Otala 1980 Tassp

Download as pdf or txt
Download as pdf or txt
You are on page 1of 6

XEEE TRANSACTIONS ON ACOUSTICS, SPEECH, AND SIGNAL PROCESSING, VOL.

ASSP-28, NO, 1, FEBRUARY 1980 91

[ 3 1 ] G. S. Sebestyen, Decision-Making Process in Pattern Recognition. N*R, Ganguli was born on September 1,1939.
New York: Macmillan, 1962,p, 18, We received the Engineer’s degree in telecorn-
[32] S. E. G . Ohman, Toarticulation in VCV utterances-Spectra- rnuniation engineering from Jadavpur Uni-
graphic measurements,” J , Acaust. Soc. Anter., VOL 39, pp. 151- versity, India, in 196 1.
168,1966. From 1962-1968, he was engaged in the
[33] L. R. Rabiner, “On creating reference templates for speaker- development of computers in the Indian
independent recognition of isolated words,” IEEE Trans, Acoust., Statisticaf Institute and Jadavpur University
Speech., SgnalPracessing, vol. ASSP-26, pp. 34-42, 1978. Joint Computer Project. Since 1969 he has
been with the Electronics and Communication
Sciences Laboratory, Indian Statistical Insti-
tute, Calcutta, India. His current research in-
terests are in the areas of speech analysis, synthesis, and recognitiun.

A, K. Datta was born in 1935. He graduated S, Ray was born an January 2, 1953, He re-
with honors in physics from Calcutta Univer- ceived the M.Stat. degree with specialization
sity, Calcutta, India, in 1955, and received the in computer science from the Indian Statistical
M.Sc. degree in pure mathematics in 1963 as an Institute, Calcutta, India, in 1972.
external noncollegiate student. From 19734976, he worked as a Program-
Since 1955 he has been with the Electronics mer in the National Institute of Rural Develop-
and Communication Sciences Laboratory, In- ment, Hyderabad, India, and the Indian Oil
dian Statistical Institute, Calcutta, India, where Corporation, Calcutta, India. He is presently
he worked in the field of accounting machines, with the Electronics and Communication Sci-
computer memory, and computer hardware ences Laboratory, Indian Statistical Institute,
before taking up pattern recognition. His pre Calcutta, as a Programmer. His research in-
sent research activities include speech acoustics, speech pattern recagni- terests include computer-oriented statistical methods of pattern rec-
tion, handwritten character recognition and robotics. ognition.

Audibility of Transient Intermodulation Distortion


MARGIT PETRI-LARMI, MATTI OTALA, SENIOR MEMBER, IEEE, EERO LEINONEN, AND JORMA LAMMASNIEMI

Ahtruct-The threshold of audibility of TIM distortion was deter- less amplitude-dependent nonlinearities, and investigations on
mined for 63 subjects ‘representing alu categories of listeners, from the audibility o f high-frequency distortion phenomena in audio
musicians and sound engineers to the average man on the street, Three equipment have been rare. In spite of the recent interest in
different music samples were used, and controlled amounts of distor-
tion were produced with a digital stereophonic TIM generator. TWO these forms of distortion, only two prior publications -on thls
basic experimental methods were used to obtain the approximate subject are known to the authors.
threshold, after which the reliability of the detection of the distorted Levitt et al. [ 11 used a 12-bit/20 kHz -encoded digitally-
-

passages was veri€ied with a time localization test. The results show recorded monophonic test sentence “Nave you seen BilZ,” and
that the audibility varies very much depending on the music sample,
introduced a controUed limit on the maximum signal rise time.
Listening media, and person. The most sensitive goup of listeners could
reliably perceive O S percent of momentary TIM. Low values of TIM Based on experiments using three test people, they fuund that
were generally perceived only as slight changes in the tonal character 0.2 percent of the rms discrepancy between the undisturted
of the sound, and not as distortion. In a number of cases, a preference and the distorted signal, averaged over a 150 ms period, was
was found far the slightly distorted sound. discernible in the i of ‘‘BiZl.’’ The effect was termed “slope
overload,” following digital telecommunication terminology.
Jung et aE. [ 2 ] perfurmed monophonic listening tests in-
I, INTRODUCTION
serting different operational amplifiers into the signal path and
A LARGE part of available psychoacoustic data on nonlin- used recorded music as a signal. Inverse correlation was re-
ear distortion is based on measurements using memoxy- ported between the measured slew rate of the operational
amplifier and the perceived sound quality. The effect was
Manuscript received January 19, 1978;revised May 30, 1979. This termed “slewing-induced distortion ,” following instrumenta-
paper was presented at the IEEE International Conference on Acoustics, tion t erminalogy .
Speech, and Signal Processing, Tulsa, OK, Ma& 1977, In addition to the above, only scattered qualitative remarks
M. Petri-Larmi is with the University Hospital of Oulu, Oulu, Finland.
M. OtaIa, E. Leinonen, and J. Lammasniemi are with the Technical on the audibility of this kind of’distortion are known to have
Research Centre of Finland, Oulu, Finland. been published.
92 IEEE TRANSACTIONS O N ACOUSTICS, SPEECH, AND SIGNAL PROCESSING, VOL. ASSP-28, NO, I , FEBRUARY 1980

