Index
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
A
Aachen head 6.13, 6.14, 6.16, 6.18
absolute polarity 7.4, G.8
acoustics 5.4, 5.5, 6.13, 6.14, 6.18, 8.14, 10.15, 14.1
“Law of Compromises” 4.7
ambience 7.7, 8.14, 10.10, 13.8, 13.21, 14.9, G.1
audible spectrum 3.5, 14.2, G.10
auditory system’s response to reflection 14.9
baffles 10.14
boomy sound 14.7
confinement of sound in an enclosure 14.2
flat sound 2.5, 3.15, 5.3, 14.2
Helmholtz absorbers 14.6, 14.7, G.5
live vs. dead acoustic space 2.7, 5.9, G.6
reflection 13.8, 13.11, 13.24, 14.8, 14.12, 14.14, G.10
reflections, low-frequency 14.12
resonance, tangential mode 14.5, G.10
resonance, axial mode G.2
reverberation 2.7, 3.13, 5.3, 5.8, 5.9, 7.7, 7.12, 7.13, 7.21, 9.11, 9.17, 10.4, 10.10, 11.3, 12.2, 12.3, 12.6, 13.21, 14.2, 14.9, G.9
size of listening area 14.13
spaciousness of sound 2.16, 3.14, 5.9, 7.22, 7.23, 8.2, 8.3, 8.14, 9.9, 9.16, 12.1, 12.8, 13.3, 13.10, 13.11, 14.8, G.10
stereo geometry, placement of speakers 14.11
acoustic suspension system 3.5
Ader, Clement, early stereophonics (1881) 1.3
airiness of sound 9.2
Albersheim, W. J. 12.1, 12.8
Alexander, R. C. 1.7
Allison, R. F. 14.17
ambience 7.7
ambience recording, surround sound 13.23
surround sound, ambience enhancement systems 13.8
Ambisonics 4.4, 13.12, 13.27, 13.28, G.1
pantophonic reproduction 13.15
periphonic reproduction 13.15, 13.17
playback characteristics 13.15
SoundField microphone systems 13.12, 13.27, A.2, G.9.See also microphones, SoundField
amplitude 2.2, 4.4, 4.5, 4.6, 6.5, G.1
Ando, Yoichi 3.16, 3.22
arrival time gap 12.3, 12.7
Atal, Bishnu S. 6.8, 6.10, 6.18
audibility 8.1
reflection angle 8.4
reflection spectrum 8.5
audible effects of reflected sounds 8.5
audible range 2.4
audio-follow-video systems 13.9
auditory canal, human ear 3.2, 3.4, 3.5, 3.12, 6.2, 6.17.See also ear canal
auditory nerve 3.2, 6.3
axial mode resonances 14.3, 14.16
B&K Head and Torso Simulator 6.14
Barron, M. 12.5, 12.8
Bartlett, Bruce 7.23, 8.16, 9.18
basilar membrane 3.5
bass tip-up 9.11
Bauck, Jerald L. 6.18, 13.28
Bauer, Benjamin B. 6.9, 6.18
Bell, Alexander Graham 1.1
Bell Laboratories, early stereophonics 1.4, 5.7, 9.1, 13.1
Benzimra, B. J. 1.7
Beranek, Leo L. 12.2, 12.8
Berger, Russell E. II 14.13, 14.17
Billingsley, Michael 9.5, 9.18
binaural masking level difference (BMLD) 3.11
binaural sound 1.1, 13.9, 13.21
“musical hat” effect 6.7
binaural reproduction 6.5
crosstalk 1.4, 6.5, 13.21
dummy heads 1.1, 6.4, 6.6, 6.11, 6.16, G.1
quasi-binaural “dummy head” devices 6.15
sound processing 6.16
super stereo electronics 5.11, G.10
binaural unmasking 3.7, 3.11
Blauert, Jens 3.20, 3.21, 3.22, 8.16, 11.8, 12.1, 12.2, 12.5, 12.6, 12.8
Bloom, P. J. 3.18, 3.22
Blumlein, Alan 1.4, 1.5, 1.7, 7.2, 7.5, 7.14, 9.1, 13.1
Blumlein technique 7.5, 7.12
Bock, Timothy M. 6.18
Bray, Wade R. 6.18, 13.27, 13.28
Bruck, Jerry 13.27
Burkhard, Mahlon O. 6.18, 13.28
Burns, R. 1.7
Burroughs, Lou 10.6, 10.7, 10.16
cardioid microphone 9.2, G.7
CD-4 multidimensional sound 13.7
