SOUND LEVEL MEASUREMENT

Dr. Shital S. Chiddarwar

Department of mechanical Engineering
S.R.K.N.E.C., Nagpur
 The nature of sound
Sound, a manifestation of vibration, travels in wave patterns
through solids, liquids and gases.

The waves, caused by vibration of the molecules, follow sine

functions, typified by the amplitude and wavelength (or
frequency)

Sound waves of equal

amplitude with
increasing frequency
from top to bottom
SOUND PRESSURE
Sound propagation
Amplitude and wavelength (period)
PROPAGATION OF SOUND
 • Sound is a disturbance that propagates through a medium
having properties of inertia ( mass ) and elasticity.
• The medium by which the audible waves are transmitted is air.
• Basically sound propagation is simply the molecular transfer of
motional energy. Hence it cannot pass through vacuum.

Guess how much is particle

displacement??
8e-3nm to 0.1mm

Frequency: Number of pressure (cycles / time)

also called pitch of sound (in Hz)
Sound is a sensation of acoustic waves
(disturbance/pressure fluctuations setup in a medium)

SOUND
Unpleasant, unwanted, disturbing sound is generally treated
as Noise and is a highly subjective feeling

N
O
I
S
E
 QUANTIFYING SOUND

Acoustic Variables: Pressure and Particle Velocity

Root Mean Square Value (RMS) of Sound Pressure

 Mean energy associated with sound waves is its
fundamental feature
 Energy is proportional to square of amplitude

1
1 T
 2
p    [ p(t )] dt 
2

T 0 

p  0.707 pˆ
Range of RMS pressure fluctuations
that a human ear can detect extends
from
0.00002 N/m2 (Pascal)
(threshold of hearing)
to
20 N/m2 (Pascal)
(sensation of pain)
1,000,000 times larger

peak pressure of loudest sound is 3500

times smaller than atm. pressure
 Levels
 A unit of a logarithmic scale of power or intensity called
the power level or intensity level.

 The decibel is defined as one tenth of a bel

 One bel represents a difference in level between two

intensities (one of the two is ten times greater than the
other)

 Thus, the intensity level is the comparison of one intensity

to another and may be expressed:

 Intensity level = 10 log10 (I1 /Iref) (dB)

 Intensity level = 10 log10 (I1 /Iref) (dB)
Why log ratio?
 Logarithmic scale compresses the high amplitudes and
expands the low ones

 The other reason: Equal relative modifications of the strength

of a physical stimulus lead to equal absolute changes in the
salience of the sensory events (Weber-Fechner Law) and can
be approximated by a logarithmic characteristics
(Ear responds logarithmically to stimulus)
 How sound is measured

•Pressure, P, usually Pascals

P = 1/f
•Frequency, f, usually Hertz
I = W/A

•Intensity, I, usually W/m2 L’ = log (Q/Qo)

•Bels, L’, derived from logarithmic ratio L = 10*log (Q/Qo)

•Decibels, L, derived from bels

E.g. Implications of the decibel scale: doubling sound level

would mean that the sound will increase by 10*log2 = +3dB
Ten times the sound level = 10*log10 = +10dB
 dB SCALE
Acoustic parameters are expressed as logarithmic ratio of the
measured value to a reference value
The Bel (B) is a unit of measurement invented by Bell Labs
and named after Alexander Graham Bell.
The Bel was too large, so the deciBel(dB), equal to 0.1 B,
became more commonly used as a unit for measuring sound
intensity
 Power Ratio of 2 = dB of 3
 Power Ratio of 10 = dB of 10
 Power Ratio of 100 = dB of 20
 SOUND PRESSURE LEVEL
In linear vibroacoustics, time averaged power values are
proportional to the squared rms-amplitudes of the field
variables (e.g., pressure, particle velocity)

Thus to calculate logarithmic levels from the field

variables, it is these squared rms-amplitudes that must be
used.
p12rms SPL  20Log10
p1rms
SPL  10 Log10 2 dB pref
dB
pref

In acoustics, the reference pressure

Pref=2e-5 N/m2 or 20Pa (RMS) loudest sound pressure that a
normal person can barely perceive at 1000Hz
 SOUND PRESSURE LEVEL

Corresponding to audio range of Sound Pressure

2e-5 N/m2 - 0 dB
20 N/m2 - 120 dB
Normal SPL encountered are between 35 dB to 90 dB

For underwater acoustics different reference pressure is used

Pref = 0.1 N/m2
It is customary to specify SPL as 52dB re 20Pa
 Typical average decibel levels (dBA) of some common sounds.

