OK Dave - I was mostly referencing to "high quality Subs" in home/small to
medium sized listening spaces..
I do not really have experience in large scale sound systems - here is a few
google finds.
The chest cavity resonates between 80 to 95 hz was my thinking and seems to be
correct, read En
I've briefly tried to find a reference on lower bounds for phase-locking, which
would limit directional acuity at the bottom of LF, and haven't yet.. I'll try
again.
It seems to me that all the other constraints on LF directional hearing are
acoustic, to do with standing waves.
In a large arra
Richard Warren, in "Auditory Perception: a New Synthesis" implies, on p 84, a
broader range of 50-100Hz (as a notional lower bound of capability for spectral
resolution, which would be required for phase locking) - so that would imply
that 80 is not a bad working figure in real environments.
Dr
Hmm... Interesting:
http://3dsoundlabs.com/en/
http://3dsoundlabs.com/en/how-does-it-work/#psychoacoustique
Eero
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lham
Honorary Fellow, Department of Music
The University of York
York YO10 5DD
UK
'Ambisonics - Component Imaging for Audio'
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Dave Malham wrote:
Yep, interesting indeed - but they don't once mention the height dimension,
always talking about 360 degrees which implies planar only. Is this, I
wonder, just an accidental omission or is the system really limited this
way? Seems unlikely given the 9 axes motion/position sens
University of York.
jgb...@york.ac.uk
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Stefan Schreiber wrote:
Dave Malham wrote:
Yep, interesting indeed - but they don't once mention the height
dimension,
always talking about 360 degrees which implies planar only. Is this, I
wonder, just an accidental omission or is the system really limited this
way? Seems unlikely given the
ype mjgraves
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On 04/22/2015 06:49 PM, jon burton wrote:
Hi I am new to the group but hoping someone may be able to help. I
am looking at the positive effects of low frequencies in music,
predominantly below 50Hz. This involves aural as well as
mechanosensations. I am interested in seeing if reinforcing the lo
I'd be interested in any references indicating deleterious effects on hearing
of high amplitudes at LF, if anyone comes across any
cheers
ppl
Dr. Peter Lennox
Senior Fellow of the Higher Education Academy
Senior Lecturer in Perception
College of Arts
University of Derby
Tel: 01332 593155
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On Wed, Apr 22, 2015 at 08:20:36PM +0200, Jörn Nettingsmeier wrote:
> Well, it's not a secret that most live sound engineers, when faced
> with a 99dB(A) rule, will mix into the A curve, i.e. crank up the
> bass a lot. So there is plenty anecdotal evidence for more bass
> resulting in less weight
Not sure I would consider it a negative, as it does increase my listening
pleasure! Hopefully the audiences too :-)
Steve
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On 04/22/2015 10:50 PM, Fons Adriaensen wrote:
On Wed, Apr 22, 2015 at 08:20:36PM +0200, Jörn Nettingsmeier wrote:
Well, it's not a secret that most live sound engineers, when faced
with a 99dB(A) rule, will mix into the A curve, i.e. crank up the
bass a lot. So there is plenty anecdotal eviden
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Increasing European legislation is pushing concert levels to a maximum of
100dBA over a 10-15min LEQ. In doors in France the norm is 103 dBA over 10
mins. Switzerland has a generous 100dBA over 60 minutes. At open air festivals
the level can be as low as 95dBA or 10 minutes. The days of unrestra
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