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A flute, a clarinet, a guitar, and a piano can each produce a sound at 1 kHz, but the tone quality is different for each instrument. The waveform affects the way a sound is reflected from objects. Acoustics engineers must consider this when designing
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Loudness and Phase 585 sound systems and concert halls. The goal is to make sure that all the instruments sound realistic everywhere in the room. Suppose you have a sound system set up in your living room. You sit on the couch and listen to music. Imagine that, for the particular placement of speakers with respect to your ears, sounds propagate well at 1, 3, and 5 kHz, but poorly at 2, 4, and 6 kHz. This will affect the way musical instruments sound. It will distort the sounds from some instruments more than the sounds from others. Unless all sounds, at all frequencies, reach your ears in the same proportions that they come from the speakers, you will not hear the music the way it originally came from the instruments. For certain instruments and notes, the sound can be altered so much that it doesn t resemble the original at all. Figure 31-1 shows a listener, a speaker, and three sound reflectors, also known as baffles. It is almost certain that the waves traveling along paths X, Y, and Z will add up to something different, at the listener s ears, than the waves that come directly from the speaker. Path X might be most effective for the bass, path Y most effective for the midrange, and path Z most effective for the treble. This will distort the waveforms produced by various musical instruments. It is just about impossible to design an acoustical room, such as a concert auditorium, to propagate sound perfectly at all frequencies for every listener. The best an engineer can do is optimize the situation and try to avoid the existence of any disaster zones.
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Loudness and Phase
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People do not perceive the loudness (also called volume) of sound in direct proportion to the actual power contained in the waves. Instead, your ears and brain Baffles
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31-1 Sounds from reflected paths (such as X, Y, and Z) combine with direct-path sound (D) to produce what a listener hears.
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586 Acoustics, audio, and high fidelity sense sound levels according to the logarithm of the actual intensity. Another variable in the transmission of sound is the phase with which waves arrive at your ears. This allows you to tell from which direction a sound is coming, and it can produce dramatic variations in perceived sound volume as well.
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If you change the volume control on a hi-fi set until you can just barely tell the difference, the increment is one decibel (1 dB). If you use the volume control to double the actual acoustic-wave power coming from a set of speakers, you will hear an increase of 3 dB, or 3 times the minimum detectable difference. For decibels to have meaning, there must be a reference level against which everything is measured. Sometimes you ll hear decibels used as if they are absolute; for example, a vacuum cleaner might produce 80 dB of sound, and a jet taking off might generate 100 dB as it passes overhead at a low altitude. These figures are determined with respect to the threshold of hearing, which is the faintest sound that good ears can hear when there is no background noise. In hi-fi amplifiers, you ll sometimes see meters that show the relative sound level. Such a meter indicates volume units, and accordingly, it is called a volume-unit (VU) meter. These meters are often calibrated in decibels with respect to some reference sound level. When thinking of decibels as they apply to sound, remember that a doubling of actual acoustic energy equals a 3-dB increase in amplitude. A rise in the sound level is indicated by positive decibel values, and a decrease is indicated by negative values. A change of 6 dB means that the sound power is cut to one-quarter of its previous level; a change of 9 dB means an eightfold increase in sound power. Zero decibels (0 dB) means that there is no change in the sound level or that two different sounds have equal amplitudes.
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