Page 139 - The Master Handbook Of Acoustics
P. 139

114  CHAPTER FIVE



                                   a pure tone is impressed on the ear, harmonics can be heard. If two
                                   loud tones are presented simultaneously, sum and difference tones
                                   are generated in the ear itself; and these tones can be heard as can
                                   their harmonics. A cross-modulation test on an amplifier does
                                   essentially the same thing. If the amplifier (or the ear) were perfectly
                                   linear, no sum or difference tones or harmonics would be generated.
                                   The production within the component of frequency elements that
                                   were not present in the input signal is the result of nonlinear distor-
                                   tion.
                                      Transient distortion  Strike a bell and it rings. Apply a steep wave-
                                   front signal to an amplifier and it might ring a bit too. For this reason,
                                   signals such as piano notes are difficult to reproduce. Tone burst test
                                   signals are an attempt to explore the transient response characteristics
                                   of equipment, as are square waves. Transient intermodulation (TIM)
                                   distortion, slew induced distortion, and other sophisticated measuring
                                   techniques have been devised to evaluate transient forms of distortion
                                   in systems.


                                   Harmonic Distortion

                                   The harmonic distortion method of evaluating the effects of circuit
                                   nonlinearities is probably the oldest and the most universally
                                   accepted method. It certainly is the easiest to understand. In this
                                   method the device under test is driven with a sine wave of high purity.
                                   If the signal encounters any nonlinearity, the output waveshape is
                                   changed, i.e., harmonic components appear that were not in the pure
                                   sine wave. A spectral analysis of the output signal is made to measure
                                   these harmonic distortion products. The most revealing method is to
                                   use a wave analyzer having a constant passband width of, say, 5 Hz,
                                   which can be swept through the audio spectrum. Figure 5-20 shows
                                   illustrated results of such a measurement. The wave analyzer is first
                                   tuned to the fundamental, f   1 kHz, and the level is set for a conve-
                                                              o
                                   nient 1.00 volt. The wave analyzer is then tuned to the 2 kHz region
                                   until the 2f second harmonic is found. The voltmeter, which is a part
                                              o
                                   of the analyzer, reads 0.10 volt. The third harmonic at 3 kHz gives a
                                   reading of 0.30 volt, the fourth a reading of 0.05 volt and so on up the
                                   frequency scale. Beyond 6f   6 kHz no measurable components were
                                                             o
                                   found after diligent search. The data are then assembled in Table 5-2.
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