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EARL GEDDES AND HENRY BLIND

Diversified

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Single-point microphone measurements in enclosed spaces lack sufficient stability to be useful for sound system equalization (above the Schroeder frequency). A new measurement technique for use in automobiles was developed to circumvent this problem. The problems encountered with single-point measurements and the results obtained with the new system are described.

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0 INTRODUCTION Most sound system designers discover all too soon that designing flat sound system components does not yield a satisfactory response once the system has been installed in a room or enclosure. The total system response will suffer from severe frequency response aberrations due to the room's acoustical properties. From a systems standpoint, the listening space is the dominant factor in the overall frequency response curve. Seldom, if ever, can we change the acoustic characteristics of the listening space to correct for these undesirable frequency response aberrations. It is for this reason that sound system equalization has become very popular as a viable approach to correcting electrically what cannot be corrected acoustically. However, in order to take this approach one must know exactly what the room's frequency response is before it can be corrected. This report will show that single-point microphone measurements lack sufficient stability to be useful for sound system equalization. A new measurement procedure was developed which has proven to yield significantly better results. Using this technique one can obtain a one-third-octave measurement of the acoustic frequency response with a 90% confidence of having no greater than a 0.5-dB expected error. This level of accuracy is necessary for "unambiguous" sound system equalization, * Presented at the 76th Convention of the Audio Engineering Society, New York, 1984 October 8-11. J. Audio Eng. oc., ol.34,No. , 1988 S V 3 March

I THE SCHROEDER

STATISTICS

In 1954 Schroeder wrote the fundamental paper on statistical room theory [1]. This paper is must reading for anyone working in room acoustics. Schroeder shows that the pressure response in a room is essentially a random variable. As a simple example to demonstrate this principle, consider a room being excited by a pure tone emitted by a source. The room's response to this tone will depend upon the summation of the complex pressures over all of the excited modes in the room. Each of these modes will contribute to the total sum with a different amplitude and phase. Above the Schroeder frequency (where the eigenmodes are sufficiently dense) there will usually be hundreds of these modes being excited by a pure tone. With this many virtually random (in phase and amplitude) modes being added together, the net summation will have a Gaussian distribution in both the real and the imaginary parts (the central limit theorem). The net result will be an amplitude response to the pure tone excitation which must be dealt with as a random variable with a defined standard deviation. Stated more quantitatively [1]: The frequency response curve of a "large room" will lie 70 percent of the time in a strip 11 dB wide about the mean line. The only assumptions used were that the eigenfrequencies are "sufficiently" dense and that the microphone placedsufficientlyar fromthe sound is f source so as to be in the far field. Note that these assumptions are quite general. In 167

ENGINEERING

REPORTS

essence they imply that the statistical properties of all rooms are virtually identical above the Schroeder frequency, about 50 Hz in a typical auditorium and 150 to 200 Hz in an automobile. The Schroeder frequency can be calculated from the equation [1] F (Schroeder) = 2000V'T60/enclosure volume .

Let us look at this principle in another way: A singlepoint microphone measurement has only a 70% confidence of obtaining a pressure response measurement of a pure tone with an accuracy of better than 5.5 dB in any enclosure above its Schroeder frequency, This is hardly a stable enough measurement to allow one to equalize an audio system's sound pressure level to within 1 dB or so. Fig. 1 shows the effect on the expected error and confidence interval for a pure-tone measurement as a function of the number of statistically independent samples. Notice that a 95% confidence of + 1.0-dB measurement would require nearly 50 independent samples--an arduous task. An independent sample is one whose position is spatially uncorrelated with another position. This occurs when the two points are separated by at least a half-wavelength of the frequency being considered [2]. An absolute error of no greater than 0.5 dB would probably not be obtainable for pure tones at mid- to low frequencies, Fig. 2 shows the effect of increasing the measurement bandwidth on the spatial variance of a sample. Increasing the bandwidth of the measurement has the effect of decreasing the expected error for spatially sampled signals. Thus by spatially sampling a number (to be determined) of one-third-octave measurements a + 0.5dB measurement could be obtained. The exact effect on the spatial variance with bandwidth depends on the reverberation time T60. The reverberation time is not always known and not always easy to measure (as in a vehicle). This problem makes it difficult to do an exact error analysis for wide-bandwidth signals. The important point here is that the wider the bandwidth

