| PAPERS | |
| A Model of Loudness Applicable to Time-Varying Sounds (PDF-128K) | |
| Brian R. Glasberg and Brian C. J. Moore | 331 |
| A previous model for computing the subjective loudness of steady-state sounds from their spectra has been extended to include time variations. After filtering the input signal to mimic the frequency response of the outer and middle ear, a fast Fourier transform (FFT) of the resulting signal is then used to compute an instantaneous loudness. The overall loudness uses attack and release times to convert the instantaneous loudness to the subjective experience of the listeners. The model gives good results with modulated signals over a wide range of rates. | |
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| Perception of Reverberation Time in Small Listening Rooms (PDF-89K) | |
| T. I. Niaounakis and W. J. Davies | 343 |
| Spatial parameters, such as reverberation time, are typically used for large spaces and have not been extensively applied in a small room. This study determined that listeners' sensitivity to changes in reverberation time was on the order of 40 ms. Two methods were used: changing absorption in a real space and simulating changes from a dummy head with delay headphone reproduction. | |
| ENGINEERING REPORTS | |
| An IIR Synthesis Method for Plucked-String Instruments with Embedded Portamento (PDF-558K) | |
| Alvin W. Y. Su, Wei-Chen Chang, and Rei-Wen Wang | 351 |
| The normal wavetable technique for synthesizing the portamento of plucked-string instruments, such as the ancient Chinese San-Sien, fails because of the wide frequency range. A new approach, which uses a wavetable to drive an infinite-impulse-response (IIR) filter whose coefficients have been modeled as a neural network training algorithm, provides accurate synthesis of these unusual sounds. The method assumes that the sounds are quasi-periodic, which also makes the method appropriate for certain wind instruments. Signal processing requirements are not particularly problematic. | |
| Dipole Loudspeaker Response in Listening Rooms (PDF-198K) | |
| James M. Kates | 363 |
| A dipole loudspeaker, which radiates sound energy from both the front and rear surfaces, appears as a velocity source, whereas the conventional monopole loudspeaker appears as a pressure source. Although the dipole loudspeaker can provide better auditory localization accuracy, it is more sensitive to room placement and angular orientation.Using a two-dimensional simulation, the author explores the importance of room response and coloration of the reproduced sounds. | |
| LETTERS TO THE EDITOR | |
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| Digital audio measurements; loudspeaker modeling; audio connections | |
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