Escolar Documentos
Profissional Documentos
Cultura Documentos
in studios
in Hi-Fi dealers' demo rooms
in the home etc.
using 1/3 octave, pink-weighted, random noise
17197
Abstract
The " s o u n d " of a Hi-Fi set is to a
great extent room dependent. Very
often, the final result is determined
by the room rather than by the ac
tual equipment. Fortunately, these
influences may readily be mea
sured.
The objective test method, which
seems to correspond best with sub
jective judgment, is the " 1 / 3 oc
tave, pink-weighted random noise
method" carried out in the listening
Introduction
Too often, people are disap
pointed when having brought home
a new
hi-fi set. Although
it
sounded good at the dealer's, and
the high price paid should be some
sort of guarantee of quality, the
sound at home is not as good as
had been hoped for. The reason is
often that the influence of the listen
ing room has not been taken into ac
count.
It is well known that the output
voltage of an electric circuit is very
dependent upon the actual loading.
Likewise the output of an acoustic
system is dependent upon the
acoustic loading i.e. the listen
ing room. Thus, a measurement of
the complete system must be made
under normal acoustic working con
ditions, those that exist in the ac
tual listening room.
If a manufacturer produces loud
speakers to suit standard measure
ments in anechoic chambers, he
can sell an ideal transducer and let
the customer change his room ac
cordingly. He can make it a little
easier for the customer if he buildsin a correction network, but the opti
mal result can normally first be ob
tained after a measurement in the
actual listening room. In fact, it can
be very difficult, by ear alone, to de
cide exactly what is wrong. If, for in
stance, there is a resonance be
tween 100 and 2 0 0 Hz, one could
say, that there is something wrong
in the bass, but not exactly where it
is wrong. Normally, neither loud
speakers nor rooms are ideal, and
therefore the problem is often to
15 Curves
To get an immediate impression
of the results, look at the 15 curves
(Fig.4) which the 5 speakers, in the
3 rooms gave from measurements
at the listening position, with 1/3
octave bandpass noise. Later, much
more detailed information about the
measurements will be given.
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Fig.4. These curves show how the 5 loudspeaker responses differ in the 3 rooms. The measurements were made by the portable and inexpensive
method. Note that the 3 in-line curves are for the same loudspeaker tested in different rooms
Fig.5.
Room L 1: H1 -- H 2 - H 4 - H 3 - - H 5
Room L 2: H1 -- H 2 - H 4 - H 3 - - H 5
Room L 3: H2 - H 4 - H 5 - H 1 - - H 3
Preference sequence from measurements
Listening Tests
Throughout the listening tests,
the loudspeakers were compared
two by two. The person Iistening
was asked to choose which of the
two loudspeakers, he preferred to
listen to at any given time. All the
loudspeakers were equalised to the
same sound pressure level, using
pink noise. All the speaker cabinets
were covered by a porous cloth, so
that the cabinets could not be seen
during the listening tests.
Throughout the tests, six different
short music pieces were used (See
Fig. 20) Wagner Opera, Modern
String Quartet, Organ Music from a
church, Beat, Jazz, and Popular
Identification
Listener No.. .
Room No. . . .
Comparison No
16.
17.
18.
19.
Distortion
1. First preference .
21. Boomy
22. Hollow
23. Nasal .
Overall impression
2. Natural
24. Metallic
25. Harsh .
3. Well defined. .
26. Cutting
27. Hard .
""!
28. Mellow
5. Muddy
6. Presence
7. Distant
8. Transparent . . .
9. Stained
10. Bright
11. Dull
30.
31.
32.
33.
34.
12. Full
13. Thin
Mid range
Treble
Orchestra
Chamber
Popular
750581
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H2
H3
H4
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173418
Room L 1 : H1 -- H 2 - H 4 -- H 3 - - H 5
A
20 -
15
Room L2: H1 -- H 4 - H 2 - - H 3 - - H 5
10
Room L3: H 4 - - H 2 - H 1 -- H 3 -- H 5
Preference sequence f r o m listening tests
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750593
Real-Time Method
Until now we have only men
tioned the measuring method as
"the 1 / 3 octave, pink-weighted,
random noise method". Now let us
look closer, to see how the method
is used.
The
professional
method is
shown in Fig. 10. Here the Noise
Generator Type 1 4 0 5 sends broad
band "Pink noise" through the sys
tem, and the Real-Time Analyzer is
used as the measuring instrument.
Power Amplifier
2706
om
Random Noise
JT^
#m
7)
Power Amplifier
2706
Generator 1405
k
^ \
Listening Room
Fig. 1 0 .
Measuring set-up w i t h " p i n k " noise 2 0 Hz to 2 0 kHz. The result is immediately read out on the screen
"Pink Noise
looks as shown in
Fig.11 w h e n it is sent directly to
the Real-Time Analyzer each co
lumn is seen to have about the
same height.
