Academic literature on the topic 'Sound engineer'
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Journal articles on the topic "Sound engineer"
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Kilbane, Matthew. "John Wheelwright, Sound Engineer." Hopkins Review 14, no. 2 (2021): 238–47. http://dx.doi.org/10.1353/thr.2021.0034.
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Kelly, A. "Why engineer porous materials?" Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 364, no. 1838 (November 29, 2005): 5–14. http://dx.doi.org/10.1098/rsta.2005.1686.
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A number of specific examples are briefly given for the use of pores in engineering materials: a porous ceramic to produce minimum thermal conduction; thin skeleton walls in silicon to produce photoluminescence; low dielectric constant materials. The desirable nature of the pores in fuel cell electrodes and sieves is described. Further examples are given in orthopaedics, prosthetic scaffolds and sound deadening and impact resistance materials. An attempt is made to describe the desirable pore size, whether open or closed, and the useful volume fraction. This short review does not deal with flexible foams.
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Munusamy, Muralitheran. "Gamelan Melayu Sound Preservation and Archiving through Recording Methods and Production Techniques." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 17–40. http://dx.doi.org/10.30819/aemr.6-2.
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Sound or audio engineering is a branch of the field of engineering, which involves the process of recording sound and reproducing it by various means, as well as storing in order to be reproduced later. Known as sound or audio engineers, these trained professionals work in a variety of sound production fields and expert in recording methods. They can be instrumental to implement the affordable technologies and technical process to distribute the audio data hence, making it accessible for future generations. The current role of these engineers not only to perform or limited to recording session but they create metadata for archiving and preservation for future needs. Currently, product sleeves of ethnographic recordings represent no technical elements of how traditional music recordings are produced. The product details focus only to some extent on historical elements and musical notation. To an audio archivist, declaring what devices are in a recording is not linked with preservation data. Apart from the format, the sleeved design, technical specification is essential to other social scientists such as audio engineer and field recordist of the future. The aim of the present research is to capture optimum dynamic range of the sound and applying a signal processing that would not alter the tonality, timbre and harmonic of the sound. Further applying a suitable information storage for the metadata to be preserve or archived for future accessing and reproduction.
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Siebein, Gary W., Keely M. Siebein, Marylin Roa, Jennifer Miller, Gary Siebein, and Matthew Vetterick. "Working towards soundscape compatibility of indoor and outdoor shooting ranges with surrounding properties." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A160. http://dx.doi.org/10.1121/10.0015882.
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This paper explores methods to help make shooting ranges compatible with surrounding properties. Sounds from outdoor firing ranges can propagate over 2 miles from the range depending upon topography, vegetation, background sound levels, numbers of shooters, weapon types, and mitigation systems employed at the range. Many communities have regulations for maximum sound levels that can be propagated from one property to another. The impulsive nature of gun shots produces sounds that are not easily measured using conventional acoustical metrics and sound level meters. These items can be studied using three-dimensional computer models. Acoustical data for different weapon types are used as the sound sources. Mitigation options such as shooting sheds, berms, and other strategies can be studied as part of the design process to optimize sonic compatibility with neighboring properties. Similar processes are used for partially and fully enclosed ranges with the addition of the walls, roofs, doors, and HVAC systems for the range included in the models. An architect, engineer, and other design team members work to design specific systems to provide the required mitigation methods. Consultants can evaluate the cost of implementing the mitigation measures so that sonic compatibility is addressed prior to using the range.
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Pollard, J. "The Eccentric Engineer - Sound Engineering. Bringing sound to the silver screen with a cartoon mouse." Engineering & Technology 14, no. 12 (December 1, 2019): 89. http://dx.doi.org/10.1049/et.2019.1231.
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KHMYROV, ALEKSEY. "ABOUT MY TEACHER, FAMOUS SOUND DIRECTOR AND MUSICIAN VITALY NIKOLAEVICH GUSHCHIN." Культурный код, no. 2021-2 (2021): 46–51. http://dx.doi.org/10.36945/2658-3852-2021-2-46-51.
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This article is about the famous sound engineer, talented musician and teacher Vitaly Nikolayevich Gushchin, who made an invaluable contribution to the development of various areas of sound engineering in Uzbekistan, including music, audiovisual and radio ones. He is one of those who carried out highly professional sound recording of classical, folk and pop music works, which made up the richest fund of national culture and are in great consumer demand. V. N. Gushchin trained several generations of specialists who successfully work in many areas of sound engineering in the republic and abroad.
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Shively, Roger. "Automotive cabin acoustics and audio." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A120. http://dx.doi.org/10.1121/10.0015744.
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We spend most of our quality listening time either at home or in a car. Unlike a concert hall -- where we spend the least amount of time listening, and on which there has been more than a century of research done -- there has very little research done for the home, and even less for the car. And this is why we put so much effort into the science of sound in homes and even more so into the science of sound in cars. Mr. Shively will explore the evolving path to becoming an audio engineer or an NVH engineer: the acoustic path. And, he will address the question of why sound quality does really matter, and the overlapping engineering disciplines which pursue sound quality. He will discuss how the audio systems are expanding to integrate Active Noise Control (ANC), Advanced Driver-Assistance Systems (ADAS), and Acoustic Vehicle Alert Systems (AVAS) for quiet car sound design and autonomous driver alerts in the pursuit of sound quality and how that is achieved. He will review the classical challenges of acoustics in a car and the new challenges for OEM audio system design and how they are being met. And, finally, he will touch on the evolution of expectations in automotive audio in existing markets and, more critically, emerging markets.
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Abbate, Carolyn. "Sound Object Lessons." Journal of the American Musicological Society 69, no. 3 (2016): 793–829. http://dx.doi.org/10.1525/jams.2016.69.3.793.
