No description available.

Debris torrents (channelized debris flows) are a geomorphological process only relatively recently recognised in southwest British Columbia. They are of interest both because of the tremendous amount of geomorphic work they do, and because of the hazards they pose to engineering works and residential developments. Fourteen torrents on the east side of Howe Sound, near Vancouver, since October 1981, have claimed twelve lives. Debris torrents differ from water floods in that they involve large amounts of coarse organic and inorganic debris. Therefore, a major requirement for torrent occurrence in a given channel is a supply of mobilizable debris. This thesis examines debris supply mechanisms and rates of debris supply in four small watersheds along Howe Sound, near the village of Lions Bay. An inventory of major debris sources has been compiled, and selected typical sites are examined in detail. Study methods include airphoto interpretation, ground surveying and reconnaissance, field instrumentation and site monitoring, dendrochronology, and materials sampling and testing. Debris supply is controlled by natural factors such as the nature and distribution of the bedrock and surficial materials, topographic gradient, vegetation, weather, and surface and groundwater hydrology, and by human activities such as logging and road construction. A wide variety of debris supply mechanisms operate in the study area, including rockfall and rockslide, talus shift, debris slide, soil wedge failure, ravelling, and snow avalanche. In addition to delivering debris to channel systems, some of these processes are capable of triggering debris torrents. Debris redistribution in channels occurs through debris torrents which do not reach the fans, fluvial processes (bedload transport), and snow avalanches. Active debris removal from main supply points, and storage elsewhere in the channel system, can decrease the frequency but increase the magnitude of torrent events in the basin. The wide variety of debris supply, debris redistribution, and torrent triggering mechanisms acting in this relatively small area points to a need for careful study of individual basins if the torrent potential in an area is to be understood. Regionally-based climatological or hydrological models of torrent occurrence should be employed for preliminary hazard assessment only. / Arts, Faculty of / Geography, Department of / Graduate

Studies were carried out to determine the circulation of water in the northern basin of Howe Sound, a small fjord on the mainland coast of British Columbia, and to determine the extent of the influence of the winds, the tide and river runoff on the circulation. In one experiment, surface-layer drogues were tracked by radar for four periods each of approximately three days duration. Data sere recorded photographically, then digitized for computer processing. Cubic spline interpolation was used to produce positions, velocities and accelerations at one minute intervals along every drogue track. The interpolated data were averaged in a suitable manner to produce pseudo-Eulerian estimates of velocity. Near the head of the fjord, both wind and tide appeared to cause temporal fluctuations in the surface current of magnitude similar to the expected mean flow due to the river. The river was the cause of spatial inhomogeneity in the flow, but did not appear to be a significant source of temporal variations. Farther down the inlet, wind forcing was the dominant cause of temporal variations in the surface-layer flow of about five times the magnitude of the expected mean river-driven flow. At no distance along the fjord was the velocity observed to be laterally uniform. Lateral gradients of long-channel velocity were strong at the inlet head and decreased away from it, indicating that the fresh water from the river was slowly mixing across the inlet. Another experiment using drogues at three depths in the upper 6 m of the water indicated that the velocity structure was not uniform, either laterally or with depth. Analysis was done on data from six current meters moored in the northern basin of Howe Sound. The mean currents from these meters showed a surface-layer outflow and a return inflow in the waters just below. A mean down-inlet current was seen at 150 m, 80 m below sill depth. Spectra of the currents showed dominant peaks at diurnal and semi-diurnal periods. The wind was coherent with the currents at 3m for periods longer than 10 hours. Below this depth, no consistent relationship was seen. In the diurnal band, the currents were strongest at the surface, indicative of forcing from the surface by the wind. In the semi-diurnal band, the currents were strongest at 10m depth. Both bands also showed a phase variation with depth indicative of a baroclinic structure. These results were compared with some models for surface-layer behaviour. The first model assumed that the wind momentum input was distributed uniformly throughout the surface layer and that the layer was not frictionally coupled to the deeper waters. Drag coefficients calculated from the wind stress and drogue acceleration gave values of 1 to 2x10-3, similar to values measured in other ways. This model was only valid for the first few hours after the onset of the wind. Another model, developed by Farmer (1972), analysed the behaviour of the surface layer of a semi-infinite canal under the influence of a steady wind stress. It predicted correctly the length of time of wind dominance of the flow, the magnitude of the velocity change and the magnitude of the acceleration of the water. A baroclinic tidal model in a two-layer fjord, adapted from Rattray (1960), correctly predicted the phase of the surface-layer currents near the head of a fjord with respect to the height of the tide. / Science, Faculty of / Earth, Ocean and Atmospheric Sciences, Department of / Graduate

No description available.

