91 Sentences With "audibility" | Random Sentence Generator

The threshold of audibility is the threshold of the political.

Here, Ashley is mixed at a delicate threshold of audibility.

The audibility of "Booting up my old computer" is something I still learn from.

Miyako tapped her sleeve unobtrusively to turn her news feed down to the lower edge of audibility.

In 2015 she said she had 70% audibility in her left ear and 50% in her right ear.

Exposure includes a number of data points like an ad's viewable time, its total share of the screen and its audibility.

As Wolfram, the stable, upstanding counterweight to Tannhäuser's tortured confusion, Christian Gerhaher faded the end of his great "Hymn to the Evening Star" almost beyond audibility.

The work features environmental sounds typically outside the range of human hearing, like the reverberations of an earthquake or the clicking of a water-stressed tree, transposed into audibility.

Legend has it that this feature was used by the rulers to eavesdrop on the conversations of the unsuspecting prisoners, though it seems more probable that this natural amplification was ingeniously employed to increase the audibility of the plays performed in the Greek theater.

The point of the best audibility was determined on the fifth row of the ground floor.

Its principle is to assess frequency response function (FRF) of mediaplayer or any other sound reproduction device, in accordance with audibility threshold in silence (subjective for each person), and to apply gain modifying factor. The factor is determined with the help of integrated function to test audibility threshold: the program generates tone signals (with divergent oscillations – from minimum volume 30–45 Hz to maximum volume appr. 16 kHz), and user assess their subjective audibility. The principle is similar to in situ audiometry, used in medicine to prescribe a hearing aid.

Memory, Time and Audibility. Palgrave Macmillan. Her concept The Matrixial Gaze, Bracha L. Ettinger, The Matrixial Gaze. Published by Leeds University, 1995.

The library building includes the computer laboratory. All classrooms are equipped with microphones and speakers for better audibility. WiFi is available for the students' use.

Grossly changed phase relationships, without changing amplitudes, can be audible but the degree of audibility of the type of phase shifts expected from typical sound systems remains debated.

Auditory hallucinations have two essential components: audibility and alienation. While people who experience thought insertion do share the experience of alienation (they cannot recognize that the thoughts they are having are self-generated) with auditory hallucinations, they lack the sense of audibility (experiencing the thoughts as occurring outside of their mind or spoken to them). The person experiencing thought insertion recognizes that the thought is being thought of inside their mind, but they fail to recognize they are the one thinking it.

Some individuals may find the provided amplification also increases the audibility of their pitch discrepancy. If onset is linked to an underlying medical cause, i.e. sudden sensorineural hearing loss, appropriate medical treatment is recommended.

Do you hear what I see? Analyzing visuality and audibility through alternative methods in the rock art landscape of the Alicante mountains. Journal of Anthropological Research 73: 181-213.Mattioli, T. and Díaz-Andreu, M. 2017.

This causes the compressor to 'back off' the gain in certain circumstances and reduce the audibility of noise modulation – even with this pre-emphasis, noise modulation can become audible when using very noisy media to begin with, such as the cassette format.

Here, hearing-impaired individuals could not make use of such envelope information as well as normal-hearing individuals, even after audibility factors were taken into account. Additional experiments suggest that age negatively affects the binaural processing of ENVp at least at low audio-frequencies.

Bob Katz coined the term "parallel compression", and has described it as an implementation of "upward compression", the increase in audibility of softer passages. Studio engineers in New York City became known for reliance on the technique, and it picked up the name "New York compression".

Human ear drums are sensitive to variations in the sound pressure, and can detect pressure changes from as small as a few micropascals (µPa) to greater than For this reason, sound pressure level is also measured logarithmically, with all pressures referenced to (or 1.97385×10−10 atm). The lower limit of audibility is therefore defined as but the upper limit is not as clearly defined. The upper limit is more a question of the limit where the ear will be physically harmed or with the potential to cause noise-induced hearing loss. A more rigorous exploration of the lower limits of audibility determines that the minimum threshold at which a sound can be heard is frequency dependent.

W. Bürck, P. Kotowsky, H. Lichte: "Der Aufbau des Tonhöhenbewußtseins" in: "Elektrische Nachrichten Technik" 12, pp. 326–333 (The setup of sound recognition). W. Bürck, P. Kotowsky, H. Lichte(1935a): "Hörbarkeit von Laufzeitdifferenzen" in: "Elektrische Nachrichten Technik" 1935,12, 355 ff (Audibility of signal propagation time differences). Hugo Lichte, Albert Narath: "Physik und Technik des Tonfilms" 1943, 411 pp.

Random jitter alters the noise floor of the digital system. The sensitivity of the converter to jitter depends on the design of the converter. It has been shown that a random jitter of 5 ns may be significant for 16 bit digital systems. In 1998, Benjamin and Gannon researched the audibility of jitter using listening tests.

