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How We Locate Sounds
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How We Locate Sounds
by F. Alton Everest
Critical Listening Skills for Audio Professionals
Copyright
Acknowledgments
About the Author
Preface
Critical Listening
Introduction to Critical Listening
“Golden” Ears
Training in Critical Listening
Technical Support
Estimating the Frequency of Sound
Pure tones and random noise
Estimation of Sound Level Changes
Tones, speech, and music
Estimating Frequency Band Limitations
Music, male and female voices
Frequency Response Irregularities
Their effect on music and speech
Judgment of Sound Quality
Simple and complex sounds
Detecting Distortion
What it is and how it sounds
Reverberation Effects
On speech and music
Signal Versus Noise
Their interrelationship
Voice Colorations
How they Sound and what causes them
Listening With Discernment
A review
Auditory Perception
Introduction to the Structure and Function of the Human Hearing System
Anatomy of the Ear
The Function of the Outer Ear
Localization Cues From the Outer Ear
The Function of the Middle Ear
The Function of the Inner Ear
Protect Your Hearing!
Use of Loudspeakers and Headphones
Loudness, Pitch, and Timbre
The subjective correlates of sound level, frequency, and spectrum
How One Sound Masks Another
A study of critical bands
How the Ear Analyzes Sound
Auditory filters at work
Non-Linearities in the Auditory System
Distortions generated in the ear
The Perception of Delayed Sounds
How we hear echoes and reflections
Why Some Sounds Are More Pleasant Than Others
Consonance, dissonance, and the critical band
How We Locate Sounds
The head, the pinna, and an amazing computer
True Binaural Listening
The dummy head in binaural recording
Glossary
Bibliography
General
Loudness, Pitch, and Timbre
Masking
The Critical Band
Delay, Echoes
Consonance/Dissonance
Localization
Miscellaneous
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Consonance, dissonance, and the critical band
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The head, the pinna, and an amazing computer
Unit 7. How We Locate Sounds
The head, the pinna, and an amazing computer
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