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Two brief film sequences, in which paper blowing down a street (The Informer, 1935) and a candle passed along a table (The Old Dark House, 1931) make sounds. Next to them lies an antique microphone. This article charts the genealogies, cultural resonances, and interactions of these sound objects, drawing on the history of sound and acoustic technologies, film music aesthetics, and music philosophy. The sound objects give expression to fables about hearing in the machine age (1870–1930), and they disenthrall the inaudible: a sign of modernity. They provoke us to consider technological artifacts not as embodying empirical truths, but as mischief-makers, fabulists, or liars; and to confront technological determinism's sway in fields such as sound studies and music and science, which has given rise to intellectual talismans that sidestep the complexities in interactions between humans, instruments, and technologies. To underline this dilemma I make a heuristic separation between imaginarium, sensorium, and reshaped hand. This separation contextualizes a return to the film sequences and their historical precedents, with an emphasis on their patrimony from sound-engineer improvisation, and as aesthetic negotiations with the microphone itself. The carbon microphone, invented in 1878, had delivered a shock to machine age imaginations; its history is largely untold, and is sketched here to suggest that a fuller history centered on microphonics would lie athwart conventional scholarly accounts of sound technologies, listening, and hearing ca. 1830–1930. The sound objects, finally, give voice to a vernacular philosophy of music's efficacy. They merit an ethical metaphysics, where metaphysical language, ironically, asks us to be attentive to mundane objects that have been disdained and overlooked.
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Lamb, H. "Regulars - Columnist. Dear Evil Engineer: Question - Unsafe and sound: Can I wreak havoc using sound waves?" Engineering & Technology 16, no. 9 (October 1, 2021): 78. http://dx.doi.org/10.1049/et.2021.0928.
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Goffe, Tao Leigh. "Bigger than the Sound." Small Axe: A Caribbean Journal of Criticism 24, no. 3 (November 1, 2020): 97–127. http://dx.doi.org/10.1215/07990537-8749806.
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This essay examines the political economy of Caribbean cultural capital and the formation of reggae in Jamaica in the 1950s. Through study of the Afro-Asian intimacies and tensions embedded in the sound of preindependence Jamaica, the essay traces the birth of the “sound-system” to the networks of local small-retail grocery shops, ubiquitous across Jamaica, that were owned and operated by Jamaican Chinese shopkeepers and examines how they formed material infrastructures. In charting the hardwiring of speakers and how the sociality of the shop housed the production of a new sound, the essay argues that sonic innovation was derived from Afro-Jamaican servicepeople who returned from World War II with military technological expertise, which they applied to sound engineering, and from entrepreneurial guilds of Jamaican merchants and shopkeepers of Chinese, Afro-Chinese, and Indo-Chinese descent, who helped form the conditions of possibility for the production and global distribution of reggae. Thus the networks of Jamaican Chinese diasporic capital and talent, producing and performing, helped to engineer the electrical flows of reggae to rural areas and urban dancehall parties.
Dissertations / Theses on the topic "Sound engineer"
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Hoekstra, Nynke. "How to engineer a mood : A study of sound in audiovisual contexts." Thesis, Karlstads universitet, Avdelningen för medie- och kommunikationsvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-14120.
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“How to engineer a mood - A study of sound in audiovisual contexts” is a study on the perception of sound in audiovisual contexts, i.e. sound and the image combined. There seems to be a consensus among researchers in the field on the fact that music influences the interpretation on film. However, there does not seem to be a specific consensus in regards to other sounds than music, such as the human voice or sound effects. Guided by a set of theories, an audiovisual text will be analyzed, in part through results of a quasi-experimental pilot survey and partly by the author herself. This paper would like to contribute in making the relationship of different sounds in conjunction with the image become slightly clearer. The outcome will help to show how a mood can be created with sounds. Although there is a limited number of theoretical models that have been developed in this field of research, the theories that are introduced will hopefully help to create a better understanding of sound in audiovisual texts. Finally the theories and results will come together in this thesis; this will lead to an analysis and produce ideas for further research on how sound in audiovisual contexts influence our emotions. As mentioned before there has not been much research in this field, hopefully this thesis will be able to provide some clues and could serve as a first step for further research to find more definite answers on how emotions work in a audiovisual context. However, many questions will remain unanswered, and further research is needed to answer them.
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Odelius, Anders. "MY WAY – ROLLEN SOM LJUDTEKNIKER I ETT MUSIKVIDEO PROJEKT." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-32209.
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The goal with this project, was to explore the producing of a musicvideo with a synergistic focus in a practical way. Beside the practical work with the recording and editing of music and video, I wanted to explore the sound engineers role in such a project? To my help I had the video producer Hannes Knutsson from the small film- collective Lefvande Bilder and the singer, guitarist and songwriter Conny Flink. The result of my work is a musicvideo published on the internet website YouTube and the report of the making of it along with my work around the question above is published in this report. The name of the recorded and filmed song, written and performed by Conny Flink is ”My Way”.
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Swords, Edward. "Virtual bass synthesis and balancing bass in pop music." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74121.
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A bass enhancement technique using the missing fundamental called VBS is presented. There are Several different approaches for using VBS in different applications. The technique is most useful in speakers that has a poor low frequency capability. It is presented in this report how it can be used for mixing purposes. How can a mix engineer use this technique to get a more balanced mix in laptop speakers without sacrificing the balance in large loudspeakers and headphones? To investigate this question an A/B style listening test is conducted, where the subjects get to answer both quantitative and qualitative questions. The answers are then analyzed using simple t-tests and categorizations of the qualitative information. The results of the test indicate that the mix with VBS is preferred in both the headphones and the laptop. There are no information indicating that the VBS has affected the mix in a poor or good way in the Loudspeakers.
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Carlén, Erik, and Filip Bliznac. "En upplysande förstudie om kontrollrumslyssning : Ett förundersökande arbete om högkvalitativa kontrollrums komplexa ljudmiljö." Thesis, Karlstads universitet, Fakulteten för hälsa, natur- och teknikvetenskap (from 2013), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-33409.
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Detta examensarbete är en förstudie där väl lyssningsanpassade rum har undersökts både objektivt och subjektivt med syftet att kunna identifiera och tolka allmänna akustiska fenomen som uppstår, och upplevs, samt upplysa läsaren om dessa. Rapporten behandlar ljudfysik så som akustik och våglära, ljudteknikerns roll, psykoakustik, kontrollrum och teknisk utrustning. De mätningar och lyssningstest som utförts har alla utgått ifrån den tänka lyssningspositionen som sedan ställts mot specifika krav och rekommendationer från AMS (Audio Measurement Standards) och EBU (European Brodcasting Union). Lyssningstesten har gjorts efter EBU-standard. Även intervjustudier har genomförts med erfarna ljudtekniker. I Slutsats och Diskussion jämförs objektiva mätdata med lyssningstest, där likheter och slutsatser om lyssningen dras.This thesis is a preliminary study in which high quality listening environments have been investigated both objectively and subjectively with the purpose to identify and interpret general acoustic phenomenon that occurs, and how they are percieved, as well to enlighten the reader about these. The report deals with sound physics such as acoustics, an audio engineer's role, psychoacoustics, control rooms and technical equipment. The measurements and listening tests performed have all been done from the intended listening position which were then set against specific requirements and recommendations from AMS (Audio Measurement Standards) and EBU (European Broadcasting Union). Listening test have been made according to EBU standards. Also interviews were conducted with experienced audio engineers. In Conclusion and Discussion objectively measured data is compared with the listening tests, where similarities and conclusions about listening are drawn.