Audiograms are produced using a piece of test equipment called an audiometer, and this allows different frequencies to be presented to the subject, usually over calibrated headphones, at any specified level. The levels are, however, not absolute, but weighted with frequency relative to a standard graph known as the minimum audibility curve which is intended to represent a 'normal' hearing. This is not the best threshold found for all subjects, under ideal test conditions, which is represented by around 0 Phon or the threshold of hearing on the equal-loudness contours, but is standardised in an ANSI standard to a level somewhat higher at 1 kHz. There are several definitions of the minimal audibility curve, defined in different international standards, and they differ significantly, giving rise to differences in audiograms according to the audiometer used.

The player must minimize the visibility and audibility of the player character, Garrett, to escape detection. Players try to avoid lit areas and loud flooring in favor of shadows and quiet flooring. A light monitor on the heads-up display (HUD) indicates the player character's visibility. While it is possible for the player character to engage in direct combat, he is easily defeated.

There are several ways of evaluating how well a hearing aid compensates for hearing loss. One approach is audiometry which measures a subject's hearing levels in laboratory conditions. The threshold of audibility for various sounds and intensities is measured in a variety of conditions. Although audiometric tests may attempt to mimic real-world conditions, the patient's own every day experiences may differ.

An elderly woman, not far away, wiped her eyes, and the man > beside her looked white and stern. Everyone stood very still ... The hush > deepened. It had spread over the whole city and become so pronounced as to > impress one with a sense of audibility. It was a silence which was almost > pain ... And the spirit of memory brooded over it all.

This will increase the audibility of sounds downwind. This downwind refraction effect occurs because there is a wind gradient; the sound is not being carried along by the wind. There will usually be both a wind gradient and a temperature gradient. In that case, the effects of both might add together or subtract depending on the situation and the location of the observer.

The proper rhyme scheme for an astakam is: a-a-a-a/b-b-b-b….. (/ represents a new stanza). The rhyme designs are both ear-rhymes and eye-rhymes. Ear-rhyme where the end letters rhyme in sound and audibility, and eye-rhyme where the end letters appear similar. This rhyme sequence sets the usual structure of the astakam.

Minimum audibility curve is a standardized graph of the threshold of hearing frequency for an average human, and is used as the reference level when measuring hearing loss with an audiometer as shown on an audiogram. Audiograms are produced using a piece of test equipment called an audiometer, and this allows different frequencies to be presented to the subject, usually over calibrated headphones, at any specified level. The levels are, however, not absolute, but weighted with frequency relative to a standard graph known as the minimum audibility curve which is intended to represent 'normal' hearing. This is not the best threshold found for all subjects, under ideal test conditions, which is represented by around 0 phon or the threshold of hearing on the equal-loudness contours, but is standardised in an ANSI standard to a level somewhat higher at 1 kHz .

Archaeologists Margarita Díaz-Andreu, Carlos García Benito and Tommaso Mattioli have undertaken work on rock art landscapes in Italy, France and Spain, paying particular attention to echolocation and augmented audibility of distant sounds that is experienced in some rock art sites.Díaz-Andreu, M. and García Benito, C. 2012. Acoustics and Levantine Rock Art: Auditory Perceptions in La Valltorta Gorge (Spain). Journal of Archaeological Science 39: 3591-3599.

Persona is the Latin word for "mask" and referred to a mouthpiece actors wore to increase the audibility of their lines. In Greek drama, persona came to mean a character, separate from an actor. Bergman often used the theatre as a setting in his films. Elisabet is a stage actress and, according to Singer, is seen in "mask- like makeup" suggesting a "theatrical persona".

The levels are weighted with frequency relative to a standard graph known as the minimum audibility curve, which is intended to represent "normal" hearing. The threshold of hearing is set at around 0 phon on the equal-loudness contours (i.e. 20 micropascals, approximately the quietest sound a young healthy human can detect),Gelfand, S A., 1990. Hearing: An introduction to psychological and physiological acoustics.

For many purposes different types of harmonics are not equivalent. For instance, crossover distortion at a given THD is much more audible than clipping distortion at the same THD, since the harmonics produced are at higher frequencies, which are not as easily masked by the fundamental.Distortion – Valves vs. Transistors A single THD number is inadequate to specify audibility, and must be interpreted with care.

The church has a clerestory, but this only has windows in the south side. The nave has a Jacobean pulpit, which was fitted with a sounding board in 1718 allowing for increase audibility. Another rarity is the hagioscope located in the south west wall. A hagioscope, also known as a squint or as a leper's squint, was used so that people could observe the process of worship without actually being there.

There are several definitions of the minimal audibility curve, defined in different international standards, and they differ significantly, giving rise to differences in audiograms according to the audiometer used. The ASA-1951 standard for example used a level of 16.5 dB SPL at 1 kHz whereas the later ANSI-1969/ISO-1963 standard uses 6.5 dB SPL, and it is common to allow a 10 dB correction for the older standard.

If the direct sound is coming from the same direction the listener is facing, the reflection's direction has no significant effect on the results. A reflection with attenuated higher frequencies expands the time span that echo suppression is active. Increased room reverberation time also expands the time span of echo suppression.Haas, H. "The Influence of a Single Echo on the Audibility of Speech", JAES Volume 20 Issue 2 pp.

