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These criteria are determined by the pattern of reflections within the room. Diffusion in a room can be maximized in several ways. The introduction of oddly shaped protrusions aids in increasing diffusion. The success of many famous concert halls built in the nineteenth century can be largely attributed to the florid architectural features that offer diverse reflective and scattering properties for incident sound. Also, the intentionally irregular distribution of absorptive material in patches (https://discusturkiye.com/content/uploads/files/download/only-patch-idm-6-12-subwoofer-box.zip) will increase diffusion and increasing the randomness of the location of the patches results in the greatest diffusion. The possible effects of surface treatment on incident sound energy are shown in Figure 3/2-41. As shown in (b), a hard, flat surface will reflect sound in a specular manner just as light is reflected from a mirror, following the relationship that the angle of incidence (relative to a line perpendicular to the surface) equals the angle of reflection and is equal in magnitude. At a location where both direct and reflected waves arrive, the reflected wave is a delayed replica of the incident wave. Similarly, sound-absorptive material applied to a surface yields an attenuated and delayed replica of the incident wave, as shown in (a). Finally, a diffusive surface, as shown in (c), reflects the incident energy equally over a wide angular range and also corresponds to a widening of the energy received as a function of time.
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Atomic and molecular radiation produce radiant light energy. Atomic radiation (outer shell electrons) and radiation from arcs and sparks produce EM waves in the UV band. Molecular radiation and radiation from hot bodies produce EM waves in the IR band.
Impact Noise Reduction Impact noise, as the name implies, refers to such mechanisms as footsteps, objects dropped on floors, slamming doors, and so forth. The use of hard-surfaced flooring in corridors that are adjacent to studios should be discouraged from the design standpoint early on as part of the “quiet planning” for the interior studio design. Carpeted floor surfaces in corridors and support areas, where appropriate, will help alleviate the problem. Reduction of impact noise may, in many cases, be effectively helped by the obvious, such as a rug on the floor or castered chairs. To obtain improvements where hard-surface floors have to be used, techniques to improve TL, such as discontinuous construction, will be needed. An example of such construction with a hard-surfaced floor over a rubberbased resilient sound isolation sheet, with a sound-isolated ceiling below, is shown in Figure 3/2-31. Similar to the concept of STC, impact isolation class (IIC) is a single-number rating system to assess a barrier’s effectiveness at arresting transmission of impact noise. The IIC method is based on the use of a standard tapping machine that supplies a known impact noise profile.
Because of the resonance problems of small rooms, minimum sizes have been investigated over the years. The EBU recommends a preferred volume of 80 cubic meters (2825 ft3) for control rooms and 100 cubic meters (3530 ft3) for listening rooms. Less than 40 cubic meters (1410 ft3) is not recommended for use due to mode spacing problems.
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Note that cosmic rays (from astronomical sources) are not EM waves (rays) and, therefore, are not part of the EM spectrum. Cosmic rays are high-energy charged particles (electrons, protons, and ions) of extraterrestrial origin moving through space which may have energies as high as 1020 eV. Cosmic rays have been traced to cataclysmic astrophysical or cosmological events, such as exploding stars and black holes. Cosmic rays are emitted by supernova remnants, pulsars, quasars, and radio galaxies. Cosmic rays that collide with molecules in the Earth’s upper atmosphere produce secondary cosmic rays and gamma rays of high energy which also contribute to the natural background radiation. These gamma rays are sometimes called cosmic or secondary gamma rays. Cosmic rays are a useful source of high-energy particles for experiments.
Objects near room temperature emit most of their radiation in the IR band; however, even relatively cool objects emit some IR radiation, and hot objects, such as incandescent filaments, emit strong IR radiation. IR radiation is sometimes incorrectly referred to as radiant heat, because warm bodies emit IR radiation and bodies that absorb IR radiation are warmed; however, IR radiation is not itself heat. This radiant energy is more properly referred to as black body radiation. Such waves are emitted by all material objects; for example, background cosmic radiation (≈2/7 K) emits microwaves, room temperature objects (≈293 K) emit IR rays, the sun (≈6000 K) emits yellow light, and the solar corona (≈1 million K) emits X-rays. IR astronomy uses the 1 μm to 1 mm portion of the IR band to study celestial objects by their IR emissions. IR detectors are used in night vision systems, intruder alarm systems, weather forecasting, and missile guidance systems. IR photography uses multilayered color film, with an IR-sensitive emulsion in the wavelengths between 700 and 900 nm, for medical and forensic applications and for aerial surveying.
