Creating sound maps

1992 ◽  
Vol 78 (8) ◽  
pp. 54-54
Author(s):  
Patricia Casey
Keyword(s):  
Sound Maps

scholarly journals Hindcasting Soundscapes before and during the COVID-19 Pandemic in Selected Areas of the North Sea and the Adriatic Sea

2021 ◽  
Vol 9 (7) ◽  
pp. 702
Author(s):  
Hüseyin Özkan Sertlek
Keyword(s):  
North Sea ◽  
Adriatic Sea ◽  
Propagation Model ◽  
The North ◽  
Fishing Vessels ◽  
Water Test ◽  
The North Sea ◽  
Monthly Changes ◽  
Source Level ◽  
Sound Maps

The national measures in several European countries during the COVID-19 pandemic also affected offshore human activities, including shipping. In this work, the temporal and spatial variations of shipping sound are calculated for the years before and during the pandemic in selected shallow water test areas from the Southern North Sea and the Adriatic Sea. First, the monthly sound pressure level maps of ships and wind between 2017 and 2020 are calculated for frequencies between 100 Hz to 10 kHz. Next, the monthly changes in these maps are compared. The asymptotic approximation of the hybrid flux-mode propagation model reduces the computational requirements for sound mapping simulations and facilitates the production of a large number of sound maps for different months, depths, frequencies, and ship categories. After the strictest COVID-19 measures were applied in April 2020, the largest decline was observed for the fishing, passenger and recreational ships. Although the changes in the number of fishing vessels are large, their contribution to the soundscape is minor due to their low source level. In both test areas, the spatial exceedance levels and acoustic energies were decreased in 2020 compared to the average of the previous three years.

scholarly journals Distributing Authorship at a Localised Scale: Developing public engagement in sound mapping

2021 ◽  
Vol 26 (2) ◽  
pp. 255-264
Author(s):  
Conor McCafferty
Keyword(s):  
Public Engagement ◽  
Creative Process ◽  
Web Based ◽  
Field Recording ◽  
Expert User ◽  
Urban Rural ◽  
User Groups ◽  
Participant Group ◽  
Sound Maps ◽  
Geospatial Mapping

Sound maps, particularly the web-based examples that have proliferated since the early 2000s, have proven compelling and valuable as means of conveying diverse perspectives of urban, rural and wilderness sound environments, while opening the creative process of mapping through field recording to non-expert user groups. As such, sound maps hold the promise of broad public engagement with everyday sonic experience and spatial typologies. Yet this straightforward participatory aim is prone to complication in terms of participatory frameworks and scale of analysis. Drawing on a catalogue of sound maps by the author, this article problematises the participatory norms of sound mapping and, in tandem, calls for a more nuanced approach to scale than typically seen to date in sound maps based on geospatial mapping APIs. A sound mapping workshop in Lisbon with a multidisciplinary participant group provided the opportunity to ‘re-prototype’ sound maps at the scale of a local neighbourhood using multimodal means of representation; the results highlighted questions of form, scale, representation, authorship and purpose in sound mapping and demonstrated its continuing potential as a participatory practice.

scholarly journals Soundscape approach integrating noise mapping techniques: a case study in Brighton, UK

Noise Mapping ◽  
2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Francesco Aletta ◽  
Jian Kang
Keyword(s):  
Road Traffic ◽  
Environmental Noise ◽  
Sound Level ◽  
Road Traffic Noise ◽  
Sound Sources ◽  
Noise Mapping ◽  
Acoustic Environment ◽  
Sound Environment ◽  
Sound Maps