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Bolin, Andersson Rasmus. "Du kan ljud, men vad kan du mer? : En kvalitativ intervjustudie om musikproducenters och studioteknikers olika roller i inspelningssamanhang." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-54974.
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Denna studie undersöker hur musikproducenter och studiotekniker upplever sina olika roller i studioinspelningssammanhang. Detta utförs genom att studera studioteknikers och musikpro- ducenters skildringar av sig själva samt av vilka färdigheter som ingår i dessa olika roller. Studiens vetenskapsteoretiska ansats är kvalitativ, och bygger på ett hermeneutiskt perspektiv. Den metod som använts för att utföra insamlingen av data är semistrukturerade, kvalitativa intervjuer med tre personer som arbetar, eller har arbetat, som musikproducenter eller studio- tekniker. Ljudupptagningarna från intervjuerna har transkriberats, bearbetats och analyserats med hjälp av tematisk analys utifrån ett hermeneutiskt perspektiv. I resultatkapitlet klarläggs både informanternas syn på de olika rollerna samt deras uppfattning av att dessa roller ibland innehas av en och samma person. I studiens avslutande kapitel diskuteras dessa teman i relat- ion till studiens angivna bakgrundskapitel. Studien visar bland annat att informanterna, delvis tvärtemot den tidigare presenterade forskningen, anser att musikproducenter behöver ett stort mått musikteoretiska kunskaper för att kunna utföra sina uppgifter, att studiotekniker, förutom ljudtekniska kunskaper, även är i behov av konstnärliga kunskaper på ett djupare plan samt att många väljer att ta sig an rollen som både tekniker och producent på grund av ekonomiska och praktiska aspekter. Det fastställs även att gränserna mellan studiotekniker- och musikpro- ducentrollen i viss mån håller på att suddas ut.This study aims to explore how music producers and recording engineers experience their different roles in a studio-recording context. This is done by examining recording engineer’s and music producer’s depictions of themselves and of the different sets of skills required within these roles. A hermeneutic perspective is the base for the scientific-theoretic approach of this qualitative study. The method for collecting data is semi structured, qualitative interviews and three persons identifying themselves as either music producer or recording engineer have been interviewed. The sound recordings from the interviews have been transcribed, processed and analyzed using thematic analysis and a hermeneutic approach. How both the informants’ perception of the different roles, as well as their understanding of these roles sometimes being held by one and the same person is being explained in the chapter result. The finishing chapter discusses these themes in relation to the previously given background. Among other things, the discussion chapter shows that the informants, partly opposite to what previously given research shows, thinks that music producers need theoretical knowledge in music to be able to carry out their tasks. It is highlighted that recording engineers, besides mastery of audio and technology, need to acquire a deeper level of artistic skills. It is also made clear that the lines between the recording engineer and the music producer are being erased, and that many people, due to economical and practical reasons, choose to take on the role as both music producer and recording engineer.
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Larsson, Cornelia. "Teaterrekvisitan som aktiv deltagare : Att trigga ljudeffekter från scen." Thesis, Blekinge Tekniska Högskola, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-19894.
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Detta arbete syftar till att undersöka de relationer som uppstår mellan teaterrekvisita, skådespelare och ljudtekniker genom det posthumanistiska perspektivet agentiell realism. Jag utforskar även vilka fenomen som uppstår ur dessa relationer. Vad händer när sensorer implementeras i rekvisitan så att skådespelarna själva kan trigga vissa ljudeffekter från scenen? För att undersöka detta har jag tagit fram prototyper av teaterrekvisita med sensorer och på så sätt i viss mening gett föremålen en egen röst. Detta bidrar till att de kan delta i dialogen med människorna i en föreställning, samtidigt som samspelet mellan skådespelare och ljudtekniker förändras. Genom processens olika iterationer har gränsen mellan subjekt och objekt blivit allt mer otydlig, liksom den mellan de olika rollerna. Skådespelaren blir i viss mening ljudtekniker, liksom både rekvisitan och ljudteknikern i sin tur blir skådespelare.This thesis aims to investigate the relationships between theatrical props, actors and sound engineers through the posthumanistic perspective of agential realism. I also explore the phenomena that emerge from these relationships. What happens when sensors are implemented in the prop in order for the actors themselves to trigger certain sound effects from the stage? To investigate this, I have developed prototypes of theater props with sensors and thus in some sense given the objects a voice of their own. This contributes to them participating in the dialogue with the people in a performance, while at the same time changing the interplay between actors and the sound engineer. Through the different iterations of the process, the division between subject and object has become increasingly unclear, just like the one between the different roles. In some sense, the actor becomes an audio engineer, as both the prop and the audio engineer in turn become actors.
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Forsman, Jimmy. "Game engine based auralization of airborne sound insulation." Thesis, Umeå universitet, Institutionen för fysik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-149498.
