Cue Camp Virginia is scheduled for Columbus Day weekend, October 8-11. NEW RESEARCH shows Cued Speech use makes the difference between comprehension and confusion for D/HH CI and HA users in a noisy environment. 'Cued Speech Enhances Speech-in-Noise Perception'. Cue Camp Virginia. Reflections of a First Timer Facebook. Nancy Floyd, born in Monticello, Minnesota in 1956, is an American photographer. Her photographic subjects mainly concern women and the female body during youth, pregnancy, and while aging.
Pinna reflections Emphasize text with purple haze and highlighter.
Batteau first proposed the localization theory based onpinna reflections. Batteau suggested that the structure of the pinna causedmultiple reflections of sound and the delay betwee the direct and the reflectedsound varies with the direction of the sound source.
[ batteau-1967 ] D. W. Batteau, The Role of the Pinna in Human Localization Proceedings of the Royal Society of London. Series B, Biological Sciences, Vol. 168, No. 1011. (Aug. 15, 1967), pp. 158-180.
'The role of the pinna in localization is tointroduce, by means of delay paths, a transformation of the incoming signalwhich is mentally inverted to provide attention, and that the inverse transformrequired defines the localization of the sound source.'
One of the earliest papers to give model for the pinna in terms of multiple reflections. There are multiple paths sound should travel before reaching the pinna. Because of the different path-length s there are multiple delays involved. The delays inroduced by the pinna were easliy seen to depend on the orientation of the sound source with respect to the pinna.
Hebrank and wright argue that the pinna notch isdomiant cue for localization in the median vertical plane. The case of the pinnaspectral notches is attributed to the reflection of the sound from the posteriorconcha wall.
[ wright_jasa1974 ] Wright D, Hebrank JH, and Wilson B. Pinna reflections as cues for localization. J Acoust Soc Am 56: 957-962, 1974.
This paper presents experiments to determine whetherdelays caused due to pinna reflections are detectable by humans. The resultsshow that delay times of of 20 usec are easily recognizable when the amplituderatio of the dealyed delayed signal to the leading signal is greater than0.67. Just noticeable results agreed with the measurements of the minimumaudible angle for monaural localization.
[ hebrank_jasa1974b ] Hebrank, J., Wright, D., Spectral Cues Used in the Location of Sound Sources on the Median Plane, Pages 1829 - 1834, J. Acoust. Soc. Amer., 56(6), 1974.
Sound spectra from 4 to 16 khz are necessary forlocalization. Specifically identified three cues by experiments. Frontal cuesare a 1-octave notch betwee 4 to 10 kHz, above cue is a one-octave peak between7-9 khz and behind cue is a peak between 10 to 12 kHz. Increases in frontalelevation are signalled by the increase in the lower cutoff frequency of the1-octave notch. The notch appears to be generated by time-dealyed reflectionsoff the posterior concha wall interfering with sound directly entering theexternal auditory canal. Alsp speculate that the association between auditoryand spatial highness results from the frontal elevation cue.
This idea was further refined by Lopez Poveda whoincorporated diffractionin the model and the predicted spectral notches agreedclosely with the measured ones.
[ lopez_jasa1996 ] Lopez-Poveda, EA, and Meddis, R. (1996). Mortal kombat karnagegamerate. 'A physical model of sound diffraction and reflections in the human concha,' J. Acoust. Soc. Am. 100, 3248-3259.
This paper proposes a physical model for the human concha based on diffraction and reflection. The sound wave is scattered within the concha cavity and therefore significant reflections must occur on an infinite number of points along the posterior wall for all source locations. The model predicts the elevation-dependent spectral features related to the transverse dimensions of the concha. Specifially nulls N1 and N3 agreed with their prediction. However the null N2 did not show up. This could be due to the crus helias. One thing to be noted from this paper is that a simple dealy model may not accrately predict the location of the nulls (due to diffraction). Can explain the notches in the contrlateral side if we assume that the sound creeps around the head entering the contralateral concha at approximately the same elevation angle as if the source was in the ipsilateral hemisphere
Artist: Doug HammondAlbum: Reflections in the Sea of Nurnen
Label:
Label: P-Vine Records
Released: 1975/2009
Quality: FLAC (tracks+.cue)
Cue 16 Reflections Meaning
Tracklist:- Fidalgo Detour (Metcalf) - 7:37
- Space II (Durrah) - 0:43
- Wake Up Brothers (Hammond) - 3:12
- Reflections (Harris) - 4:30
- For Real (Hammond) - 3:04
- Space I (Durrah) - 2:08
- Sea of Nurnen (Durrah) - 4:43
- Moves (Hammond) - 4:34
- Venus Fly Trap (Durrah) - 2:52
- Kai (Durrah) - 3:54
Cue 16 Reflections Youtube
DOWNLOAD FROM FILECAT.NET >>>- Personnel:
- Doug Hammond - vocals, drums, melodica, Arp synthesizer
- David Durrah - piano, Fender Rhodes, Moog, Arp synthesizer
- Charles Metcalf - bass violin, electric bass
- Otis Harris - alto saxophone
- Thomas (Turk) Trayler, Fredrick Boon - percussion
- Trevis Mickeel, Charles Burnham - violin
Cue 16 Reflections Hair Salon
An incredible session from the legendary Tribe Records scene -- an equal effort from leader Doug Hammond and keyboardist David Durrah, who contributes some groundbreaking Fender Rhodes and moog work to the set! Hammond handles drums plus a bit of vocals and synthesizer on the session -- working alongside Durrah in a groove that mixes electric and acoustic instrumentation into a totally righteous sound with lots of heavy Afro Jazz leanings. A number of tracks feature great vocals from Hammond -- righteous, and with a beautifully souful message-oriented approach -- and a few other tracks, such as the classic 'Space I' and 'Space II', feature a sparer all-electric sound. The whole thing's wonderful -- skittishly rhythmic, warmly flowing, and righteously beautiful.