一种改进的适用于数字助听器的基于非线性频率压缩的多通道响度补偿方法

为了改进数字助听器中的响度补偿, 并提高高频部分的语音可懂度, 提出一种基于非线性频率压缩的多通道响度补偿的综合方法。首先, 为了避免语音的频率畸变, 基于语音可懂度进行频谱的多通道划分。然后, 采用一种非线性的频率压缩方法, 将高频部分的声音压缩至患者能听到的低频部分。所提出的非线性频率压缩方法是基于不同频段对语音理解度的贡献占比来改变频率压缩比。最后, 为了实现自适应的响度补偿同时防止传统宽动态范围压缩的固定压缩比降低语音质量, 采用一种随时间可变压缩比的自适应宽动态范围压缩方法。实验结果表明, 相对于传统的宽动态范围压缩和频率压缩方法, 该方法可以改善20%的语音鉴别准确率。     

Level and Center Frequency of the Singer''s Formant

The "singer's formant" is a prominent spectrum envelope peak near 3 kHz, typically found in voiced sounds produced by classical operatic singers. According to previous research, it is mainly a resonatory phenomenon produced by a clustering of formants 3, 4, and 5. Its level relative to the first formant peak varies depending on vowel, vocal loudness, and other factors. Its dependence on vowel formant frequencies is examined. Applying the acoustic theory of voice production, the level difference between the first and third formant is calulated for some standard vowels. The difference between observed and calculated levels is determined for various voices. It is found to vary considerably more between vowels sung by professional singers than by untrained voices. The center frequency of the singer's formant as determined from long-term spectrum analysis of commercial recordings is found to increase slightly with the pitch range of the voice classification.     

Comparison of the Produced and Perceived Voice Range Profiles in Untrained and Trained Classical Singers

Frequency and intensity ranges (in true decibel sound pressure level, 20 microPa at 1 m) of voice production in trained and untrained vocalists were compared with the perceived dynamic range (phons) and units of loudness (sones) of the ear. Results were reported in terms of standard voice range profiles (VRPs), perceived VRPs (as predicted by accepted measures of auditory sensitivities), and a new metric labeled as an overall perceptual level construct. Trained classical singers made use of the most sensitive part of the hearing range (around 3-4 kHz) through the use of the singer's formant. When mapped onto the contours of equal loudness (depicting nonuniform spectral and dynamic sensitivities of the auditory system), the formant is perceived at an even higher sound level, as measured in phons, than a flat or A-weighted spectrum would indicate. The contributions of effects like the singer's formant and the sensitivities of the auditory system helped the trained singers produce 20% to 40% more units of loudness, as measured in sones, than the untrained singers. Trained male vocalists had a maximum overall perceptual level construct that was 40% higher than the untrained male vocalists. Although the A-weighted spectrum (commonly used in VRP measurement) is a reasonable first-order approximation of auditory sensitivities, it misrepresents the most salient part of the sensitivities (where the singer's formant is found) by nearly 10 dB.     

Data on subglottal pressure and SPL at varied vocalloudness and pitch in 8- to 11-year-old children

Phonation threshold pressure has been defined as the minimum subglottalpressure to generate phonation. Previous research has indicated that children may habitually employ higher subglottal pressures than adults. In the present investigation sound pressure level (SPL) and subglottal pressures at different pitch levels were measured at and above phonation threshold in nine children. Phonation threshold values were scattered in reasonable agreement with Titzes' prediction, although a discrepancy was noted regarding the frequency dependence in some voices. At normal conversational loudness and loudest level of phonation the children's PS values were between two to four and four to eight times the predicted threshold values, respectively. At normal conversational loudness and habitual pitch subglottal pressures were lower than those previously observed for children, but similar to those found for female adults. The SPL in softest and loudest phonation were somewhat lower as compared to previous phonetogram data for children and for female adults. At normal loudness and habitual pitch the SPL values were similar to those of female adults. For a doubling of P_s mean SPL increased by 10.5 dB on the average.     

Active noise control of a diesel generator in a luxury yacht

Active noise control has been applied to a variety of systems in order to improve performance without the increases in size and weight that would otherwise be required by traditional passive noise control treatments. This paper investigates the application of an active noise control system to the control of generator noise in the master cabin of a luxury yacht. A multichannel, multi-tonal active noise control system employing loudspeakers and microphones in the master cabin of the yacht is investigated. It is shown that, due to the high number of engine orders produced by the generator, in order to achieve significantly perceptible levels of noise attenuation it is necessary to control at least 7 individual orders. A controller is investigated which targets 19 engine orders and it is shown to achieve in excess of 5 dB broadband attenuation, whilst achieving up to 23 dB attenuation in individual orders. This corresponds to a 23% reduction in the Zwicker loudness.     

基于听感知特征的英语句子重音检测

为了更有效地提取英语句子重音,提出了一种基于听感知特征的方法。根据音素特点,改进段长的归一化方法;根据听感知特性,引入半音程和响度特征,并以归一化的音节最高值代替其平均值,系统正确率达到78.7%,漏检率为9.37%。在此基础上,还提出了基于掩蔽效应的突显度模型,系统正确率提高到83.4%,漏检率下降到5.72%。实验表明,突显度模型更符合人的听感知,其性能接近人工标注的一致率(约为86%)。系统还具有文本无关和说话人无关的优点。     

大型离心风机排风口噪音控制

本文根据大型离心风机辐射噪声的特点,针对矿井的具体情况在不破坏原风道,不影响通风的前提下,提出可行的综合治理方案.     

Relationship between changes in voice pitch and loudness

Changes in mean fundamental frequency accompanying changes in loudness of phonation are analyzed in 9 professional singers, 9 nonsingers, and 10 male and 10 female patients suffering from vocal functional dysfunction. The subjects read discursive texts with noise in earphones, and some also at voluntarily varied vocal loudness. The healthy subjects phonated as softly and as loudly as possible at various fundamental frequencies throughout their pitch ranges, and the resulting mean phonetograms are compared. Mean pitch was found to increase by about half-semitones per decibel sound level. Grossly, the subject groups gave similar results, although the singers changed voice pitch more than the nonsingers. The voice pitch changes may be explained as passive results of changes of subglottal pressure required for the sound level variation.