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Describing planned acoustic design by single number ratings yields a weak link to the subjective event, especially when the single number ratings are interpreted by others than experienced acousticians. When developing infrastructure, tools for decision making needs to address visual and aural perception. Visual perception can be addressed using game engines and this has enabled the establishment of tools for visualizations of planned constructions in virtual reality. Audio engines accounting for sound propagation in the game engine environment are steadily developing and have recently been made available. The aim of this project is to simulate airborne sound insulation by extending the support of recently developed audio engines directed towards virtual reality applications. The case studied was airborne sound insulation between two adjacent rooms in a building, the sound transmitted to the receiving room through the building structure resulting from sound pressure exciting the structural elements in the adjacent source room into vibration. The receiving room composed modelled space in the game engine Unreal Engine and Steam Audio was the considered audio engine. Sound transmission was modelled by filtering based on calculations of transmission loss via direct and flanking paths using the model included in the standard EN 12354-1. It was verified that the filtering technique for modelling sound transmission reproduced attenuations in correspondence with the predicted transmission loss. Methodology was established to quantify the quality of the audio engine room acoustics simulations. A room acoustics simulation was evaluated by comparing the reverberation time derived from simulation with theoretical predictions and the simulated reverberation time showed fair agreement with Eyring’s formula above its frequency threshold. The quality of the simulation of airborne sound insulation was evaluated relating the sound field in simulation to insulation classification by the standardized level difference. The spectrum of the simulated standardized level difference was compared with the corresponding sound transmission calculation for a modelled scenario. The simulated data displayed noticeable deviations from the transmission calculation, caused by the audio engine room acoustics simulation. However, the simulated data exhibited cancellation of favourable and unfavourable deviations from the transmission calculation resulting in a mean difference across the spectrum below the just noticeable difference of about 1 dB. Single number ratings was compared and the simulated single number rating was within the standard deviation of how the transmission model calculates predictions for a corresponding practical scenario measured in situ. Thus, the simulated data shows potential and comparisons between simulated data, established room acoustics simulation software and in situ measurements should further be made to deduce whether the deviations entails defects in the airborne sound insulation prediction or is an error imposed by the audio engine room acoustics simulation.
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Suh, In-Soo 1964. "An investigation of sound quality of I.C. engines." Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/10070.
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Af, Malmborg Harald. "Evaluation of Car Engine Sound Design Methods in Video Games." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-84627.
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Realistic interactions with sound objects in video games are a contributing factor to the overall immersion. Car engine sound design is an area where the auditory feedback from driving would have an impact on that immersion. For this study, three methods for designing car engine sounds are evaluated. A traditional method in the game sound industry is to use several sampled audio recordings for the reproduction of engine sounds, which is in this study represented as a sample-based model. The sample-based model is evaluated together with a model using granular synthesis in an in-game scenario. A less common method is to use physical modeling, which is in this study evaluated together with the other two models in a listening test. Results show the granular synthesis model to be the most realistic, and the physical model to be the least preferred.
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Lindström, Hannes. "Modelling how sound engineers counter global gain rise in live mixes to evaluate possible implementations of automatic gain adjustments." Thesis, Luleå tekniska universitet, Medier, ljudteknik och teater, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-79098.
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Smart tools for audio production have been making its way into modern audio production and is getting more popular in studio and postproduction work. In live sound however, there is few alternatives that exist. In this study live sound engineers experienced in live music sound reinforcement were interviewed about how they use gain and what considerations they make when adjusting gain. The aim of this study was to use their answers to create the foundation of a framework to an algorithm that can adjust gain automatically. The interviews were semi-structured, and the transcriptions were analysed using grounded theory. From the transcripts five categories were created and further divided into subcategories for deeper analysis. The study showed that the data in the study could not easily be proceduralized but instead two alternative ways of implementing this in practice, one that monitors the input signals and passes the information to the engineer. And another that adds a control layer to the monitoring where the parameter can be selected based on mixing strategy and the algorithms control can be switched on or off.
Books on the topic "Sound engineer"
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Professional sound reinforcement techniques: Tips and tricks of a concert sound engineer. Vallejo, CA: Mix Books, 2001.
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Writer, producer, engineer: A handbook for creating contemporary commercial music. Boston, Mass: Berklee Press, 2006.
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Audio made easy, or, How to be a sound engineer without really trying. Milwaukee, Wis: Hal Leonard, 1997.
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Glen, Ballou, ed. Handbook for sound engineers. 4th ed. Amsterdam: Focal Press, 2008.
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Ahnert, Wolfgang, and Dirk Noy. Sound Reinforcement for Audio Engineers. London: Focal Press, 2022. http://dx.doi.org/10.4324/9781003220268.
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Michael, Talbot-Smith, ed. Sound engineer's pocket book. Oxford [England]: Focal Press, 1995.
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Pūkkuṭṭi, R̲asūl. Śabdatārāpathaṃ. New Delhi: Penguin Books India in association with Malayala Manorama, 2010.
Find full textBook chapters on the topic "Sound engineer"
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Crich, Tim. "Sound Characteristics." In Recording Tips for Engineers, 9–23. Fourth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315649085-2.
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Reckendorf, Anja, Lars Seidelin, and Magnus Wahlberg. "Marine Mammal Acoustics." In Marine Mammals, 15–31. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-06836-2_2.
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AbstractBioacoustics combines the fields of biology and acoustics to answer questions about hearing, sound production and sound communication in animals. Marine mammals have specialised hearing abilities and use sounds in different ways underwater. How do whales and seals use sound for communication and to find prey? How are they affected by human-made sounds from ships, oil exploration and windfarms? To answer such questions, you need to study marine mammals, be well-trained in natural sciences and know about animal anatomy, physiology and behaviour. You also need a thorough understanding of the fundamentals of acoustics, maths and physics. Bioacoustics is a truly interdisciplinary research field involving biologists, physicists and engineers trying to understand the world of biological sound, how sounds are produced and used by animals. Additionally, underwater acoustic recordings can reveal which areas animals use during different seasons. Bioacoustics can also be used to improve wildlife protection by regulating damaging sound sources in marine mammal habitats. Using the exercises at the end of this chapter, students learn about frequencies, decibels and their own hearing abilities, as well as how to build their own underwater microphone.
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Turner, J. D., and A. J. Pretlove. "Sound in three dimensions." In Acoustics for Engineers, 55–77. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-21267-5_3.
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Vogel, Burkhard. "Engine Performance." In The Sound of Silence, 693–704. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-19774-1_29.
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"The Role Of The Mix Engineer." In The SOS Guide to Live Sound, 216–34. Routledge, 2014. http://dx.doi.org/10.4324/9780203758120-12.
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Jones Simpson, Misty. "Name that Synth Patch (Advanced)." In The Music Technology Cookbook, 297–98. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0049.