Threshold of hearing 0 dB Motorcycle (30 feet) 88 dB

Rustling leaves 20 dB Foodblender (3 feet) 90 dB

Quiet whisper (3 feet) 30 dB Subway (inside) 94 dB

Quiet home 40 dB Diesel truck (30 feet) 100 dB

Quiet street 50 dB Power mower (3 feet) 107 dB

Normal conversation 60 dB Pneumatic riveter (3 feet) 115 dB

Inside car 70 dB Chainsaw (3 feet) 117 dB

Loud singing (3 feet) 75 dB Amplified Rock and Roll (6 feet) 120 dB

Automobile (25 feet) 80 dB Jet plane (100 feet) 130 dB

 SOUND POWER
Intensity : Average Rate of energy transfer per unit area

W p 2
I W/m 2
W  4 r 2 I  4 r 2 Watt
4 r 2 0 c

Sound Power Level: W

SWL  10log10 dB
Wref
Reference Power Wref =10-12 Watt

Peak Power output:

Female Voice – 0.002W, Male Voice – 0.004W,
A Soft whisper – 10-9W, An average shout – 0.001W
Large Orchestra – 10-70W, Large Jet at Takeoff – 100,000W
15,000,000 speakers speaking simultaneously generate 1HP
 Sound Intensity
T
1 P2 For plane progressive waves;
I
T  p u dt
0
I
0 c Hold true also for spherical
waves far away from source
I
IL  10Log10
I ref Reference Intensity Iref =10-12 Watt/m2

p1 p12 /( 0c)
SPL  20 Log10 dB  10Log10 dB
2e  5 (2e  5) /( 0c)
2

I 1012 I 1012
SPL  10 Log10 12 dB  10 Log10  10 Log10
10 (2e  5) /( 0c)
2
I ref (2e  5) 2 /( 0c)

For air, 0c  415Ns/m3 so that SPL  IL  0.16 dB

 Effect of multiple sound sources
p p p
2
tot
2
1
2
2 SPL  10 Log10
p12rms
2
pref
dB
Lp1 Lp2

2 Lp1
p
2
1
 10 10
p ref
 L p1 Lp 2

2
ptot  pref
2
10 10  10 10 
 
 ptot
2   L p1 Lp 2

10 log10  2   10 log10 10 10  10 10 
p  
 ref   
 N Lp10n 
Lptot  10log10  10 
 n1 
 Human hearing and Frequency

0 16 Hz 20 kHz 5 MHz
 SOUND AND HUMAN HEARING – FREQUENCY

 Humans are less sensitive to low frequency sound and more

sensitive to high frequency sound.

Therefore, sometimes the dB scale is adjusted to take this

into account:

 A-weighting (db(A)): adjusts overall scale so it better

matches what the human ear would hear

 C-weighting (dB(C)): adjusts scale for loud or low

frequency sounds

 B-weighting (dB(B)): adjusts by factors that are “in

between” the A-weighted factors and C-weighted factors
(rarely used)
Filters used for dBA and dBC
The most widely used sound level
filter is the A scale, which roughly
corresponds to the inverse of the 40 dB
(at 1 kHz) equal-loudness curve.

The sound level meter is thus less

sensitive to very high and very low
frequencies.

Measurements made on this scale

are expressed as dBA.

The C scale (in dBC) is practically

linear over several octaves and is thus
suitable for subjective measurements
only for very high sound levels.
LOUDNESS IN PHONS
The phon is related to dB by the
psychophysically measured
frequency response.