of the measurement, the greater confidence one has in the results. If a sufficient number of narrow-band measures cannot be reasonably taken, then widening the bandwidth of the measurement is the only alternative. As a brief review, this section has shown the following: 1) Single-point microphone measurements in enclosed spaces lack sufficient stability to be useful for sound equalization (within Schroeder's assumptions). 2) Any desired accuracy and confidence can be obrained by spatially averaging a wide-bandwidth signal. 3) The exact number of measurements and their bandwidth is hard to determine analytically and needs to be done empirically. 2 TYPICAL EXAMPLE In order to outline the approach one can take to achieve the desired accuracy, consider a typical problem in sound system equalization. The first step is to measure the frequency response of the present sound system. Fig. 3 shows a typical one-third-octave response from a real-time spectral analyzer of the response of a vehicle to a pink-noise input. The response clearly shows the need for equalization. A serious question arises here: should this particular curve be equalized, that is, does it accurately represent the true acoustic response of this enclosure? In light of our previous discussion the answer to this question is no. Fig. 4 shows very clearly the lack of stability different single-point measurement. This chart shows 18 of a measurements of the same vehicle plotted on a single axis. Each of these mcasurements was taken in a region within which there was a 99% chance that a listener's ears would be located. Notice in this figure that many of these curves differ by more bandwidthdB,used in these fairly wide one-thirdeven for the measurements. octave than 10 The effect of the location of the Schroeder frequency can be seen at about 150 Hz or so (no clear-cut transition exists), below which the variation of the data shows significantly less deviation from curve to curve. There are many considerations when attempting an exact error analysis of the equalization curve specifi1.0

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Fig. 2. Spatial variance versus bandwidth of measurement (for constant reverberation time)

J. Audio Eng. Soc., Vol. 34, No. 3, 1986 March

ENGINEERING REPORTS

cation. One needs to consider also the type of equalizer to be used (one-third-octave band, parametric, etc.), the number of equalization bands, and the desired accuracy. All of these factors will help to determine the bandwidth of the measurement and the number of samples required to obtain the goal. This presentation will show one approach to obtaining very accurate and stable

sound field measurements in automotive interiors. The accuracy obtained with the procedure outlined here will suit our needs at the present time and well into the foreseeable future. One advantage that an automotive sound system designer has is that he or she always knows approximately where the listener's head and ears will be. The people

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J. Audio Eng. Soc., Vol. 34, No. 3, 1988 March

measurements

169

ENGINEERING REPORTS

in our organization who are concerned with ergonomics have calculated the zone where 99% of the drivers' eyes will be located. These data are used for instrument panel layout and are known for each car line. From these 99% eye ellipsoid data (the 99th percentile area is an ellipsoid) the 99% ear ellipsoid can be calculated, The distances used to make this extrapolation were taken from the Kemar t manikin data. The manufacturer claims that Kemar's dimensions represent those of a typical person. Thus the location of 99% of the drivers' ears in any vehicle is known. This ellipsoid is used for the spatial averaging, which is required for statistical stability of the measured response, If one were to measure the spatially averaged pressure response over the volume of the interior, the total sound power in the vehicle could be calculated [2]. If the pressure is averaged over a smaller volume, the results are proportional to a "localized sound power measurement." By taking measurements over the 99% ear ellipsoid one can obtain the approximate sound power response of the system that would be perceived by the driver, In order to assess the number of point measurements required to achieve a -+ 0.5-dB stability, the ear ellipsoid was laid out to include 18 points, as shown in Fig. 5. Not all of these points are statistically independent at the lower frequencies, but there will still be enough independent measurements to work with. Fig. 4 shows the results of these 18 measurements all plotted on the same curve. The average response curve for these data isshown inFig. 6. The use of 18 microphone locations proved to be far too time intensive to be useful for development work. The necessary remeasurement of the enclosure response, _Registered trademark FranklinPark, IL. of Knowles Electronics, Inc.,

often in relatively short time periods, required a reduction in the difficulty of the procedure. The physical nature of the measurement setup required that the points remain in sets or groups of two separated laterally by 15 cm (from Kemar's ear separation distance). A cornputer program was written to determine the minimum number of points and their locations which would be required to obtain the desired accuracy. Quite unexpectedly, this stability was obtainable with six points. It is worthwhile to note that only one particular set of six points proved to be successful at obtaining the desired accuracy. This set of points and their locations are shown in Fig. 7. The fact that these points are the most widely separated set of points is not a coincidence. 3 LOCALIZED SOUND POWER METHOD