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Use of Nonparallel Walls When the room is not rectangular, room mode problems do not vanish, they just become difficult to calculate. The modal distribution is certainly affected by room shape changes, but room resonances are not eliminated since the basic presence of room modes is more associated with the volume of the room than with the shape alone.
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Mr. Pelton has designed quality acoustical environments for spaces such as schools, churches, auditoriums, and meeting and lecture rooms. He has also performed assessments of environmental noise impacts from industrial plants, airports, freeways, and railroads for city, state, and federal regulations. Skip Pizzi (Chapter 3/11) is Technical Policy Manager for Microsoft’s Entertainment & Devices Division, a position in which he helps define the company’s media-related public and business policies. In addition, he has represented Microsoft in digital broadcast standards organizations worldwide, and serves as a corporate liaison to the broadcast technology industry. Skip is a contributing editor at Radio World magazine, where he writes “The Big Picture” column that appears in every issue. Previously, he served as Editor-in-Chief of BE Radio (now Radio) magazine, and earlier spent 13 years at National Public Radio where he served as technical director for numerous awardwinning programs, and founded the company’s technical training program. His book, Digital Radio Basics, the world’s first on the subject of DAB, was published in 1992. He has contributed to several other technical texts, including McGraw Hill’s Digital Consumer Electronics Handbook and the CRC/IEEE Press Electronics Handbook. Skip is a frequent speaker at international conferences on broadcasting and audio, and currently cochairs the Surround Sound Audio Task Group of the National Radio Systems Committee. He also serves as a judge for the National Television Academy’s “Technical Emmy” Awards.
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The HVAC system in a studio or control room is often the primary source of noise introduced into the room. Also, the HVAC ductwork configuration may determine the level of acoustic leakage between rooms. The design of the air-distribution systems in studios is critical if these two parameters are to be maintained at acceptable levels, because relatively high volumes of conditioned air and large ducts are required, especially for television studios where high thermal loads are imposed by the lighting system. To accommodate the high airflows and maintain suitable sound levels, the air-distribution systems must be carefully designed from the fan systems through the supply air ductwork to the studio and back to the fan systems through the return air systems. Use of control dampers and registers must be minimized in all studio designs as they tend to add turbulence and noise. Proper air balance in the design and commissioning phase is critical.
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Dr. Hearty joined General Instrument (now Motorola Broadband) in 1994. He led the digital HDTV Grand Alliance group responsible for the video subsystem and served in the group overseeing development and standardization of the overall system. He spearheaded the deployment of General Instrument’s technology for digital compression, multiplexing, and satellite transmission in Canada. In 2001, Paul joined DemoGraFX, a company developing advanced video compression technology. In 2002, he started his own company, assisting clients in assessing, developing, and marketing advanced digital technologies. Dr. Hearty has been active in many standards bodies, including the FCC Advisory Committee on Advanced Television Service, the Advanced Television Systems Committee, and the International Telecommunications Union. He chaired the Society for Cable Telecommunications Engineers’ Digital Video Subcommittee, which sets standards for digital cable in North America since its inception in 1996, and currently is cochair of Canada’s Digital Television Technology Group (DTV-TC), a government-industryuniversity advisory group. Richard G. Hickey (Chapter 7/4) entered the field of technical sales in 1983. His entry into the world of Aviation Obstruction Lighting occurred in 1996 by joining the staff of Flash Technology in Franklin, Tennessee. In his tenure at Flash, he has held the positions of High Intensity Sales Manager, Product Manager, International Sales Manager, and Inside Sales Manager.
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Sound Level as a Function of Distance in an Enclosed Room In an enclosed room, the situation is more complicated than the case of a free field in an environment with no reflected sound energy. The total SPL at any point in the room will be the result of contributions directly from the source (referred to as the direct sound field) and sound energy associated with multiple reflections from the room surfaces (referred to as the diffuse or reverberant sound field).
