Visit https://alexisbaskind.net/teaching for a full interactive version of this course with sound and video material, as well as more courses and material.
Course series: Fundamentals of acoustics for sound engineers and music producers
Level: undergraduate (Bachelor)
Language: English
Revision: January 2020
To cite this course: Alexis Baskind, Psychoacoustics 1 – The ear, course material, license: Creative Commons BY-NC-SA.
Course content
1.What is psychoacoustics?
Psychophysics and psychoacoustics - Physical and perceptual attributes - Why is psychoacoustics important for music production?
2.The physiology of the ear
Inner ear, middle ear, outer ear - Inner hair cells - Corti organ
3.Hearing damages
Ear fatigue - ear damages
A presentation about spasmodic dysphonia. this presentation composed of the definition, types, causes, pathophysiology, clinical feature, diagnosis, treatment and prognosis of spasmodic dysphonia.
Voice therapy to treat voice disorders, basics , different techniques, methods advantages and disadvantages, where and what method to choose? otorhinolaryngology ent
A presentation about spasmodic dysphonia. this presentation composed of the definition, types, causes, pathophysiology, clinical feature, diagnosis, treatment and prognosis of spasmodic dysphonia.
Voice therapy to treat voice disorders, basics , different techniques, methods advantages and disadvantages, where and what method to choose? otorhinolaryngology ent
In a world filled with constant noise and commotion, the simple act of giving your ears a rest can feel like a luxury. The soundscape around us has become increasingly cluttered with the clamor of technology, urban living, and the demands of modern life. But have you ever stopped to consider the impact that this unending auditory assault has on your well-being?
"Give Your Ears a Rest" is more than just an ebook – it's an invitation to rediscover the beauty of silence and the power of intentional listening. In the pages that follow, we will explore the fascinating world of sound, delve into the science of hearing, and uncover the ways in which noise affects us on a physical, emotional, and psychological level.
From the soothing rustle of leaves in a forest to the rhythmic lapping of waves on a serene shoreline, the symphony of nature has long been our ultimate source of comfort. Yet, in the pursuit of progress, we've inadvertently distanced ourselves from the very tranquility that nurtures our minds and bodies. It's time to reclaim that connection and give our ears the respite they deserve.
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In a world that bombards us with sound, this ebook serves as a guide to cultivating moments of silence and reclaiming the lost art of listening. So, turn the page and let's begin this transformative exploration into the realms of sound, stillness, and self-discovery.
I made this presentation to support a hearing impaired student in my class. The idea is to talk about what sound is, how we hear and about hearing impairments.
How to Improve Hearing Loss Problem Right Now - Better Hearing Centers ankit kumar
As many as 10% of our Kentucky population suffers from hardness or hearing loss. A large part of this can be helped with hearing aids, provided that these problems quickly come to light and can be diagnosed. Unfortunately, this is not always the case in practice: the majority of these ten percent (up to 75%) do not test their hearing. The result is not only that the hardness or hearing loss continues to worsen, but also that the quality of life of that group is drastically reduced.
How to Reverse Hearing Loss and Tinnitus with Red Light TherapyMarkSloan21
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Visit https://alexisbaskind.net/teaching for a full interactive version of this course with sound and video material, as well as more courses and material.
Course series: Fundamentals of acoustics for sound engineers and music producers
Level: undergraduate (Bachelor)
Language: English
Revision: February 2020
To cite this course: Alexis Baskind, Psychoacoustics 4 – Spatial Hearing
course material, license: Creative Commons BY-NC-SA.