There is often a fireplace, and altars are found in some examples, sometimes added later. Many medieval rooms use stone vaulting supported by columns in the centre of the space, as used for other more utilitarian large rooms in monasteries with a generous budget. Others have much higher roofs. The shape of the room is usually designed to allow good audibility for speakers from all parts of the room.

On 2 July 1991, during the Ten Day War, the station was attacked by two Yugoslav Mig-21 airplanes, and the 600-kilowatt transmitter was heavily damaged. The feeder and the radio mast of the old transmitter from the 1950s were not damaged, so there were only short interruptions in the transmission. In 1993, the transmitter was replaced by a new 300 kW-transmitter with equal audibility and better quality of transmission.

Pulpit and throne are usually similar in construction, usually made of either sculpted stone or sculpted wood. This pulpit was used mostly for sermons and in order to improve audibility, before the advent of modern public address systems in churches. Nowadays it is used rarely. Tradition dictates that it be used for the reading of the "12 Passion Gospels" during the Matins of Holy Friday, served late in the evening of Maundy Thursday.

A 39-string instrument supplied with 2 microphone systems, contact and magnetic, has opened an entirely new perspective of the kantele. The problem of audibility was now solved and the instrument could be incorporated in a band. Koistinen Electric 1 was featured in Finnish Design Yearbook 2006 along with the products by Marimekko and Iittala. In 2012 Koistinen Kantele was awarded with Rantasalmi Prize, a Finnish award in the area of wooden products.

Critics of the album note the poor audibility of the band amid the audience noise, but appreciate its historical and documentary value as well as the intense, high-energy quality of the performances. Rare copies of the LPpressed in limited quantities for the European marketbecame highly valued by record collectors. Got Live If You Want It! has been reissued twice by ABKCO Records, in 1986 on CD and in 2002 on SACD.

Indeed, a side effect of the reduced visibility is heightened audibility, as soldiers focus more on what they can hear. There are many instances of soldiers losing their bearings at night due to flashes from guns or enemy searchlights.Eight United States Army Military History Section: Japanese Research Division The difficulties of perception lend themselves to fear of the unknown. Soldiers under fire can't tell where the fire originates and can't devise appropriate countermeasures.

There were 100,000 spectators attending the parade on 9 May. The president's speech preceded the actual parade proceedings, despite the fact there was reportedly poor audibility in spectator seats. The parade was inspected by Lieutenant General Maltsev and commanded by Major General Yuri Merentsov. A 20-minute exhibition of military drill by a 148-member honor guard concluded the parade as well as a performance by the Band of the Minsk Garrison led by Colonel Vladimir Ermolaev.

Most Acoustic Research designs used a PVA sealer on the foam surrounds to enable a longer component life and enhance performance. The venting was via the cloth spider and cloth dust caps, not so much through the surround. Acoustic suspension woofers remain popular in hi-fi systems due to their low distortion. They also have low group delay in the bottom end compared to bass reflex designs but the audibility of this benefit is hotly contested.

The two chords that open and close Igor Stravinsky's Symphony of Psalms have distinctive sonorities arising out of the voicing of the notes. The first chord is sometimes called the Psalms chord. William W. Austin remarks: Some chord voicings devised by composers are so striking that they are instantly recognizable when heard. For example, The Unanswered Question by Charles Ives opens with strings playing a widely spaced G-major chord very softly, at the limits of audibility.

When used with a loudspeaker that is time-aligned, the loudspeaker's main lobe now points exactly forward (i.e., straight) and does not have a 3dB peak in response. This makes the LR2 or LR4 crossovers ideal for audio as compared to the Butterworth type. Even without a LR crossover, it is worthwhile to have the main lobe point forward so that the speakers will illuminate the listening position evenly, resulting in better overall system performance (such as imaging or audibility).

The Independent Broadcasting Authority published a weighting curve for use in crosstalk measurement that gives due emphasis to the subjective audibility of different frequencies. In the absence of any international standards, this is still in use despite the demise of the IBA. Good crosstalk performance for a stereo system is not difficult to achieve in today's digital audio systems, though it is hard to keep below the desired figure of -30 dB or so on vinyl recordings and FM radio.

The result is for each frame of each signal a head-internal representation which indicates roughly how loud each frequency component would be perceived. Now, a further idealization step of the reference signal takes place by filtering out excessive timbre and low level stationary noise. At the same time, linear frequency distortions and stationary noise are partially removed from the degraded signal. A subtraction of the idealized excitations finally leads to the Distortion Density, which is measure for the audibility of distortions.

Tone proportions in Stockhausen's Elektronische Studie I (, citing the 1964 reprint of ). The fundamental hypothesis for Studie I was that its serial system should begin in the middle of the human auditory range and extend in both directions to the limits of pitch perception. Durations and amplitudes are inversely proportional to the distance from this central reference, so the sounds become both shorter and softer as they approach the upper and lower limits of pitch audibility . Sets of six values determine the entire work.

