Method of correcting sound field in an audio system

2007 ◽  
Vol 122 (1) ◽  
pp. 27
Author(s):  
Yoshiki Ohta
Keyword(s):  
Sound Field ◽  
Audio System

PARAMETER ANALYSIS IN ACOUSTIC CONTRAST CONTROL DESIGN SCHEME FOR A LOUDSPEAKER ARRAY

2012 ◽  
Vol 20 (04) ◽  
pp. 1250016 ◽  
Author(s):  
BO-HSIEN WU ◽  
GEE-PINN TOO
Keyword(s):  
Energy Density ◽  
Potential Energy ◽  
Sound Field ◽  
Parameter Analysis ◽  
Emission Frequency ◽  
Dark Zone ◽  
Parameters Analysis ◽  
Simulation Parameters ◽  
Source Array ◽  
Audio System

The concept of acoustic contrast control divides a sound field into bright zone and dark zone. A source array is used to increase acoustic potential energy density in the bright zone and to decrease acoustic potential energy density in the dark zone by controlling amplitude and phase of each source. In the present study, a personal audio system which is based on acoustic contrast control is designed. The purpose is to focus the acoustic potential energy around the region of listener. The optimal configuration for sound field is controlled by using a loudspeaker array. Parameters analysis is considered in simulation. Parameters, such as: the quantity of loudspeakers, the spacing of loudspeakers, the length of array, and the emission frequency are discussed. Finally, two experiments are conducted in a semi-anechoic room and a reverberation room, respectively. The results are shown to verify this approach in the present study.

scholarly journals Holophonic Sound in IRCAM's Concert Hall: Technological and Aesthetic Practices

2016 ◽  
Vol 40 (4) ◽  
pp. 14-34 ◽  
Author(s):  
Thibaut Carpentier ◽  
Natasha Barrett ◽  
Rama Gottfried ◽  
Markus Noisternig
Keyword(s):  
Wave Field ◽  
Computer Music ◽  
Sound Field ◽  
Higher Order ◽  
Software Architectures ◽  
Concert Hall ◽  
Design And Implementation ◽  
Spatial Composition ◽  
Wave Field Synthesis ◽  
Audio System

This article presents a report on technological and aesthetic practices in the variable-acoustics performance hall, Espace de Projection, at the Institut de Recherche et Coordination Acoustique/Musique. The hall is surrounded by a 350-loudspeaker array for sound-field reproduction using holophonic approaches such as wave-field synthesis and higher-order Ambisonics. First we present the design and implementation of the audio system and discuss the challenges of both hardware and software architectures. This is followed by a discussion of spatial composition techniques, aesthetic approaches, and methodologies for composing computer music for high-density loudspeaker arrays, explored through the paradigmatic examples of pieces produced by two artist-in-research residencies.

Personal Audio System: Hearing Symptoms, Habits, and Sound Pressure Levels Measured in Real Ear and a Manikin

2020 ◽  
Vol 63 (6) ◽  
pp. 2016-2026
Author(s):  
Tamara R. Almeida ◽  
Clayton H. Rocha ◽  
Camila M. Rabelo ◽  
Raquel F. Gomes ◽  
Ivone F. Neves-Lobo ◽  
...  
Keyword(s):  
Sound Pressure ◽  
Daily Basis ◽  
Cross Sectional Study ◽  
Normal Hearing ◽  
Chi Square ◽  
Cross Sectional ◽  
The Real ◽  
Significant Difference ◽  
Sound Pressure Levels ◽  
Audio System