The purpose of this work is to establish “the threshold of


audibility of a form of nonlinear distortion, caused by limiting
the maximum value of the rate of change of the signal.” This
distortion is termed transient intennodulatbn distortim
(TIM), following established amplifier terminology [3] -[5] .
Stereophonic samples representing three different types of
music were used and the 68 subjects in the sample were tested
both clinically and psychoacoustically. Records were used as
the signal source, a stereophonic delta-modulator-type distor- I

tion generator produced a controlled maximum value of the


sate of change for the signal, and both loudspeakers and head-
phones were used as listening media. The results may be ex-
pected to useful in formulating design criteria for different
parts of the audio reproduction chain.
The investigation was conducted at the Department of Au-
diology, University Hospital of Oulu, Oulu, Finland, during a 1 I 45V
1
three-year period by Petri-Larmi. Otala designed the instru- I IC;;.,
f L
I

mentation and the test procedures, Leinonen provided techni-


cal assistance during the tests, and Lammasniemi performed
most of the numerical post-investigation analyses and measure-
ments. T h ~ sis the first report of the investigation, which was
Y $-15V +15V

.Distortion
continued in order to detect the ultimate threshold of audibility to recorder

for the six most sensitive subjects through the use of improved -15V
equipment and test procedures. The results have been pub- Fig. 2. The distortion generator. ody one of the two &ann& is
lished elsewhere [ 101 . ShOWll

11. TEST EQUIPMENT and distortion levelk in both channels were also recorded with a
The measurement setup is depicted in Fig. 1. An Ortofon 6-channel Watanabe Multicorder-type MC-611-6H strip-chart
SL 15 Q quadxophonic muving-coil picxup with type STM 72 recorder, preceded by logarithmic full-wave rectifying circuits
transformer was used. It was mounted on a Garrard Zero 100 S having 50 ms integration time. The subject had a pushbutton
turntable. The signal was amplified using a modified Quad 33 at his disposal, connected directly to one o f the free recorder
RIAA compensated preamplifier. The limiting of the maxi- channels
mum value of the signal rate of change was produced by a The generator produced very steeply rising distortion once
deltamodulator circuit, depicted in Fig. 2. the maximum value of the signal rate of change was exceeded.
Because of small positive feedback, the very high gain com- Fig. 3. shows the distortion measured with the DIM30 method
parator IC 1 operates as a muleivibrator with a negligible hys- t71.
teresis and a frequency of 3 MHz. When the input voltage at The main test records used with all 68 subjects were:
0 is higher than the voltage at 0 in capacitor C l ,‘the com- I) Deutsche Marchmsik, Tekfunken SLE 14183-P, side 2 ,
parator switches t o onepolarity. When the equilibrium is band H ,Einzug der Gladiatoreve (marches played by ;k large mil-
reached, the comparator returns to balanced oscillation. The itary band).
voltage across C1 is thus a very close approximation of the in- 2) Mmtovani’s Hit Purade, Decca RDS 6897, side 1, band 1 ,
put voltage during normal operation. DeliZuh (large violin-dominated light music orchestra).
The maximum value of the signal rate of change is reached 3) EteE8mowlaZaisen Osakunnan Laulajat, Finnlevy , S F U -
when the comparator stays in. one of its output polarities and 8509, side 1, band I , Exultate D m (mixed classical choir).
charges or discharges capacitor C1 iia R 1 with maximum The results were checked using the following records, with
speed. The maximum value of the signal rate of change is con- 15 of the more sensitive subjects:
trolled by a ganged set of four precision (k0.05 dB) step at- 4) Lincoln MQJW~Qand his Distingaid~edC d l e a p e ~ v, d -
tenuators, changing the input signal amplitude to the delta ume 111, Sheffield Lab Album LAB-2, side 1 band 1, You Are
modulator without influencing the output level. The distortion the Sunshim o f M y Life (light pop music).
generator could be periodically bypassed by a manually con- 5 ) The Missing Linc, Lincoln Mayorga and his Distinguished
trolled reed relay switch, operated by the subject. The clicks Colleagues, volume 11, Sheffield Lab Album S-10,side 1 band
and pops of the changeover were -60 dB below the signal level 1,Norwegian Wood, (light pop music).
under no-distortion conditions. 6) I’ve Got the Music in M e , Thelma Houston and Pressure
The modulator was constructed by K. Riemens of the Philips Cooker, Sheffield Lab SL’J/SL8, side I , band 1, I’ve Got the
Research Laboratories, Eindhoven, The Netherlands, using MUSk k i!Me (SOUI-type P O P ITlUSiC).
custom-made monolithic integrated circuits. The normalized peak signal spectra from the selections
The distortion was monitored directly from the distortion used are shown in Fig. 5 as measured with the Rockland 852
generator difference output with an oscilloscope. The signal L-octave
3 filter and the Hewlett-Packard HP 3575 A phase-gain
PETRI-LARMI et dI: TRANSIENT INTERMODULATION DISTORTION 93