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He is a graduate of Bradley University in Peoria, Illinois, having earned Bachelor of Science and Master of Science degrees in electrical engineering. Prior to fulltime consulting, Don was a tenured Associate Professor at Bradley. Don is the Technical Facilities Editor for Broadcast Engineering magazine with over 200 articles published since 1967. He has earned Honors from Tau Beta Pi and Sigma Tau in Engineering, Eta Kappa Nu for Electrical Engineering, and Phi Kappa Phi Graduate School Scholarship. He was honored as 1992 IEEE Illinois Valley Chapter Engineer of the Year. Don is an amateur radio operator K9WFG and has spoken at many conferences sponsored by various organizations. William G. Marshall (Chapter 5/20) is a Principal at Harvey Marshall Berling Associates. He has over 25 years of experience in the design of audio and video facilities for theatrical, broadcast, industrial, and educational television facilities and architectural lighting design services for hotels, amusement parks, arenas, restaurants, and military and government buildings and projects. Prior to forming Harvey Marshall Berling, he directed facilities design for Imero Fiorentino Associates, Caribiner International, and Jack Morton Worldwide.
An example of an individual prefabricated cavity resonator is shown in Figure 3/2-38, which is essentially a slotted concrete block. Another type of commercially available individual unit is shown in Figure 3/2-39.
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This new edition of the Handbook has been completely revised and updated from the 1999 9th edition with twenty-four new chapters that encompass the digital transition in broadcasting at all levels. There are new chapters that reflect how information technology has been adopted by broadcasters, how both radio and television operations benefit from the use of servers, LANs, the Internet, compression techniques, nonlinear editing, digital transmission, metadata, and many other important and timely subjects. The goal of the editorial staff on this project is to ensure that the information in the 10th edition represents what broadcast engineers need to know to be comfortable, competent, and effective in the rapidly changing broadcast technology environment. The great 18th century English literary figure Samuel Johnson once insightfully remarked: “Knowledge is of two kinds.
He represents the BBC on the board of the Advanced Authoring Format Association, and leads their engineering work. He is also a member of SMPTE W25 technology committee. Phil’s technical background includes MPEG-2 video standardization, video coding optimization, and MPEG bitstream manipulation. His current work areas include file format standardization, metadata interoperability, and technical architectures for program making. David T. Turner (Chapter 3/6) is currently Executive Vice President of ENCO Systems, Inc, in Southfield, Michigan, where he directs development of softwarebased solutions for the broadcast industry. Mr. Turner started in broadcasting in 1972 while a freshman in high school. He has an extensive background in radio and television broadcasting, including 20 years of top ten market experience. He has performed a variety of responsibilities including disc jockey, board operator, Transmitter Supervisor, Chief Engineer, Technical Director, Operations Supervisor, Facility Design Engineer, and has operated and serviced nearly every type of broadcast equipment. Mr. Turner holds a Bachelor of Science degree in electrical engineering from the University of Michigan, is an FCC-licensed First Class Radio Telephone Operator, and holds an Extra Class Amateur Radio Operator License. Mr. Turner is a contributing author to the NAB Engineering Handbook and has been a guest speaker and NAB, SBE, and SMPTE conferences.
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Test Reference Standard Test Method for Sound Absorption Coefficients by the Reverberation Room Method, ASTM C 423. Available from American Society for Testing and Materials (ASTM), 1916 Race Street, Philadelphia, PA 19103.
Naval Academy and an MSEE degree With Distinction from the Naval Postgraduate School. He is a Registered Professional Engineer in the Commonwealth of Virginia and a member of the IEEE, Eta Kappa nu, SMPTE, and AFCCE. Derek Small (Chapter 6/7) is Director of Filter Products for MYAT, Inc. After receiving his BS in electrical engineering from the University of Maine in Orono in 1986, he was immediately immersed in the design of passive microwave components and filter subsystems for military programs with M/A-Com and Continental Microwave. From 1993 to 1999, Mr. Small was the primary developer of high power filter products and other passive components for Passive Power Products of Grey, Maine. Key among his activities at Passive Power Products was his work in passive components and the development of very stable, high power UHF cavities.
Since 1959 the National Association of Broadcasters annually recognizes broadcast industry engineers for outstanding achievements during their distinguished professional careers and for significant contributions that have advanced the state of the art of broadcast engineering. In 1991 a second award was developed in order to separately recognize achievements in Radio and Television engineering and, on occasion, a third award is given to recognize individuals for their Service to Broadcast Engineering. The awards are presented during the Technology Luncheon at the annual NAB Convention.
