• Ocean and Polar Research
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• v.34 no.3
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• pp.325-335
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• 2012

It is well known that sound waves in the sea propagates under the influence of sea surface and bottom roughness, the sound speed profile, the water depth, and the density of sea floor sediment. In particular, an abrupt change of sound speed with depth can greatly affect sound propagation through an eddy. Eddies are frequently generated in the East Sea near the Korean Peninsula. A warm eddy with diameter of about 150 km is often observed, and the sound speed profile is greatly changed within about 400 m of water depth at the center by the eddy around the Ulleung Basin in the East Sea. The characteristics of low-frequency sound propagation across a warm eddy are investigated by a sound propagation model in order to understand the influence of warm eddies. The acoustic rays and propagation losses are calculated by a range-dependent acoustic model in conditions where the eddy is both present and absent. We found that low-frequency sound propagation is affected by the warm eddy, and that the phenomena dominate the upper ocean within 800 m of water depth. The propagation losses of a 100 Hz frequency are variable within ${\pm}15$ dB with depth and range by the warm eddy. Such variations are more pronounced at the deep source near the sound channel axis than the shallow source. Furthermore, low-frequency sound propagation from the eddy center to the eddy edge is more affected by the warm eddy than sound propagation from the eddy edge to the eddy center.

• Korean Journal of Air-Conditioning and Refrigeration Engineering
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• v.14 no.1
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• pp.63-72
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• 2002

The main objective of this study is to propose a practical two-microphone impedance tube method to measure the sound transmission loss for flexible sound isolation sheets without the use of the time-consuming and expensive reverberation room. This method was based on the sound decomposition theory developed by Seybert using the spectral density functions of the incident and reflected sound waves. In order to verify the validity of the experimental results, the measured sound transmission losses from the proposed method were compared with the measured data from the reverberation room method and the calculated data from the theory satisfying the mass law of sound isolation material. The resulted trends of the sound transmission losses versus frequencies for several different sound isolation sheets were almost same for each other and agreed quite well in both methods except at some low frequency region. From the experimental results, it was found that the accuracy of sound isolation capability obtained by two-microphone impedance tube method depends upon the microphone spacing, the distance from the first microphone to the test sample surface and the test sample location.

• Journal of the Korea Computer Graphics Society
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• v.24 no.5
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• pp.21-30
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• 2018

In this paper, we use Sound-tracing, a 3D sound technology based on ray-tracing that uses geometric method as auditory technology to enhance realism. The Sound-tracing is costly in the sound propagation stage. In order to reduce the sound propagation cost, we propose a method to calculate the average effective frame number of previous frames using the frame coherence property and to adjust the depth according to the space based on the calculated number. Experimental results show that the path loss rate is 0.72% and the traversal & Intersection test calculation amount is decreased by 85.13% and the frame rate is increased by 4.48% when the sound source is indoors, compared with the result of the case without depth control. When the sound source was outdoors, the path loss was 0% and the traversal & Intersection test calculation amount is decreased by 25.01% and the frame rate increased by 7.85%. This allowed the rendering performance to be increased while minimizing the path loss rate.

• Journal of Digital Contents Society
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• v.9 no.2
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• pp.203-211
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• 2008

Due to the advance of H/W and S/W techniques to play 3D sound, the virtual space contented by 3D graphics and sounds can provide users more improved realities and vividness. However for the small 3D contents developers and companies, it is hard to implement 3D sound techniques because the implementation requires expensive sound engines, 3D sound technical understanding and 3D sound programming skills. Therefore 3D-sound-playing-interface is necessary to easy and cost-effective 3D sound implementation. Using this interface, graphics experts can easily add 3D sound techniques to their applications. In this paper, the followings are designed and implemented as a preliminary stage in the way of developing the 3D sound playing interface. First, we develop 3D sound S/W modules converting mono to 3D sound in PC based systems. Second, we develop the interconnection modules to map 3D graphic objects and sound sources. The developed modules in this paper can allow the user to percept sound source position and surround effect at the moving positions in the virtual world. In the coming works, we are going to develop the more completed 3D sound playing interface consisted of the synchronization technique for sound and moving objects, and HRTF.

• The Journal of the Acoustical Society of Korea
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• v.30 no.8
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• pp.410-420
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• 2011

The present study aims to investigate the soundscapes of Jeju olle route through the soundwalking. In order to do this, sound measurements and sound recording were undertaken at 10 points along Jeju olle route. Also, loudness of background sound and figure sound were examined. Subjective surveys were carried out using questionnaire and interviews with 32 tourists and 5 acoustical specialists in order to investigate the loudest sound, most pleasant and unpleasant sound, and impressive sound among 17 natural and artificial sounds. Additionally, laboratory experiments were achieved to evaluates sound that have been recorded at the field using same questionnaire and the results were compared with those of field experiments. As a result, the sound heard most in Jeju olle route is the sea wave sound, wind sound, automobile noise, and human voice. It was revealed that the most pleasant sound consisted of nature sound among them, and that unpleasant sounds are artificial sounds. The results of subjective test denote that unpleasant sound is affected by ratio of artificial sound and nature sound. And this also affects the assessment about the loudness of the sound. Also, it was found that the results of both field test and laboratory test are closely correlated in the evaluation of loudness of sound and unpleasant feeling.

