Sound‐pressure response measurement in small rooms over a finite region

1995 ◽  
Vol 98 (6) ◽  
pp. 3279-3284
Author(s):  
Gavin R. Peacock ◽  
Colin Bean ◽  
S. W. Ellacott
Keyword(s):  
Sound Pressure ◽  
Pressure Response ◽  
Finite Region ◽  
Response Measurement

Validation of an Acoustic Finite Element Model of an Automobile Passenger Compartment

2009 ◽  
Author(s):  
Sangyun Lee ◽  
Kwangseo Park ◽  
Shung H. Sung ◽  
Donald J. Nefske
Keyword(s):  
Finite Element ◽  
Finite Element Model ◽  
Sound Pressure ◽  
Element Model ◽  
Rear Seat ◽  
Pressure Response ◽  
Mode Shapes ◽  
Instrument Panel ◽  
Passenger Compartment ◽  
Vehicle Interior

An acoustic finite-element model of an automobile passenger compartment that represents the more complicated vehicle interior acoustic characteristics is developed and experimentally assessed using loudspeaker excitation. The acoustic finite-element model represents the passenger compartment cavity, trunk compartment cavity, front and rear seats, parcel shelf, door volumes, and IP (Instrument Panel) volume. The model accounts for the coupling between the compartment cavity and trunk cavity through the rear seat and parcel shelf, and the coupling between the compartment cavity and the door and IP panel volumes. Modal analysis tests of a vehicle were conducted using loudspeaker excitation to identify the compartment cavity modes and sound pressure response at a large number of interior locations. Comparisons of the predicted versus measured mode frequencies, mode shapes, and sound pressure response at the occupant ear locations are made to assess the accuracy of the model to 400 Hz.

Correlation of an Acoustic Finite Element Model of the Automobile Passenger Compartment Using Loudspeaker Excitation

2007 ◽  
Author(s):  
Shung H. Sung ◽  
Donald J. Nefske ◽  
Douglas A. Feldmaier
Keyword(s):  
Finite Element ◽  
Finite Element Model ◽  
Sound Pressure ◽  
Element Model ◽  
Pressure Response ◽  
Acoustic Properties ◽  
Passenger Compartment ◽  
Model Comparisons

An acoustic finite-element model of the automobile passenger compartment is developed and experimentally assessed for predicting the sound pressure response in the compartment. The acoustic finite-element model represents both the passenger compartment cavity and the trunk compartment cavity, with the coupling between them through the rear seats for which the acoustic properties are determined from a modified “heavy air” approximation. Measurements of the sound pressure response in the passenger compartment are obtained using a specially developed loudspeaker excitation device for assessing the accuracy of the model. Comparisons are made of the predicted versus measured sound pressure response to 300 Hz for loudspeaker excitation in both the passenger and trunk compartments.

Structural-Acoustic Responses of a Coupled Panel Cavity System Using a Deterministic-Statistical Approach

2015 ◽  
Author(s):  
Renqiang Jiao ◽  
Jianrun Zhang ◽  
Fei Xue ◽  
Xin Liao ◽  
Xin Liu
Keyword(s):  
Sound Pressure ◽  
Pressure Response ◽  
Structural Vibration ◽  
Response Analysis ◽  
Flexible Plate ◽  
Concentrated Force ◽  
Acoustic Cavity ◽  
Cavity System ◽  
Elastically Restrained Edges ◽  
Acoustic Responses

The coupled panel cavity system composed of an acoustic space and a wall surface is a reasonable representation of many engineering applications. A good understanding of the structural-acoustic interaction between the structural vibration and sound pressure response inside the cavity is of critical importance to, for instance, the control of sound fields in car compartments, airplane and ship cabins, etc. Motivated by above, an investigation on the structural-acoustic responses of a coupled panel cavity system is presented. A rectangular acoustic cavity bounded by a flexible panel with elastically restrained edges is examined. In this paper, for the so called “mid-frequency” problem, a hybrid deterministic and statistic approach is employed to overcome the defects in application of pure deterministic or statistical methods. Then the vibration and interior sound pressure response analysis for the panel-cavity system are conducted using this method under external normal concentrated force acting at the flexible plate. Finally, comparisons between the numerical and test results are presented and the relevant frequency ranges for which the hybrid deterministic and statistical approaches work in are discussed for the given structure.