There are many facets that influence the quality of a musical theatre production. The visual appeal is created from the décor, costumes and lighting, whereas the plot, pace, and relationship a listener develops with the characters are fundamental to the performance quality. However, one often overlooked factor is the impact of sound quality. The perception of sound quality is subjective but is greatly impacted by the environment in which the listener finds themselves. If the projection of the music is underwhelming in depth and expression, or the balance of the dynamics and timbre are badly mixed, this can jeopardise the production’s success, regardless of the quality of the composition or the visual aspects. The production budget for a musical performance can be prohibitive. As a result, prerecorded music is often used as an alternative substitute to live musicians. However, the subjective authenticity of a musical may be jeopardized by the exclusion of live musicians and create additional challenges and performance limitations. One such challenge is the environment in which music will be played. Recorded music is usually created in a single format such as compact disc or for broadcasting, and the cost of recording be can just as expensive as a live performance, especially on large scale works. Time and budget constraints may impact the sound quality. In addition to this, the varying acoustic properties of potential venues may emphasise sonic gaps and flaws contributing to a listener’s negative perception of the sound quality, resulting in a compromised experience of the performance as a whole. This mixed method dissertation offers a systematic explanation to potentially resolve these challenges and limitations by conceptualising established knowledge of sound, audio and acoustics to formulate a framework for adaptive sound. These concepts are put into practice by creating a specifically designed audio recording that is experimented with in multiple theatre scenarios to successfully achieve optimal adaptation of the sound for the theatre environment. / Dissertation (MMus)--University of Pretoria, 2019. / Music / MMus / Unrestricted

Thesis (MPhil) -- University of Stellenbosch, 2000. / ENGLISH ABSTRACT: The most neglected element in television reporting is the sound track. The problem is illustrated by the fact that there are currently no specialised textbooks, or training courses, on sound recording for television reporting, anywhere in the world. Textbooks that deal with television reporting dedicate very little space to sound recordings. With the growing competition in television news, news teams are increasingly becoming smaller. It is common practice these days to have a news team consisting of only a cameraperson and a reporter. The cameraperson is also responsible for the sound. Two television stations, namely NYl in New York and Channel One Television in England, have already dispensed with the cameraperson and send out only a reporter. This dissertation addresses the above-mentioned problem by doing research on the sound equipment, recording techniques and production techniques that are useful for effective sound recordings during single camera television reporting. Chapter two explains the functions of the different departments in a television station, as well as the duties of the staff. Chapter three explains basic television principles, terminology and equipment that the sound person uses daily and needs to understand to perform his work optimally. Chapterfour gives the basic terms that are needed to follow a conversation on sound recording. Terms like decibel, stereo and digital sound are explained. The chapter also covers basic electricity and sound equipment. Chapter five covers microphones under three headings, namely: electrical characteristics, acoustic characteristics and microphone design. The chapter also covers associated equipment, explains the sound facilities on video cameras and gives a list of possible sound equipment that can be used during a production. Chapter six covers sound recordings, principles and techniques under the following headings: • Perspective and boom swinging, which deals with sound perspective and boom swinging. • Rigging of cables, which gives practical tips for laying cables inside and outside buildings. • Recording principles, which gives practical tips on sound recordings. • Interviews, which includes recording tips for television interviews and reporting. • Reporting, which covers reporting, media conferences and public events. • Commentary recordings, which deals with the preparation and recording of voice over. • Music recordings, which deals with instruments and bands, and suggests microphone positions. • Telephone lines, which covers the use of telephone lines for reporting. • Location reconnaissance, which gives practical tips on pre-production planning. • Guidelines for sound persons during productions, which concludes the chapter and the dissertation with practical tips on behaviour during local, foreign and/or dangerous productions. / AFRIKAANSE OPSOMMING: Die veranderlike wat die meeste afgeskeep word in televisieverslaggewing, is die klankbaan. Die probleem word onderstreep deur die feit dat daar wêreldwyd tans geen gespesialiseerde handboeke of opleidingskursusse bestaan wat oor klankopnames vir televisieverslaggewing handel nie. Handboeke wat handeloor televisieverslaggewing wy ook baie min ruimte aan klankopnames. Met die groeiende kompetisie in televisienuus raak nuusspanne toenemend kleiner. Dit is reeds algemene praktyk dat die nuusspan slegs uit 'n kamerapersoon en 'n verslaggewer bestaan. Die kamerapersoon moet dus ook die klankopnames doen. Twee televisiestasies, naamlik NYl in New York en Channel One Television in Engeland, het reeds die kamerapersoon uitgeskakel en stuur slegs 'n verslaggewer uit. Hierdie verhandeling spreek bogenoemde probleem aan deur navorsing te doen oor die klanktoerusting, opnametegnieke en produksietegnieke wat nuttig is vir effektiewe klankopnames tydens enkelkameratelevisieverslaggewing. Hoofstuk twee verduidelik die funksies van die verskillende departemente in 'n televisiestasie sowel as die pligte van die personeel. Hoofstuk drie verduidelik basiese televisiebeginsels, -terminologie en -toerusting wat die klankpersoon daagliks mee werk en dus moet verstaan om sy werk optimaal te verrig. Hoofstuk vier gee die basiese terme wat nodig is om 'n gesprek oor klankopnames te volg. Begrippe soos desibel, stereo en digitale klank word verduidelik. Die hoofstuk behandelook basiese elektriese beginsels en klanktoerusting. Hoofstuk vyf bespreek mikrofone onder drie indelings naamlik: elektriese eienskappe, akoestiese eienskappe en mikrofoonontwerp. Die hoofstuk dek ook aanverwante toerusting, verduidelik die klankfasiliteite op videokameras en gee 'n lys van klanktoerusting wat tydens produksies gebruik kan word. Hoofstuk ses is die belangrikste en bespreek klankopnames, beginsels en tegnieke onder die volgende opskrifte: • Perspektief en boomhantering, waaronder klankperspektief en boomhantering behandel word. • Lê van kabels, wat praktiese wenke gee vir die lê van kabels binne en buite geboue. • Opnamebeginsels, wat praktiese wenke gee in verband met klankopnames. • Onderhoude, wat opnamewenke gee in verband met televisieonderhoude en verslaggewing. • Verslaggewing, wat verslaggewing, nuuskonferensies en openbare geleenthede dek. • Kommentaaropnames, wat handeloor die voorbereiding vir, en opneem van kommentaar. • Musiekopnames, wat musiekinstrumente en orkeste bespreek en mikrofoonposisies voorstel. • Telefoonlyne, waaronder die gebruik van telefoonlyne vir verslaggewing bespreek word. • Terreinverkenning, wat praktiese riglyne gee vir voorproduksie-ondersoeke. • Riglyne vir klankpersone tydens produksies, wat die hoofstuk en die studie afsluit met praktiese wenke vir gedrag tydens plaaslike, buitelandse en/of gevaarlike produksies.

