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Literally, to hear with two ears. Opposite of MONAURAL HEARING. The fact that the ears are some distance apart allows the localization of sound by registering the slight differences in time, PHASE and INTENSITY of the sound striking each ear. Each of these parameters has a different area of effect, intensity being a major factor above 1500 Hz (see SOUND SHADOW), while PHASE DIFFERENCEs (which are equivalent to time differences) are used in localizing lower frequency sounds.
A pre-recorded or simulated sound produced for a radio, television, film or theatrical program in order to suggest an actual sonic environment. The design of such sounds (often abbreviated as SFX), particularly when a complex acoustic environment is to be simulated, involves a thorough understanding of the structure of such a SOUNDSCAPE; that is, what sounds are representative and most significant, as well as which are necessary to create a given AMBIENCE and sense of ACOUSTIC SPACE.
A TONE having more than a single FREQUENCY component. For instance, a tone consisting of a FUNDAMENTAL and OVERTONEs or HARMONICs, may be said to be complex.
(Greek: akouein = to hear) Commonly, the study of SOUND and its behaviour in various media and environments, including the effects of ABSORPTION, DIFFRACTION, INTERFERENCE, REFLECTION, and REFRACTION.