Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1981. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references (leaf 50). / Sound inherently has a spatial quality, an ability to be localized in three dimensions. This is the essence of 3-D, or spatial, sound. A system capable of recording sounds as digitized samples and playing them back in a localized fashion was developed in the course of this research. This sound system combines special hardware and interactive software to create a system more flexible and powerful than previous systems. The spatial qualities of 3-D sound contribute to man's ability to interact with sound as data. An application which capitalized on these qualities was developed, allowing the user to interact with 3-D sound in a spatial environment. This application, called the Spatial Audio Notemaker, was not unlike a bulletin board, where the paper notes were recorded messages and the bulletin board was the user's environment. Using the Spatial Audio Notemaker, exploration into the manipulation of 3-D sound and the necessary interaction (using voice and gesture) and feedback (both visual and audio) to aid in this manipulation was accomplished. / by Mark Aaron Vershel. / M.S.V.S.

This paper explores the historical progression of the technological development of records and radio and its impact on popular music. It also includes the production technologies that create recorded music, the development of records, cassettes and CDs, and areas of reproduction that have an association with popular music including the sound technologies of radio, film, television, background music, and the juke-box. This paper is not a cultural or social study, but is primarily an historical account of media technology in music production and delivery. Certain social and cultural consequences and issues are included as background and sidebars to the primary topic. The technology of live performance has been omitted because it alone represents a body of material large enough for an entire paper. Western society now travels through a sea of music emanating from countless hidden sources. Such music delivery systems provide a continuous musical score for most people's personal histories. Sound, fragments of sound, and the very processes by which sound is created and manipulated have become products and commodities. The technology has allowed anyone to participate in the creation and hearing of music. This paper traces the history of the various technologies that, in so many respects, have provided a catalyst for that which is created, and the means by which music is listened to in the 20th Century. With rare exception, each new invention, delivery system, or process has had both supporters as well as detractors. Throughout this paper, both the positive as well as the negative effects of these developments will be explored. / Master of Arts (Hons)

No description available.

According to earlier surveys, there were nine sound types in areas adjacent to the estuaries of nine major rivers in Taiwan, and the frequency range of the H-type sound was as high as 6 kHz. The producers of this sound type have not been defined yet. Sea catfish can make two kinds of sounds: stridulatory sound and drumming sound. The former is pulsed, broad-band and high-frequency, whereas the latter is harmonic, and low-frequency (less than 1 kHz). Spotted catfish (Arius maculates) is the most common demersal species in the west coast of Taiwan. The aims of the study were (1) to find out if H-type sound is presence in Cigu lagoon; (2) to describe the disturbance (hand-held) sounds emitted by A. maculates; (3) to find clues to support that the stridulatory sound of A. maculates is the H-type sound; (4) to find if there is sexual difference in the sounds of A. maculates; (5) to find the relationship between sound characteristics and intrinsic characters of the fish; (6) to define the reproductive season of A. maculates; (7) to find out if there is correlation between the spawning season of A. maculates in Cigu lagoon and presence of the high-frequency sounds in the lagoon. Bimonthly sound recordings were made in Cigu lagoon between February to December 2009. Pulsed, broad-band and high-frequency sounds were present in April, June, and August; number of sounds per minute was higher in August (mean: 52.9 sounds/ min). The sound were characterized by: sound duration: 160.6 ¡Ó 16.6 ms, dominant frequency: 2840 ¡Ó 867.3 Hz, pulse period 12.6 ¡Ó 0.45 ms, pulse duration: 6.0 ¡Ó 0.82 ms, inter-pulse-interval: 6.6 ¡Ó 0.84 ms. The stridulatory sounds of A. maculates are pulsed, broad-band and high-frequency - sound duration: 64.0 ¡Ó 16.74 ms, dominant frequency: 1251 ¡Ó 419.8 Hz, pulse period 7.7 ¡Ó 2.69 ms, pulse duration 5.3 ¡Ó 1.69 ms, inter-pulse-interval 2.4 ¡Ó 1.93 ms. Drumming sounds of A. maculates are harmonic, low frequency - sound duration: 58.5 ¡Ó 25.54 ms, dominant frequency: 442 ¡Ó 96.3 Hz fundamental frequency: 163 ¡Ó 30.98 Hz, pulse period: 6.3 ¡Ó 1.21 ms, pulse duration: 6.3 ¡Ó 1.19 ms. There was significant sexual difference in the stridulatory sound characters including pulse period, inter-pulse-interval, pulse number; females are higher than males in these parameters. There was significant sexual difference in the drumming sound (including dominant frequency) as well; males are higher than females in these parameter. Pulse period of the stridulatory sounds increased significantly with increasing standard body length. Pulse period and pulse duration of the drumming sounds both increased significantly with increasing standard body length, whereas dominant frequency and fundamental frequency both decreased significantly with size. GSI and oocyte diameters were higher in February, April, and June with a peak in April. Reproductive period was considered occurring from April to August (i.e. in spring and summer). This reproductive period coincides with the peak of vocalization. Result of ANOSIM indicates that, H-type sound is significant different from the stridulatory sound of A. maculates - they are in different groups. As the sound source might be at a distance from the recording site, energy in the high frequency range might decay with distance, whereas low frequency range might be cutoff as well. As A. maculates is the only soniferous spices in Cigu lagoon that can emit high-frequency sounds, possibility remains high that the high frequency sound, which resembles the H-type sound, in Cigu lagoon is actually produced by the spotted catfish despite of the difference in frequency-domain features of the sounds.

