The Design and Implementation of Multimedia Software
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1 Chapter 10 Auditory Content The Design and Implementation of Multimedia Software David Bernstein Jones and Bartlett Publishers David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 1 / 31
2 Introduction About this Chapter The physics of sound. The biology of hearing. The psychology of auditory perception. Auditory output devices, and how they can be used to present auditory content. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 2 / 31
3 Sound What s Next We need to consider the physics of sound. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 3 / 31
4 Sound A Definition Definition Sound is a series of vibrations moving as waves through air or other gases, liquids, or solids. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 4 / 31
5 Sound Sound Waves in Air Compressions/Condensations: Air molecules are pushed closer together and, hence, the air pressure is higher. Rarefactions: Air molecules are pulled farther apart and the air pressure is lower. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 5 / 31
6 Sound Sound Waves in Air (cont.) Compressions Rarefactions Direction of Travel David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 6 / 31
7 Sound Properties of Sound Waves in Air Longitudinal: The wave is in the direction of travel. Traveling: Air molecules disturb neighboring molecules, transferring their energy to them. Omnidirectional: The waves radiate spherically from the source), while others direct sounds in particular directions. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 7 / 31
8 Sound A Periodic Pressure Wave Air Pressure Amplitude 0 Time Period David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 8 / 31
9 Sound Reflection and Absorbtion Definition A free field is an environment in which there are no reflections. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 9 / 31
10 Hearing What s Next We need to consider the biology of hearing. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 10 / 31
11 Hearing Organs Involved We sense sound using organs called ears. We interpret the sensation using the brain. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 11 / 31
12 Hearing The Human Ear Outer Ear Middle Ear Inner Ear Ossicles Stirrup Anvil Hammer Auditory Nerve Auditory Canal Eardrum Cochlea Pinna/Auricle David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 12 / 31
13 Hearing The Sensing Process Sound waves are collected by the auricle/pinna. They travel through the auditory canal to the eardrum. The compressions and rarefactions result in a change in pressure on the two sides of the eardrum. The difference in pressure causes the eardrum to vibrate. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 13 / 31
14 Hearing The Sensing Process (cont.) The vibrations of the eardrum are transmitted through the ossicles. The stirrup pushes a membrane and the movement of the membrane is transferred to the endolymph fluid in the cochlea. This causes the basilar membrane to move. (Each point on the basilar membrane is tuned to a small range of frequencies.) This causes the stereocilia to vibrate, causing a voltage difference, that leads to the release of a neurotransmitter which initiates the transmission of impulses along the auditory nerve. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 14 / 31
15 Auditory Perception What s Next We need to consider the psychology of auditory perception. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 15 / 31
16 Auditory Perception Processing in the Brain Most of the output of the auditory nerve is processed in the auditory cortex (in the temporal lobe). Some processing is also done in the frontal lobe and the parietal lobe. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 16 / 31
17 Auditory Perception Volume Volume A Simplified Approach Sound pressure levels are measured in decibels (db), which is a logarithmic unit. Humans normally perceive differences in amplitude as differences in volume. 0dB is loosely defined to be the softest sound that is audible to humans. 120dB sounds are painful. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 17 / 31
18 Auditory Perception Volume Thresholds Definition The threshold of a neuron is the lowest level of sound that causes a measurable change in response. The threshold varies inversely with its spontaneous firing rate. Continued exposure to auditory stimuli leads to adaptation (an apparent decrease in volume). Continued exposure to auditory stimuli also leads to fatigue (an increase in the threshold for subsequent stimuli) David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 18 / 31
19 Auditory Perception Pitch Pitch and Frequency The greater the frequency, the higher the pitch. Humans can hear sounds from about 15Hz (i.e., 15 cycles per second) to 18kHz (i.e., 18,000Hz). David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 19 / 31
20 Auditory Perception Timbre Timbre The Concept Two sound waves with the same pitch and volume, but produced by a piano and a trumpet, are perceived very differently. These differences, often referred to as timbre, are subjective. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 20 / 31
21 Auditory Perception } Timbre } A Stylized Envelope Amplitude Sustain }Time Attack Time Decay Time Release Time David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 21 / 31
22 Auditory Perception Localization Localization Mechanisms Interaural time difference the difference in the time it takes for a sound to reach both ears. Most people can detect a difference of about 20 microseconds. Interaural density difference the difference in amplitude caused by our head interfering with the sound wave. Frequency filtering performed by the outer ear. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 22 / 31
23 Auditory Perception Noise Common Uses of the Term Noise In the context of noise pollution, it usually refers to amplitude. In the context of a restaurant, it usually refers to the fact that there are many sources (e.g., many different conversations, televisions, pots and pans) of auditory content. In the context of popular music, it usually refers to a anything your mother doesn t like. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 23 / 31
24 Auditory Perception Noise Colors of Noise Definition Noise is a signal that is generated by a random process. White noise is a signal that has equal power in every band with the same width. Red noise is a signal that arises from a random walk (more formally, a signal that arises from Brownian motion). David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 24 / 31
25 Auditory Perception Reverberation Reflections Except in a free field, some sound waves reach the ear directly from the source and others reflect off of one or more surfaces before reaching the ear. When a reflected sound wave (with smaller amplitude because of the loss of energy) arrives at the ear after the original sound wave we perceive an echo or reverberation. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 25 / 31
26 Auditory Output Devices What s Next We need to consider auditory output devices. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 26 / 31
27 Auditory Output Devices Conventional Loudspeakers Components: Diaphragm Electromagnet Basket Classification: Subwoofers Woofers Mid-range Tweeters David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 27 / 31
28 Rendering Aural Rendering Definition Aural rendering is the process of taking an internal representation of auditory content and presenting it using an auditory output device. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 28 / 31
29 Designing an Auditory Content System What s Next We need to design and auditory content system. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 29 / 31
30 Designing an Auditory Content System Requirements F10.1 Manage individual pieces of auditory content. F10.2 Manage aggregate auditory content. F10.3 Render/present auditory content. David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 30 / 31
31 Designing an Auditory Content System A Conceptual Model of an Auditory Content System David Bernstein (jbpub.com) Multimedia Software Jones and Bartlett 31 / 31
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