By David Howard, Jamie Angus

ISBN-10: 0240519957

ISBN-13: 9780240519951

I am utilizing this for a category, and it has been an excellent source. occasionally i locate it a piece dry, yet i am discovering such a lot of my sound recording and digital track textbooks to be lovely dry. for instance, evade & Jerse's textbook on laptop synthesis is great dull.

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**Extra resources for Acoustics and Psychoacoustics, Third Edition (Music Technology)**

**Example text**

13. Ptotal correlated (t) = P1(t) + P2(t) + ... 13) 21 Introduction to sound Note that the correlated waves are all at the same frequency, and so always stay in the same time relationship to each other, and this results in a composite pressure variation at the combination point which is also a function of time. Note also that because changing the position at which the pressure variation is observed will change the time relationships between the waves being combined, the composite result from correlated sources is dependent on position.

As the energy stored in the pressure cannot transfer in the direction of the propagating wave, it bounces back in the reverse direction, which results in a change of phase in the velocity component of the wave. 19 shows this effect using our golf ball and spring model. One interesting effect occurs due to the fact that the wave has to change direction and that the spring connected to the immovable boundary is compressed twice as much compared to a spring well away from the boundary. 19 Reflection of a sound wave due to a rigid barrier.

In other words we can look at a square wave as a waveform that is formed by summing together sine waves which are odd multiples of its fundamental frequency and whose amplitudes are inversely proportional to frequency. A sine wave represents a single frequency and therefore a sine wave of a given amplitude can be plotted as a single line on a graph of amplitude versus frequency. 47, which clearly shows that the square wave consists of a set of progressively reducing discrete sine wave components at odd multiples of the lowest frequency.

### Acoustics and Psychoacoustics, Third Edition (Music Technology) by David Howard, Jamie Angus

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