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When looking through sound presets on keyboards, guitars, synths, or any sound generating device, it is common for the title of the preset to verbally foreshadow the sound. In this game-based activity designed for undergraduate students, learners reverse-engineer sounds determined by patch names created by their peers. Students must play their sounds and have their peers guess which name matches their sound. This activity is a useful exercise because it gets learners to more closely analyze why certain words are used to describe certain sounds. The collaborative naming process also gets students thinking about how others perceive things and how to reconcile differences in interpretation.
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"THE NOT SO GLAMOROUS LIFE OF A SOUND ENGINEER." In The Last Seat in the House, 8–11. University Press of Mississippi, 2020. http://dx.doi.org/10.2307/j.ctvx5w9jz.8.
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Spichkova, Maria. "Design of Formal Languages and Interfaces." In Emerging Research and Trends in Interactivity and the Human-Computer Interface, 301–14. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4623-0.ch015.
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This chapter provides an introduction to a work that aims to apply the achievements of engineering psychology to the area of formal methods, focusing on the specification phase of a system development process. Formal methods often assume that only two factors should be satisfied: the method must be sound and give such a representation, which is concise and beautiful from the mathematical point of view, without taking into account any question of readability, usability, or tool support. This leads to the fact that formal methods are treated by most engineers as something that is theoretically important but practically too hard to understand and to use, where even some small changes of a formal method can make it more understandable and usable for an average engineer.
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Kitchin, Rob. "Blind Data." In Data Lives, 17–22. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781529215144.003.0002.
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This chapter details a blind date between two researchers who have very different notions about the nature of data and the ethos and practices of science. One is an electronic engineer, while the other is an anthropologist. The anthropologist studies how digital technology is built and used, examining the politics and praxes of some start-up companies who were developing new apps. Meanwhile, the electronic engineer works on a sound-sensing network for monitoring and modelling background noise across the city. The chapter then looks at their debate on data creation and collection. The anthropologist makes a point about scientific practice, arguing that the electronic engineer is practising mechanical objectivity — trying to minimize biases, errors, calibration issues, and so on — but it is still set up in their vision, based on their education and experience, and compromising for circumstance. Thus, they are still making choices that influence the outcome.
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"State Listening." In The Oxford Handbook of Sound Art, 555—C36.P55. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780190274054.013.41.
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Abstract Electroacoustic research as a cultural practice has always existed within the state relation. In this text the sound art collective Ultra-red attempts to map this relation within electroacoustic practice and poses a counter inquiry that resists rather than affirms the liberal state. In the era between the world wars and immediately after World War II electroacoustic research emerged out of state-funded radio communications and university institutions. The “apolitical” position of sound researchers working in European democracies reflected the hegemony of liberalism. Research conducted by the World Acoustic Ecology movement in Canada is an example of the liberal position. The WAE sound researchers attempted to socially engineer solutions to the contradictions within modern capitalist society without addressing the social antagonisms inherent within the mode of capitalist (and imperialist) production administered by the liberal state. We conclude with an example of electroacoustic research within the larger Third Cinema project of national liberation and anti-imperialism, articulating the possibility of a “Third” electroacoustic inquiry that resists the value-form of participation of bourgeois state listening and proceeds from the position of revolutionary antagonism to the state.
Conference papers on the topic "Sound engineer"
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Shelton, Christopher Michael, Jeffrey S. Vipperman, Edward T. Nykaza, and Dan Valente. "Six Noise Type Military Sound Classifier." In ASME 2012 Noise Control and Acoustics Division Conference at InterNoise 2012. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/ncad2012-0326.
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Blast noise from military installations often has a negative impact on the quality of life of residents living in nearby communities. This, in turn, negatively impacts the military’s testing & training capabilities due to restrictions, curfews, or range closures enacted to address noise complaints. In order to more directly manage noise around military installations, accurate noise monitoring around bases has become a necessity. Although most noise monitors are simple sound level meters, more recent ones are capable of discerning blasts from ambient noise with some success. Investigators at the University of Pittsburgh (Pitt) developed a more advanced noise classifier that can discern between wind, aircraft, and blast noise, while simultaneously lowering the measurement threshold. Here, more recent work between Pitt and the US Army Engineer Research and Development Center will be presented from the development of a more advanced classifier that identifies additional classes of noise such as machine gun fire, vehicles, and electronic noise. Additional signal metrics were explored given the increased complexity of the classifier. By broadening the types of noise the system can accurately classify and increasing the number of metrics, a new system was developed with increased blast noise accuracy, decreased number of missed events, and significantly fewer false positives.
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Pluskota, Jonathan. "Redefining the Role of the Sound Engineer: Applying the Theories of Cage, Schafer, and Lomax Towards Establishing a Critical Cultural Approach to Sound Engineering." In MEIEA Educators Summit 2019. Music and Entertainment Industry Educators Association, 2019. http://dx.doi.org/10.25101/19.29.
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Aungier, Ronald H. "On the Effectiveness of Aerodynamic Design and Analysis for Centrifugal Compressors." In ASME 2000 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/imece2000-1667.
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Abstract Effectiveness is promoted as an essential feature of a centrifugal compressor aerodynamic design and analysis system. Effectiveness measures the system’s ability to apply sound technology to the wide range of functions the centrifugal compressor engineer needs to perform to develop, apply and maintain these complex machines. Effectiveness compliments efficiency (or productivity) in the overall evaluation of a design and analysis system. This paper discusses several features that an effective aerodynamic design and analysis system should have to support the design and application of industrial process centrifugal compressors. These features are known to be occasionally (if not often) neglected. Yet they all can be incorporated using technology available from the open literature.
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Jian, Christopher Q., Michael A. Lorra, Douglas McCorkle, and K. Mark Bryden. "Applications of Virtual Engineering in Combustion Equipment Development and Engineering." In ASME 2006 International Mechanical Engineering Congress and Exposition. ASMEDC, 2006. http://dx.doi.org/10.1115/imece2006-14362.