Course content:
1. Introduction
sound localization, lateralization, perception of height, perception of distance
2. Interaural level and time differences
head as acoustic shadow, ITD, ILD, frequency dependence, interindividual differences
3. Cone of confusion
ambiguity of ITD and ILD in the cone of confusion, front/back confusions, need for extra information (vision, previous knowledge, head movements, distance-based cues, spectral cues)
4. Estimating distance in a dry environment
use of absolute level and spectrum of the sound
5. Cocktail-Party Effect
selective attention based on spectral, spatial and time cues
6. Summing Localization
base of stereophony, phantom sources, influence of interchannel time and level differences, time-based, level-based and mixed stereophony, sweet spot
7. Precedence Effect
Haas effect / Law of the first wavefront, echo threshold, application in music production
Fundamentals of Music Instrument AcousticsAlexis Baskind
Visit https://alexisbaskind.net/teaching for a full interactive version of this course with sound and video material, as well as more courses and material.
Course series: Fundamentals of acoustics for sound engineers and music producers
Level: undergraduate (Bachelor)
Language: English
Revision: February 2020
To cite this course: Alexis Baskind, Fundamentals of Music Instrument Acoustics
course material, license: Creative Commons BY-NC-SA.
Course content:
1. General Considerations about instrumental acoustics
Functions of the different parts of a musical instrument, exciter, oscillator, resonator, radiation
2. Woodwinds
Definition of a woodwind instrument, principle of reed instruments, resonance in bore, different kinds of reeds, airjets, bores, open and closed cylindrical bores (quarter-wavelength and half-wavelength tubes), conical bores, formant regions, role of the keys, role of the bell, examples of radiation patterns
3. Brass Instruments
Definition of a brass instrument, modes in a cylindrical bore for a brass, role of the bell, brassiness, shock waves, examples of radiation patterns
4. Strings
Subcategories (plucked, bowed, struck), transverse standing waves in strings, vibration modes of the body, role of the soundholes, examples of radiation patterns
5. Percussions
Subcategories (membranes, plates, idiophones, tubes…), most percussions are inharmonic, pitched percussions, examples of vibration modes (cymbal, snare)
https://alexisbaskind.net/teaching besuchen für eine vollständige, interaktive Version dieses Kurses mit Ton- und Videomaterial sowie mehr Kurs und -Material.
Kursreihe: Grundlagen der Akustik für Toningenieure und Musikproduzenten
Niveau: Bachelor
Sprache: Deutsch
Revision: Januar 2020
Diesen Kurs zitieren: Alexis Baskind, Raumakustik
Kursmaterial, Lizenz: Creative Commons BY-NC-SA.
Kursinhalt
1. Raum-Zeit-Betrachtung: Schallausbreitung in einem Raum
Raytracing, Beispiel eines rechteckigen Raumes, zeitliche Entwicklung vom Freifeld bis zum Diffusfeld, Anfangszeitlücke (ITDG), Direktschall, Frühe Reflektionen, Nachhall, exponentielle Abnahme des Schalldrucks, Definition der Nachhallzeit, T60, T30, T20, Schroeder-Kurve, Hallradius, Flatterechos, Diffusion, Einfluss der Entfernung, Einfluss der Raumgröße
2. Raum-Frequenz-Betrachtung: Raummoden
Erinnerung: eindimensionale stehende Wellen, axiale Moden, tangentiale Moden, oblique Moden, Eigenfrequenzen, Einfluss der Raumgröße auf die modale Dichte, Dauer und Bandbreite von Moden, Einfluss der Absorption auf Moden, Schroeder-Frequenz
3. Zeit-Frequenz-Betrachtung
Frühe Reflektionen, Moden und Nachhall in einer einheitlichen Zeit-Frequenz Sichtweise, Wasserfall-Darstellung
4. Raumakustik-Planung
Prognose der Nachhallzeit, Sabinische Formel, frequenzabhängige Absorption, Poröse Absorber, Einfluss von der Dicke des Absorbers und vom Hohlraum, Resonanz-Absorber, Membranabsorber, Helmholtz-Absorber
5. Raumakustik eines Regieraumes
Wichtigkeit der Symmetrie, Bedarf an genügender Raumgröße und kontrollierter Nachhallzeit, empfohlene Nachhallzeit, Bedarf an kontrollierten frühen Reflektionen, LEDE-Konzept, RFZ-Konzept
6. Räumliches Hören in einem Raum
Entfernungshören in einem Raum, Wahrnehmung der Raumgröße, Klarheit, Deutlichkeit, Wahrgenommene Schallquellenbreite, Einhüllung, Klangfarbe des Nachhalls
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Course series: Fundamentals of acoustics for sound engineers and music producers
Level: undergraduate (Bachelor)
Language: English
Revision: February 2020
To cite this course: Alexis Baskind, Room Acoustics
course material, license: Creative Commons BY-NC-SA.