Her motivations are more often narrated by Wilson, who thinks very little of her, except for her beauty, choosing a man she can control and her sexuality when she is quiet. Her spoken dialogue is often condescending and minimized by both Macomber and Wilson. Like the trophy prey they hunt, Margot's expressiveness is cast by her audibility and visuality. Margot’s characterization centers on the “femme-fatale” paradigm—the beautiful, sexual, adulterous and murdering wife. Ironic, as she is Francis’ trophy wife and married Francis for his wealth.

For example ITU-R 468 noise weighting uses a special rectifier incorporating two cascaded charging time constants. The PPM or peak programme meter used to measure programme levels is actually a quasi-peak reading meter, again with precisely defined dynamics. Flutter measurement also involves a standardised quasi-peak reading meter. In every case the dynamics are chosen to reflect the sensitivity of human hearing to brief sounds, ignoring those so brief that we do not perceive them, and weighting those of intermediate duration according to audibility.

Apart from testing hearing, part of the function of audiometry is in assessing or evaluating hearing from the test results. The most commonly used assessment of hearing is the determination of the threshold of audibility, i.e. the level of sound required to be just audible. This level can vary for an individual over a range of up to 5 decibels from day to day and from determination to determination, but it provides an additional and useful tool in monitoring the potential ill effects of exposure to noise.

The lower limit of audibility is defined as SPL of , but the upper limit is not as clearly defined. While ( or ) is the largest pressure variation an undistorted sound wave can have in Earth's atmosphere, larger sound waves can be present in other atmospheres or other media such as under water or through the Earth. Equal-loudness contour, showing sound-pressure-vs- frequency at different perceived loudness levels Ears detect changes in sound pressure. Human hearing does not have a flat spectral sensitivity (frequency response) relative to frequency versus amplitude.

Since noise audibility depends on the nature of the audio being processed, the POW-R algorithm is made available in three variants, optimized respectively for simple program such as spoken word, limited dynamic range program such as rock music, and wide dynamic range program such as orchestral music. Each algorithm moves the noise to those frequencies where its audible effect for the particular audio type is minimized. The graph to the right shows the frequency response of the orchestral music algorithm variant (POW-R3, a 9th order filter).

The use of and attitude toward polyphony varied widely in the Avignon court from the beginning to the end of its religious importance in the fourteenth century. Harmony was not only considered frivolous, impious, and lascivious, but an obstruction to the audibility of the words. Instruments, as well as certain modes, were actually forbidden in the church because of their association with secular music and pagan rites. Dissonant clashes of notes give a creepy feeling that was labeled as evil, fueling their argument against polyphony as being the devil's music.

Pitches are drawn from a series of intervals: a falling minor tenth, rising major third, falling minor sixth, rising minor tenth, and falling major third. Expressed as justly intoned numeric ratios, these are 12/5, 4/5, 8/5, 5/12, and 5/4. Starting from 1920 Hz, near the upper threshold of pitch audibility, thirty-six series of six pitches each are projected, starting with 1920, 800, 1000, 625, 1500, and 1200. The lowest value of 66 Hz is reached at the fourth value of the twenty-second series: 203, 84, 105, 66, 158, 127 .

Dysarthria is a motor speech disorder resulting from neurological injury of the motor component of the motor–speech system and is characterized by poor articulation of phonemes. In other words, it is a condition in which problems effectively occur with the muscles that help produce speech, often making it very difficult to pronounce words. It is unrelated to problems with understanding language (that is, dysphasia or aphasia), although a person can have both. Any of the speech subsystems (respiration, phonation, resonance, prosody, and articulation) can be affected, leading to impairments in intelligibility, audibility, naturalness, and efficiency of vocal communication.

It is needed to check if a pig has passed a certain location and to locate a pig which has become stuck. Some radio monitoring hobbyists record ELF signals using antennas ranging in size from eighteen inch active antennas up to several thousand feet in length taking advantage of fences, highway guard rails, and even decommissioned railroad tracks, and play them back at higher speeds to more easily observe natural low frequency fluctuations in the Earth's electromagnetic field. Increasing the playback speed increases the pitch, so that it can be brought into the audio frequency range for audibility.

The pulpit and lectern are also usually found at the front of the choir, though both Catholic and Protestant churches have sometimes moved the pulpit to the nave for better audibility. The organ may be located here, or in a loft elsewhere in the church. Some cathedrals have a retro-choir behind the High Altar, opening eastward towards the chapels (chantries) in the eastern extremity. After the Reformation Protestant churches generally moved the altar (now often called the communion table) forward, typically to the front of the chancel, and often used lay choirs who were placed in a gallery at the west end.

Taking THD measurements at different output levels would expose whether the distortion is clipping (which increases with level) or crossover (which decreases with level). THD is an average of a number of harmonics equally weighted, even though research performed decades ago identifies that lower order harmonics are harder to hear at the same level, compared with higher order ones. In addition, even order harmonics are said to be generally harder to hear than odd order. A number of formulas that attempt to correlate THD with actual audibility have been published, however none have gained mainstream use.

