Preface

Acoustics and Psychoacoustics continues to be adopted as a core text in courses all around the world; it has come on a long way since it was first published in 1996. We receive a number of emails from readers asking questions relating to material presented and we always try to provide appropriate answers. Such queries are always welcomed; indeed, much of the substance of the revisions made in the 2nd edition was based on this important feedback for which we are very grateful. The main change in the 3rd edition was the inclusion of the audio compact disc (CD) to provide recorded material for use in learning, and we understand from feedback received that this was a very welcome addition to the book.

In addition to minor modifications that have been made in this 4th edition, there is a major change to the final chapter which is now, we believe, better focused as the book’s concluding material. It takes Applications of acoustics and psychoacoustics as its theme and it explores the underlying principles of devices, procedures and systems that underpin practical work in the area of acoustics and psychoacoustics. The original material is essentially retained but reorganized to enable the inclusion of new material including: new room acoustic design examples, hearing testing in practice, the principles of psychoacoustic testing, noise reducing headphones, “mosquito” units and “teen buzz” ring tones (demonstrated on a new audio on the CD—track 79). We hope not only that these practical examples will provide useful insights into existing practical applications of the subject, but also that they will trigger creative thinking in tomorrow’s readers who might be responsible for the invention of new devices, procedures and systems for the future.

The musical and studio side of the field has not been neglected and additional material has been added on the following: pipe organs—to take into account the full range of acoustic harmonic synthesis that they achieve around the globe through the inclusion of what we believe to be all stop footages which are found on today’s instruments (enhanced Table 5.1); unaccompanied (a capella) singing performance and how overall tuning can drift due to the tuning system that a capella singers adopt (new Section 4.5.3); and timbral descriptions that are often used in the studio and how they relate to frequency (at the end of Section 5.3.2). A new version of track 7 on the audio CD relating to tuning systems is included which we believe provides a clearer demonstration of the differences between just and equal temperaments.

Other generally more minor changes have been made throughout the book mainly in response to reader and reviewer feedback, and we would like to thank everyone who has provided such helpful and supportive comments and suggestions. A book like this builds up a community of readers and we are humbled but happy to receive remarks that lead to improved clarity in the material offered.

Creativity is at the heart of successful work in fields such as acoustics, psychoacoustics, studio engineering, audio engineering, music technology, music composition and music performance. What we hear with our ears is an essential aspect of human communication whether by speech, music or other sounds. A basic understanding of acoustics and psychoacoustics is therefore essential if progress is to be made by tomorrow’s generation, and this is the spirit in which we offer this 4th edition of Acoustics and Psychoacoustics.

David M. Howard (York, U.K.) and Jamie A.S. Angus (Salford, U.K.)

June 2009