SIST-V ETSI/EG 202 396-1 V1.2.3:2009

SLOVENSKI STANDARD
SIST-V ETSI/EG 202 396-1 V1.2.3:2009
01-julij-2009
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Speech and multimedia Transmission Quality (STQ) - Speech quality performance in the

2003-01.Slovenski inštitut za standardizacijo. Razmnoževanje celote ali delov tega standarda ni dovoljeno.

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Intellectual Property Rights ................................................................................................................................ 5

Foreword ............................................................................................................................................................. 5

Introduction ........................................................................................................................................................ 5

1 Scope ........................................................................................................................................................ 6

2 References ................................................................................................................................................ 6

2.1 Normative references ......................................................................................................................................... 6

2.2 Informative references ........................................................................................................................................ 7

3 Definitions and abbreviations ................................................................................................................... 8

3.1 Definitions .......................................................................................................................................................... 8

3.2 Abbreviations ..................................................................................................................................................... 8

4 Overview of existing methods for realistic sound reproduction............................................................... 8

4.1 Introduction ........................................................................................................................................................ 8

4.2 Surround Sound Techniques............................................................................................................................... 9

4.3 IOSONO ........................................................................................................................................................... 10

4.4 Eidophonie ....................................................................................................................................................... 10

4.5 Four-loudspeaker arrangement for playback of binaurally recorded signals .................................................... 11

4.6 NTT Background-Noise Database ................................................................................................................... 12

4.7 General conclusions ......................................................................................................................................... 12

5 Recording arrangement .......................................................................................................................... 13

5.1 Binaural equalization ........................................................................................................................................ 13

5.2 The equalization procedure .............................................................................................................................. 13

6 Loudspeaker Setup for Background Noise Simulation .......................................................................... 15

6.1 Test Room Requirements ................................................................................................................................. 15

6.2 Loudspeaker Positioning .................................................................................................................................. 15

6.3 Equalization and Calibration ............................................................................................................................ 16

6.4 Accuracy of the reproduction arrangement ...................................................................................................... 21

6.4.1 Comparison between original sound field and simulated sound field ......................................................... 21

6.4.2 Displacement of the test arrangement in the simulated sound field ............................................................ 23

6.4.3 Transmission of background noise: Comparison of terminal performance in the original sound field

and the simulated sound field ..................................................................................................................... 25

7 Background Noise Simulation in cars .................................................................................................... 28

7.1 General setup .................................................................................................................................................... 28

7.2 Recording arrangement .................................................................................................................................... 29

7.2.1 Recording setup with the terminal's microphone ........................................................................................ 29

7.2.2 Recording setup with a pair of cardioid microphones................................................................................. 30

7.3 Equalization and Calibration with the terminal's microphone .......................................................................... 30

7.4 Equalization and Calibration with a pair of cardioid microphones .................................................................. 35

7.5 Accuracy of the reproduction arrangement ...................................................................................................... 40

7.5.1 Comparison between original sound field and simulated sound field ......................................................... 40

7.5.2 Transmission of background noise: Comparison of terminal performance in the original sound field

and the simulated sound field ..................................................................................................................... 41

8 Background Noise Database .................................................................................................................. 44

8.1 Binaural signals ................................................................................................................................................ 44

8.2 Stereophonic signals ......................................................................................................................................... 46

Annex A: Comparison of Tests in Sending Direction and D-Values Conducted in Different

Rooms ..................................................................................................................................... 47

A.1 Test Setup ............................................................................................................................................... 47

A.2 Results of the Tests ................................................................................................................................ 48

A.2.1 Sending Frequency Response Characteristics and SLR ................................................................................... 48

A.2.2 D-Value with Pink Noise ................................................................................................................................. 48

A.2.3 D-Value with Cafeteria Noise .......................................................................................................................... 49

A.3 Conclusions ............................................................................................................................................ 49

Annex B: Graphs .................................................................................................................................... 50

History .............................................................................................................................................................. 58

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This ETSI Guide (EG) has been produced by ETSI Technical Committee Speech and multimedia Transmission Quality

The present document is part 1 of a multi-part deliverable covering Speech and multimedia Transmission Quality

(STQ); Speech quality performance in the presence of background noise, as identified below:

Part 2: "Background noise transmission - Network simulation - Subjective test database and results";

Background noise is present in most of the conversations today. Background noise may impact the speech

communication performance to terminal and network equipment significantly. Therefore testing and optimization of

such equipment is necessary using realistic background noises. Furthermore reproducible conditions for the tests are

The present document addresses this issue by describing a methodology for recording and playback of background

noises under well defined and calibratable conditions in a lab-type environment. Furthermore a database with real

The quality of background noise transmission is an important factor, which significantly contributes to the perceived

overall quality of speech. Existing and even more the new generation of terminals, networks and system configurations

including broadband services can be greatly improved with a proper design of terminals and systems in the presence of

• describes a noise simulation environment using realistic background noise scenarios for laboratory use;

• contains a database including the relevant background noise samples for subjective and objective evaluation.