The final procedure that was developed proved to be very efficient in terms of time and personnel, while still yielding the required accuracy. First, the responses at the six chosen points are measured. The average response for these measurements is then computed and stored on a local storage medium for later use and documentation. The delta (or difference) curves between each location measurement and the average are also

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170 J. Audio Eng. Soc., Vol. 34, No. 3, 1986 March

ENGINEERING REPORTS

computed and stored. These delta curves are shown in Fig. 8. This last procedure helps to reduce the calculations required for future tests, Additional measurements can be done without the necessity of multiple measurements. If the microphones are left in the measured location, only one new measurement need be taken. The other five microphone positions can be calculated from the previously stored delta curves. The new localized sound power response (average) can then be computed from the calculated six-point data. Only a single newly measured response needs to be stored in order to recalculate the sound power response. However, we store the entire set of calculations. The validity of this approach is demonstrated in Fig. 9, where the calculated response is plotted along with a completely remeasured and recalculated set of six points, It is a straightforward matter to "best fit" an equalization curve to the response curve once it is accurately known. The sound system designer's goal is usually to obtain the flattest possible system response, given a limited number of variables (center frequency, Q,

etc.). A computer program was written to accomplish this task, thus eliminating many trial and error adjustments. The results of this procedure can be checked by running another response measurement if desired. As Fig. 10 shows, this remeasurement is not necessary since the new response can be calculated directly from the equalization curve. This greatly reduces the time required to equalize the numerous car lines produced by a typical automotive manufacturer. 4 CONCLUSIONS It has been demonstrated that single-microphone techniques are not stable enough to be used for sound system equalization. Further, we have shown that widebandwidth spatially averaged sound pressure responses can achieve nearly any accuracy required. A method for obtaining a very accurate acoustic frequency response curve in an automobile was outlined. The use of a delta technique can reduce the time required for subsequent measurements without sacrificing accuracy. These acoustic response curves can then be used for "unambiguous" sound system equalization to any degree deemed feasible.

C':>J"IMENT FRONT ONLT' S;

[1] M. R. Schroeder, "The Statistical Parameters of the Frequency Response Curve of Large Rooms," Acustica, vol. 4, pp. 594-600 (1954); Engl. transl., E. R. Geddes (1981). 5 [2] A. D. Pierce, Acoustics.' An Introduction to Its REFERENCES Physical Principles and Applications (McGraw-Hill, New York, 1981), pp. 297-310.

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J. Audio Eng. Soc., Vol. 34, No. 3, 1986 March

measurements.

171

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THE AUTHORS

H. Blind

ENGINEERING REPORTS

Earl Geddes has been experimenting with acoustics since high school when he began studying loudspeakers, He obtained B.S. and M.S. degrees in physics at Eastern Michigan University in 1975 and 1977, respectively, His studies included simulation theory. After graduation he joined Ford Motor Company as an audio system design engineer. In 1980 he took an educational leave of absence to further study acoustics at The Pennsylvania State University where he specialized in numerical analysis of acoustic problems. After receiving his Ph.D., Dr. Geddes returned to Ford as an acoustic technical specialist, an internal consultant on sound systems and noise control, Dr. Geddes has been active in the AES as one of the founders of the Detroit Section. He served as a section officer for four terms and was chairman of the very active 1984-85 term. He is presently serving as vice president, Central Region. He has presented numerous papers to the AES, Acoustical Society of America, Society of Automotive Engineers, Institute of Noise Control Engineers and the IEEE. He looks forward to the application of new technologies in audio in which computer simulation will play a key role.

Henry Blind holds the B.S. degree in electrical and computer engineering from Wayne State University in Detroit, MI. He was employed at the Center for Instructional Technology at the university where his responsibilities included both audio and video production and equipment maintenance. In addition, he also did free-lance video and audio production work in the Detroit area. Since 1979 he has been employed at the Electrical and Electronics Division of Ford Motor Company. At EED his assignments have included the design of AM stereo decoder circuitry, electronic engine control microprocessor-based circuitry, and electronic components engineering. For the past three years he has held his current position as sound system design engineer in the audio systems and applications engineering department of the audio products group. His responsibilities include the design and development of future sound systems for Ford Motor Company. Mr. Blind is currently the chairman of the Detroit Section of the Audio Engineering Society and has coauthored technical papers for both the AES and the Society of Automotive Engineers.

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