Through in-situ stress measurements, stress data were obtained from an auxiliary transportation roadway in a coal mine in Shanxi Province, China. Based on the principles of elastic mechanics and using a generalized plane strain model, the mechanical effects of the in-situ stresses on an idealized roadway were calculated and the distributions of stresses, displacements, and plastic zones determined. Building on this model, the vulnerable zones in the roadway cross section were identified. Ground support specifications were developed and during specification design, comprehensive consideration was given to factors affecting the stability of the rock surrounding the roadway. A scientific and reasonable support scheme was put forward. Practical experience in the coal mine shows the normal forces of anchor bolt and cable, the minimal convergence of roof to floor, and a generally good support in the auxiliary transportation roadway. The support should ensure safe production during its service life. This study provides a new method for designing roadway support systems that can be particularly valuable for high-stress roadways.
Available methods for room-related sound presentation are introduced and evaluated. A focus is put on the synthesis side rather than on complete transmission systems. Different methods are compared using common, though quite general criteria. The methods selected for comparison are: Intensity Stereophony after Blumlein, vector-base amplitude panning (VBAP), 5.1-Surround and its discrete-channel derivatives, synthesis with spherical harmonics (Ambisonics, HOA), synthesis based on the boundary method, namely, wave-field synthesis (WFS), and binaural-cue selection methods (e.g., DiRAC). While VBAP, 5.1-Surround and other discrete-channel-based methods show a number of practical advantages, they do, in the end, not aim at authentic sound-field reproduction. The so-called holophonic methods that do so, particularly, HOA and WFS, have specific advantages and disadvantages which will be discussed. Yet, both methods are under continuous development, and a decision in favor of one of them should be taken from a strictly application-oriented point of view by considering relevant application-specific advantages and disadvantages in detail.
The aim of this paper is to describe the process of choosing the best surround microphone technique for recording of choir with an instrumental ensemble. First, examples of multichannel microphone techniques including those used in the recording are described. Then, the assumptions and details of music recording in Radio Gdansk Studio are provided as well as the process of mixing of the multichannel recording. The extensive subjective tests were performed employing a group of sound engineers and students in order to find the most preferable recording techniques. Because the final recording is based on the mix of "direct/ambient" and "direct-sound all-around" approaches, a subjective quality evaluation was conducted and on this basis the best rated multichannel techniques were chosen. The results show that listeners might consider different factors when choosing the best rated multichannel techniques in separate tasks, as different systems were chosen in the two tests.