Audible frequency ranges of music, speech and noise
Audible frequency ranges of music, speech and noise
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DOI：
10.1002/j.1538-7305.1931.tb02334.x
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发表时间：
1931-10-01
影响因子：
--
通讯作者：
Snow, WB
中科院分区：
文献类型：
--
作者：
Snow, WB
这里给出的可听范围已经与一些乐器的峰值声音输出的物理测量进行了比较。物理测量给出了低于500个周期的八度范围内的峰值幅度，以及高于这一点的半个八度范围内的峰值幅度，而在选择可听范围时，可以在这些界限之间进行内插。另一方面，听觉掩蔽必须在确定可听分界点的过程中发挥作用。考虑到这些比较的局限性，这两组数据在每个共同测试的仪器上都是一致的。这些测试的更重要的结果被认为是：钢琴是唯一产生基音听不见的音调的人。乐器可以产生低至40个周期的可听频率，但只有60个周期的复制被认为是几乎同样令人满意的。为了完美地复制乐器，需要传输最高的可听频率，这主要是因为伴随音乐音调的噪音。10,000周的上限截止值对大多数乐器的音质影响不大，但5000周的上限截止值对除大鼓以外的所有乐器都有显著影响。随着管弦乐的下限延长到约80个周期，上限延长到约8000个周期，管弦乐的再现质量得到了实质性的改善。全音域的重现比任何频带宽度的限制更可取。噪音需要重现最高的可听频率。10,000个周期的中断导致常见噪声的自然度显著降低。人们认为，这一分界线可能永远不会排除对噪音的识别。这些结果似乎不需要对许多声学工程师多年来所考虑的定性思想进行根本性的修改，它们的价值在于它们提供的定量证实。
The audible ranges here presented have been compared with physical measurements of peak sound output of a number of instruments. The physical measurements give the peak amplitudes in octave ranges below 500 cycles, and in half octave ranges above this point, whereas interpolation between these limits was possible in selecting the audible ranges. On the other hand, auditory masking must play a part in determining the audible cut-off points. Considering these limitations to comparison, the two sets of data are consistent on every instrument tested in common. The more important results of the tests are considered to be as follows: The piano was alone in producing tones with inaudible fundamentals. Audible frequencies down to 40 cycles were produced by the musical instruments, but reproduction only to 60 cycles was considered almost as satisfactory. Transmission of the highest audible frequencies was needed for perfect reproduction of musical instruments, mainly because of the noises accompany- ing the musical tones. A 10,000 cycle upper cut-off had slight effect upon the tone quality of most instruments, but a 5000 cycle cut-off had an appreciable effect upon all except large drums. The quality of reproduction of orchestral music improved materially as the lower cut-off was extended to about 80 cycles and the upper cut-off to about 8000 cycles. Reproduction of the full audible range was preferred to any limitation of band width. Noises required reproduction of the highest audible frequencies. A 10,000 cycle cut-off caused appreciable reduction of naturalness on common noises. It was felt that this cut-off probably would never preclude recognition of a noise. The results seem to necessitate no radical revision of the qualitative ideas entertained by many acoustical engineers for some years, their value lying rather in the quantitative corroboration they supply.