Real Ear Sound Pressure Levels Developed by Three Portable Stereo System Earphones

1992 ◽  
Vol 1 (4) ◽  
pp. 52-55 ◽  
Author(s):  
Gail L. MacLean ◽  
Andrew Stuart ◽  
Robert Stenstrom
Keyword(s):  
High Frequency ◽  
Sound Pressure ◽  
Low Frequency ◽  
Test System ◽  
Output Frequency ◽  
Frequency Effects ◽  
Adult Men ◽  
Frequency Responses ◽  
Significant Difference ◽  
Sound Pressure Levels

Differences in real ear sound pressure levels (SPLs) with three portable stereo system (PSS) earphones (supraaural [Sony Model MDR-44], semiaural [Sony Model MDR-A15L], and insert [Sony Model MDR-E225]) were investigated. Twelve adult men served as subjects. Frequency response, high frequency average (HFA) output, peak output, peak output frequency, and overall RMS output for each PSS earphone were obtained with a probe tube microphone system (Fonix 6500 Hearing Aid Test System). Results indicated a significant difference in mean RMS outputs with nonsignificant differences in mean HFA outputs, peak outputs, and peak output frequencies among PSS earphones. Differences in mean overall RMS outputs were attributed to differences in low-frequency effects that were observed among the frequency responses of the three PSS earphones. It is suggested that one cannot assume equivalent real ear SPLs, with equivalent inputs, among different styles of PSS earphones.

Contributions of Voice and Nonverbal Communication to Perceived Masculinity–Femininity for Cisgender and Transgender Communicators

2020 ◽  
Vol 63 (4) ◽  
pp. 931-947
Author(s):  
Teresa L. D. Hardy ◽  
Carol A. Boliek ◽  
Daniel Aalto ◽  
Justin Lewicke ◽  
Kristopher Wells ◽  
...  
Keyword(s):  
Fundamental Frequency ◽  
Sound Pressure Level ◽  
Sound Pressure ◽  
Vocal Tract ◽  
Presentation Mode ◽  
Pressure Level ◽  
Presentation Modes ◽  
Audiovisual Stimuli ◽  
Vocal Tract Resonance ◽  
Point Light

Purpose The purpose of this study was twofold: (a) to identify a set of communication-based predictors (including both acoustic and gestural variables) of masculinity–femininity ratings and (b) to explore differences in ratings between audio and audiovisual presentation modes for transgender and cisgender communicators. Method The voices and gestures of a group of cisgender men and women ( n = 10 of each) and transgender women ( n = 20) communicators were recorded while they recounted the story of a cartoon using acoustic and motion capture recording systems. A total of 17 acoustic and gestural variables were measured from these recordings. A group of observers ( n = 20) rated each communicator's masculinity–femininity based on 30- to 45-s samples of the cartoon description presented in three modes: audio, visual, and audio visual. Visual and audiovisual stimuli contained point light displays standardized for size. Ratings were made using a direct magnitude estimation scale without modulus. Communication-based predictors of masculinity–femininity ratings were identified using multiple regression, and analysis of variance was used to determine the effect of presentation mode on perceptual ratings. Results Fundamental frequency, average vowel formant, and sound pressure level were identified as significant predictors of masculinity–femininity ratings for these communicators. Communicators were rated significantly more feminine in the audio than the audiovisual mode and unreliably in the visual-only mode. Conclusions Both study purposes were met. Results support continued emphasis on fundamental frequency and vocal tract resonance in voice and communication modification training with transgender individuals and provide evidence for the potential benefit of modifying sound pressure level, especially when a masculine presentation is desired.

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