I
"1

Fig. 3, The measured TIM distortion of the system, with the distortion
generator setting as a parameter, The horizontal axis is the normalized

/
Record 2
peak-to-peak signal amplitude; the vertical axis is the distortion per-
centage measured with the DIM30 method.

Distortion generator setting


as a parameter

I I I I 1 I -
I 1
I I I 20 50 rQ0 200 500 1 2 5 IO x )
0,63 091 or3 i amplitude
si+ HZ kHi-

Fig. 4. The frequency response of the complete measurement setup up Fig. 5 . The normalized $-octave frequency spectra of test records 1-4
to loudspeaker terminals. The B & K QR 2011 test record. measured from the loudspeaker output terminals with zero distortion
setting.

meter. The measured distribution of the signal rate of change Distortion


using these records has been published elsewhere [ 1 I ] . The %
maximum momentary distortion peaks, measured as the quo-
tient of rms distortion voltage to rrns signal voltage with the
Hewlett-Packard €€P3575A phase-gain meter from the distor-
tion generator output, are shown in Fig. 6 as a function of the
generator setting. The averaging time constant of the HPmeter
was 0.25 s. ; . 11
An acoustically semidamped listening room o f 35 m3 of vol-
ume, reverberation time of 0.8 s, and average background
093 1 3 10 30 w n s
noise level of 25 dB (A) was used for the listening tests. The
room was specially constructed for psychoacoustic investiga- Fig. 6. The measured maximum momentary rms distortion peaks aver-
aged over 0.25 s, from test records 1-4. Note that this measurement
tions with test equipment placed in an adjoining room w ith a covers the whole music sample. Dominant distortion peaks may have
one-way mirror window between the two rooms, Sub. ects escaped the subjects attention because of their time of occurrence in
were instructed via a separate talk-back system and were kept the test sequence.
under constant visual surveillance.
Two TIM-free hgh-quality power amplifiers, described in de- cent at 1 kHz with the output signal level of 10 V pp. The dis-
tail elsewhere [6],were used to drive Acoustic Research AR 3a tortion measured with the DIM3* method 171 is below 0.2
loudspeakers and Koss ESP-9 electrostatic hmdphones. The percent for the same output.
loudspeakers were situated 1.2 m apart with the subject sitting
in the direct field, about 1-1.2 m from the loudspeakers. The 111. TESTPROCEDURES
sound pressure level used was on average 80-90 dB (A), de- First, an explanation of the purpose of the test was given,
pending on the signal level of the record. The amplifiers were accompanied by a demonstration of the equipment. Typical
operated with all protection circuits disabled and input filters music samples were then played, crudely demonstrating the ef-
removed. fect of the distortion on the sound qudity .
The frequency response of the complete system from the The test procedure for all the recurds, separately, was then
phonograph pickup up to the loudspeaker terminals is shown as follows:
in Fig. 4, as measured with a Bruel and Kjaer QR 201 1 -octave 5 1) The selected band of the record was played with the sub-
filtered pink-noise test record, a Rockland 852 dual filter ad- ject having a switch with which he could switch the distortion
justed to a function as a $-octave filter, and a Hewlett-Packard on and off.
HP 3 5 7 5 8 phase-gain meter. a) Average distortion was adjusted to a high value and de-
The total harmonic distortion, as measured from the moving creased progressively until the subject reported that he
coil pickup input to the loudspeaker output, is below 0.1 per- no longer heard any distortion,
94 IEEE TRANSACTIONS ON ACOUSTICS, SPEECH, AND SIGNAL PROCESSING, VOL. A S P - 2 8 , NO, 1 , FEBRUARY 1980