UV Band The UV band is the region of the EM spectrum lying immediately above the visible light band in frequency. The UV band consists of EM radiation with wavelengths extending between the shortest visible violet 4 Some reference texts use 2/5 μm (120 THz) as the breakpoint between the near and the intermediate IR bands and 10 μm (30 THz) as the breakpoint between the intermediate and far IR bands. Also, 15 μm (20 THz) is sometimes considered as the long wavelength end of the far IR band.
BBC Research and Development Report, The British Broadcasting Corporation. Baird, M. A Wideband Absorber for Television Studios, BBC RD 1994/12. Burd, A, and Sproson, W. Acoustic Scaling: Subjective Appraisal and Guides to Acoustic Quality, BBC RD 1974/28. Fletcher, J. A Practical Study of a Vibration Isolated Room, BBC RD 1990/8. Mathers, C. Some Properties of Antivibration Mounts Used in Building Isolation, BBC RD 189/3. Plumb, G. Lightweight Partitions Having Improved Low-frequency Sound Insulations, BBC RD 1995/6. Plumb, G. The Sound Insulations of Metal-framed Partitions Having Structural Loadbearing Properties, BBC RD 1994/8. Walker, R. Optimum Dimension Ratios for Studios, Control Rooms, and Listening Rooms, BBC RD 1993/8. Walker, R. Acoustic Noise Criteria for Listening Rooms and Control Rooms, BBC RD 1994/6. Walker, R. Acoustic Criteria and Specification, R&D White Paper, WHP 021, January 2002.
Duct Arrangements Figure 3/2-46 illustrates a typical television studio layout plan for a large television studio and a small studio, showing the supply ductwork, silencers, and outlet grille locations. Air Velocity The amount of noise from a duct system is strongly dependent on the air velocity in the duct. Table 3/2-7 lists the maximum air velocities needed for various NC values. Low-noise design requires low air velocities that, for the same amount of total airflow, lead to the use of multiple ducts or larger duct cross-sections, both of which imply higher costs. Diffusers designed to minimize turbulence-induced noise at the entry point to the room are also important.
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Prior to NAB, Mr. Wilson spent four and a half years in the Office of Engineering and Technology at the Federal Communications Commission, providing engineering support on equipment authorization and spectrum allocation issues. Before that, he spent six years at WUVA–FM in Charlottesville, Virginia, serving for several years as the station’s Chief Engineer before becoming its General Manager and President. Mr. Wilson holds a BS degree in electrical engineering and an MS degree in accounting, both from the University of Virginia. He is also an SBE-certified Broadcast Engineer. David Wood (Chapter 1/14) is Head of New Media for the European Broadcasting Union (EBU), Geneva, Switzerland. The EBU is the collective organization for Europe’s 65 national broadcasters, and has a further 60 associate members from the rest of the world. It acts in matters of common interest to its members in television, radio, and multimedia, in sports coverage, news coverage, music, drama, and documentary, and in legal and technical matters. David has chaired new media coordination activities for the EU IST program for many years, and chaired several Working Groups in the ITU. He is particularly interested in the future success of radio as a media form in the new media environment, and in the evolution of audio components of television. David was educated at Southampton University in the UK, the UNIIRT in Odessa, and the Harvard Business School in the United States.
Thomas G. Osenkowsky began his career in broadcasting in 1973 while a senior in high school. He has held positions as announcer, Chief Engineer, Operations Manager, and General Manager at broadcast stations in ConnectThomas G. Osenkowsky icut. He has written software for antenna system design and Associate Editor analysis, RFR, mapping and other broadcast engineering related tasks. He has served as a consultant to AM and FM stations in the United States and Caribbean islands. He is a Senior Member of the Society of Broadcast Engineers (SBE), Institute of Electrical and Electronics Engineers (IEEE) and National Association of Radio and Telecommunications Engineers (NARTE). Mr. Osenkowsky earned his Professional Broadcast Engineer Life Certification (CPBE) from the SBE, a Certified Master Engineer with Master RF Radiating Endorsement from NARTE, and holds a First Class Radiotelephone license from the FCC. He has presented papers at Broadcast Engineering Conferences held at NAB Conventions, SBE Annual Conventions, and state broadcasters annual conventions. He is a regular contributor to Radio World magazine, a private pilot, and amateur radio operator – N1IXJ.