center buildup vs. panpots 10.3
center channel 5.8, 13.25
Chernyak, R. L. 3.21
cochlea 3.2.See also inner ear
cochlea, human ear G.2
Cohen, Elizabeth 13.27
coherency, interaural coherence 2.15, 3.9
coincident-microphone stereo 7.1
Blumlein technique G.2
effective width 7.18
intensity stereo 7.1
mid/side technique 7.14, 7.20, 7.21.See also mid/side
monophonic compatibility 7.2, 7.21
phase integrity 7.1, 7.12
pressure pickup 7.9
Subjective evaluation of sound 7.23
XY stereo techniques 7.12
coloration 8.1, 8.14, 11.5, 14.4, 14.5, G.2
binaural suppression 8.16
off-axis, microphone 7.13
comb filtering 3.4, 7.22, 8.6, 8.7, 9.9, 9.13
Coloration and spaciousness 8.14
critical bands 8.12
microphone placement 8.14, 8.15, 9.1
music signals 8.9
phasing and flanging 8.7, 8.16
pseudostereo 11.6
random noise 8.3, 8.9
reflected sound 8.1, 8.6, 14.8
speech signals 8.1, 8.8
stereo sound reproduction, timbre and coloration 8.1, 8.16
tonal signals 8.7
concha 3.4, 6.3
cone of rejection region, microphones 10.5
Cooper, Duane H. 6.18, 13.28
correlation 2.16, 5.1, 8.14, 12.5, G.3
critical band 3.5
tuning curves 8.12
critical distance 7.7, 9.12, 13.23, G.3
crosstalk 1.4, 6.5, G.3
barriers 6.8
electronic cancellation 6.6
shuffler formation filters 6.10
Damaske, P. 6.18
Davis, Chips 14.17
Davis, Don 14.17
Decca Tree 9.14, 9.15, 13.25, G.3
Optimized Cardioid Triangle (OCT) 9.17
decibel 2.9, G.3
definition vs. spaciousness of sound 12.1
delay G.4
signal delay, perception of 2.14, 3.14, 7.22
signal delay, pseudostereo 11.3
Deutsch, Diana 12.8
differential-tube microphones 10.6
diffusion of sound 14.10, 14.17
directional microphones 7.1, 9.2, 9.12, 10.5
spaced-microphone stereo 9.11
Disney Studios 10.1
Distance Factor (DSF) 7.11, 7.13, 9.12, 10.6
distortion 4.4, 4.5, 8.14, 8.16, 10.7
Dolby systems 9.15, 13.9, 13.25, G.5
Dooley, Wes 7.23
dry sound 7.7, 7.22
duality of time cues 9.13, 9.14
Dubrovsky, N. A. 3.21
dummy heads 6.11.See also binaural sound
informal approaches 6.11
Kemar manikin 6.12, 6.13
Kunstkopfgeist ghost head 6.15
Neumann head 6.12
quasi-binaural devices 6.15
dynamic range 4.4, 4.5, 4.6, 10.7, G.4
eardrum 3.2
eardrum, tympanic membrane G.11
Eargle, John 7.23, 10.16, 11.8, 13.24
early stereophonics 1.1
three-channel stereophonic system development 13.2
ear canal 6.3.See also auditory canal
echoes 2.16, 3.15, 3.16, 9.5, 12.4, 13.23, 13.24, 14.8, G.4
effective width, stereophonic image 7.18
Electric and Musical Industries 1.4
electronic cancellation, crosstalk 6.8
enhanced ambience recording 13.24
equalization 3.13
eustachian tubes, human ear G.5
Everest, F. Alton 14.17
Fantasia 10.1, 10.16, 13.1, 13.2, 13.27
Fantasound 13.2
Farrar, Kenneth 13.27
Fellgett, P. B. 13.27
filters
bandwidths, auditory filters G.1
flanging 8.7, 8.16, G.5
flanking microphones 9.17
Fletcher, Harvey 1.4, 1.5, 1.7, 3.21, 9.1
Ford, Mary 10.4
formats, recording 4.6, 13.9
frequency 2.1
axial mode resonances 14.3
binaural unmasking vs. 3.10
frequency response 6.3, 7.13, 8.1, 10.14
pseudostereo 11.1
Furness, Roger 13.27