AbstractIn the guidelines about the management of areas of good environmental noise quality recently published by the European Environment Agency (EEA) it is suggested to combine different methodologies, like noise mapping, sound level measurements and the soundscape approach. Such a recommendation has started to be recognised by a number of local authorities in Europe that are gradually integrating a holistic concept into their environmental noise policies. This research aimed to explore and demonstrate the possibility to integrate conventional noise mapping methods and soundscape methods in an actual urban redevelopment project. A case study was made using the Valley Gardens project in Brighton & Hove (UK). Different scenarios of sound-pressure level distributionswere simulated for both traffic sound sources (i.e. noise maps) and natural sound sources (i.e. sound maps). Additionally, individual responses about the sound environment of the place collected during an on-site question survey were used to implement soundscape maps.The overall picture revealed that the road traffic noise should be reduced, but also it is feasible that preferred sounds likewater features or birdsong could be introduced to make the sound environment more appropriate for the place. Generally, within the framework of this research, noise maps, sound maps and soundscape maps were used together to "triangulate" different layers of information related to the acoustic environment and the way it is perceived, providing a possible working procedure to consider for planners and policy-makers in the future.

scholarly journals The effect of sound speed profile on shallow water shipping sound maps

2016 ◽  
Vol 140 (1) ◽  
pp. EL84-EL88 ◽  
Author(s):  
Hüseyin Özkan Sertlek ◽  
Bas Binnerts ◽  
Michael A. Ainslie
Keyword(s):  
Shallow Water ◽  
Sound Speed ◽  
Speed Profile ◽  
Sound Speed Profile ◽  
Sound Maps

‘The McBrides are from here’: Listening to Green Ways as creative cartophony

2021 ◽  
Vol 26 (2) ◽  
pp. 291-300
Author(s):  
Gustavo Branco Germano
Keyword(s):  
Everyday Life ◽  
Field Recordings ◽  
Sound Maps

In this article I discuss how Áine O’Dwyer and Graham Lambkin’s 2018 album Green Ways connects with recent criticisms of sound mapping practices. Following an interpretation put forward by the artists themselves, I investigate the cartographic aspects of their project, and how these are conveyed in an album format. The concept of cartophony, suggested elsewhere by Samuel Thulin, is employed as a way to consider different relationships between sound and mapping practices that extrapolate common assumptions of what sound maps are and how they operate. First, I listen to how the artists create sonic performances in which they interact with different elements of the places they are performing in, making sounds not only in the place but also with the place. Then, I consider the different ways in which specificities of place are mapped through the incorporation of speech and singing. Finally, I show how the album’s underlying narratives directly address the problematic distinction between performance situations and everyday life. Considering the project’s unusual emphasis on the artists’ presence, as well as its incorporation of speech, singing and artistic performances, I suggest that Green Ways invites us to broaden our understanding of what field recordings and sound maps can be.

Definition and results of test cases for shipping sound maps

2015 ◽  
Author(s):  
Mathieu E. G. D. Colin ◽  
Michael A. Ainslie ◽  
Bas Binnerts ◽  
Christ A.F. de Jong ◽  
Ilkka Karasalo ◽  
...  
Keyword(s):  
Test Cases ◽  
Sound Maps

scholarly journals Acoustic Imaging of Sound Sources with a Student-Designed Acoustic Camera

2007 ◽  
Vol 6 (2) ◽  
Author(s):  
Joachim Sigl ◽  
René Scheucher
Keyword(s):  
Microphone Array ◽  
Visual Image ◽  
Sound Level ◽  
Sound Sources ◽  
Multiple Signal Classification ◽  
Visualization Software ◽  
Comprehensive Information ◽  
Sound Maps ◽  
Established Technique ◽  
Phase Differences

An acoustic camera consists of a microphone array, a data recorder and sound analysis- and -visualization software. It creates a color-coded sound map that displays the sound sources overlaid on the visual image of the recorded object. The sound maps are usually produced by analyzing the phase differences of the signals measured by the array microphones. Delay-and-sum beamformer and multiple signal classification (MUSIC) techniques are used in this work for the localization of sound sources. Beamformers are able to determine the amplitude of incident sound, but suffer from poor resolution and from ghost images. MUSIC, on the other hand, is an established technique for efficient and accurate noise source location, which can provide high-resolution source maps, but does not provide any information about the sound level. The combination of both methods gives comprehensive information about the acoustic emission of the system under investigation.

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