Course content:
1. Time-Space perspective: Sound propagation in a room
Raytracing, example of a rectangular room, evolution from free field to diffuse field, initial time delay gap (ITDG), direct sound, first reflections, late reverberation, exponential decay of the pressure, definition of the reverberation time, T60, T30, T20, Schroeder curve, critical distance, flutter echoes, diffusion, effect of distance, effect of room size
2. Frequency-Space perspective: Room modes
Reminder: monodimensional standing waves, axial modes, tangential modes, oblique modes, eigenfrequencies, effect of room size on modal density, duration and bandwidth of modes, effect of absorption on modes, Schroeder Frequency
3. Time-Frequency perspective
Early reflections, modes and diffuse reverberation in an unified time-frequency perspective, waterfall view
4. Room acoustics design
prediction of the reverberation time, Sabine formula, frequency-dependent absorption, porous absorbers, effect of absorber’s thickness and air gap, resonant absorbers, membrane absorbers, Helmholtz absorbers
5. Room acoustics of listening rooms
importance of symmetry, need for a sufficient room size and controlled reverberation time, recommended reverberation time, need for controlling the early reflections, LEDE design, RFZ design
6. Spatial hearing in a room
perception of distance in a room, perception of the room size, clarity, apparent source width, envelopment, reverberation timbre
Grundlagen der Akustik 2 - Phase, SchallquellenAlexis Baskind
https://alexisbaskind.net/teaching besuchen für eine vollständige, interaktive Version dieses Kurses mit Ton- und Videomaterial sowie mehr Kurs und -Material.
Kursreihe: Grundlagen der Akustik für Toningenieure und Musikproduzenten
Niveau: Bachelor
Sprache: Deutsch
Revision: Januar 2020
Diesen Kurs zitieren: Alexis Baskind, Grundlagen der Akustik 2 - Phase, Schallquellen
Kursmaterial, Lizenz: Creative Commons BY-NC-SA.
Kursinhalt
1. Die Phase
Sinuswelle, Phase und komplexe Signale, gleichphasige Signale, 90°-verschobene Signale, gegenphasige Signale, konstruktive und destructive Interferenzen, Kammfilter, Phasenumkehr, Phasenverschiebung
2. Ungerichtete Schallquellen (Monopolquellen)
Definition von ungerichteten Quellen, Abstrahlcharakteristik, Kugelwellen, Monopolquellen und Abstandsgesetz
3. Ebene Wellen, Nahfeld, Fernfeld
Definition von Ebene-Wellen, Nahfeld, Fernfeld
4. Dipolquellen
Definition von Dipolquellen, Abstrahlcharakteristik
5. Dipolquellen in Nah- und Fernfeld
frequenzabhängiges Verhalten von Dipolen in Nah- und Fernfeld
Fundamentals of Acoustics 2 - Phase, sound sourcesAlexis Baskind
Visit https://alexisbaskind.net/teaching for a full interactive version of this course with sound and video material, as well as more courses and material.
Course series: Fundamentals of acoustics for sound engineers and music producers
Level: undergraduate (Bachelor)
Language: English
Revision: February 2020
To cite this course: Alexis Baskind, Fundamentals of Acoustics 2 - Phase, sound sources
course material, license: Creative Commons BY-NC-SA.