Phons = dB at 1 kHz. For other

frequencies, the phon scale is
determined by loudness
experience by humans.
 LOUDNESS IN SONES

 The sone is derived from psychophysical tests where

humans judge sounds to be twice as loud.
 This relates perceived loudness to phons.
 A sone is 40 phons.
 A 10 dB increase in sound level corresponds to a
perceived doubling of loudness.
 So that approximation is used in the definition of
the phon:
 0.5 sone = 30 phon, 1 sone = 40 phon, 2 sone =
50 phon, 4 sone = 60 phon, etc.
 Pressure microphone
• Measuring the actual
pressure on a wall
• Typically used in
closed coupler for
calibration
 MICROPHONE DIRECTIONALITY

• Directionality indicates the sensitiveness of a

microphone to sound coming from different directions
• No microphone is perfectly omnidirectional
• Cardioid or hypercardioid commonly used to record
vocals
• Most ribbon microphones are bi-directional
• Shotgun directionality used outdoors for TV/film
production and wildlife recordings
PARABOLIC MICROPHONE

• Parabolic reflector
used to collect sound
waves to
microphone
• Very directional
• For eavesdropping
in e.g. spying
 MICROPHONE TRANSDUCERS
• Condenser microphones
• Electret capacitor
microphones
• Dynamic microphones
• Ribbon microphones
• Carbon microphones
• Piezoelectric
microphones
• Laser microphones
 CONDENSER MICROPHONE
• Diaphragm and backplate
form a plate capacitor
• Charge kept constant
→ voltage varies as pressure
actuates the diaphragm
• External voltage supply or
pre-charged diaphragm
• Acoustical performance
determined by physical
dimensions
 CONDENSER MICROPHONE
 The larger the diaphragm, the
more sensitive the microphone
 Upper limit is defined by
diaphragm touching the
backplate
 The smaller the microphone, the
greater the frequency range
 Increasing tension extends range
but decreases sensitivity
 Optimum size of a measurement
microphone is (up to 20 kHz) is
about 12.6 mm (1/2’’)
 Damping effect of air reduced by
drilling holes in the backplate
 CONDENSER OR CAPACITOR
MICROPHONE

MULTI-
DIRECTIONAL
CONDENSER
MICROPHONE
ELECTRET MICROPHONE
 Invented at Bell Labs in
1962 by Gerhard Sessler
and Jim West
 Diaphragm permanently
polarized the same way as
permanent magnets
magnetized (electrostatic
magnet)
 Once considered low price
and low quality
 Now most common
microphone type
 DYNAMIC MICROPHONE
 A movable coil is attached to
the diaphragm
 An unmovable magnet
produces a magnetic field
 Moving diaphragm moves the
coil in the magnetic field,
inducing a measurable
current
 Exactly same principle as in
loudspeakers, only reversed
 Poor low-frequency response
→ reduces handling noise
 Robust, relatively inexpensive
and resistant to moisture
→ widely used on-stage
RIBBON MICROPHONES
 Revolutionized recording and
broadcast industry in the 30’s
 Special type of dynamic
microphones
 Thin metal ribbon between
poles of magnet
 Voltage output typically low
compared to normal dynamic
microphones
 Bidirectional
 Very sensitive and accurate
 Generally delicate and
expensive
CARBON MICROPHONES
 Invented by David Hughes in
1878
 Very important in the history of
telephone
 Sound pressure (AP) presses the
diaphragm (2) to a bed of
carbon granules (1). Contact
resistance depends on the
pressure → resitance R changes
 Also an amplifier
 Extremely low-quality sound
reproduction
 Very limited frequency range
 Very robust
PIEZO MICROPHONES
 Piezoelectric material
 Diaphragm moves the
armature to bend
piezoelectric crystal over a
fulcrum
 Small size, cheap, low
quality
 Have replaced carbon
microphones
 Often used as
contact microphones to
sound instruments
underwater or other
unusual environments
LASER MICROPHONES
Window of a room acting
as diaphragm
Reading with laser beam
reflected from the window
Two laser beams for
common mode rejection of
large window movements
and path disturbances
For eavesdropping
Works best with one-glass
windows
 Sound level measurements
• Measurement of sound pressure filtered by
– frequency (A-weighting)
– time-domain (RMS)
• Mimics response of human ear to noise