b) Average distortion was adjusted to zero and increased Age Sex


Scool
background Hearing
Intefest in
musc
progressively until the subject reported hearing distor-
tion . 21 32 h-
Female demic
This sequence was repeated two or three times for each record, --
depending on the consistency of the results.
The preceding test was used to determine the approximate 47 High
seoor
value of the threshold of the audibility of distortion. To ascer- Male
tain that the obtained threshold was correct and that the sub-
ject was listening to TIM ,distortion,a second test was used. 21 Others

2) Distortion was set to a higher value than the threshold %


I
I

%
found in test 1 and the music and distortian signals in both Fig. 7, The relevant characteristics of the audience.
channels were recorded on the &channel strip-chart recorder.
When the subject heard what he considered to be distortion,
rnent or being keen listeners, did not show values differing
he pressed a push button and a corresponding signal was regis-
from the average, except in cases hhere some increased sensi-
tered onto the strip chart. The coincidence of the registered
tivity was found for the very instrument which the subject
distortion peaks and the push-button operation was used as a
played. One of the subjects had an absolute-pitchdetection
verification of the detection. The amount of distortion was
ear, but proved to have a higher-than-average threshold of dis-
decreased until the subject lost reliable detection of the dis-
tortion peaks or did not use the button anymore. This test
tortion detection. Another, being socially deaf (-30 dB) in
one ear, proved to be one of the most sensitive subjects.
was repeated until the results were consistent.
Those actively engaged with sound reproduction yielded
The results of test la) and lb) differed slightly from each
lower-than-average thresholds. The group of audio profession-
other because of a time delay caused by the question, “was
als was the most sensitive. This group consisted of audio equip-
thut distortion?” in the subject’s mind. Test 2 proved to be
ment designers and salesmen, broadcast engineers and mixers,
accurate and yielded reliable and consistent results, although
recording studio engineers, audio journalists, etc. The group
the distortion on/off switch was not used, and the test was
also quickly learned to identify those passages of music which
therefore much more difficult for the subjects.
possibly could give rise to distortion and in a few cases the in-
A complete measurement session lasted about 2-3 hours and
vestigators were forced to use test 2 very critically in order i o
for some subjects even much more. This created listening fa-
disqualify anticipation.
tigue. Based on a limited number of repeated tests, in which
some improvement of results was noted, it is probable that
V. RESULTS
somewhat higher sensitivities could have been obtained if the
fatigue factor would have been eliminated. Both the AR 3a loudspeakers and Koss ESP-9 headphones
If the tests were repeated for the same subject after more were used in the experiments. However, the threshold of audi-
than a few week’s interval, a considerable amount of learning bility proved to be 3 to 10 times higher with the use of the
was noted in many cases. It is, therefore, probable that the headphones. N o apparent reawn was found for this result and
thresholds reported in this investigation are conservative. the effect persisted with five other brands of electrostatic and
dynamic headphones as well. Distortion, which was clearly
IV. SUBJECTS noticeable with the loudspeakers, did not degrade the sound
A total of 68 subjects was tested. All were first subjected to quality with the headphones. It was made certain that no
a clinical hearing investigation consisting of ear canal cleaning, equipment malfunction caused this effect and that it did not
visual ear drum inspection, ear drum mobility check, and man- arise from any difference in the loading of the power ampli-
ual pure-tone auditory threshold determination in the fre- fiers. Our results are, therefore, presented for the loudspeakers
quency range of 125 Hz 8 kHz. Several abnormal earswere only *
discovered, but they did not seem to produce significantly dif- The results axe shown in two dimensions: the minimum,
ferent results in the distortion perception tests, In fact, some detectable distortion-to-signal ratio and the minimum re-
of the audio professionals having seriously damaged hearing quirement far the signal rate o f change capability for just de-
still detected TIM with ease. Of particular interest is that the tectable distortion.
results with subjects who had severe hearing loss at frequencies The minimum detectable rms distortion-to-rms signal ratio
above 3-5 kHz did not differ significantly from the average in was obtained from the reliably and consistently detected dis-
their detection threshold. tortion peaks in test 2 strip charts for each subject and each
The subjects were selected for age, sex, school background, sample separately. The total system averaging time was 0.25 s
and interest in music with the aim of representing an average and the results are shown in Fig. 8. For the choir, 0.5 percent
user of audio equipment. The relevant characteristics of the of the rrns distortion was detectable. T h e thresholds of all the
audience is depicted in Fig. 7. Age or school background subjects were concentrated at a low level because of the striking
seemed to bear no correlation with the results. The group of character of the distortion. The large orchestras, with their
most sensitive males reported better values thanthe corre- more crowded signal spectra and, consequently, higher mask-
sponding group of females. However, as an average, sex did ing, yielded a 1-2 percent threshold of audibility and a much
not influence the results. larger spread between the results of individual subjects was
Those actively engaged with music, either playing an instru- noticed.
PETRI-LARMI et QZ.: TRANSIENT INTERMODULATION DISTORTION 95