Course content:
1. The phase
sine wave, phase, angle, phase and complex signals, signals in phase, signals in quadrature, signals in antiphase, constructive and destructive interferences, comb filter, phase inversion, phase shift
2. Omnidirectional sources (monopoles)
Definition of omnidirectional sources, radiation pattern, spherical waves, Omnidirectional sources and distance law
3. Plane waves, near field, far field
definition of a plane wave, near field, far field
4. Bidirectional sources (dipoles)
Definition of bidirectional sources, radiation pattern
5. Dipoles in near-field and far-field
frequency-dependent behaviour of dipoles in near and far field
Psychoakustik 3 - Wahrnehmung der Tonhöhe und der IntervalleAlexis Baskind
https://alexisbaskind.net/teaching besuchen für eine vollständige, interaktive Version dieses Kurses mit Ton- und Videomaterial sowie mehr Kurs und -Material.
Kursreihe: Grundlagen der Akustik für Toningenieure und Musikproduzenten
Niveau: Bachelor
Sprache: Deutsch
Revision: Januar 2020
Diesen Kurs zitieren: Alexis Baskind, Psychoakustik 3 - Wahrnehmung der Tonhöhe und der Intervalle
Kursmaterial, Lizenz: Creative Commons BY-NC-SA.
Kursinhalt
1. Was ist die Tonhöhe
Tonhöhe und Frequenz, Untere Grenze der Tonhöhenwahrnehmung, Tonhöhenklasse und Chroma
2. Kammerton
Entwicklung des Kammertons, Das « A 440 Hz »-Standard
3. Wahrnehmung der Intervalle
Intervalle und Frequenzverhältnisse, melodische Intervalle, harmonische Intervalle, Oktavspreizung, Schwebung, Rauhigkeit, Frequenzgruppen
4. Harmonizität und Konsonanz
Harmonik, die Naturtonreihe, Konsonanz – pythagoräische Definition, Reine Stimmung, Konsonanz – Moderne Definition
5. Stimmungen
Pythagoreische Stimmung, Zarlino Skala, Mitteltönige Stimmung, Wohltemperierte Stimmungen, Gleichstufige Stimmung
6. Komplexe Klänge
Komplexe Klänge, Residualton, Spektraltonhöhe, Tonhöhe von unharmonischen Klängen, Spreizung der Klavier-Stimmung
https://alexisbaskind.net/teaching besuchen für eine vollständige, interaktive Version dieses Kurses mit Ton- und Videomaterial sowie mehr Kurs und -Material.
Kursreihe: Grundlagen der Akustik für Toningenieure und Musikproduzenten
Niveau: Bachelor
Sprache: Deutsch
Revision: Januar 2020
Diesen Kurs zitieren: Alexis Baskind, Das Obertonspektrum
Kursmaterial, Lizenz: Creative Commons BY-NC-SA.
Kursinhalt
1. Was ist das Obertonspektrum?
Zeit- und Frequenzdarstellung eines Klanges, harmonische und unharmonische Klänge, Obertöne, Naturtonreihe, Grundfrequenz, lineare and logarithmische Frequenzscala
2. Physikalische Ursachen der Obertöne
Tongenerator, Eigenmoden, Beziehung zur Bauform
3. Gestaltung des Obertonspektrums im Instrument
Resonator, Resonanzmoden, Beziehung zur Bauform, Formanten, Obertongesang
4. Gestaltung des Obertonspektrums durch das Spiel
Flageoletten, Eingluss der Dynamik auf die Klangfarbe, Ausklang, Abstrahlcharakteristik
5. Fazit
Visit https://alexisbaskind.net/teaching for a full interactive version of this course with sound and video material, as well as more courses and material.
Course series: Fundamentals of acoustics for sound engineers and music producers
Level: undergraduate (Bachelor)
Language: English
Revision: February 2020
To cite this course: Alexis Baskind, The Overtone Spectrum
course material, license: Creative Commons BY-NC-SA.