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The implementation of a virtual engineering system at John Zink Company, LLC is starting to change the engineering and development processes for industrial combustion equipment. This system is based on the virtual engineering software called VE-Suite being developed at the Virtual Reality Applications Center (VRAC) of Iowa State University. The goal of the John Zink virtual engineering system is to provide a virtual platform where product design, system engineering, computer simulation, and pilot plant test converge in a virtual space to allow engineers to make sound engineering decisions. Using the virtual engineering system, design engineers are able to inspect the layout of individual components and the system integration through an immersive stereo 3D visualization interface. This visualization tool allows the engineer not only to review the integration of subsystems, but also to review the entire plant layout and to identify areas where the design can be improved. One added benefit is to significantly speed up the design review process and improve the turn around time and efficiency of the review process. Computational Fluid Dynamics (CFD) is used extensively at John Zink to evaluate, improve, and optimize various combustion equipment designs and new product development. Historically, design and product development engineers relied on CFD experts to interpret simulation results. With the implementation of the virtual engineering system, engineers at John Zink are able to assess the performance of their designs using the CFD simulation results from a first person perspective. The virtual engineering environment provided in VE-Suite greatly enhances the value of CFD simulation and allows engineers to gain much needed process insights in order to make sound engineering decisions in the product design, engineering, and development processes. Engineers at John Zink are now focusing on taking the virtual engineering system to the next level: to allow for real-time changes in product design coupled with high-speed computer simulation along with test data to optimize product designs and engineering. It is envisioned that, when fully implemented, the virtual engineering system will be integrated into the overall engineering process at John Zink to deliver products of the highest quality to its customers and significantly shorten the development cycle time for a new generation of highly efficient and environmentally friendly combustion products.
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Church, Nathan J. "Marine Outboard Engine Exhaust System Design." In ASME 1998 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/imece1998-0538.
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Abstract This paper describes a project in which the objective was to reduce the underwater sound levels produced by marine outboard engines while simultaneously maintaining acceptable above-water sound levels. The exhaust systems of different marine propulsion systems were studied, with emphasis placed on those of two-cycle outboard engines. The acoustic performance of a typical 140 horsepower (104 kW) two-cycle outboard engine was measured and recorded. Modifications were then made to the engine’s exhaust system in an attempt to reduce the engine’s operational underwater sound levels. These modifications are discussed in detail. With the modifications complete, the engine’s acoustic performance was re-examined. The modifications to the outboard’s exhaust system were found to reduce the engine’s overall underwater sound pressure levels by 77% at 1000 rpm. Above-water sound levels were found to be slightly increased at low engine speeds and decreased at high engine speeds.
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Moylan, Justin T., Steven T. O’Shields, Joshua D. Summers, and John R. Wagner. "Systematic Redesign of Air Compressor for Noise Reduction: A Case Study." In ASME 2018 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/detc2018-85906.
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Portable electric air compressors produce noise which can be a nuisance or even hazardous to persons in the vicinity; therefore, noise reduction of these compressors is a desired design evolution. An experimental setup was developed to measure the sound and vibration of existing air compressors and to test new prototypes. The design of a quiet air compressor was performed in four stages: 1) compressor teardown and benchmarking, 2) noise source identification and isolation, 3) development of a morphological chart for quiet noise sources, and 4) integrated solution selection and testing. The systematic approach and results for each of these stages will be discussed. Two redesigned solutions were developed and measured to be approximately 65% quieter than the previous unmodified compressor. The benefits of using a specific design procedure to reverse engineer, test, and develop new concepts are discussed.
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Wentzel, Richard E., and Allan Aubert. "Using a Dynamometer Along With Road Tests to Measure Vehicle Rolling and Wind Noise." In ASME 2008 Noise Control and Acoustics Division Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ncad2008-73027.
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The consumer today places greater demands upon the vehicle acoustical engineer than in the past. Product quality has always been associated with a quiet ride. Automotive engineers recognize that the predominant sources of vehicle interior noise are wind, tire-road or rolling noise, and the powertrain. This paper suggests a test protocol for measuring wind and rolling noise using a chassis rolls dynamometer and road tests. Automotive engineers are frequently confronted by customer complaints concerning wind noise. Usually, engineers resort to using wind tunnels to address these concerns and to conduct diagnostic studies to remedy wind noise problems. Unfortunately, wind tunnels are expensive to rent and difficult to schedule. As an alternative, the engineer can learn a great deal about the wind noise of a vehicle by using a chassis rolls dynamometer along with road tests [1,2]. If the chassis rolls surface texture closely matches that of the road surface, the tire-road or rolling noise signal in both situations can be assumed to be equivalent. The powertrain noise source can be minimized by shifting the vehicle into neutral and coasting. Wind noise is a source for the road measurements, but not for the chassis rolls. Hence, the wind noise can be calculated by measuring the cab interior noise for both operating conditions, and subtracting the rolling noise measured on the chassis rolls. The two vehicles tested in this study included a pickup truck and a sport utility vehicle. The acoustical data revealed significantly different rolling and wind noise characteristics. The pickup truck had significantly louder rolling noise, and the wind noise was dominated by low frequency sound. The sport utility vehicle was much quieter overall and was significantly quieter for rolling noise than the pickup. The wind noise of the sport utility vehicle also was dominated by high frequency components. Both vehicles showed that rolling and wind noise trends increase linearly with speed. However, the slope of wind noise data for the sport utility vehicle was much steeper than the pickup, which suggested that it was more sensitive to wind noise as speed increased. Exterior noise data from both vehicles showed that the tire-road signal from the road differed significantly from that of the chassis rolls dynamometer. Rolling & wind noises will become even more critical as the motor vehicle industry adopts hybrid electric and, in the future electric fuel cell vehicles, because powertrain noise sources in the vehicle will likely be reduced. The procedure suggested here provides an inexpensive simple approach to assessing rolling and wind noise in the vehicle.
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Rohde, Steve M., William J. Williams, and Mitchell M. Rohde. "Application of Advanced Signal Processing Methods to Automotive Systems Testing." In ASME 2004 International Mechanical Engineering Congress and Exposition. ASMEDC, 2004. http://dx.doi.org/10.1115/imece2004-59535.