N For the music samples used, the rate of change requirement


.
is 10/ms for distortionless reproduction (violins, Fig. 6 ) and
5/ms for audible effects (Fig. 9). The corresponding slew rate
I
requirement can be found by multiplying these values by the
maximum peak-to-peak signal voltage. When calculating the
slew rate, it must be remembered that in this investigation the
r
s1
distortion limit has been abrupt. In many audio circuits, ap-
preciable TIM distortion is generated well below the slew rate
1 [7] and an appropriate safety margin must be incorporated in
the design.

(Yh n
The results with records 4)-6) coincide closely with those
presented, Since only 15 subjects participated in the f d -
length tests using these records and because of the similarity
in the thresholds obtained, the results are not presented here.
Comparison with earlier investigations shows basic agree-
Fig. 8. The threshold of audibility of the r m distortion averaged over ment with the results of Levitt et d . [l] , although the mea-
0.25 s. The horizontal axis is the rms distortion-to-rms signal ratio; sure used by Levitt, the rms slope truncation per sampling pe-
the vertical axis is the number of observations, riud, is not directly comparable with the present results. The
requirement for the rate-of-change capability is considerably
lower than that estimated by Jung et QZ. [2] .

1 The audible character of the distortion varied considerably,


depending on the instruments playing and on the momentary
signal spectra. For the choir, the distortion had a striking
character and was reported to resemble “temiflg of paper or
sheets,” whereas in the marches the most noticeable effect was
the “rPzornentwydulling” of the cymbals. Distortion was not
noticed in the brass instruments played in the marches, even
when high. The violins were reported t o sound “hard,” “me-
tallic,” or “,ggressive,” an’d a general comment was that mod-
erate or gross distortion added some kind of undefined ‘km-
bage” to all of the music samples in addition to the effects de-

0,3
& Record 3
1
I 1
3
I
10 1Ims
I

Fig. 9, The distortion generator setting for just audible distortion,


scribed above.
When the distortion was low, the subjects did not characterize
it as distortion. They generally still noticed-a difference, but
had difficulties in stating in which position of the switch the
signal was distorted. In these cases, the distortion was found
to change the tonal character of the sound, with the human
The minimum requirement for the signal rate of change for voice ‘koming more deeply from the throat,” the violin being
just perceptible distortion is shown in Fig. 9. The values were played ‘Lafa dzjcferent angle,” or the cymbals being “intention-
derived directly from the distortion generator settings as median a22’ muted.” Small amounts of distortion were claimed to add
values for the best consistent pair of tests la) and 1 b) for each “luster” tu the music and in several cases a preference for the
music sample and each subject separately. slightly distorted sound was found in all the samples except
These results do not, therefore, contain any other time con- the choir. This tendency wasclearest among those not pro-
stants than the 0.15 s temporal averaging in the ear [8] * They fessionally engaged with audio. As the thresholds shown in
are based on direct listening and not on measured, detected Figs. 8 and 9 are based on the criterion of “distortion,” it 3s
distortion peaks. This explains the small contradiction be- evident that the threshold of audibility of the “change irt
tween some details of Figs. 8 and 9. sound character” is much lower. To study this phenomenon
In the calibration of the horizontal axes of Figs. 6 and 9,the more closely, a second investigation was conducted. The re-
knowledge of the maximum peak-to-peak signal level was es- sults have been published elsewhere [ 103 and they show mark-
sential, The determination of the level of each music sample edly lower thresholds, -in some cases as low as 0.003 percent
was performed using the Daugherty principle [9] i .e,, the sig- rms over a 200 ms integration period for the detection of the
nal having the same probability (about W 4 ) of exceeding the ‘khunge in sound character.”
nominal maximum level than being masked by mise.
The obtained thresholds seem to be remarkab€y constant VI. CONCLUSIONS
irrespective of the music sample. Referring to Figs. 5 and 6 , In these tests the naked ear was found to be considerably
it is probable that, although the violins and the marches evi- more sensitive to TIM distortion in direct field loudspeaker
dently produce higher distortian and higher values uf signal listening than with headphones. The most sensitive subjects
rate of change, the masking of the distortion is also much reliably detected 0.5 percent of rms distortion with loud-
rnure effective. speakers averaged over a period of 0.25 s. The corresponding
96 IEEE TRANSACTIONS ON ACOUSTICS, SPEECH, AND SIGNAL PROCESSING,
VOL. ASSP-28, NO. 1 , FEBRUARY 1980

