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
We can be contacted at any time through eBay messages if you have any questions , comments or product requests. We will respond to you within 24 hours and do our best to help you out! We encourage our customers to contact us with any questions or concerns! We'd like to be sure you are completely satisfied with your purchase.
Payment & Shipping | We reserve the right to decline PayPal payments with unverified accounts or unconfirmed addresses. Items being delivered by courier will require a telephone number so please make sure this information is listed on your eBay or PayPal account. We use DPD, UPS or Parcel Force only for large parcels and Royal Mail for smaller items. We dispatch items daily except Saturdays, Sundays and Public Holidays. We will usually dispatch your item within one working day of payment. Most of our items offer a free postage option. Where postage is charged then postage prices are at cost. We make no profit on postage whatsoever. We are always happy to combine postage where it is more economical. Non-Mainland GB Customers: We use eBay's Global Shipping Program for overseas shipping. We will ship your item directly to them and they then send it on to you. We have no control over the charges that eBay makes for shipping, import duty and VAT on these items. |
---|---|
Returns Policy | Returns are accepted within 30 days of receipt. Item must be returned undamaged, unused and in original packaging with all items included. The buyer is responsible for return postage |
Feedback | Leaving feedback for buyers and sellers helps make eBay a safer place to buy and sell. We will always leave positive feedback for buyers. Please reciprocate and leave feedback for us. If you have any problems with your item then please contact us before leaving neutral or negative feedback as we will do our best to resolve any issues. We always aim to give the best possible customer service and provide you with high quality items at the lowest prices. |
Free eBay listing template designed by © dewiso.com .