Garity, William E. 10.1
Genuit, Klaus 6.18, 13.27, 13.28
Gerzon, Michael 13.11, 13.27, 13.28
ghost head
Kunstkopfgeist 6.15
Gierlich, H. W. 6.18, 13.27, 13.28
Gilbert, Mark 13.27
Glasberg, Brian 3.21
Goodall, Stan 9.14
graphic equalizer 3.6
Griesinger, David 6.15, 6.18, 7.22, 7.23, 13.8, 13.27, 13.28
Guilford, C. L. S. 14.17
“hole-in-the-middle” effect, two-microphone stereo 13.11
Haas, Helmut 3.22
Haas curve 3.14.See also law of the first wavefront
Haddy, Arthur 9.14
Hafler System, multidimensional sound 13.3
hair cells 3.2, 3.5
Hall, Donald E. 10.16
headphones
binaural reproduction 6.5
crosstalk 6.7
Helmholtz absorbers 14.6
Hertz, Bent F. 1.7
Hoffner, Randy 5.1
hole in the middle 5.7
Holman, Tomlinson 13.27, 13.28
human ear 1.5, 6.2, 6.16, A.3, A.4, G.3
coherent vs. incoherent tones 2.15
incus 3.2
inner ear structures 3.2, 3.3, 3.5
masking 3.6
middle ear structures 6.3, G.6, G.7
noise, understanding speech in high background noise 3.11
perceptual space of listener 3.9, 3.10
perspective, listener’s perspective to stereophoni 4.3
philosophical and pragmatic approaches to stereo s 4.1
pinna 3.4, 3.12, 3.18, 6.5, 6.14, 13.21
resonance of auditory canal 3.4
subjective/objective distinctions in sound 3.1
transfer functions 3.12, 3.18, 3.21, 5.11, 6.1, 6.2, 6.16, 13.21
white noise perception 3.7, 12.5
Hyde, J. R. 12.8
incoherence G.5
pseudostereo 11.1
incus, human ear 3.5, G.5
initial time delay gap 12.2
inner ear 6.3.See also cochlea
Intensity effects, stereophonic sound 2.8
intensity stereo 2.10, G.5
multimicrophone stereo 10.1
Interaural coherence of human ear 2.15
interference effects 6.5, 8.9, 10.7, 11.4, 14.13, 14.17, A.11, G.3, G.6
spaced-microphone stereo 9.13
inverse square law 6.1, 9.5, 9.7, 10.7, 14.8, G.6
two-microphone stereo 5.1, 5.2
Janovsky, W. H. 11.1, 11.4, 11.8
Jecklin, Jürg 9.3, 9.18
Jecklin Disk, spaced-microphone stereo 9.3, 9.4, G.7
Jusltrom, Stephen 13.27
Keele, D. B. Jr. 6.18
Keet, W. deV. 11.3, 11.8
Keller, Arthur C. 1.4, 9.1
Klapholz, Jesse 10.16, 13.27
Kotorynski, Kevin 13.27
lateral imaging, multi-channel systems 13.16
spaced-microphone stereo 9.6
Lauridsen, Holger 7.14, 11.4, 11.5, 11.8
law of compromises 4.7
law of the first wavefront, time effects 3.15, 5.7, 9.6, 11.4, 12.4, 13.5, 14.8, G.6
Lipshitz, Stanley 7.23
Lissajous patterns 9.9, 9.11
localization, median plane 3.17
localization, one-eared 3.4
localization, spectral changes in sound 3.18
localization of sound 1.1
surround sound 13.25
Lockner, J. P. A. 11.3, 11.8
Long, E.M. 9.18
loudness 3.1
loudspeakers
binaural reproduction via loudspeakers 6.6
crosstalk 6.6
loudspeakers, widely spaced 13.11
low-frequency absorbers 14.6
low frequency region, acoustics 14.13
“musical hat” effect 6.7
M/S.See mid/side
malleus, human ear 3.2, 3.5, G.6
Marshall, A. H. 12.8
masking 3.11
binaural masking level difference (BMLD) 3.6
matrix, mid-side 7.15
matrixed quad systems, multidimensional stereo 13.6
Maxfield, J. P. 12.1, 12.8
median plane 3.17, A.10
median plane, localization of sound 8.4, G.6
