

24.1 Initial Time-Delay Gap

24.2 Live End–Dead End

24.3 Specular Reflections versus Diffusion

24.4 Low-Frequency Resonances in Control Rooms

24.5 Initial Time-Delay Gaps in Practice

24.6 Loudspeaker Placement, Reflection Paths, and Near-Field Monitoring

24.7 The Reflection-Free-Zone Control Room

24.8 Control-Room Frequency Range

24.9 Outer Shell and Inner Shell of the Control Room

24.10 Design Criteria of a Control Room

24.11 Design Example 1: Control Room with Rectangular Walls

24.12 Design Example 2: Double-Shell Control Room with Splayed Walls

24.13 Design Example 3: Single-Shell Control Room with Splayed Walls

24.14 Key Points

 

Chapter 25

Acoustics of Isolation Booths

 

25.1 Applications

25.2 Design Criteria

25.3 Isolation Requirements

25.4 The Small-Room Problem

25.5 Design Example 1: Traditional Isolation Booth

25.6 Design Example 2: Isolation Booth with Cylindrical Traps

25.7 Design Example 3: Isolation Booth with Diffusers

25.8 Evaluation and Comparison

25.9 Live End–Dead End Isolation Booth

25.10 Key Points

 

Chapter 26

Acoustics of Audiovisual Postproduction Rooms

 

26.1 Design Criteria

26.2 Design Example 1: Small Postproduction Room

26.3 Design Example 2: Large Postproduction Room

26.4 Key Points

 

Chapter 27

Acoustics of Teleconference Rooms

 

27.1 Design Criteria

27.2 Shape and Size of the Room

27.3 Floor Plan

27.4 Ceiling Plan

27.5 Elevation Views

27.6 Reverberation Time

27.7 Key Points

 

Chapter 28

Acoustics of Large Halls

 

28.1 Design Criteria

28.2 Reverberation and Echo Control

28.3 Air Absorption

28.4 Hall Design for Speech

28.5 Speech Intelligibility

28.6 Concert Hall Acoustical Design

28.7 Concert Hall Architectural Design

28.8 Virtual Image Source Analysis

28.9 Hall Design Procedure

28.10 Case Studies

28.11 Postscript

28.12 Key Points

 

Appendix

 

A: Overview of TDS and MLS Analysis

B Appendix B: Room Auralization

C Appendix C: Selected Absorption Coefficients

D Bibliography

E Glossary

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  • Condition: Neu
  • Subject Area: Acoustics
  • Book Title: Master Handbook of Acoustics Seventh Edition
  • Publication Name: Master Handbook of Acoustics, Seventh Edition
  • MPN: 9781260473599
  • Publisher: McGraw-Hill
  • Item Length: 187 mm
  • Subject: Engineering & Technology
  • Publication Year: 2021
  • Type: Textbook
  • Format: Paperback
  • Unit Type: Unit
  • ISBN: 9781260473599
  • Language: English
  • Item Height: 233 mm
  • Educational Level: Adult & Further Education
  • Author: Ken Pohlmann, F. Alton Everest
  • Level: Technical
  • Country/Region of Manufacture: United States
  • Unit Quantity: 1
  • Item Weight: 1085 g
  • Item Width: 32 mm
  • Number of Pages: 635 Pages

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