The thermodynamic equation of seawater - 2010 (TEOS-10) is hampered by the inability to measure absolute salinity or density in situ. No new advances for in situ salinity or density measurement have taken place since the adoption of the practical salinity scale in 1978. In this thesis three possible technologies for in situ measurements are developed and assessed: phased conductivity, an in situ density sensor and sound speed sensors. Of these, only sound speed sensors showed the potential for an in situ TEOS-10 measurement solution. To be implemented, sensor response times need to be matched and the sound speed sensor accuracy must be improved. Sound speed sensor accuracy is primarily limited by the calibration reference, pure water. Test results indicate the TEOS-10 sound speed coefficients may also need to be improved. A calibration system to improve sound speed sensor accuracy and verify the TEOS-10 coefficients is discussed. / Graduate / 0415 / 0986 / TDakin@UVic.ca

The diffusion of innovations is a fundamental aspect of the innovative process, to which the literature on innovation dedicated a lot of attention. This voluminous literature covers a variety of themes, such as different kinds of innovations, potential adopters, and mechanisms by which the innovation spreads among its potential users. However, some aspects of this vast literature still deserve some further investigation. The objective of the thesis is to study the adoption and diffusion of a consumer technology, the portable digital audio player (DAP) market in Europe and Japan. The methodology is quantitative and consists on the collection and analysis of two original datasets. The first dataset regards the demand-side consisting in a survey of 1562 young potential adopters from 9 countries (France, Germany, Italy, Portugal, Netherlands, Spain, Switzerland, UK, and Japan). The other source of data is a dataset of 585 DAPs marketed between 2001 and 2009, including information on product characteristics (storage space, size, etc.) and price. The analysis of the data is carried out at three levels. The first one regards the demand-side, with the aim of assessing how users' characteristics shape the adoption decision, and providing a classification of potential adopters that goes beyond the usual classification based on timing of adoption or on the distribution of a single variable such as income. The second level concentrates on the supply-side, testing if there is a systematic relationship between product price and its objectively measurable characteristics and evaluating how technical change in the sector influences the diffusion path by matching products' quality change with users' preferences and patterns of adoption over time. Finally, the third level aims at providing evidence on whether conventional models of diffusion are able to provide an adequate explanation of the diffusion of DAPs, and moreover, on how the assumptions underlying these models might be combined or synthesised into a coherent framework.