Argentinian Oscar Alemán, who was in Paris at the same time as Reinhardt, tried to overcome the problem of audibility by using a resonator guitar, as did Eddie Durham, an arranger and trombonist with the Jimmie Lunceford orchestra who also played guitar. Durham experimented with amplification and became the first person to make audio recordings with electric guitar when he recorded with the Kansas City Five in the 1930s. He played a Gibson ES-150 arched-top which Gibson had started producing a couple years before. Durham persuaded Floyd Smith to buy an electric guitar, and while on tour he showed his amp to Charlie Christian.

St Martin-in-the-Fields, London (1720), James Gibbs The courtyard of Somerset House, from the North Wing entrance. Built for government offices. Until the Church Building Act 1818, the period saw relatively few churches built in Britain, which was already well-supplied,Summerson, 57–72, 206–224; Jenkins (1999), xxii although in the later years of the period the demand for Non-conformist and Roman Catholic places of worship greatly increased.Summerson, 222–224 Anglican churches that were built were designed internally to allow maximum audibility, and visibility, for preaching, so the main nave was generally wider and shorter than in medieval plans, and often there were no side-aisles.

Although A-weighting with a slow rms detector, as commonly used in sound level meters is frequently used when measuring noise in audio circuits, a different weighting curve, ITU-R 468 weighting uses a psophometric weighting curve and a quasi-peak detector.IEC 60268-1 This method, formerly known as CCIR weighting, is preferred by the telecommunications industry, broadcasters, and some equipment manufacturers as it reflects more accurately the audibility of pops and short bursts of random noise as opposed to pure tones. Psophometric weighting is used in telephony and telecommunications where narrow-band circuits are common. Hearing weighting curves are also used for sound in water.

That is, the (cultural) invisibility of the poetry reading is > what makes its audibility so audacious. Its relative absence as an > institution makes the poetry reading the ideal site for the presence of > language for listening and being heard, for hearing and for being listened > to. (Bernstein, 1998) Attendance at any Writers Festival in any State these days will confirm the quality of sounded works, and the emphasis placed on the importance of soundings by authors of their work in public. The new Australian poetry made poetry readings central to poetic culture: at Friendly Street (Adelaide), La Mama (Melbourne) at New Partz and later at Harold Park (Sydney).

Data gleaned from these blind tests is not accepted by some audiophile magazines such as Stereophile and The Absolute Sound in their evaluations of audio equipment. John Atkinson, current editor of Stereophile, stated that he once purchased a solid-state amplifier, the Quad 405, in 1978 after seeing the results from blind tests, but came to realize months later that "the magic was gone" until he replaced it with a tube amp. Robert Harley of The Absolute Sound wrote, in 2008, that: "...blind listening tests fundamentally distort the listening process and are worthless in determining the audibility of a certain phenomenon." Doug Schneider, editor of the online Soundstage network, refuted this position with two editorials in 2009.

Using a similar 2011 ML350, they measured the volume of the train horn at the distances where she might have been able to get out of the train's way. They found that the horn became distinctly louder from inside the vehicle when it was away, about four seconds before impact. From , the horn's volume was measured at 93.5 decibels (dB), 50.5 dB louder than ambient noise level inside the Mercedes, much higher than the 13 dB level above ambient recommended by ISO 7731 for audibility of emergency signals and warnings. The investigators allowed, however, that their tests were done with the car's radio and heater off, which may not have been the case with Brody's car that night.

Eno went on to record 1975's Discreet Music with this in mind, suggesting that it be listened to at "comparatively low levels, even to the extent that it frequently falls below the threshold of audibility", referring to Satie's quote about his musique d'ameublement. The impact the rise of the synthesizer in modern music had on ambient as a genre cannot be overstated; as Ralf Hutter of early electronic pioneers Kraftwerk said in a 1977 Billboard interview: "Electronics is beyond nations and colors...with electronics everything is possible. The only limit is with the composer". The Yellow Magic Orchestra developed a distinct style of ambient electronic music that would later be developed into ambient house music.

To determine what information in an audio signal is perceptually irrelevant, most lossy compression algorithms use transforms such as the modified discrete cosine transform (MDCT) to convert time domain sampled waveforms into a transform domain. Once transformed, typically into the frequency domain, component frequencies can be allocated bits according to how audible they are. Audibility of spectral components calculated using the absolute threshold of hearing and the principles of simultaneous masking—the phenomenon wherein a signal is masked by another signal separated by frequency—and, in some cases, temporal masking—where a signal is masked by another signal separated by time. Equal-loudness contours may also be used to weight the perceptual importance of components.

Great tits sing at a higher frequency in noise polluted urban surroundings than quieter ones to help overcome the auditory masking that would otherwise impair other birds hearing their song. Although great tits achieve a change in song frequency by switching song types, in other urban birds the change in frequency might be related to the Lombard effect. For instance, in humans, the Lombard effect results in speakers adjusting frequency The Lombard effect or Lombard reflex is the involuntary tendency of speakers to increase their vocal effort when speaking in loud noise to enhance the audibility of their voice. This change includes not only loudness but also other acoustic features such as pitch, rate, and duration of syllables.