• Proceedings of the Korean Society for Noise and Vibration Engineering Conference
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• 2007.05a
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• pp.1162-1168
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• 2007

In many fire emergencies, the audible fire alarm signals are very important to save the occupant's life. But as the sound insulation of building elements has been improved, it is more difficult for occupant to recognize the fire alarm signals when the fire alarm worked. This is the study to show the sound attenuation of the fire alarm sounder system in apartment buildings. We measured and analyzed the sound attenuation level in 17 units, and the results were compared with the minimum sound level at sleeping area by NFPA(National Fire Protection Association) 72. When only the fire alarm worked in stair hall, the sound levels in bedroom were in the range of $30.6{\sim}42.8dB(A)$ and the differences between sound level and ambient sound level in bedrooms were in the range of $7.1{\sim}13.8dB(A)$. And when the emergency broadcasting device in the livingroom and the fire alarm worked simultaneously, the sound levels in bedrooms were in the range of $54.2{\sim}63.0dBA$. Finally, it was showed that the fire alarm sounder system didn't give a sufficient sound level in bedroom to awake out of sleep.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.19 no.9
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• pp.420-426
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• 2018

Acoustic Quanta, which British Physicist Dennis Gabor created, is the theoretical background for granular synthesis and has influenced many computer music artists and sound designers. Acoustic Quanta is a very short sound burst, lasting only 1 to 100 ms. Granular synthesis is a sound synthesis technique which slices original sound into sound grains and re-combines them into a new acoustic event. Concept of sound grain is borrowed from the acoustic quanta. Granular Synthesis can make very unique sound, so that it can be useful in many ways, especially in sound design. This paper presents concept of acoustic quanta and granular synthesis. It then discusses making a synthesizer as an implementation of synchronous granular synthesis and its applications on sound design. As a result, the duration of acoustic quanta should range between 0.239 and 33.367 ms, in consideration of audible frequencies, which is different from the original concept of the acoustic quanta.

• Fire Science and Engineering
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• v.33 no.4
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• pp.89-96
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• 2019

In this study, alarm sound generated as a priority alert system propagation through an elevator shaft in apartment buildings were simulated using room acoustic simulation software. The simulations were conducted on three kinds of elevator hall plan with a different number of elevators and placement. First, the elevator shaft without sound absorption material was simulated as a condition of the present. When the distance from the alarm sound generating floor became farther, alarm sound level was decreased. However, the alarm sound level three-floor distance was about 54 dB(A)~56 dB(A) which were louder than a background sound level of typical apartment buildings. Sound absorption material placement proposed by previous studies were simulated and the alarm sound levels were decreased about 12 dB~16 dB. These levels were similar or lower than the background level of apartment buildings. From these results, it can be concluded that placing sound absorption material on the surface of the elevator shaft wall can be one of the methods to control the alarm sound as regulated in NFSC.

• Journal of Acupuncture Research
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• v.22 no.4
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• pp.87-93
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• 2005

Objectives : The aims of this study were to observe how effect bell sound, water sound and drum sound have on origin regions for acupuncture of twelve meridians by yangdorak diagnosis, and to practice it clinically. Methods : Firstly, ire measured origin regions for acupuncture of twelve meridians by yangdorak diagnosis, after we relieved a subject for 10 minutes. Secondly, we measured origin regions for acupuncture of twelve meridians by yangdorak diagnosis, after a subject listened to bell sound, water sound and drum sound for 3 minutes. Results : Through testing the effects of bell sound, water sound and drum sound on numerical values of origin regions for acupuncture of twelve meridians by yangdorak diagnosis, we had follows; 1. On bell sound, the numerical values of origin regions for acupuncture of twelve meridians by yangdorak diagnosis descended from 38.8 to 28.8 in left, and from 40.4 to 30.8 in right. 2. On water sound, the numerical values of origin regions for acupuncture of twelve meridians by yangdorak diagnosis descended from 55.4 to 39.4 in left, and from 56.0 to 41.9 in right. 3. On drum sound, the numerical values of origin regions for acupuncture of twelve meridians by yangdorak diagnosis descended from 39.1 to 30.1 in left, and from 38.4 to 38.0 in right. Conclusion : Through testing the effects of tone sounds on numerical values of origin lesions for acupuncture of twelve meridians by yangdorak diagnosis, we confirmed that change of tone colors go by five elemental theory rule and have effect on enery and blood metabolism.

• The Journal of the Acoustical Society of Korea
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• v.36 no.1
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• pp.78-87
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• 2017

The goal of the present paper is to objectify the intrinsic subjectivity of sound as a media of music by applying psycho-acoustical methodology to the analysis of a musical work. First, 18 sound samples are extracted from "Symponie Fantastique" written by Hector Berlioz, which is a piece of program music, and then the objective Zwicher's sound quality parameters such as: Loudness, Sharpness, Roughness and Fluctuation Strength are evaluated for each of these sound samples. For subjective sound quality evaluation, 9 representative sound quality adjectives are extracted on a basis of program feature of Symponie Fantastique and the first jury test is carried out by using the numeric rating method and the paired comparison method. Three sound quality adjectives, "bright", "noisy", and "realistic" are extracted from the factor analysis of the first jury test result. On a basis of the computed sound metrics and the second jury test result for the three sound quality adjectives, three sound quality indexes are developed to represent the sound qualities of "Symponie Fantastique".