requirement for audibly distortionless reproduction of the sig-


nal rate of change was 5/ms.
The thresholds obtained were for the sensation of distortion,
Below these limits, TIM was generally experienced as a change
in the tonal character of the sound. The threshold of the aud-
ibility of this change was not determined in the investigation,
but the remarks gathered during the tests emphasize that it
would be considerably lower than the threshold of distortion.
The results of closer investigation of the phenomenon have
been published elsewhere [101.
T h e test procedure created some listening fatigue, In repeated
tests considerable learning was noted in many cases. It i s
therefore probable that the ultimate thresholds of distortion
sensation will be somewhat lower than those reported here.

REFERENCES
H, Levitt, C. A. Mffionegal, and L. I. Cherry, “Perception of
slope-overload distortion in deltamodulated speech signals,”
IEEE Truns. Audio Electruacoust., vol. AU-18, pp. 240-247,
Sept. 1970.
W.h n g , M. Stephens, and C . Todd, “Slewing-induced distortion
in audio amplifiers,” The Audio Amateur, Article series-part 4,
Feb, 1977.
M. Otala, ‘Transient distortion in transistorized audio power am-
plifiexs,” IEEE Trans. Audio Electruacutrst., vol. AU-18, pp, 234-
239, Sept. 1970.
c _ , ”Circuit design modifications for minimizing transient
intermodulation distortion in audio amplifiers,” J. d d i o Eng
Soc., vol, 20, pp. 396-399, June 1972,
M. Otala and E. Eeinonen, ‘The theory of transient interrnodula-
t i ~ ndistortion,” Mopzitup hoc. l€?EE, vol. 37, pp. 53-59, Mar.
1976, and IEEE Trans. Acoust., Speech, Signa2 h c e s s i n g , vol.
ASSP-25, pp. 2-8, Feb. 1977.
J. Lohstroh and M. Otala, “An audio power amplifier for ulti-
mate quality requirements,” IEEE Truns. Audio Electroacoust .,
V O ~ .AU-21, pp. 545-552, Dw. 1973.
E. Lehonen, M. Otala, and J . Curl, “A method for measuring
transient intermadulation distortion (TIM) ,” J. Audio Eng. Soc.,
V O ~ .25, pp. 170-177, APT. 1977.
J. Zwislocki, “Theory of temporal auditory summation,’’ J.
Acowt. Soc. Amer., vol. 32, p. 1046,1960.
D.Daugherty and R. Greiner, “Some design objectives for audio
power amplifiers,” IEEE Truns. Audio Electroacoust., vol.
AU-14, Ma. 1966,
M. Petri-Larmi, M. Otala, and J. kammasniemi, ‘Threshold of
audibility of transient intermodulation distortion,” in h o c . 61st
Convention Aadio Erg. Soc,, New York, Nov. 1978, preprint
1392, p. 19,to be published inJ. Audio Eng. Soc., Mar. 1980.
J , Lammasnierni and K . Nieminen, “Distribution of the phono-
graph signal rate of change,” in fioc. 6 Z ~ dCon vention Audio
Eng. Soc., Brussels, Mar. 1979, preprint 1.448, U p ,

Margit Petri-Lami was born in Helsinki, Fin-


land, on March 19, 1922. She received the
M.D. degree in 1949 from the University of
H&inki, Helsinki, Finland, and the Specialist
degree in voice and speech disorders in 1966
from National Health Goverment of Finland,
Since 1966 she has been a Physician in Chief
in the Ward uf Voice and Speech Disorders,
Department of Uta-, Rhino-, Laryngology,
Qulu University Central Hospital, Oulla, Finland.
Dr. Petri-Larmi is member o f the Sock&
Internationale de la. Logopedie et Phoniatric.

You might also like