Active noise reduction technology is used to provide noise protection like passive options, but also use circuitry to give audibility to sounds that are below a dangerous level (about 85 db) and try to limit the average output level to about 82 to 85 dB to keep the exposure at a safe level. Strategies to help protect your hearing from firearms also include using muzzle brakes and suppressors, shooting fewer rounds, and avoiding using a firearm with a short barrel. It is recommended to shoot outdoors or in a sound-treated environment and try to avoid an area that is not enclosed. has hard reflective surfaces, and has a group of shooters.

When compared to terrestrial environments, the noise levels incurred by astronauts and cosmonauts on the ISS may seem insignificant and typically occur at levels that would not be of major concern to the Occupational Safety and Health Administration – rarely reaching 85 dBA. But crew members are exposed to these levels 24 hours a day, seven days a week, with current missions averaging six months in duration. These levels of noise also impose risks to crew health and performance in the form of sleep interference and communication, as well as reduced alarm audibility. Over the 19 plus year history of the ISS, significant efforts have been put forth to limit and reduce noise levels on the ISS.

Noise measurements using this weighting typically also use a quasi-peak detector law rather than slow averaging. This also helps to quantify the audibility of bursty noise, ticks and pops that might go undetected with a slow rms measurement. ITU-R 468 noise weighting with quasi-peak detection is widely used in Europe, especially in telecommunications, and in broadcasting particularly after it was adopted by the Dolby corporation who realised its superior validity for their purposes. Its advantages over A-weighting seem to be less well appreciated in the USA and in consumer electronics, where the use of A-weighting predominates—probably because A-weighting produces a 9 to 12 dB "better" specification, see specsmanship.

Audio levels within analog disk, tape and broadcasting have traditionally been adjusted to keep peak levels within the physical and legal modulation limits of the medium. While this practice has resulted in relatively consistent dialog levels and has minimized audibility of channel noise, it has come with a severe penalty in the form of excessive audio compression and limited dynamic range. Digital recording has eliminated the concern for noise, but the lack of a standard for digital audio level has resulted in compact disc recordings and portable music player files with widely varying levels. Increasingly, digital music is excessively compressed, to ensure that the selection is not perceived by the listener as being too soft in comparison with other sources.

Pure-tone audiometry only measures audibility thresholds, rather than other aspects of hearing such as sound localization and speech recognition. However, there are benefits to using pure-tone audiometry over other forms of hearing test, such as click auditory brainstem response (ABR). Pure-tone audiometry provides ear specific thresholds, and uses frequency specific pure tones to give place specific responses, so that the configuration of a hearing loss can be identified. As pure-tone audiometry uses both air and bone conduction audiometry, the type of loss can also be identified via the air-bone gap. Although pure-tone audiometry has many clinical benefits, it is not perfect at identifying all losses, such as ‘dead regions’ of the cochlea and neuropathies such as auditory processing disorder (APD).

The choir and rear of deep chancels became little used in churches surviving from the Middle Ages, and new churches very often omitted one. With the emphasis on sermons, and their audibility, some churches simply converted their chancels to seat part of the congregation. In 19th-century England one of the battles of the Cambridge Camden Society, the architectural wing of the Anglo-Catholics in the Church of England, was to restore the chancel, including the choir, as a necessary part of a church. By pushing the altar back to its medieval position and having the choir used by a lay choir, they were largely successful in this, although the harder end of the High Church objected to allowing a large group of laity into the chancel.

Some acoustic instruments emit a mix of harmonic and inharmonic partials but still produce an effect on the ear of having a definite fundamental pitch, such as pianos, strings plucked pizzicato, vibraphones, marimbas, and certain pure-sounding bells or chimes. Antique singing bowls are known for producing multiple harmonic partials or multiphonics. Acoustical Society of America – Large grand and small upright pianos by Alexander Galembo and Lola L. Cuddly Hanna Järveläinen et al. 1999. "Audibility of Inharmonicity in String Instrument Sounds, and Implications to Digital Sound Systems" Other oscillators, such as cymbals, drum heads, and other percussion instruments, naturally produce an abundance of inharmonic partials and do not imply any particular pitch, and therefore cannot be used melodically or harmonically in the same way other instruments can.

An equally tempered perfect fifth, defined as 700 cents, is about two cents narrower than a just perfect fifth, which is approximately 701.955 cents. Kepler explored musical tuning in terms of integer ratios, and defined a "lower imperfect fifth" as a 40:27 pitch ratio, and a "greater imperfect fifth" as a 243:160 pitch ratio. His lower perfect fifth ratio of 1.48148 (680 cents) is much more "imperfect" than the equal temperament tuning (700 cents) of 1.4983 (relative to the ideal 1.50). Helmholtz uses the ratio 301:200 (708 cents) as an example of an imperfect fifth; he contrasts the ratio of a fifth in equal temperament (700 cents) with a "perfect fifth" (3:2), and discusses the audibility of the beats that result from such an "imperfect" tuning.