Course content:
1. What is the overtone spectrum?
Time and frequency representation of a sound, harmonic and inharmonic sounds, overtones, harmonic series, fundamental frequency, linear and logarithmic frequency scales
2. Physical generation of overtones
Tone generator, vibration modes, dependence on geometry
3. Shaping of the overtone spectrum in the instrument
resonator, resonance modes, dependence on geometry, formants, overtone singing
4. Designing the overtone spectrum by playing
harmonics glissandi, natural string harmonics, dependence of tone color on dynamics, decay, radiation patterns
5. Conclusion
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
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Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
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In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
2. Alexis Baskind
Psychoacoustics 1 – Introduction, the ear
Course series
Fundamentals of acoustics for sound engineers and music producers
Level
undergraduate (Bachelor)
Language
English
Revision
January 2020
To cite this course
Alexis Baskind, Psychoacoustics 1 – The ear, course material, license: Creative
Commons BY-NC-SA.
Full interactive version of this course with sound and video material, as well as more
courses and material on https://alexisbaskind.net/teaching.
Psychoacoustics 1 – Introduction, the ear
Except where otherwise noted, content of this course
material is licensed under a Creative Commons Attribution-
NonCommercial-ShareAlike 4.0 International License.
3. Alexis Baskind
Outline
1. What is psychoacoustics?
2. The physiology of the ear
3. Hearing damages
Psychoacoustics 1 – Introduction, the ear
4. Alexis Baskind
What is Psychoacoustics?
• Psychoacoustics is a sub-branch of psychophysics,
a branch of science concerned with the
relationships between physical stimuli and
subjective mental phenomena like perception.
• Psychoacoustics focuses on the auditory
perception: how a sound signal with given
characteristics is perceived by the ear?
Psychoacoustics 1 – Introduction, the ear
5. Alexis Baskind
What is Psychoacoustics?
• There is an equivalent of several objective
characteristics of sound in the auditory
perception, for example:
– Level => Loudness
– Fundamental Frequency => Pitch
– Frequency Relationships => Intervals
– Amount of high frequencies in the spectrum
=> Brightness
• The relation between objective parameters and
their perception by audition is however rarely easy
Psychoacoustics 1 – Introduction, the ear
6. Alexis Baskind
Why is Psychoacoustics important for
Music Production?
• Many techniques used in music production result
from findings from psychoacoustics
• The results of research in psychoacoustics tell us,
what we can hear and what we cannot
Psychoacoustics 1 – Introduction, the ear
7. Alexis Baskind
Why is Psychoacoustics important for
Music Production?
• In music production, it’s a mistake to consider only
objective characteristics of sound and signal, since
the relationship between those and hearing can
sometimes be very complex
• It is very useful to know how the ear system
works, in order to reach quicker a given goal while
producing music
Psychoacoustics 1 – Introduction, the ear
8. Alexis Baskind
Outline
1. What is psychoacoustics?
2. The physiology of the ear
3. Hearing damages
Psychoacoustics 1 – Introduction, the ear
9. Alexis Baskind
The physiology of the ear
Psychoacoustics 1 – Introduction, the ear
Video Laura J. Martin, « Hearing and the Cochlea », MedilinePlus, National Library of Medicine
MedlinePlus brings together authoritative health information from the National Library of Medicine (NLM), the National
Institutes of Health (NIH), and other government agencies and health-related organizations.