The International Telecommunication Union (ITU) coordinates frequency band allocation and coordination on a worldwide basis. Radio astronomy uses radio telescopes to receive and study radio waves naturally emitted by objects in space. Radio waves are emitted from hot gases (thermal radiation), from charged particles spiraling in magnetic fields (synchrotron radiation), and from excited atoms and molecules in space (spectral lines), such as the 21 cm line emitted by hydrogen gas.
Rod Fairweather (Chapter 5/16), Harris Corporation, studied electronic engineering at Edinburgh University, and obtained his MBA at Imperial College, London. After joining BBC TV as an engineer, Rod moved into studio directing, where he built up extensive live directing experience with the BSkyB, GMTV, and ITN facilities.
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He is a graduate of the Wharton School of the University of Pennsylvania. Mr. Weiss’ career is dedicated to designing and building systems for broadcast and related-industry entities. He also has worked on developing many of the technologies that underlie the digital television systems currently being implemented. He has led several development efforts and tests and chaired committees that have prepared standards for the Society of Motion Picture and Television Engineers (SMPTE), the FCC Advisory Committee on Advanced Television Service (ACATS), and the Advanced Television Systems Committee (ATSC). Mr. Weiss has pursued, for over 15 years, use of multiple transmitters by television broadcasters to cover their service areas. Such service can be provided by distributed transmitters, distributed translators, and digital on-channel repeaters, or combinations of them. Use of multiple transmitters requires synchronized with one another. To make such uses practicable, he invented technology that allows synchronization of 8-VSB modulation and recently received a patent on the method. The current ATSC standard for transmitter synchronization (A/110) embodies his technology. Mr. Weiss is a Fellow of SMPTE and received its 1995 Sarnoff Gold Medal Award and its 2005 Progress Medal.
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With studio lighting thermal load, air buoyancy forces the warm air upward. However, in many studios the cold air supply is usually introduced at a high elevation with return air inlets at a low elevation. In larger studios the use of overhead distributed systems can provide good air coverage, away from any curtains, sets, and scenery that may obstruct the airflow.
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Self-Noise Self-noise is normally perceived as a hiss. It is the electronic noise generated by the passive or active circuitry of the microphone itself. Condenser microphones use a vacuum tube or field effect transistor (FET) to convert the high impedance of the condenser capsule to a lower impedance, more suited for the input of a microphone preamp. Vacuum tube condenser microphones are generally noisier than condenser microphones that use FETs. However, careful selection of the vacuum tube can result in a tube microphone being quieter than its FET counterpart. Self-noise is an important factor in studio recordings, where every effort is made to eliminate extraneous noise. Self-noise is less important in applications in which the ambient noise level is considerably higher. The ambient noise level in a broadcast air studio may be quite low, equaling that of a well-designed music studio.
Noise Reduction between Rooms The formulae for calculating transmission loss of a partition were discussed in the Physics and Theory of Sound section, under Airborne Noise Reduction. Noise reduction (NR) is the actual difference in SPL measured in a room containing an offending noise source and the room under test.
Microwave Band The microwave band is the region of wavelengths between the far IR/submillimeter region and the conventional RF region. The boundaries of the microwave band have not been definitively fixed but are commonly regarded as the region of the EM spectrum extending from about 1 mm to 1 m (300 GHz–300 MHz).
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For rooms in which one or more dimensions must exceed twice the smallest dimension, even multiples of any of the preferred ratios can be used. Set 3 utilizes the ratios of set 2, but with the length and width each multiplied by 2. Room mode analysis and optimization are particularly important in small rooms, such as studios, control rooms, announce booths, and so forth. A look at the example in Figure 3/2-14 shows why. Small rooms have few modes at the lowest audio frequencies and the spacing between them may be excessively large. The lowest mode in a room is equal to 565/L, where L is the longest dimension of the room. This is λ/2 for a sound speed of 1130 ft/sec. Audio energy below this frequency will not be supported at all by resonance, and room response at these frequencies will be attenuated.
So much information is on the Internet, finding just what is needed in a reasonable amount of time is a difficult (sometimes impossible) challenge, and the credibility of the information that is found may be unknown or questionable. For the broadcast engineer in today’s fast-paced business and technological environment, the mere known existence of online information alone is not enough; there must also be certainty of timely access to the information and there must be confidence in its veracity.