The Riverside Energy Efficiency Laboratory at Texas A&M University conducts sound quality testing for the Home Ventilating Institute. When the Home Ventilating Institute initially established their sound quality test, the semi-reverberant sound chamber to conduct the sound quality tests was built at the Riverside Energy Efficiency Laboratory. The Home Ventilating Institute created a standard to specify the procedure for sound quality testing. This standard contained high consideration for performance, reliability, and accuracy. The standard was based on several ANSI standards for sound testing procedures, sound setup and equipment standards, and sound rating calculations. The Riverside Energy Efficiency Laboratory presently continues sound quality testing for the Home Ventilating Institute using the semi-reverberant sound chamber. The standard has been revised and updated due to developments for better sound quality test result representation. Resourceful data to assist with further developments comes from the semi-reverberant sound chamber's characteristics. This thesis's purpose was to conduct an analysis of the performance for the semi-reverberant sound chamber. The sound chamber's sound transmission loss was determined using a fan source with known sound power across the 24 tested 1/3 octave frequency bands, 50 Hz - 10,000 Hz. The sound pressure was recorded inside the chamber and outside the chamber at the sound source. The sound source was placed at three different locations around the sound chamber. In addition, the sound pressure was measured in real time to study the amount of sound pressure fluctuation and maximum amplitude. The background noise was measured inside the sound chamber for these tests. The sound transmission loss profiles were identical for each location. The lowest two 1/3 octave bands, 50 Hz and 63 Hz, have low transmission losses. The profile jumps up at the following 1/3 octave band and increases with a peak around 1600 Hz before slightly decreasing. The profile of the sound pressure in the time domain showed similar results. The most fluctuation with the greatest peaks was present in the lower 1/3 octave frequency bands, and diminished the higher the 1/3 octave frequency band. Sound sources around the sound chamber can be evaluated to determine whether an impact is possible on the sound quality tests from these results. The impact of modifications to the sound chamber can use the transmission loss values to help determine the expected performance increase.

Project (M.F.A.) - Simon Fraser University, 2005. / Project (School for the Contemporary Arts) / Simon Fraser University. Also issued in digital format and available on the World Wide Web.

Thesis (M.F.A.)--York University, 1997. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 198-204). Discography: leaf 204. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ27367.

This thesis describes the development and testing of the Combustive Sound Source (CSS), which is a broadband underwater sound source. The CSS is being developed as a clean, safe, and cost effective replacement to underwater explosive charges, which exhibit an inherent danger to marine life and researchers using the charges. The basic operation of the CSS is as follows. A combustible mixture of gas is held below the surface of the water in a combustion chamber and ignited with an electric spark. A combustion wave propagates through the mixture and converts the fuel and oxidizer into a bubble of combustion products, which expands due to an increase in temperature, and then ultimately collapses to a smaller volume than before ignition, producing a high intensity, low frequency acoustic signal. The thesis begins by discussing the background, history, and purpose of developing the CSS. It continues by describing the current apparatus and the essential components and convenient features added to the latest mechanical design. The general operation is discussed along with a description of an experiment conducted to determine the acoustic output and robustness of the current CSS. The results of this experiment are presented in terms of the effect of volume, ignition depth, oxidizing gas, combustion chamber size, and repeatability of acoustic signatures. Discussion of apparatus robustness is presented to suggest improvements for future CSS designs. / text

The process of remastering old recordings comprises two basic stages: the transfer of the material from the source to a modern format, and the subsequent restoration of the transferred material through various forms of signal processing. The transfer stage in particular requires an understanding of issues which are becoming increasingly less familiar to engineers as the science of recording progresses further into the digital era. To a lesser extent, the restoration stage involves the use of certain techniques and forms of processing which are specific to this application. / This thesis is intended as a reference for those recording engineers who occasionally undertake remastering projects, but who are not thoroughly acquainted with the many different situations and problems which can be involved. Emphasis is given to those areas which are likely to be least familiar to most engineers. / In order to enable the engineer to properly assess a given source, the evolution and characteristics of each type of source--cylinder, disc and tape--is surveyed. This is followed in each case by an examination of the preparation, equipment and method used in transferring the source. Finally, the various types of processing which can be applied to the transferred material are presented, focusing on the techniques and forms of signal processing which are specific to audio restoration.

Algorithms exist which will perform independent transformations on frequency or duration of a digital audio signal. These processes have different results different types of audio signals. A comparative study of granular and phase vocoder algorithms, implementation, and their respective effects on audio signals was made to determine which algorithm is best suited to a particular type of audio signal.