Revel, Haute-Garonne, France Pulpit at Blenduk Church in Semarang, Indonesia, with large sounding board and cloth antependium "Two-decker" pulpit in an abandoned Welsh chapel, with reading desk below 1870 Gothic Revival oak pulpit, Church of St Thomas, Thurstonland Ambo, in the modern Catholic sense, in Austria 19th century wooden pulpit in Canterbury Cathedral A pulpit is a raised stand for preachers in a Christian church. The origin of the word is the Latin pulpitum (platform or staging). The traditional pulpit is raised well above the surrounding floor for audibility and visibility, accessed by steps, with sides coming to about waist height. From the late medieval period onwards, pulpits have often had a canopy known as the sounding board, tester or abat-voix above and sometimes also behind the speaker, normally in wood.

Audio forensics is the field of forensic science relating to the acquisition, analysis, and evaluation of sound recordings that may ultimately be presented as admissible evidence in a court of law or some other official venue. Audio forensic evidence may come from a criminal investigation by law enforcement or as part of an official inquiry into an accident, fraud, accusation of slander, or some other civil incident. The primary aspects of audio forensics are establishing the authenticity of audio evidence, performing enhancement of audio recordings to improve speech intelligibility and the audibility of low- level sounds, and interpreting and documenting sonic evidence, such as identifying talkers, transcribing dialog, and reconstructing crime or accident scenes and timelines. Modern audio forensics makes extensive use of digital signal processing, with the former use of analog filters now being obsolete.

With the emphasis on sermons, and their audibility, some churches simply converted their chancels to seat part of the congregation. In 19th-century England one of the battles of the Cambridge Camden Society, the architectural wing of the Anglo-Catholics in the Church of England, was to restore the chancel as a necessary part of a church. By pushing the altar back to its medieval position and having the choir used by a lay choir, they were largely successful in this, although the harder end of the High Church objected to allowing a large group of laity into the chancel.White, 93-97 Different approaches to worship in the 20th century again tended to push altars in larger churches forward, to be closer to the congregation, and the chancel again risks being a less used area of the church.

The cab is not isolated from the main frame, causing engine noise to be the dominant background noise;Rail Safety & Standards board: The implications of the physical agents directive (noise): summary notwithstanding the implications for safety (audibility of warning signals etc.), and the potential for hearing damage in the long term, the conditions drivers face led to threats of industrial action in the UK in 2007, and an agreement for increased pay for drivers using this type of locomotiveAgreement between the NLF and CargoNet (Norwegian) (in Norway). By modifying using noise absorbing materials EMD succeeded in meeting TSI Noise Certification standards in 2008.Electro-Motive Diesel, Inc. (EMD) Updated Class 66 European Locomotive is First to Achieve TSI Noise Certification in Europe Tests on retrofitted cooling systems and improved seating have been carried out on some UK locomotives.

Infrasound arrays at infrasound monitoring station in Qaanaaq, Greenland Infrasound, sometimes referred to as low-frequency sound, describes sound waves with a frequency below the lower limit of audibility (generally 20 Hz). Hearing becomes gradually less sensitive as frequency decreases, so for humans to perceive infrasound, the sound pressure must be sufficiently high. The ear is the primary organ for sensing low sound, but at higher intensities it is possible to feel infrasound vibrations in various parts of the body. The study of such sound waves is sometimes referred to as infrasonics, covering sounds beneath 20 Hz down to 0.1 Hz. and rarely to 0.001 Hz. People use this frequency range for monitoring earthquakes and volcanoes, charting rock and petroleum formations below the earth, and also in ballistocardiography and seismocardiography to study the mechanics of the heart.

The guideline recommends that the AVAS should automatically generate a continuous sound in the minimum range of vehicle speed from start-up to approximately and during reversing, if applicable for that vehicle category, and lists the types of sounds that are not acceptable. It also states that the AVAS may have a pause switch to stop its operation temporarily. On 6 February 2013, the European Parliament approved a draft law to tighten noise limits for cars to protect public health, and also to add alerting sounds to ensure the audibility of hybrid and electric vehicles to improve the safety of vulnerable road users in urban areas, such as blind, visually and auditorily challenged pedestrians, cyclists and children. The draft legislation states a number of tests, standards and measures that must first be developed for acoustic vehicle alerting systems (AVAS) to be compulsory in the future.

Lerdahl has in turn been criticized for excluding "the possibility of other, non-hierarchical methods of achieving musical coherence," and for concentrating on the audibility of tone rows , and the portion of his essay focusing on Boulez's "multiplication" technique (exemplified in three movements of Le Marteau sans maître) has been challenged on perceptual grounds by Stephen and Ulrich . Ruwet's critique has also been criticised for making "the fatal mistake of equating visual presentation (a score) with auditive presentation (the music as heard)" . In all these reactions discussed above, the "information extracted", "perceptual opacity", "auditive presentation" (and constraints thereof) pertain to what defines serialism, namely use of a series. And since Schoenberg remarked, "in the later part of a work, when the set [series] had already become familiar to the ear" , it has been assumed that serial composers expect their series to be aurally perceived.