The present document provides information about the recording techniques needed for background noise recordings and

discusses the advantages and drawbacks of existing methods. The present document describes the requirements for

laboratory conditions. The loudspeaker setup and the loudspeaker calibration and equalization procedure are described.

The simulation environment specified can be used for the evaluation and optimization of terminals and of complex

configurations including terminals, networks and other configurations. The main application areas should be: office,

• Objective performance evaluation of terminals in different (simulated) background noise environments.

• Speech processing evaluation by using the pre-processed speech signal in the presence of background noise,

• Subjective evaluation of terminals by performing conversational tests, specific double talk tests or talking and

• Subjective evaluation in third party listening tests by recording the speech samples of terminals in the presence

References are either specific (identified by date of publication and/or edition number or version number) or

• Non-specific reference may be made only to a complete document or a part thereof and only in the following

- if it is accepted that it will be possible to use all future changes of the referenced document for the

Referenced documents which are not found to be publicly available in the expected location might be found at

NOTE: While any hyperlinks included in this clause were valid at the time of publication ETSI cannot guarantee

The following referenced documents are indispensable for the application of the present document. For dated

references, only the edition cited applies. For non-specific references, the latest edition of the referenced document

The following referenced documents are not essential to the use of the present document but they assist the user with

regard to a particular subject area. For non-specific references, the latest version of the referenced document (including

[i.1] Surround Sound Past, Present, and Future: "A history of multichannel audio from mag stripe to

[i.2] AES preprint 3332 (1992): "Improved Possibilities of Binaural Recording and Playback

[i.3] AES preprint 3732 (1993): "A System for the Reproduction Technique for Playback of Binaural

[i.5] ISO 11904-1: "Acoustics - Determination of sound immission from sound sources placed close to

[i.6] Spatial Hearing: "The psychophysics of human sound localization", J. Blauert.

[i.9] ITU-T Recommendation P.340: "Transmission characteristics and speech quality parameters of

[i.10] ITU-T recommendation P.64: "Determination of sensitivity/frequency characteristics of local

[i.12] Genuit, K.: "A Description of the Human Outer Ear Transfer Function by Elements of

NOTE: Proceedings of the 12th International Congress on Acoustics. Toronto published on behalf of the

Technical Program Committee by the Executive Committee of the 12th International Congress on

[i.13] IEC 60050-722: "International Electrotechnical Vocabulary - Chapter 722: Telephony".

[i.14] "Wellenfeldsynthese - Eine neue Dimension der 3D-Audiowiedergabe"; Fernseh- und

[i.16] "Ein neues Verfahren der raumbezogenen Stereophonie mit verbesserter Übertragung der

Rauminformation"; P. Scherer, Rundfunktechnische Mitteilungen, 1977, pp. 196-204.

[i.17] ETSI EG 202 396-1 (V.1.1.2): "Speech Processing, Transmission and Quality Aspects (STQ);

Speech quality performance in the presence of background noise; Part 1: Background noise

[i.18] ETSI TS 151 010-1: "Digital cellular telecommunications system (Phase 2+); Mobile Station (MS)

conformance specification; Part 1: Conformance specification (3GPP TS 51.010-1)".

For the purposes of the present document, the following terms and definitions apply:

crosstalk: appearance of undesired energy in a channel, owing to the presence of a signal in another channel, caused

In general the existing methods for close to original sound recording and reproduction aimed for different applications:

• Techniques providing hearing adequate (ear related) signals in the human ear canal.

