86,955 research outputs found

    Some considerations on pitch

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    Pitch is an audible quality of sound which can be explained not only in terms of strong correlation with sound waves’ properties, but also by a neat correlation to the properties of the sounding object. This seems to be in favour of the theory of sound labelled “distal view”, according to which sound is the vibration of the sounding object

    Sound and Image

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    We hear sounds, and their sources, and their audible qualities. Sounds and their sources are essentially dynamic entities, not wholly present at any given moment, but unfolding through their temporal interval. Sounds and their sources, essentially dynamic entities, are the bearers or susbtrata of audible qualities. Audible qualities are qualities essentially sustained by activity. The only bearers of audible qualities present in auditory experience are essentially dynamic entities. Bodies are not, in this sense, essentially dynamic entities and so are not present in our auditory experience. Though absent in auditory experience, we may, nonetheless, attend to bodies in audition, when an audible sound-generating event in which they participate presents a dynamic aural image of them

    ENHANCED TELEPHONY USING HUMAN INAUDIBLE DATA OVER VOICE CHANNEL

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    A telephone, such as a mobile phone, places a telephone call to another telephone by transmitting a signal (e.g., digital or analog) indicative of a sound wave. The signal indicative of the sound wave encodes sound data over a voice channel. The sound data includes human audible data, such as data indicative of sounds (e.g., voice) captured by a microphone. That is, the frequency of the sound wave that encodes the human audible data is within a frequency range audible by humans. The sound data also includes human inaudible data, such as a telephone number of the calling device, an image of the caller, a location of the calling device, associated with the calling telephone or a user of the calling telephone. That is, the frequency of the sound wave that encodes the human inaudible data is above the frequency range audible by humans. When the recipient telephone receives the signal indicative of the sound data, the recipient telephone converts the signal to a human audible sound wave that encodes the human audible data. The recipient telephone may utilize the human inaudible data to enhance the functionality of the call. For example, the recipient telephone may display the human inaudible data (e.g., a phone number of the calling device and/or an image of the caller) or connect a video call via URL encoded in the human inaudible data

    Towards a generalized theory of low-frequency sound source localization

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    Low-frequency sound source localization generates considerable amount of disagreement between audio/acoustics researchers, with some arguing that below a certain frequency humans cannot localize a source with others insisting that in certain cases localization is possible, even down to the lowest audible of frequencies. Nearly all previous work in this area depends on subjective evaluations to formulate theorems for low-frequency localization. This, of course, opens the argument of data reliability, a critical factor that may go some way to explain the reported ambiguities with regard to low-frequency localization. The resulting proposal stipulates that low-frequency source localization is highly dependent on room dimensions, source/listener location and absorptive properties. In some cases, a source can be accurately localized down to the lowest audible of frequencies, while in other situations it cannot. This is relevant as the standard procedure in live sound reinforcement, cinema sound and home-theater surround sound is to have a single mono channel for the low-frequency content, based on the assumption that human’s cannot determine direction in this band. This work takes the first steps towards showing that this may not be a universally valid simplification and that certain sound reproduction systems may actually benefit from directional low-frequency content

    The Sound of Digital Comics

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    Daniel Goodbrey, "The Sound of Digital Comics", Writing Visual Culture, Vol. 7(1), October 2015. Available online at: http://www.herts.ac.uk/research/centres-and-groups/tvad-theorising-visual-art-and-design/writing-visual-culture/volume-7This article explores the role of sound in comics and provides a critical analysis of how that role has changed with the digital remediation of the form. Comics are traditionally thought of as a monosensory and multimodal medium in which information is communicated through a combination of written and visual languages, relying solely on the reader's sense of sight. The digital mediation of comics has brought with it the potential for plurisensory comics that directly incorporate audible sound alongside the visual modalities of word and image. With reference to the theories of Groensteen (2013), Hague (2014), Smolderen (2014), Miodrag (2013) and Cohn (2013), this article considers the relationship between the imagined sounds of traditional comics and the perceived sounds of digital hybrids. It examines the use of both diegetic and non-diegetic sound, drawing on ideas concerning the role of sound in cinema (Chion 1994) and videogames (Nitsche 2008). Within this framework it considers the potential impact of audible sound on a comic's navigation, pacing, narrative and atmosphere. It considers a range of digital comics that feature audible sound and focuses its central case study on a new digital comic created as a practice-lead inquiry into the incorporation of audible sound with the comic form.Peer reviewedFinal Published versio

    A power satellite sonic simulator

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    A simulator is described which generates and transmits a beam of audible sound energy mathematically similar to the solar power satellite (SPS) power beam. The simulator provides a laboratory means for analysis of ground based closed loop SPS phase control and of ionospheric effects on the SPS microwave power beam

    A sonic satellite power system microwave power transmission simulation

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    A simulator is described which generates and transmits a beam of audible sound energy mathematically similar to the SPS power beam. The simulator provides a laboratory means for analysis of ground based closed loop SPS phase control and of ionospheric effects on the SPS microwave power beam
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