FIGURE 3/2-10 Illustration of directivity: Q = 1: For free-field radiation and there are no reflecting surfaces. Q = 2: Where the sound source is on the floor in the center of a large room or on ground level outdoors. Q = 4: When the source is near the intersection of the floor and a wall. Q = 8: When the source is near the intersection of the floor and two walls.
Doors High-isolation doors are difficult to build and maintain since the gasketing and sealing of the door must be extremely precise and not degrade with time or wear and tear. Figure 3/2-25 shows standard acoustical door frame and gaskets. Figure 3/2-26 shows an installed door. The acoustical door itself must be of high mass low-resonance solid construction. Figure 3/2-27 shows increased isolation achieved with a double door arrangement built into a combined masonry and drywall partition. Example of double-stud gypboard wall: STC-76: (a) three layers of 5/8-inch gypboard, staggered, (b) 3-inch glass fiber or mineral wool batt sound blanket (×2), (c) 3-5/8-inch metal stud (×2), (d) cove base, (e) two layers of 5/8-inch gypboard, staggered, and butted joints, tape all layers, (f) 1-inch air gap, and (g) acoustical sealant.
While this has some merit, NRC has the considerable disadvantage that low- (and high-) frequency absorption is not considered. These are important criteria to consider in critical broadcasting applications. Also, the variation of α with frequency is an important consideration in critical applications where optimizing the total absorption in a room at all frequencies is important. Since NRC is an unweighted average, two materials with the same NRC could have drastically different absorption versus frequency characteristics. Wherever possible, absorption in a room should be analyzed separately in the various frequency ranges of interest.
Steve Church (Chapter 3/10) spent the first part of his career as a Chief Engineer at stations WFBQ in Indianapolis, IN Indiana, and WMMS in Cleveland, Ohio. He was also a part-time talk-show host. In this dual role, he determined that broadcast telephone interfacing systems needed to be improved. As a result, he developed the first digital audio telephone interfacing product for the radio broadcasting industry, the Telos10 on-air phone interface. After selling a few to friends and getting a positive reaction, he decided it had commercial potential and founded Telos Systems to manufacture and market it. Twenty years later, Mr. Church remains head of Telos Systems, which has grown to include Zephyr ISDN/IP codecs, Omnia processing, and Axia IPbased studio equipment. He was the first to use MP3 in a telephone interface product. Mr. Church is a co-inventor of Livewire, an Ethernet/IP technology for the transport and routing of professional studio-grade audio. Tim Claman (Chapter 5/11) is Director of Product Design for Avid Technology, Inc, the leading manufacturer of media content creation tools. During his six-year tenure at Avid, Tim has contributed to a number of product and technology areas, including Avid’s nonlinear editing products, as well as the Avid Unity family of collaborative storage and asset management solutions. His unique perspective on media creation solutions stems directly from his 10year career in film and television post production.
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Figure 3/2-43 illustrates diffuser panels below a control room window. Cloth is used to cover the diffusion providing the desired finished appearance. Examples of studio wall and ceiling treatment are shown in Figures 3/2-44 and 3/2-45. The ceiling uses RPG BAD® panels with RPG Quatratic® panels on the rear wall. Two inch fiberglass is shown on other portions of the wall. A decorative, acoustically transparent cloth is stretched on the ceiling and walls to provide the desired finished appearance.
The distinction between the two is based on their origin. X-rays are emitted during atomic processes involving energetic electrons; gamma rays are emitted by excited nuclei or other processes involving subatomic particles. Gamma rays are emitted by the nucleus of radioactive material during the process of natural radioactive decay as a result of transitions from high-energy excited states to low-energy states in atomic nuclei. Cobalt 90 is a common gamma ray source (with a halflife of 5/26 years). Gamma rays are also produced by the interaction of high-energy electrons with matter. Cosmic gamma rays cannot penetrate the Earth’s atmosphere. Applications of gamma rays are found both in medicine and in industry. In medicine, gamma rays are used for cancer treatment, diagnosis, and prevention. Gamma ray emitting radioisotopes are used as tracers. In industry, gamma rays are used in the inspection of castings, seams, and welds.
