Localization of sound sources on moving electric trains using a microphone array

1996 ◽  
Author(s):  
Simon Sai Ming Yung
Keyword(s):  
Microphone Array ◽  
Sound Sources

Locating and tracking sound sources on a horizontal axis wind turbine using a compact microphone array based on beamforming

2019 ◽  
Vol 146 ◽  
pp. 295-309 ◽  
Author(s):  
Cui Qing Zhang ◽  
Zhi Ying Gao ◽  
Yong Yan Chen ◽  
Yuan Jun Dai ◽  
Jian Wen Wang ◽  
...  
Keyword(s):  
Wind Turbine ◽  
Microphone Array ◽  
Horizontal Axis ◽  
Horizontal Axis Wind Turbine ◽  
Sound Sources

Layout Optimization of Cooperative Distributed Microphone Arrays Based on Estimation of Source Separation Performance

2017 ◽  
Vol 29 (1) ◽  
pp. 83-93
Author(s):  
Kouhei Sekiguchi ◽  
◽  
Yoshiaki Bando ◽  
Katsutoshi Itoyama ◽  
Kazuyoshi Yoshii
Keyword(s):  
Mobile Robots ◽  
Microphone Array ◽  
Source Separation ◽  
Microphone Arrays ◽  
Separation Performance ◽  
Sound Sources ◽  
Multiple Mobile Robots ◽  
Position Information ◽  
Reconfigurable Array ◽  
Source Signals

[abstFig src='/00290001/08.jpg' width='300' text='Optimizing robot positions for source separation' ] The active audition method presented here improves source separation performance by moving multiple mobile robots to optimal positions. One advantage of using multiple mobile robots that each has a microphone array is that each robot can work independently or as part of a big reconfigurable array. To determine optimal layout of the robots, we must be able to predict source separation performance from source position information because actual source signals are unknown and actual separation performance cannot be calculated. Our method thus simulates delay-and-sum beamforming from a possible layout to calculate gain theoretically, i.e., the expected ratio of a target sound source to other sound sources in the corresponding separated signal. Robots are moved into the layout with the highest average gain over target sources. Experimental results showed that our method improved the harmonic mean of signal-to-distortion ratios (SDRs) by 5.5 dB in simulation and by 3.5 dB in a real environment.

Acoustical feature extraction of rotating machinery with combined wave superposition and blind source separation

2006 ◽  
Vol 220 (9) ◽  
pp. 1423-1431 ◽  
Author(s):  
W F Xue ◽  
J Chen ◽  
J Q Li ◽  
X F Liu
Keyword(s):  
Fault Diagnosis ◽  
Blind Source Separation ◽  
Acoustic Radiation ◽  
Microphone Array ◽  
Source Separation ◽  
Point Sources ◽  
Superposition Method ◽  
Sound Sources ◽  
Reconstruction Process ◽  
Wave Superposition

As the result of vibration emission in air, machine sound signal carries affluent information about the working condition of machine and it can be used to make mechanical fault diagnosis. The fundamental problems with fault diagnosis are the estimation of the number of sound sources and the localization of sound sources. The wave superposition can be employed to identify and locate sound sources, which is based on the idea that an acoustic radiator can be approximated and represented by the sum of the fields due to a finite number of interior point sources. But, in practice, a large number of measurements must be used in order to achieve a desired resolution, which makes the reconstruction process very time-consuming and expensive. In this paper, a combined wave superposition method has been developed reconstruct to acoustic radiation from machine acoustical signals. This method combines the advantages of both the wave superposition and Helmholtz equationleast squares methods, and it allows for reconstruction of the acoustic field from an arbitrary object with relatively few measurements, thus significantly enhancing the reconstruction efficiency. After sound source localization, the blind source separation (BSS) is proposed to extract acoustical feature from the mixed measuring sound signals. In a semi-anechoic chamber, a cross-planar microphone array, which consists of 29 microphones, was successfully applied to obtain the two-dimensional mapping of the sound sources. The location, the sound pressure, and the properties in frequency domain of the sound sources can be found through this method precisely. The experimental results demonstrate that the methods presented can potentially become an acoustical diagnosis tool.

Model-based direction of arrival estimations for sound sources using a spherical microphone array

2018 ◽  
Vol 144 (3) ◽  
pp. 1882-1882
Author(s):  
Christopher R. Landschoot ◽  
Jonathan Mathews ◽  
Jonas Braasch ◽  
Ning Xiang
Keyword(s):  
Microphone Array ◽  
Direction Of Arrival ◽  
Sound Sources ◽  
Model Based

scholarly journals Localisation of Vertical Auditory Phantom Image with Band-limited Reductions of Vertical Interchannel Crosstalk

2020 ◽  
Vol 10 (4) ◽  
pp. 1490
Author(s):  
Rory Wallis ◽  
Hyunkook Lee
Keyword(s):  
Microphone Array ◽  
Practical Implication ◽  
Three Dimensional ◽  
Source Image ◽  
Octave Band ◽  
Sound Sources ◽  
Phantom Image ◽  
3D Sound ◽  
Subjective Experiment ◽  
Band Limited

Direct sound that is captured by the upper layer of a three-dimensional (3D) microphone array is typically regarded as vertical interchannel crosstalk (VIC), since it tends to produce an undesired effect of the sound source image being elevated from the ear-level loudspeaker layer position (0°) in reproduction. The present study examined the effectiveness of band-limited VIC attenuation methods on preventing the vertical image shift problem. In a subjective experiment, five natural sound sources were presented as vertically-oriented phantom images while using two stereophonic loudspeaker pairs elevated at 0° and 30° in front of the listener. The upper layer signal (i.e., VIC) was attenuated in various octave-band-dependent conditions that were based on vertical localisation thresholds obtained from previous studies. The results showed that it was possible to achieve the goal of panning the phantom image at the same height as the image produced by the main loudspeaker layer by attenuating only a single octave band with the centre frequency of 4 kHz or 8 kHz or multiple bands at 1 kHz and above. This has a useful practical implication in 3D sound recording and mixing where a vertically oriented phantom image is rendered.

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