The sound insulation demands for dwellings and public building has increased over the years as the number of sound sources has grown. From the outside our homes are exposed to noise from cars, trains, airplanes, etc. Noise intrudes from our neighbours and their television and stereo equipments. Also noise from spaces for mechanical services systems tends to become more important due to increasing energy saving demands. This thesis presents new analytical models for predicting the sound reduction index of single or double plate systems. In the single plate case, a theoretical and experimental analysis of the air-borne sound transmission through a single plate is presented. The plate is assumed to be excited by a diffuse sound field and the velocity distribution of the plate is derived from the Kirchoff plate equation in the frequency domain. The resulting Fourier transform is evaluated using residue calculus and the solution is verified numerically. The analytical model is valid for a wide frequency range, both below, above and at the critical frequency. Special interest is paid to the area dependency of the sound reduction index. This technique is further expanded for the double plate case by adding another plate and an intermediate layer which is modelled as a locally reacting spring. The model is valid and continuous through both the mass-spring-mass resonance and the coincidence region. The results from the analytical models show good agreement with measured results in both the single and double plate case. A simplified model is also presented for the sound reduction index of finite size floating floors. The model is valid for two elastic plates with a resilient layer in between where the bottom plate, the load-bearing slab, is assumed to be excited with a diffuse airborne sound field. The top plate and the resilient layer compose the floating floor. The problem is solved for frequencies below, between and above the critical frequencies of the plates. Above the critical frequency of the load-bearing plate, but below that of the floating slab, the main coupling between the plates will occur at the coincidence angle of the load-bearing plate. Above the critical frequency of both plates, the main transmission will occur at the angle of coincidence of each plate. As the plates will interact, the sound insulation improvement will to some extent depend on the properties of the load-bearing slab. It is shown how the sound reduction index depends on the physical parameters and the geometry of the plates. / QC 20101101

Detta arbete behandlar ämnet trumsound i en studiomiljö och hur jag som trummis kan påverka soundet. Syftet med arbetet är att förstå och utveckla de olika faktorer som tillsammans skapar ett sound och berör bland annat speltekniska områden som timing och dynamik, materiella områden som val av instrument och dess konstruktion samt akustiska områden som mikrofonplacering och rumsakustik.  Efter att ha transkriberat och analyserat trumspelet på sex kända låtar spelade jag in mig själv i en studio där jag med hjälp av tidigare erfarenheter och nya idéer försökte återskapa trumspelet och trumsounden från dessa låtar så långt det bara var möjligt. Bifogat till arbetet finns transkriptioner samt två versioner på varje trumtagning där den ena är utan effekter och den andra är med effekter. Processen i studion dokumenterades i form av anteckningar och med en filmkamera som sedan tillsammans med det inspelade materialet blev underlag för min analys. Resultatet visar att ordentliga förberedelser och god kunskap om sitt instrument skapar förutsättningar för ett bra sound. Genom att välja instrument med passande ljudegenskaper samt ta tid till att stämma och micka upp trummorna noga krävs det mindre tid i efterediteringsarbetet. Eftersom uppfattningen av timing och dynamik är personlig så skapas också förutsättningar för unika sound genom musikerns sätt att tolka och spela musiken. / This study deals with the topic of drum sound in a studio environment and how I, as a drummer, can affect the sound. The purpose of the study is to understand and develop the various factors that together create a sound. The study involves technical areas such as timing and dynamics, material areas such as the choice of instruments and their design as well as the impact of microphone placement and the acoustics in a room. After transcribing and analyzing the drumming of six famous songs, I recorded myself in a studio and by way of previous experiences and new ideas I tried to recreate the drumming and the drum sound of these songs as far as possible. Attached to this study there are transcripts of the drums and two versions on each take where one is without effects and the other is with effects. The process in the studio was documented in the form of notes and a video camera which then became the basis for my analysis together with the recorded material. The result shows that accurate preparation and good knowledge of the instrument is a fundamental condition for a good sound. Choosing instruments with appropriate sound characteristics and taking time to tune and mic the drums makes the mixing phase shorter and easier. Because the perception of timing and dynamics is personal, the conditions for developing a unique sound are also created through the musician's way of interpreting and playing the music. / <p>Inspelningar finns att ladda ned som bilagor till det skriftliga arbetet.</p>