Bulk download - click topic to download Zip archive of all papers related to that topic: Assessment Audio and Games DSP: Part 1 DSP: Part 2 E-Brief Poster Session 1 E-Brief Poster Session 2 Hearing/Perception Industry Issues Loudspeaker: Part 3 Loudspeakers and Assistive Technologies Loudspeakers: Part 1 Loudspeakers: Part 2 Machine Learning: Part 1 Machine Learning: Part 2 Microphones and Circuits MIR Perception Physical Systems and Circuits Poster Session 1 Poster Session 2 Poster Session 3 Poster Session 4 Production and Simulation Production and Synthesis Room Acoustics Spatial Audio Spatial Audio and Acoustics Speech
For some audiophiles, having a huge, low-cutoff bass horn built into the wall of the listening room represents the ultimate low frequency solution. Without considering the practicalities of such an installation, this paper will look at the performance of low frequency horns mounted in the wall of a small room compared to the performance of a typical point source closed box type sub-woofer and an array of such sub-woofers. Simulation results indicate that in addition to higher efficiency, the horns provide smoother response in the listening position and less seat-to-seat variation.
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In many audio and electro-acoustic nonlinear measurements we need to excite the nonlinear system under test with an excitation device that is not linear. A typical example is the study of the nonlinear behavior of a loudspeaker mechanical part, where the mechanical part (the nonlinear system under test) is excited externally, either with a shaker or pneumatically using another loudspeaker. We often consider that the excitation device is linear, which is unfortunately not correct. In this paper we present a simple method that corrects the distorted output signal of the excitation device by pre-distorting the input signal. The process is based on harmonic injection and can be applied to any periodic signal that is used for the measurement, e.g., a sine wave to measure the total harmonic distortion (THD), a two-tone signal to measure an intermodulation distortion (IMD), or a multi-tone signal. The experimental results provided on an electrodynamic loudspeaker show that the undesired spectral components of the acoustic pressure inside the sealed box can be suppressed to the level of the background noise.
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This study is the fourth in a series of papers investigating different rapid sensory profiling methods applied to audio stimuli [1, 2, 3]. In particular, this paper considers Flash Profile, a verbal-based method that allows assessors to use their own vocabulary, for perceptual audio evaluation. A listening test was conducted with expert listeners investigating the ability of Flash Profile to describe and discriminate five sets of high-end loudspeakers. The influence of using different audio-stimuli in order to get a broader perceptual image is supported by doing a track by track analysis, using Multiple Factor Analysis [4, 5]. The results suggest that the differences between loudspeakers lie in two main dimensions related to the timbral and spatial characteristics of the stimuli. Flash Profile seem to be a time-efficient tool for visualization and reduction of perceptual dimensions, being useful for the description and discrimination of a set of audio stimuli with medium to small audible differences.
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The two most noticeable types of distortion in an audio signal path-frequency and nonlinear-are frequently analyzed by researchers and developers in terms of auditory perception. The effect of transient distortion, though insufficiently studied, is evident in subjective listening tests when comparing loudspeakers with similar frequency response and no audible nonlinear distortions. In the present study we conducted loudspeaker measurements and subjective evaluations to define the critical factors based on the loudspeaker’s electromechanical characteristics that affect transient distortion and determined relations between the factors’ values and subjective scores.
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The listening experiments comparing three recording techniques for 3D audio, namely Spaced Array, One-point Array, and Ambisonics were executed. First, the evaluation attributes were extracted referring the Repertory Grid Technique. Then participants compared the differences between these microphone techniques including the difference in listening position. From the results, the difference depending on the listening position is the smallest in the Spaced Array. Besides, it is estimated that Ambisonics gives the impression of “hard,” One-point Array gives “rich” and “wide,” and Spaced Array gives “clear” and “real.” Furthermore, “real” was evaluated from the viewpoint of clarity and the richness of reverberation, with a negative correlation with the spectral centroid and a positive correlation with the reflection from lateral and vertical, respectively.
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This research explores and designs an effective experimental interface to evaluate people's emotional responses to horror music. We studied methodological approaches by using traditional psychometric techniques to measure emotional responses, including self-reporting and galvanic skin response (GSR). GSR correlates with psychological arousal. It can help circumvent a problem in self-reporting where people are unwilling to report particular felt responses, or confuse perceived and felt responses. We also consider the influence of familiarity. Familiarity can induce learned emotional responses rather than listeners describing how it actually makes them feel. The research revealed different findings in self-reports and GSR data. Both measurements had an interaction between music and familiarity but show inconsistent results from the perspective of simple effects.
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Increasing the efficiency and voltage sensitivity of the electro-acoustical conversion is the key to modern audio devices generating the required sound output with minimum size, weight, cost, and energy. Traditional loudspeaker design sacrifices efficiency for sound quality. Nonlinear adaptive control can compensate for the undesired signal distortion, protect the transducer against overload, stabilize the voice coil position, and cope with time-varying properties of the suspension. The paper presents a new design concept for an active loudspeaker system that uses the new degree of freedom provided by DSP for exploiting a nonlinear motor topology, a soft suspension and modal vibration in the diaphragm, panel, and in the acoustical systems.
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Green speaker design is a new concept for developing active loudspeaker systems that generate the required sound output with minimum size, weight, cost, and energy. This paper focuses on the optimization of the transducer by exploiting the new opportunities provided by digital signal processing. Nonlinear adaptive control can compensate for the undesired signal distortion, protect the transducer against overload, stabilize the voice coil position, and cope with time varying properties of the suspension. The transducer has to provide maximum efficiency of the electroacoustical conversion and sufficient voltage sensitivity to cope with the amplifier limitations. The potential of the new concept is illustrated on a transducer intended for automotive application.
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An advantageous approach to DSP equalization of loudspeakers is proposed in this paper adopting spatial averages of complex responses acquired from 3D balloon measurements. Alignment of the off-axis impulses responses with the on-axis impulse responses are accomplished using a cross-correlation technique prior to spatial averaging to attain meaningful statistics of magnitude and phase responses. This is performed over a pre-defined listening window from the complete loudspeaker response balloons (both magnitude and phase). The resulted average of the complex response within a suitably defined listening window is used to obtain, via the least mean square adaptive technique, an inverse filter that corrects the linear behavior of the loudspeaker.
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This paper describes a strategy for recording sound and enabling six-degrees-of-freedom (6DoF) playback making use of multiple simultaneous and synchronized higher-order ambisonics (HOA) recordings. For the evaluation of the proposed approach a 3D audio-visual navigable playback system was implemented. Subjective listening tests were conducted presenting three distinct scenarios, one using spatialized mono sources and the other two interpolated listening points from 1st and 3rd order multiple ambisonics sound fields. The obtained results demonstrate that HOA recordings are suitable for reproduction of 6DoF immersive audio scenes.
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