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During the past twenty years there have been rapid developments in the creation and application of mathematical computer-based capabilities and tools (e.g., FEA) to simulate and synthesize vehicle systems. This has led to the concept of virtual product development. In parallel with the development of these tools, an equally sophisticated set of tools have been developed in the area of advanced signal processing. These tools, based upon mathematical and statistical modeling techniques, enable the extraction of useful information from data and have application throughout the entire vehicle creation process. Moreover, signal processing bridges the gap between the “virtual” and the “real” worlds — an extremely important concept that is changing the entire nature of what is thought of as “testing.” This paper discusses the use of advanced signal processing methods in vehicle creation with particular emphasis on its use in vehicle systems testing. Modern Time Frequency Analysis (TFA), a technique that was specifically designed to study transient signals and was in part pioneered by one of the authors (WJW), is highlighted. TFA expresses a signal jointly in time and frequency at very high resolution and as such can often provide profound insights. Applications of TFA to vehicle systems testing are presented related to Noise, Vibration, and Harshness (NVH) that enable sound quality analyses. For example, using TFA predictive models of consumer preferences for transient sounds that are useful to the automotive engineer in testing and modifying new vehicle subsystem designs are discussed. Other applications that are discussed deal with brake pedal feel, and characterizing vehicle crash signals. In the latter case TFA has resulted in some unique insights that were not provided by conventional statistical and mathematical analyses.
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Panthalookaran, Varghese. "A Model to Facilitate Undergraduate Engineering Research." In ASME 2010 International Mechanical Engineering Congress and Exposition. ASMEDC, 2010. http://dx.doi.org/10.1115/imece2010-37085.
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In order to be able to innovate sustainable solutions to critical engineering problems, a modern engineer needs to be adequately equipped with sufficient creativeness and a research attitude. The focus of existing undergraduate engineering curricula is however, often limited to the development of sound knowledge of the engineering fundamentals, forgoing the need for nurturing creativity and research skills in the students. The current paper presents a model for systematic facilitation of undergraduate research, while remaining within the constraints of a prescribed curriculum. The model endeavors to strike a balance between the concerns of engineering education and engineering research. The students are encouraged to get in touch with the current innovations in the frontier areas of their respective engineering fields and are promoted to develop their undergraduate projects in constant interaction and under continuous mentoring of a faculty research group. They are thus equipped to contribute creatively to the area of their study right from the beginning of their engineering career, which would instill in them enough confidence to engage with contemporary engineering challenges.
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Petiot, Jean-François, Bjørn G. Kristensen, and Anja M. Maier. "How Should an Electric Vehicle Sound? User and Expert Perception." In ASME 2013 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/detc2013-12535.
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As electric vehicles are moving in on the automobile market, safety relating to acoustic perception is an important issue. It is a growing concern, particularly with respect to pedestrians, cyclists or visually impaired people. This can be addressed by adding sounds to the vehicle whilst at low speed. However, adding artificial sounds to an electric vehicle begs the question as to what kind of sound is appropriate. Appropriateness concerns technical specifications and is also linked to affective reactions of recipients of such a sound. Emotional reactions to 17 artificial exterior sounds for electric vehicles were investigated in an experimental setting with a total of 40 participants, 34 novice users and six sound experts. Word association was used to elicit emotional reactions to the different sounds. Novice users employ more character-related terms to describe the sounds, while experts use more composition-based words. Analysis of variance and conjoint analysis was used to analyze participants’ assessments of sounds according to two semantic scales (pleasantness and appropriateness). Considerable inter-individual differences in the ratings of pleasantness and appropriateness indicate a great diversity of opinion about the sounds. Novice users indicate their preference for the sound of the traditional combustion engine as a possible proposition. Whilst participants saw the necessity, there was generally little enthusiasm for adding sounds to electric vehicles. The contribution of the paper concerns the methodology to analyze the results of the experiment and implications for the design of sounds for electric vehicles.
Reports on the topic "Sound engineer"
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Fukuda, Toru, Katsumi Maruyama, Kazuhito Takemura, and Shinichi Suzuki. Study of Sound Isolation Structure for Engine Generators. Warrendale, PA: SAE International, October 2005. http://dx.doi.org/10.4271/2005-32-0070.
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Sasaki, Masaru, and Kazuhiro Nakashima. Sound Quality Evaluation Method in Time Domain for Diesel Engine Noise. Warrendale, PA: SAE International, May 2005. http://dx.doi.org/10.4271/2005-08-0026.
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Ferguson, Matthew, and Marin Kress. AIS data case study : dredge material placement site evaluation in Frederick Sound near Petersburg, Alaska. Engineer Research and Development Center (U.S.), May 2022. http://dx.doi.org/10.21079/11681/44141.
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The purpose of this Coastal and Hydraulics Laboratory Technical Note (CHETN) is to present an application of historic vessel position information acquired through the Automatic Identification System (AIS), which provides geo-referenced and time-stamped vessel position information. The US Army Corps of Engineers, Alaska District (POA), needed to evaluate potential placement sites for dredged material near Petersburg, AK, and possible impacts to navigation were considered as part of the evaluation process.
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Singh, Niranjan. A Method of Sound Wave Diffusion in Motor Vehicle Exhaust Systems. Unitec ePress, April 2017. http://dx.doi.org/10.34074/ocds.072.
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It is common practice among young vehicle owners to modify the exhaust system of their vehicle to reduce exhaust backpressure with the perception that the output power increases. In the process of backpressure reduction, the output noise (Whakapau) of the vehicle also increases correspondingly. The conflict of interest that arises from modified vehicle exhaust systems and the general public is well publicised. This prototype was designed to meet the demands of exhaust back pressure reduction while at the same time mitigate the sound output of the vehicle. The design involves lining a cylindrical pipe with common glass marbles which is normally used for playing. The marbles are made of a sustainable material as it does not erode when exposed to exhaust gases and it is easily recycled. The prototype muffler is much smaller in size when compared to conventional mufflers. All tests were done in a simulated controlled environment and data collated using approved New Zealand Transport Agency testing regime. It has to be noted that the test focus was noise mitigation and not comprehensive engine performance testing. The results of the test prove a reduction of sound levels, however more testing needs to be undertaken with varying annulus depth, marble sizes and arrangements and engine loads.
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Tuller, Markus, Asher Bar-Tal, Hadar Heller, and Michal Amichai. Optimization of advanced greenhouse substrates based on physicochemical characterization, numerical simulations, and tomato growth experiments. United States Department of Agriculture, January 2014. http://dx.doi.org/10.32747/2014.7600009.bard.