Within this clause the different methods are briefly described and their applicability for close to original sound-filed

reproduction is discussed. A variety of methods have been studied, in the following a summary of the most important

ones relevant to the present document is given. The different methods were analyzed on the basis of the following

- mostly compatible to existing standards and procedures used in telecommunications testing;

- provide a mostly realistic background noise simulation for all typical background noises faced with in

- be mostly insensitive against the positioning of (test)-objects in the simulated sound field;

The basics of surround techniques are found in cinema applications. The virtual image provided by stereophonic

presentation of sounds seemed not to be sufficient for the large screen display in cinema. In the 1950s 4-channel and

6-channel soundtracks recorded on magnetic stripes associated to the films were developed, 4-channel and 6-channel

loudspeaker systems were installed in cinemas to reproduce the multichannel sounds. The newer techniques were

mostly developed and marketed by Dolby® [i.1]: Dolby Surround, Dolby Surround Pro Logic, Dolby Digital and Dolby

Digital Surround are examples for the techniques introduced more recently. The most common configuration is the

"5.1-configuration" used in cinema but in home applications as well. The reproduction system consists of left and right

channel, a centre speaker, two surround channels (left and right, arranged in the back of the listener) and a low

The aim of all surround system is to create an artificial acoustical image in the recording studio rather than recording a

On the recording side special surround encoders are used allowing the 5-channel signal to be encoded from a special

mixing console to the 5.1 digital data stream. The playback system consists of a special decoder allowing to separate the

5 channels again and distribute them on the 5.1 loudspeaker playback system. The systems are mono and stereo

compatible and can handle the older 4 channel surround techniques by a specific decoder.

Typical applications for surround systems are cinemas and home theatres. The source material is produced by

professional recording studios using multi-channel mixing consoles and specific 5.1 decoding techniques. In mostly all

cases virtual environments are created which support the visual image by an appropriate acoustical image.

Surround techniques are designed for creating acoustical images rather than for close to original recording and

reproduction. Although the spatial impression provided by surround techniques is sometimes remarkable the acoustical

image created is always artificial. Due to the lack of easy to use recording techniques allowing a spatial recording of a

sound field surround sound techniques are not suitable for creation of a background noise database with realistic

The IOSONO® sound system (see [i.14] and [i.16]) is based on the Wave-Field Synthesis. It employs Huygens

principle of wave theory. Applied to acoustics this principle means that it is possible to reproduce any form of wave

front with an array of loudspeakers, so that virtual sound sources can be placed anywhere within a listening area. For

practical use it is necessary to position loudspeakers all-round the playback room. In order to generate realistic sound

fields the input signal for each loudspeaker has to be calculated separately. For this purpose each single sound source

(e.g. voices) has to be recorded individually. If the recordings are done in a room, the characteristics (like reverberation)

of the recording room also have to be recorded separately. All resulting sound tracks are then mixed and manipulated

The natural and realistic spatial sound reproduction is then achieved in a wide area of the play back room. Common 5.1

stereo systems achieve a "realistic" sound reproduction only in a small area of the reproduction room.

Typical applications are sound systems for home use, cinemas and other entertainment events. The IOSONO sound

system is also able to play back recordings made in common stereo or 5.1 stereo techniques.

The drawbacks of this method are the components needed: a sophisticated recording system, a powerful computing unit

for real-time mixing the large number of recorded sound tracks and the number of loudspeakers that have to be installed

in the listening room. In a common size cinema for example about 200 loudspeakers are needed.

The advantage is that with the IOSONO sound system a very realistic sound reproduction is possible, but it requires an

This method (see [i.17]) was developed for realistic sound reproduction using the VHF transmission technique. The

main principle is to separate the base signal from the part of the signal, which contains the information about the

For recording a 1 order gradient microphone with a cardioid directivity is used. During the recordings its directivity

rotates with 38 kHz in the recording plane. This "turning microphone" provides an amplitude-modulated signal at its

electrical output. The resulting side bands are out of the transmitted frequency range. But these side bands contain the

information of the direction of sound incidence. Using the VHF- transmission techniques this phase information can be

The sound reproduction is made by a spatial demodulation: a switch is positioned before each loudspeaker and each

switches synchronously with the turning directivity. So a low pass filtered short-term section of the signal containing

the information of the direction of sound incidence is played back on each loudspeaker. The loudspeakers are positioned

Eidophonie was developed to provide a realistic sound environment using a signal received from a VHF broadcast

station. With this technique the common stereo sound reproduction should be improved. Nevertheless Eidophonie is

Benefits of this system are that three loudspeakers are sufficient to produce a realistic sound field. Using more

loudspeakers (e.g. 16) the spatial sound reproduction gets more and more independent from the listening position.

Moreover the independency of the transmitted sound from the acoustics of the reproduction room increases with the

number of loudspeakers used. But there are significant limitations of the method: The microphone directivity is

frequency dependent and not ideal. Therefore the interference between the different channels is created. A second

problem is the loudspeaker directivity, which does not fit the microphone directivity. This problem could be reduced if

the number of channels would be increased. This however is not possible due to the limited directivity of the