Article | REF: E5155 V1

Sound

Author: Jacques JOUHANEAU

Publication date: August 10, 1998, Review date: January 1, 2024 | Lire en français

You do not have access to this resource.
Click here to request your free trial access!

Already subscribed? Log in!

Automatically translated using artificial intelligence technology (Note that only the original version is binding) > find out more.

    A  |  A

    Overview

    Read this article from a comprehensive knowledge base, updated and supplemented with articles reviewed by scientific committees.

    Read the article

    AUTHOR

    • Jacques JOUHANEAU: Professor at the Conservatoire national des arts et métiers (CNAM)

     INTRODUCTION

    The installation of a sound system in a venue must meet a number of requirements, including acoustic, electroacoustic, perceptual and aesthetic aspects. The various sections of the specifications to be examined in priority are :

    a) the sound quality of the reproduction chain: this quality is largely determined by the "high-fidelity" performance of the retransmission chain. It necessarily includes consideration of the signal-to-noise ratio, respect for timbre, absence of distortion and control of feedback and coupling. If necessary, it must offer the possibility of introducing special effects: stereophonic, panning, filtering, phase shifting, delays, etc. ;

    b) sound quality at listening points, which involves the study of two families of criteria:

    • definition :

      • clarity, intelligibility and articulation for speech ;

      • clarity, transparency and precision of attack for music ;

    • spectral balance and respect for timbre in both the direct and reverberant fields;

    c) uniformity of overall sound level distribution on stage and in the hall throughout the dynamic range;

    d) respect for the balance of sources at all points in the room: this balance includes the relative sound levels of each source as well as their spectral distribution (timbre, color and apparent pitch);

    e) coherent localization, i.e. coincidence between "visual" and "auditory" positions of sources;

    f) spatial impression adaptable to the nature of the work;

    g) the search for optimum clarity on stage;

    h) the search for minimum cost, involving :

    • a good distribution of investments in room treatment, number of sources and their quality;

    • an appropriate adjustment of the electroacoustic powers involved.

    You do not have access to this resource.

    Exclusive to subscribers. 97% yet to be discovered!

    You do not have access to this resource.
    Click here to request your free trial access!

    Already subscribed? Log in!


    The Ultimate Scientific and Technical Reference

    A Comprehensive Knowledge Base, with over 1,200 authors and 100 scientific advisors
    + More than 10,000 articles and 1,000 how-to sheets, over 800 new or updated articles every year
    From design to prototyping, right through to industrialization, the reference for securing the development of your industrial projects

    This article is included in

    Signal processing and its applications

    This offer includes:

    Knowledge Base

    Updated and enriched with articles validated by our scientific committees

    Services

    A set of exclusive tools to complement the resources

    Practical Path

    Operational and didactic, to guarantee the acquisition of transversal skills

    Doc & Quiz

    Interactive articles with quizzes, for constructive reading

    Subscribe now!

    Ongoing reading
    Sound