Journal-Online

Journal of the Audio Engineering Society

>> Institutional Subscribers: View Your List of Purchased Issues

2010 April - Volume 58 Number 4

*Only AES members and Institutional Journal Subscribers can download.

Papers

EW-PESQ: A Quality Assessment Method for Speech Signals Sampled at 48 kHz

Authors: Bispo, Bruno C.; Esquef, Paulo A. A.; Biscainho, Luiz W. P.; Lima, Amaro A. de; Freeland, Fabio P.; Jesus, Rafael A. de; Said, Amir; Lee, Bowon; Schafer, Ronald W.; Kalker, Ton

In order to broaden the utility of objective methods for perceptual evaluation of ultrawide-band (sampled at 48 kHz) speech, two extensions to the W-PESQ standard are proposed. In one approach the psychoacoustic model of W-PESQ is expanded to cover higher frequencies by means of data extrapolation. In the alternative method the psychoacoustic model is replaced with that of PEAQ. A performance analysis of both methods reveals that their predictions strongly correlate with measured mean opinion scores (MOS), bearing a cross-correlation coefficient around 97%. Tests used speech signals corrupted with white and broad-band environmental noises.

Download: PDF (HIGH Res) (2.91 MB)

Download: PDF (LOW Res) (1.36 MB)

Modeling the External Ear Acoustics for Insert Headphone Usage

Authors: Hiipakka, Marko; Tikander, Miikka; Karjalainen, Matti

The acoustic behavior of earphones that are inserted into the ear canal is difficult to determine because it requires observing the sound pressure at the eardrum. Insert earphones occlude the ear canal, which cancels the normal influence of concha, pinna, head, and shoulders. In addition, the tone color of inserted earphones depends on the acoustic impedance of the eardrum and the leakage of earphone fitting. These results are relevant for designing insert earphones that are to be used in binaural and auralization situations.

Download: PDF (HIGH Res) (4.13 MB)

Download: PDF (LOW Res) (2.26 MB)

Holographic Design of a Source Array Achieving a Desired Sound Field

Authors: Cho, Wan-Ho; Ih, Jeong-Guon; Boone, Marinus M.

For reproducing complex sound fields the process should take into account the desired sound field, the design of the source transducer, and the acoustics of the environment. In this work a source array is designed to achieve enhanced performance utilizing the acoustic holography technique based on the inverse boundary-element method. Because the proposed method deals with the near-field condition, it is relevant to small listening spaces, which exhibit a mixed combination of near, far, and reverberant fields. In a test example, the target sound field was successfully obtained by both simulation and measurement.

Download: PDF (HIGH Res) (16.67 MB)

Download: PDF (LOW Res) (2.61 MB)

Engineering reports

Mechanical Characterization and Parametric Study of a Miniature Capacitor Microphone

Authors: Pawar, S. J.; Chung, YuFan; Huang, Jin H.

A study of a miniature capacitor microphone compared three results: simulation based on physical parameters in an equivalent circuit model, measurements made in an anechoic chamber, and the manufacturer’s data sheets. The simulation was in good agreement with measurements and published data. The circuit model was also used in a parametric study to explore parameter sensitivity. Investigations included microphone stiffness, cover opening diameter, as well as the thickness of the annular ring, diaphragm, air gap, backplate, and holder.

Download: PDF (HIGH Res) (2.75 MB)

Download: PDF (LOW Res) (1.49 MB)

Standards and Information Documents

AES Standards Committee News

Download: PDF (416.31 KB)

Features

The Art and Business of Game Audio

Authors: Rumsey, Francis

[Feature] The latest developments in the field of game audio and music composition were discussed in a series of workshops held at the AES 127th Convention in New York. Approaches to making more dramatic music and sound effects were discussed by experts from different parts of the game audio industry. Considerable attention was also paid to the issue of interactive music creation, whereby some 60–90 minutes of music has to be made to serve for perhaps tens of hours of interesting game play, using layers and dynamic mixing techniques. The composer’s task is made more difficult by the limited availability of information and examples about the game for which he may have to write appropriate music, which leads to a need for greater involvement in the team process of game creation.

Download: PDF (1.07 MB)