By Mike Chappell
;Light computing device weapons (The British Soldier within the twentieth Century four) КНИГИ ;ВОЕННАЯ ИСТОРИЯ Название: mild laptop weapons (The British Soldier within the twentieth Century 4)Автор: Mike ChappellИздательство: Wessex army PublishingISBN: 1870498038Год: 1988Страниц: 26Формат: PDF в RARРазмер: 19.93МБЯзык: английскийThis is the 4th in a sequence of illustrated Handbooks portraying the boys of the British military within the wars and campains of the 20 th century. This e-book tells the tale of sunshine computing device weapons with the emphasis on illustrstion - full-colour work, photos, drawings and technical illustrations.Скачать: DepositfilesUploading Hotfile zero
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2. Pickett, J. : The Sounds of Speech Communication, University Park Press, Baltimore, MD, 1980. 3. , and E. N. Pinson: The Speech Chain, Bell Telephone Laboratories, Waverly, 1963. 4. Sundberg, Johan: “The Acoustics of the Singing Voice,” in The Physics of Music, introduction by C. M. , 1978. 5. , 1976. 6. Mankovsky, V. : Acoustics of Studios and Auditoria, Focal Press, London, 1971. 7. : Musical Acoustics: An Introduction, Wadsworth, Belmont, Calif, 1980. com) Copyright © 2004 The McGraw-Hill Companies.
There is, for example, no doubt that the shape and composition of the frequency spectrum of the sound are major factors, as are the temporal behaviors of individual elements comprising the spectrum, but progress has been slow in identifying those measurable aspects of the signal that correlate with specific perceived dimensions, mainly because there are so many interactions between the dimensions themselves and between the physical and psychological factors underlying them. The field of electronic sound synthesis has contributed much to the understanding of why certain musical instruments sound the way they do, and from this understanding have followed devices that permit continuous variations of many of the sound parameters.
It is often assumed that they must also share the same frequency band. While this seems to be most effective, it is not absolutely necessary. The effect of a masking sound can extend to frequencies that are both higher and lower than those in the masking itself At low sound levels a masking sound tends to influence signals with frequencies close to its own, but at higher sound levels the masking effect spreads to include frequencies well outside the spectrum of the masker. The dominant effect is an upward spread of masking that can extend several octaves above the frequency of the masking sound.