Purpose The aims of this study were to characterize hearing symptoms, habits, and sound pressure levels (SPLs) of personal audio system (PAS) used by young adults; estimate the risk of developing hearing loss and assess whether instructions given to users led to behavioral changes; and propose recommendations for PAS users. Method A cross-sectional study was performed in 50 subjects with normal hearing. Procedures included questionnaire and measurement of PAS SPLs (real ear and manikin) through the users' own headphones and devices while they listened to four songs. After 1 year, 30 subjects answered questions about their usage habits. For the statistical analysis, one-way analysis of variance, Tukey's post hoc test, Lin and Spearman coefficients, the chi-square test, and logistic regression were used. Results Most subjects listened to music every day, usually in noisy environments. Sixty percent of the subjects reported hearing symptoms after using a PAS. Substantial variability in the equivalent music listening level (Leq) was noted ( M = 84.7 dBA; min = 65.1 dBA, max = 97.5 dBA). A significant difference was found only in the 4-kHz band when comparing the real-ear and manikin techniques. Based on the Leq, 38% of the individuals exceeded the maximum daily time allowance. Comparison of the subjects according to the maximum allowed daily exposure time revealed a higher number of hearing complaints from people with greater exposure. After 1 year, 43% of the subjects reduced their usage time, and 70% reduced the volume. A volume not exceeding 80% was recommended, and at this volume, the maximum usage time should be 160 min. Conclusions The habit of listening to music at high intensities on a daily basis seems to cause hearing symptoms, even in individuals with normal hearing. The real-ear and manikin techniques produced similar results. Providing instructions on this topic combined with measuring PAS SPLs may be an appropriate strategy for raising the awareness of people who are at risk. Supplemental Material https://doi.org/10.23641/asha.12431435

Decay of Temporary Threshold Shift in Noise

1973 ◽  
Vol 16 (2) ◽  
pp. 267-270 ◽  
Author(s):  
John H. Mills ◽  
Seija A. Talo ◽  
Gloria S. Gordon
Keyword(s):  
Sound Field ◽  
Threshold Shift ◽  
Temporary Threshold Shift ◽  
Octave Band ◽  
Band Noise ◽  
Lower Asymptote

Groups of monaural chinchillas trained in behavioral audiometry were exposed in a diffuse sound field to an octave-band noise centered at 4.0 k Hz. The growth of temporary threshold shift (TTS) at 5.7 k Hz from zero to an asymptote (TTS ∞ ) required about 24 hours, and the growth of TTS at 5.7 k Hz from an asymptote to a higher asymptote, about 12–24 hours. TTS ∞ can be described by the equation TTS ∞ = 1.6(SPL-A) where A = 47. These results are consistent with those previously reported in this journal by Carder and Miller and Mills and Talo. Whereas the decay of TTS ∞ to zero required about three days, the decay of TTS ∞ to a lower TTS ∞ required about three to seven days. The decay of TTS ∞ in noise, therefore, appears to require slightly more time than the decay of TTS ∞ in the quiet. However, for a given level of noise, the magnitude of TTS ∞ is the same regardless of whether the TTS asymptote is approached from zero, from a lower asymptote, or from a higher asymptote.

Modified Earpieces and CROS for High Frequency Hearing Losses

1968 ◽  
Vol 11 (1) ◽  
pp. 204-218 ◽  
Author(s):  
Elizabeth Dodds ◽  
Earl Harford
Keyword(s):  
Hearing Loss ◽  
Hearing Aids ◽  
High Frequency ◽  
Hearing Aid ◽  
Sound Field ◽  
Intensity Level ◽  
Test Results ◽  
High Frequency Hearing Loss ◽  
Increased Sensitivity ◽  
Difficult Cases

Persons with a high frequency hearing loss are difficult cases for whom to find suitable amplification. We have experienced some success with this problem in our Hearing Clinics using a specially designed earmold with a hearing aid. Thirty-five cases with high frequency hearing losses were selected from our clinical files for analysis of test results using standard, vented, and open earpieces. A statistical analysis of test results revealed that PB scores in sound field, using an average conversational intensity level (70 dB SPL), were enhanced when utilizing any one of the three earmolds. This result was due undoubtedly to increased sensitivity provided by the hearing aid. Only the open earmold used with a CROS hearing aid resulted in a significant improvement in discrimination when compared with the group’s unaided PB score under earphones or when comparing inter-earmold scores. These findings suggest that the inclusion of the open earmold with a CROS aid in the audiologist’s armamentarium should increase his flexibility in selecting hearing aids for persons with a high frequency hearing loss.

Sound Field Reproduction Using Ambisonics and Irregular Loudspeaker Arrays

2014 ◽  
Vol E97.A (9) ◽  
pp. 1832-1839 ◽  
Author(s):  
Jorge TREVINO ◽  
Takuma OKAMOTO ◽  
Yukio IWAYA ◽  
Yôiti SUZUKI
Keyword(s):  
Sound Field
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