If white noise is introduced to the
analyzer, it appears as shown in
Fig. 12. White noise contains all fre
Fig. 1 1 .
Fig. 1 2.
Power Amplifier
2706
O
< *
Power Amplifier
2706
H-:=H
Level Recorder
2307
Measuring Amplifier
2606
Condenser Microphone
4133 + Preamplifier 2619
-v
.
"I
Listening Room
173263/1
Fig. 1 3 .
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Power Amplifier
CEZJ
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L L X L L I I I If
11 1J
-A
Listening Room
o o o o o o
Tape Recorder
Fig. 15. The portable and inexpensive method. The recording is manual with one point for each
1 / 3 octave
the
we
one
the
all
740002
Supplementary Experiments
To supplement given results, we
will now look at three subjects: (1)
the dependence of the measured re
sults on the loudspeaker and micro
phone positions, (2) the relative fre
Fig. 16. The variations in room L2 for three different microphone positions
Fig. 18. The variations in room L3 for three different microphone positions
Fig. 19. The variations in room L3 for three different loudspeaker positions
"fc&as"*
M 5 Stan Kenton
2424
Fig.20.
10
The spectra of the music examples used for the listening tests
Fig.21.
er
tens.
It seems reasonable that the cus
tomer in the first place, simply lis
tens and only looks at the curves
when in doubt. He then selects a
system, takes it home and listens
again. If the sound is the same or
even better than at the Hi-Fi deal
er's, he is fortunate. If not, he need
only make one measurement at
home. He can then compare this re
sult, with the result of the measure
ment on the same system made at
the Hi-Fi dealer's. The difference be
tween these two curves represents
the difference between the rooms.
He can now find the correct speaker
for his room by adding this differ
ence to the curves measured at the
Hi-Fi dealer and then selecting the
speaker which, after correction with
this difference, ends up with the
best curve.
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250
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750670
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0 0 0 0 0 0 0 0 0 0 0
Fig-22. The original cross-over network and the corresponding curves for speaker H1
Bass
Tweeter
Midrange
750671
M*fi^r
5 6
9 12
Dermarto
SPL
Measuring Obj
9 0 dB
Loudspeaker
Schematic
80 dB
70 dB
60 dB
Date
Sign
20HZ
40
80
160
315
630
1,25
31.5
63
125
2 50
500
1 kHz
2
25
50
100
200
400
800
1,6
750672
O-^ftMJt/1 hVWVvO
L
f0 - 140 Hz
B = 50 Hz
OJQ
V^c
LC =
1
LC
LC
12
12,5
3 dB
with corre
shown
in
6.3
QP 2 0 1 1
Fig.23.
3,15
1
Q
R
w
o L
2wi.
2ir 140
L - 3 mH
1.1-10
2TTLB
-3
C = 470 MF
Fig.24.
Brt*<4Kj*r
7 5 3 2 J
0 0 D 0 0 0 0 O O O O O O 0 O O 0 O
1
H
CorrKrt"rjrn n v c u r y
2 3
i
5 5
v
3
r
TS
\
SPL
M c ^ u r m g OQ|
90 d *
UftiOg C - W f r f l J l U O f l f i i t V ( K M
K dfl
IG rfrtfjiftg
O 0 0 O 0 O 0 O 0 O O O O 0 D O 0 O
-u-,! '^T T
+
^
-+ -
M q j ^ u n r v g Ob|
when
13
VMI
+
-H
,
fi
_ - - 1 V
Lti - - _ r _ ^ - L 4 _ i - - U - L - i
4 -
I-
fiOc*&
70 tffl
tOdB
DflCt:
Sign
T h u d OCTflv* fifl-Td
t2.5
0 * Jtfl
/J05S2
Fig.25. The amplitude response for loudspeaker H1 with and without compensation
Conclusion
Since the listening room is an ex
tremely important factor in the eval
uation of loudspeaker performance,
an objective test method is required
that gives good correlation with sub
jective listening tests. It is found
that pink-weighted, random noise in
third octave bands, best meets this
requirement.
The measurement may be imple
mented in several ways of various
degrees of convenience and ex
pense; (1) Real-time third octave
analysis. (2) Sequential third octave
References
Ref.1. E. Rorbaek Madsen and H.
Staffeld
Hojttalerundersegelser
Akademiet for de tekniske videnskaber
Denmark 1 9 7 2 .
A shortened version was pre
sented at the 47th AES con
vention in Copenhagen.
Ref.2. Roy F. Allison and Robert
Berkovitz
The Sound Field in Home Lis
tening Rooms.
the
Audio
Journal
of
Engineering Society
July/August 1 9 7 2 , Vol. 2 0 ,
No. 6.
Measure-
13