10. Alexis Baskind
The physiology of the ear
Psychoacoustics 1 – Introduction, the ear
• The ear has two tasks:
– to transform ear pressure information into nerve
impulses
– to participate to the sense of balance (thanks to the so-
called vestibular mechanism in the inner ear)
• The ear is made of
three parts: outer,
middle and inner ear
11. Alexis Baskind
The physiology of the ear
The ear conch and the ear canal collect sound (like a
funnel) and conduct it until the ear drum. Moreoever,
the ear conch filters sound according to the direction
of arrival (see „Spatial Hearing“)
Psychoacoustics 1 – Introduction, the ear
12. Alexis Baskind
The physiology of the ear
Psychoacoustics 1 – Introduction, the ear
The eardrum vibrates with sound pressure, and
transmits this vibration to the bones in the
middle ear
13. Alexis Baskind
The physiology of the ear
Psychoacoustics 1 – Introduction, the ear
The bones in the middle ear (called malleus,
incus and stapes) make the oval window
vibrate…
14. Alexis Baskind
The physiology of the ear
The main function of the middle ear is to optimize the
sound transfer from a gaseous outer medium (air) to a
liquid inner medium. Without it, only a fraction of the
sound energy would be transmitted to the inner ear.
Psychoacoustics 1 – Introduction, the ear
15. Alexis Baskind
The physiology of the ear
Psychoacoustics 1 – Introduction, the ear
…thus transmitting the vibration to the organ of
Corti in the cochlea (in the inner ear)
16. Alexis Baskind
The physiology of the ear
Psychoacoustics 1 – Introduction, the ear
The vibration of the organ of Corti depends on
the frequency. Low frequencies have to travel all
the organ to reach the end => Frequency
decomposition (like a filter bank)
17. Alexis Baskind
The physiology of the ear
Psychoacoustics 1 – Introduction, the ear
The organ of Corti has tiny hairs called hair cells
which role is to transform the vibration into nerve
impulses that will be transmitted to the the central
nervous system.
18. Alexis Baskind
Outline
1. What is psychoacoustics?
2. The physiology of the ear
3. Hearing damages
Psychoacoustics 1 – Introduction, the ear
19. Alexis Baskind
Hearing damages
Psychoacoustics 1 – Introduction, the ear
The hair cells can hardly regenerate: when
they’re damaged, its finished
=> Protect your ears !
Organ of Corti (of a mouse)
in good condition
The same after an exposure
to a very loud noise
20. Alexis Baskind
Hearing damages
Psychoacoustics 1 – Introduction, the ear
Hearing loss can result (among others) of:
• Long-term exposure to loud sounds, or short-term
exposure to very loud sounds:
Ex: . a gunshot (140-170 dB SPL) can damage hearing
immediately
. an ambulance siren (120 dB SPL) can damage hearing after 7
minutes exposure per day
. A loud rock music concert (110-130 dB SPL) can damage
hearing after 3.5-30 minutes exposure per day
. Listening to iPod or similar with earphones at maximum volume
(> 100 dB SPL) can damage hearing after 5 minutes exposure per day
. Listening to iPod or similar with earphones in the street
(≈85-95 dB SPL) can damage hearing after 4 hours exposure per day
21. Alexis Baskind
Hearing Damages and Ear Fatigue
• Producing Music every day may not entail long-term
hearing damages, but is anyway quite exhausting
for the ear.
• With increasing ear fatigue, the accuracy of the
perception and the attention decrease
This means: regular breaks are important!
Psychoacoustics 1 – Introduction, the ear
22. Alexis Baskind
Hearing damages
Psychoacoustics 1 – Introduction, the ear
Hearing loss can result (among others) of:
• High pressure differences (air plane, deep water,
high altitudes)
• Age
• Genetics
• Diseases
• Drugs
• Some medications and chemicals (classified as
“ototoxic”: some antibiotics, aspirin, quinine...
23. Alexis Baskind
Conclusion
• The ear is made of three parts: outer, middle and inner
ear
• Outer and middle ear aim at adapting and transmitting
sound as vibrations to the cochlea in the inner ear
• The hair cells in the cochlea transforms those vibrations
into nerve impulses
• The Cochlea does a “frequency analysis” of the sound
• The hair cells are fragile and cannot be regenerated,
except (and only partly) in the first hours after an ear
trauma
• An ear injury is an absolute emergency and needs a
quick and professional treatment
Psychoacoustics 1 – Introduction, the ear