Mehrgardt, S. 3.21
Mellart, V. 3.21
Meyer, E. 3.22
microphones.See also Decca Tree
“purist” techniques 4.2
bidirectional 7.3, 7.5, 7.9, 7.13, 10.5, 13.12
used for ambience recording 13.24
cardioid 7.9, 7.10, 10.5, G.7
crossed pair 7.12
hypercardioid 7.11, 7.13, 10.5, G.5
multiple stereo overlays, multimicrophone stereo 10.8
N.O.S. technique, spaced-microphone stereo 9.3
near-coincident microphone arrays 9.1
O.R.T.F. technique, spaced-microphone stereo 9.2
omnidirectional 5.3, 7.9, 7.16, 9.3, 9.6, 9.11, 9.17, 10.5, 13.23, A.2, G.7
optimal stereo signal (OSS) technique, spaced-micr 9.3
pantophonic reproduction, SoundField mics 13.15
periphonic reproduction, SoundField mics 13.15
phase-related phenomena 9.2
polar patterns 5.3, 7.2, 7.9, 7.11, 7.12, 7.20, 8.6, 9.5, 9.15, 10.6, G.8, G.10
pressure pickup 7.9
probe 6.16
random energy efficiency (RE) 7.11
rejection region 10.5
spot microphone placement, multimicrophone stereo 10.11, G.10
supercardioid 7.13
widely spaced 5.7, 9.1, 9.5
microphone technique, “purist” 4.2
mid-high frequency region, acoustics 14.14
mid/side 7.14, 7.15, 7.16, 7.17, 7.18, 7.19, 7.21, 7.22, 13.3, 13.20, A.2.See also coincident-microphone stereo: mid/side technique
middle ear 3.2, 3.5
Millikan, Robert A. 1.5
mixdown, multimicrophone stereo 10.3, 10.4, G.6
monaural sound 1.1, 6.13, G.6
monophonic compatibility 9.2, 9.15
monophonic sound 2.4, 5.2, 7.2
Moore, Brian C. J. 3.21
multi-microphone stereo 5.10, 10.1, 10.10
two-microphone stereo 5.1
multi-microphone techniques 10.1
multidimensional sound 13.1
illusion of reality 13.26
rear-channel sound 13.3
surround sound 13.1
surround sound ambience-enhancement systems 13.8
surround sound production techniques 13.21
three-channel stereo systems 13.2
tone-operated gain-adjusting device (TOGAD) 13.2
transaural sound 6.18
multimicrophone stereo
baffles 10.14
center buildup vs. panpots 10.3
multimicrophone stereo, stereo overlays 10.8
multiple stereo overlays, multimicrophone stereo 10.8
Muncie, H. 3.16, 3.22
Munson, Wilden 1.6, 1.7
O.R.T.F. technique, spaced-microphone stereo 9.2
oblique mode resonance 14.5
octave 2.4, 3.6, 3.19, G.7
Olive, Sean E. 3.21, 8.3, 8.4, 8.16
Olson, Harry F. 10.16
optimal stereo signal (OSS) 9.3
ossicles 3.2, 3.5
outer ear.See pinna
overlays, multiple stereo 10.8
panoramic potentiometer 2.10, 10.1, G.7
pantophonic reproduction 13.17
Paul, Les 10.4
perceptual space 3.9
periodic waves 2.3, 8.9, G.5
periphonic reproduction, Ambisonics 13.15, 13.17
Peus, Stephan 7.23
phantom center 5.4, 5.5
phantom image phenomenon 2.8, 2.13, 2.14, 2.16, 9.6, 11.3, G.7
phase 4.4
phasey sound 5.7, 7.8
phase difference 2.12, 9.1
phase integrity 9.1, G.8
phase response 4.6
phase response, coherent 4.5
phase shift A.9, A.18
phase shifting 11.6
phonograph 1.5, 4.6, 13.6, A.2
pinna 3.2, 3.4, 6.2
Plomp, R. 12.8
polarity 2.16, 3.8, 7.3, 7.7, 10.5, G.8
polarity, absolute G.8
polar pattern, microphone 7.2, 7.9, 7.21, 9.5, 10.6, G.8
portable stereo players 1.1
precedence effect.See law of the first wavefront
