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    THE EAR AND THE LISTENING PROCESSSIGNAL PATHS & CONTROLSThe objective of the sound is to originate from a source, and arrive at a receiver. A simplifiedview of this is:

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    THE EAR AND THE LISTENING PROCESSSIGNAL PATHS & CONTROLSThe objective of the sound is to originate from a source, and arrive at a receiver. A simplifiedview of this is:

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    THE EAR AND THE LISTENING PROCESSSIGNAL PATHS & CONTROLSThe objective of the sound is to originate from a source, and arrive at a receiver. A simplifiedview of this is:

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    THE EAR AND THE LISTENING PROCESSSIGNAL PATHS & CONTROLSThe objective of the sound is to originate from a source, and arrive at a receiver. A simplifiedview of this is:

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    THE EAR AND THE LISTENING PROCESSSIGNAL PATHS & CONTROLSThe objective of the sound is to originate from a source, and arrive at a receiver. A simplifiedview of this is:

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    THE EAR AND THE LISTENING PROCESSSIGNAL PATHS & CONTROLSThe objective of the sound is to originate from a source, and arrive at a receiver. A simplifiedview of this is:

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    THE EAR AND THE LISTENING PROCESSTRANSDUCERS

    SOUND TO ELECTRICITY TO SOUND

    The objective of the sound is to originate from a source, and arrive at a receiver. Asimplified view of this is:

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    THE EAR AND THE LISTENING PROCESSTRANSDUCERS

    SOUND TO ELECTRICITY TO SOUND

    The objective of the sound is to originate from a source, and arrive at a receiver. Asimplified view of this is:

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    THE EAR AND THE LISTENING PROCESSThe objective of the sound is to originate from a source, and arrive

    at a receiver. A simplified view of this is:

    BECAUSE OF SPEAKERS COLORATION, WHY NOT MIX SOUNDS

    WITH HEADPHONES?

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    THE EAR AND THE LISTENING PROCESSThe objective of the sound is to originate from a source, and arrive

    at a receiver. A simplified view of this is:

    QUESTIONS

    1. Given that the acoustics and sound reproducing systems of the creator and

    the listener are not the same, what can be done to assure the integrity of the

    artists sonic conception?

    2. Is it possible to have electroacoustic pieces that do not involve sound?

    3. Is the studio dead? What are the advantages / drawbacks to having / not

    having knobs, buttons and sliders on equipment?

    4. Popular music recording is all processed and assembled. As foods list the

    ingredients and additives, should recordings list their non-living additives?

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    THE EAR AND THE LISTENING PROCESSThe objective of the sound is to originate from a source, and arrive

    at a receiver. A simplified view of this is:

    HEARING AND THRESHOLDS

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    THE EAR AND THE LISTENING PROCESSThe objective of the sound is to originate from a source, and arrive

    at a receiver. A simplified view of this is:

    TYPICAL SOUND PRESSURE LEVELS (SPLS)

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    THE EAR AND THE LISTENING PROCESSThe objective of the sound is to originate from a source, and arrive

    at a receiver. A simplified view of this is:

    Questions

    1. Do musicians have any responsibility to the public to warn them, and/or try

    and protect them from the extremely high sound pressure levels of muchmusic that people are exposed to?

    1a. How can this be done?

    2. What would your advice be to a 15 year old who regularly listens to sounds

    over 105 dB?

    3. How would you protest unacceptably high sound pressure levels in a

    concert, work or public environment?

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    THE EAR AND THE LISTENING PROCESSThe objective of the sound is to originate from a source, and arrive

    at a receiver. A simplified view of this is:

    PSYCHOACOUSTICS

    The scientific measurement of sounds are carried out by calibrated

    equipment and are measured against defined standards, but

    psychoacoustic data is collected by asking people to assess and

    judge sounds.

    It is possible to measure a sound of 47 kHz, with an SPL of 15

    dB, but nobodyexcept perhaps a local batwould hear it.Psychoacoustics deals with the other side of soundthe

    perception of sound, and the interpretation of sonic stimuli.

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    THE EAR AND THE LISTENING PROCESSThe objective of the sound is to originate from a source, and arrive

    at a receiver. A simplified view of this is:

    PSYCHOACOUSTICS

    If a tree falls in a forest and there is no one there to hear it, does it make a

    sound?This conundrum is a semantic question, not one for philosophical debate.

    If sound is defined (in the scientific sense) as vibration in air of between 30

    and 15,000 Hz, above 10 dB, then the

    answer is yes.

    If the vibration of the air must be perceived by a person (psychoacoustic),

    then the answer is no.

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    THE EAR AND THE LISTENING PROCESSThe objective of the sound is to originate from a source, and arriveat a receiver. A simplified view of this is:

    LOUDNESS AND INTENSITY

    The intensityof a sound is measured in decibels, the loudness is measured inphons, and

    the technique used for developing thephon scale was to test people.

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    THE EAR AND THE LISTENING PROCESSThe objective of the sound is to originate from a source, and arriveat a receiver. A simplified view of this is:

    LOUDNESS AND INTENSITY


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