Williams could play blues standards, folk songs, and some pop tunes, but he told Welding in 1961 that he preferred playing spirituals, because he enjoyed them and "the police rarely would bother him if he confined himself to this sort of material". The Piedmont blues guitarist Frank Hovington, another musician who occasionally teamed up with Williams in Philadelphia in the 1940s, recalled that Williams was "more at home" performing spirituals, as he sang in a gospel quartet at an African Methodist Episcopal church in Frederick, Maryland. In 1961, when Williams was residing in a predominantly black neighborhood on Lombard Street in Philadelphia, Welding observed his performance of sanctified numbers with accordion accompaniment. After striking up a friendship with the producer, Williams explained that he had begun to play the accordion for its audibility, while also limiting his physical activity, both important characteristics for the aging musician.

The façade has two orders of pilasters. The second level has windows surmounted by unusual quadrilobal oval apertures and is crowned by a balustraded attic in which an iron cross is in the middle of four flamboyant travertine vases. The interior is an ideal example of Roman Jesuit architecture with its single nave preceded by an atrium, and its emphasis on visibility (clear sight lines to view the altar and Holy Eucharist) and audibility (the centrality of preaching and catechesis in Jesuit mission). This is classically seen in the Mother Church of the Jesuits, the Church of the Gesù where Baroque architecture was born, but is also seen in miniature at Caravita – an architectural plan following the same principles. left Caravita was completely rebuilt between 1670 and 1677, probably under the guidance of architect Giovanni Antonio de’Rossi, and was once again dedicated to Saint Francis Xavier, Apostle of the Indies, and the Madonna della Pietà as indicated in the inscription about the entrance on the Oratory’s façade.

In audio, a change in polarity refers to an equal phase shift of 180° at all frequencies, usually produced on one channel by reversing the connections of two wires. Some audiophiles claim that reversing the polarities of all the channels simultaneously makes a subtle perceptible difference in the reproduced sound, even though the relative phases of all the channels are preserved.Absolute Phase: A Prerequisite To Optimum Performance The ear is sensitive to the periodicity of a waveform at low frequencies; tests have shown that absolute phase can sometimes be heard by test subjects listening with monaural conditions (a single loudspeaker, or headphones sending the same signal to both ears.) Audio engineer Douglas Self concludes "there is a prima facie case for the audibility of absolute phase", especially for high impulse sounds such as percussion. The concept of absolute phase is rendered irrelevant for any instrument with strings (such as a guitar or piano), or for two or more instruments played together.

The audibility of print noise caused by contact printing depends on a number of factors: # the amount of print due to conditions of time and storage; # the thickness of the base film that acts as magnetic barrier (thin C-90 cassette tapes are more susceptible than studio mastering tapes that use a base film four times thicker); # the stability of the magnetic particle used in the tape coating; # the speed of the tape (the wavelengths of the prints shift so that higher speeds move printed signal closer to the range where the ear is more sensitive); the dynamics of the musical program (very quiet passages adjacent to sudden loud signals can expose the print signal transferred from the loud signal); and the wind of the tape (A-winds for cassettes with the magnetic layer facing outward have stronger print signals after a loud signal--"post- print"--than B-winds used in modern open-reel recorders that have stronger "pre-print" signals preceding a loud passage. echo.Audio Engineering Society. Technical Bulletin A011194. Tape speed is a factor because of the shift in wavelengths.

While most audio engineers are familiar with the A-weighting curve, which was based on the 40 phon equal-loudness contour derived initially by Fletcher and Munson (1933), the later CCIR-468 weighting curve (now supported as an ITU standard) is less well known outside of the UK and Europe. Originally incorporated into an ANSI standard for sound level meters, A-weighting was intended for measurement of the audibility of sounds by themselves. It was never specifically intended for the measurement of the more random (near-white or pink) noise in electronic equipment, though has been used for this purpose by most microphone manufacturers since the 1970s. The human ear responds quite differently to clicks and bursts of random noise, and it is this difference that gave rise to the 468-weighting, which together with quasi-peak measurement (rather than the rms measurement used with A-weighting) became widely used by broadcasters throughout Britain, Europe, and former British Commonwealth countries, where engineers were heavily influenced by BBC test methods.

67-95 They first conceived a complete, comprehensive full digital hearing aid, then designed and fabricated, miniaturized full digital computer chips using custom digital signal processing chips with low power and very large scale integrated (VLSI) chip technology able to process both the audio signal in real time and the control signals yet able to be powered by a battery and be fully wearable as a full digital wearable hearing aid able to be actually used by individuals with hearing loss. Engebretson, Morley and Popelka were the inventors of the first full digital hearing aid. Their work resulted in US Patent 4,548,082, "Hearing aids, signal supplying apparatus, systems for compensating hearing deficiencies, and methods" by A Maynard Engebretson, Robert E Morley, Jr. and Gerald R Popelka, filed in 1984 and issued in 1985. This full digital wearable hearing aid also included many additional features now used in all contemporary full digital hearing aids including a bidirectional interface with an external computer, self-calibration, self-adjustment, wide bandwidth, digital programmability, a fitting algorithm based on audibility, internal storage of digital programs, and fully digital multichannel amplitude compression and output limiting.