Floating Construction Floating construction is a combination of discontinuous construction and resilient mounting techniques. Floating floors are solid slab floors that are completely isolated from the structural floor by a resilient underlayment or resilient isolators. Walls may be built attached to the floating floor and a ceiling may be resiliently hung from the structural ceiling, resulting in an actual room-within-a-room with very high isolation possibilities, as shown in Figure 3/2-30. This type of construction can be extremely expensive but is sometimes the only avenue to achieving high levels of sound isolation, especially at low frequencies, in high noise environments or when very low ambient noise levels are required. There are many variants of floating construction that can be used depending on the actual need. One example is a prefabricated studio using a room-within-a-room concept designed and constructed of factory-fabricated metal acoustical panels. These have built-in acoustical doors and quiet ventilation ducts.
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CONTRIBUTORS TO THE 10TH EDITION Broadcasting Company, Boston’s long-time classical music broadcaster, where he served for 20 years. David’s experience as a corporate executive and independent service provider has exposed him to a broad spectrum of engineering issues, including facility design, construction, operation, and safety management. With a Bachelor of Science degree in broadcasting, David’s career has led to certification by the Society of Broadcast Engineers, and he is a member of the Institute of Electrical and Electronics Engineers. He holds an FCC First Class License with radar endorsement, and is also a licensed construction supervisor. David is a regular presenter of technical papers at NAB conferences on topics ranging from datacasting technology, to RF safety signs and exposure management, to measurements of IBOC signals. He developed an authoritative, ANSI-compliant set of RF safety signs available on RFSigns.com. As his company’s representative to the National Radio Systems Committee, he actively participated in the development of the NRSC-5 IBOC standard. He is coauthor of The IBOC Handbook, published by Focal Press. Jeff Mazur (Chapter 5/10) is the Senior Director of Technology for ABC Entertainment, which includes the Los Angeles-based Primetime On-Air Promotions Department. He has written over 50 articles and several books on broadcasting, electronics, and computers.
There are three basic types of absorber: porous, panel, and cavity resonator: • Porous absorber: Characterized by a material with deep pores and cavities. Sound energy entering the pores is dissipated by frictional and viscous resistance and/or vibrations of fibers of the material.
NAB ENGINEERING HANDBOOK capacities at KWCS, KOET, Harris Corp, The Grass Valley Group, Utah Scientific, and DIRECTV. Mr. Stanger received a Bachelor’s degree in electronic engineering in 1968 from Weber State University and a Master’s degree in business administration from the University of Phoenix in 1995. Mr. Stanger is an active member of the Institute of Electrical and Electronic Engineers (IEEE) and The Society of Motion Picture and Television Engineers (SMPTE). He has served on a number of engineering committees to develop standards and practices for the broadcast industry as well as private companies. He holds 10 patents relating to television production, distribution, and transmission. He can be reached via e-mail at [email protected] Mike Starling (Chapter 3/4) joined NPR in 1989 as Senior Engineer, was named Director of Engineering in 1991, Vice President for Engineering in 1998, and Vice President, Chief Technology Officer in 2005. He is also Executive Director of NPR Labs, NPR’s broadcast technology research and development unit. Mr. Starling’s undergraduate degree is in broadcast journalism and radio-TV from the University of Maryland. He also earned a BSL and Doctor of Jurisprudence degree from National University School of Law in San Diego. In the 1970s Mr. Starling founded, built, and managed commercial and noncommercial stations in Virginia (WKYY-AM, WUDZ-FM, and WWLC-FM) and was Chief Engineer for NPR Member Station KPBS-FM in San Diego in the 1980s.
The values of α range between 0 and 1, with 0 being a perfect reflector and 1 being a perfect absorber. In practical terms, absorption coefficients of surfaces are used in room design to aid in controlling reflections. For room design, an open window is considered a perfect absorber since no energy that strikes the opening is reflected back into the room. The total absorption of a surface is defined as the product of its absorption coefficient and the surface area. The unit of absorption is the sabin, named for the early twentieth-century acoustician, Wallace Clement Sabine.
The disastrous effect of cracks and air gaps on achieving high-TL partitions can easily be illustrated with this formula. For example, using τ = 1 for a crack, consider the effect of an 1/8-inch crack under a door having a TL of 30 dB. The composite TL is then approximately 26 dB. Applying this same situation to a door with TL = 50 dB, yields a composite TL of approximately 28 dB, a 22 dB loss in isolation due to the air gap! In partition design, the need for avoidance of cracks and gaps and the importance of gasketing and sealing cannot be overstated. High sound isolation simply cannot be achieved if these factors are ignored or compromised.