propagation of sound 2.1
proximity effect 9.11
pseudostereo 11.4
quadraphonic sound 13.5
quasi-binaural devices
dummy heads 6.15
random energy efficiency (RE) 7.11, 10.6, G.9
random noise 2.16, 3.11
rarefaction of air 2.1, 7.4, G.9
Rasch, R. A. 12.8
rear channel sound 13.3
recording formats 4.6
reflected sound 3.13, 3.16, 8.1
audible effects of reflected sounds 8.5
spatial impression by lateral reflections 12.4
threshold perceptions 8.2
reflections, early 14.10, G.4
reflections, lateral 3.16
reflection of sound, threshold perceptions 8.2
resonance G.9
axial mode 14.3
low-frequency sound absorbers 14.6
oblique mode 14.5
tangential mode 14.5
reverberation 2.7, 3.13, 5.3, 5.8
ambience vs. reverberation 7.7
arrival-time gap 12.2
critical distance 5.9
in mono vs. stereo 5.9
reverberation chamber 11.3
Sachs, R. M. 6.18
Scheiber, Peter 13.7, 13.27
Schlegel, F. 11.8
Schodder, G. R. 3.22, 11.8
Schroeder, Manfred R. 5.11, 6.8, 6.10, 6.18, 11.3, 11.6, 11.8, 14.17
Schubert, P. 8.3, 8.16
Schulein, Robert 13.27, 13.28
sensitivity levels, microphones 7.3
Shaw, E. A. G. 3.21
shotgun microphone G.9
shuffler 6.10
signal delay, pseudostereo 11.3
sine wave 2.2, G.9
Snow, William B. 1.1, 1.4, 1.7, 9.1
sonic shadow effect 2.11
SoundField microphone A.2
sound absorbers 14.6
sound pressure 2.1, 2.9, 3.1, 4.5, 5.2, 6.1, 10.6, 13.12, 14.12, G.8, G.9
source width 12.1
spaciousness of sound 12.1
spaciousness of sound, threshold for stereo source 3.14
spatial hearing 3.20, 3.22, 8.16, 11.8, 12.8
spatial perception 13.8
spectral content 4.6
spectrum of sound 3.1, 4.4, 4.5, 6.1, 6.3, 8.1, 11.1, 12.4, G.2, G.10
Speech and Hearing 1.5
Speech and Hearing in Communications 1.5
speed of sound 2.1, G.10
spot microphones 10.1, 10.11, 10.12
stapes, human ear 3.2, 3.5, G.10
Steinberg, J. C. 1.4
stereophonic 1.1, 2.5
Stereo Ambient Sampling System (SASS) 6.15
Streicher, Ron 6.18, 7.23, 13.27
subjective evaluation of sound 6.12, 13.27
supercardioid microphone 7.11, 10.5, G.10
super stereo 5.10, 5.11
surround sound 13.1
four channel systems 13.5
tailoring sound 5.11
tangential mode resonance 14.5, G.10
television audio 7.2
audio-follow-video systems 13.9
Theile, Gunther 6.15, 9.4, 9.17, 9.18
Thorn-EMI 1.4
three-channel stereophonic system 1.6, 13.2
three-to-one rule, microphones 10.7
timbre 3.1, 4.5, 6.4, 7.13, 8.1, 8.10, 12.6, 14.10, G.10
time effects in stereo 2.12
tone-operated gain-adjusting device (TOGAD) 13.2
Toole, Floyd E. 3.21, 3.22, 6.18, 8.3, 8.4, 8.5, 8.16, 9.18, 14.17
transfer function 8.1
auditory canal 3.12
pinna 3.13
two-by-two matrix 4.3
two-microphone stereo 5.1
two-to-one ratio, microphones 10.6
tympanic membrane.See eardrum
unidirectional.See microphones, cardioid
visual images 4.7
“wall of sound” phenomenon 1.6, 13.11, G.11
Wallace, Roy 9.14
wavefront, law of the first wavefront 2.15, 5.7, 11.4, 12.4, 14.8, G.6
wavelength 2.1, 2.12, 14.2, A.10, G.11
white noise 3.7
Wickersham, R. J. 9.18
Wilkinson, Kenneth 9.14
wolftones 14.4
Woram, John 7.23
Woszczyk, Wieslaw 13.28
XY stereo techniques 7.12, G.11