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Over the last decade there has been a dramatic shift in global agricultural practice. The increase in human population, especially in underdeveloped arid and semiarid regions of the world, poses unprecedented challenges to production of an adequate and economically feasible food supply to undernourished populations. Furthermore, the increased living standard in many industrial countries has created a strong demand for high-quality, out-of-season vegetables and fruits as well as for ornamentals such as cut and potted flowers and bedding plants. As a response to these imminent challenges and demands and because of a ban on methyl bromide fumigation of horticultural field soils, soilless greenhouse production systems are regaining increased worldwide attention. Though there is considerable recent empirical and theoretical research devoted to specific issues related to control and management of soilless culture production systems, a comprehensive approach that quantitatively considers all relevant physicochemical processes within the growth substrates is lacking. Moreover, it is common practice to treat soilless growth systems as static, ignoring dynamic changes of important physicochemical and hydraulic properties due to root and microbial growth that require adaptation of management practices throughout the growth period. To overcome these shortcomings, the objectives of this project were to apply thorough physicochemical characterization of commonly used greenhouse substrates in conjunction with state-of-the-art numerical modeling (HYDRUS-3D, PARSWMS) to not only optimize management practices (i.e., irrigation frequency and rates, fertigation, container size and geometry, etc.), but to also “engineer” optimal substrates by mixing organic (e.g., coconut coir) and inorganic (e.g., perlite, pumice, etc.) base substrates and modifying relevant parameters such as the particle (aggregate) size distribution. To evaluate the proposed approach under commercial production conditions, characterization and modeling efforts were accompanied by greenhouse experiments with tomatoes. The project not only yielded novel insights regarding favorable physicochemical properties of advanced greenhouse substrates, but also provided critically needed tools for control and management of containerized soilless production systems to provide a stress-free rhizosphere environment for optimal yields, while conserving valuable production resources. Numerical modeling results provided a more scientifically sound basis for the design of commercial greenhouse production trials and selection of adequate plant-specific substrates, thereby alleviating the risk of costly mistrials.
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Harris, Kathleen, and Christopher Haring. Tar-Pamlico and Neuse River Basins, North Carolina, geomorphic summary report. Engineer Research and Development Center (U.S.), June 2022. http://dx.doi.org/10.21079/11681/44600.
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The Tar-Pamlico and Neuse River Basins are neighboring basins in eastern North Carolina, both originating in the piedmont physiographic region, transitioning to coastal plains, and emptying into Pamlico Sound. The Pittsburgh District is responsible for the continued efforts to assist local sponsors with managing these basins and submitted a Water Operations Technical Support (WOTS) request. The WOTS program, funded by Headquarters, US Army Corps of Engineers, provides funding for the Coastal and Hydraulics Laboratory (CHL) to provide technical assistance to develop innovative solutions to water resource problems. The objectives of this study are to identify flood risk management alternatives to address the accumulation of woody debris in the channel systems. CHL compiled existing conditions information and researched current and potential new methods for managing woody debris to provide a comprehensive list of recommendations. The results and recommendations are provided in this document.
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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.
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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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Chamberlain, C. A., and K. Lochhead. Data modeling as applied to surveying and mapping data. Natural Resources Canada/CMSS/Information Management, 1988. http://dx.doi.org/10.4095/331263.
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The Geodetic Survey Division of the Canada Centre for Surveying is replacing the National Geodetic Data Base (NGDB) with the National Geodetic Information System (NGIS). For the NGIS to be successful, it was recognized that a sound, well engineered data mode was essential. The methodology chosen to design the data mode! was Nijssen's Information Analysis Methodology (NIAM), a binary modeling technique that is supported by a Computer Aided Software Engineering (CASE) tool, PC-IAST. An NGIS prototype has also been developed using Digital Equipment of Canada's Relational Database (Rdb) management system and COGNOS Corporations POWERHOUSE 4th generation language. This paper addresses the need for, and the advantages of using a strong engineering approach to data modeling and describes the use of the NIAM methodology in NGIS development. The paper identifies the relationship between the data mode!, data structures, the design and development of a database and the use of automated tools for systems development. In conclusion, critical success factors for the continuation of the N.G.I.S. developments are identified and the benefits that will accrue are enumerated.
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Bell, Matthew, Rob Ament, Damon Fick, and Marcel Huijser. Improving Connectivity: Innovative Fiber-Reinforced Polymer Structures for Wildlife, Bicyclists, and/or Pedestrians. Nevada Department of Transportation, September 2022. http://dx.doi.org/10.15788/ndot2022.09.
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Engineers and ecologists continue to explore new methods and adapt existing techniques to improve highway mitigation measures that increase motorist safety and conserve wildlife species. Crossing structures, overpasses and underpasses, combined with fences, are some of the most highly effective mitigation measures employed around the world to reduce wildlife-vehicle collisions (WVCs) with large animals, increase motorist safety, and maintain habitat connectivity across transportation networks for many other types and sizes of wildlife. Published research on structural designs and materials for wildlife crossings is limited and suggests relatively little innovation has occurred. Wildlife crossing structures for large mammals are crucial for many highway mitigation strategies, so there is a need for new, resourceful, and innovative techniques to construct these structures. This report explored the promising application of fiber-reinforced polymers (FRPs) to a wildlife crossing using an overpass. The use of FRP composites has increased due to their high strength and light weight characteristics, long service life, and low maintenance costs. They are highly customizable in shape and geometry and the materials used (e.g., resins and fibers) in their manufacture. This project explored what is known about FRP bridge structures and what commercial materials are available in North America that can be adapted for use in a wildlife crossing using an overpass structure. A 12-mile section of US Highway 97 (US-97) in Siskiyou County, California was selected as the design location. Working with the California Department of Transportation (Caltrans) and California Department of Fish and Wildlife (CDFW), a site was selected for the FRP overpass design where it would help reduce WVCs and provide habitat connectivity. The benefits of a variety of FRP materials have been incorporated into the US-97 crossing design, including in the superstructure, concrete reinforcement, fencing, and light/sound barriers on the overpass. Working with Caltrans helped identify the challenges and limitations of using FRP materials for bridge construction in California. The design was used to evaluate the life cycle costs (LCCs) of using FRP materials for wildlife infrastructure compared to traditional materials (e.g., concrete, steel, and wood). The preliminary design of an FRP wildlife overpass at the US-97 site provides an example of a feasible, efficient, and constructible alternative to the use of conventional steel and concrete materials. The LCC analysis indicated the preliminary design using FRP materials could be more cost effective over a 100-year service life than ones using traditional materials.