SoundCheck™

Instruction Manual
Version 6.11
June 2006

© Copyright 2005, 2006 LISTEN Inc.

Transforming Sound into Knowledge

450 Harrison Ave, Suite 307 • Boston, MA 02118 • 617-556-4104 • Fax 617-556-4145 • www.listeninc.com
060627
Contents
Contents

Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i

Software License Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i

Installing SoundCheck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Minimum Computer Requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Backup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Upgrading From an Earlier Version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Computer Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Software Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Hardware Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Optional Modules and Protected Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Additional Software to install . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

System Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Sound Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
A Note About Calibration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Amplifier Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Disabling System Sounds in the Windows Control Panel . . . . . . . . . . . . . . . . . . . . . . . . 8

Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Operating Principles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
SoundCheck Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Pull-down menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Graphs and Cursors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Sequence Status Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Test Equipment Setup for Typical Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Contents i
Contents
Microphone Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Login . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Access Level. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
User Name. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Password . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Login Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Quick Launch Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Hardware Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Sound Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Digital I/O. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
DC Connect™ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
NI DAQmx (Audio Tab). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Calibration Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Defining the Input and Output Signals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Defining the Units. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Calibrating SoundCheck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Digital signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Equalization and Correction Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Virtual Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Input Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Output Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
User Created Calibration Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Reference Codec & dBm0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Units. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Units Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Analysis Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Display Editor – Memory List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Post-Processing Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Messages Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Contents ii
Contents
Messages Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Digital I/O. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
External Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Syntax for Sending RS232 (serial) or IEEE-488 (GPIB) Commands in SoundCheck. . 73

Stimulus Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Stimulus Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Signal Parameters for Frequency Stepped Sweep (Stweep™) Excitation . . . . . . . . . . 76
Signal Parameters for Amplitude Sweep Excitation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Creating Complex Stweeps in the Stimulus Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
WAV File Excitation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
WAV Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
DC Connect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Control Method: USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Control Method: Analog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Two Tone Stimulus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Sweep Type - IM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Sweep Type - Difference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Acquisition Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Time (sec) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Record Padding (sec) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Record Delay (sec) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Curve Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Use Channel Name. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Analysis Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

View Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Algorithms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Complex vs Power Averaging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Contents iii
Contents
Analysis Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Recall Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Filepath to Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Curve Names to be Recalled . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Recall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Post-Processing Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Desired Result . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Arithmetic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Constant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Unary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Scalar (Statistics) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Smoothing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Intersection (search) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
User Equation (optional) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Windowing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Resolution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Directivity Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Nth Octave Synthesis (New) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Resolution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Limits Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Precision of Limits Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Critical Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Data Tab Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149
Data Tab - Data Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Upper and Lower Limit Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Parameters Tab Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Absolute Comparison Precision. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Limits Editor Summary Table . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
Appropriate Limits for Loudspeakers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Display Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Contents iv
Contents
Memory List Contents (Curves, Values, Results Tabs) . . . . . . . . . . . . . . . . . . . . . . . . 171
Memory Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
File Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
WAV File Scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Serial Number Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Auto Increment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Prompt Operator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Statistics Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Online Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Offline Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Choosing What Statistics to Create . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
SPC - Statistical Process Control (New) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Best Fit to Average (New) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Adding Statistics Steps to the Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Verdict of the Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Statistics Example Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Autosave Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
File Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Axes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Header . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Delimiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Excel Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
UDL or DSN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Notation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Test Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Filename . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Construction & Template. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
In a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Contents v
Contents
Print Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Main Menu Printing Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Adding a Custom LabView VI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Creating a Custom VI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Using your Custom VI in a Sequence. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Sequence Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Sequence Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Editing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Step Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Sequence Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Creating a New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Exporting/Importing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Guidelines for Using Multiple Sub-sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Hardware Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Virtual Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Signal Generator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Equalize a WAV file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Multimeter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Spectrum Analyzer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Oscilloscope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Real Time Analyzer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Controlling SoundCheck 6.1 from Another Program Using ActiveX 271

LabView’s ActiveX Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
SoundCheck’s ControlSC.vi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Common Properties of the Success? Returned Parameter . . . . . . . . . . . . . . . . . . . . . 272
The Seven Commands of the “Command” Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

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Contents
Starting Up SoundCheck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274
Creating the VI ActiveX Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Calling the VI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Data File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

DAT Binary Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
WFM File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Connection Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Amplifier Calibration Connection Diagram using the DAL CardDeluxe . . . . . . . . . . . 281
Amplifier Calibration Connection Diagram using LynxTwo Multi-channel Sound Card282
Microphone Calibration Connection Diagram Using SoundConnectTM * . . . . . . . . . 283
Loudspeaker Test Connection Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Loudspeaker Test Connection Diagram with Impedance Box. . . . . . . . . . . . . . . . . . . 285
Balanced Sound Card Calibration Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Balanced vs Single-ended Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Appendix 1: Footswitch and Buzzer Serial Port Control . . . . . . . . . 289

Serial Port Pin Out Definition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Buzzer On/Off Message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Remote Control Switch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Appendix 2: Installing the Digital Audio Labs - CardDeluxe . . . . . . 295

Preferred Device. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
Setting Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Appendix 3: System Verification Using SoundCheck 6.1 . . . . . . . . 301

Verifying Sound Card Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Detailed Frequency Analysis of Sound Card/Electrical Signal Path . . . . . . . . . . . . . . 303

Appendix 4: Verifying SoundConnect™ Performance. . . . . . . . . . . 305

Appendix 5: Amplifier Calibration Connection Diagram using the DAL

CardDeluxe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

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Appendix 6: Amplifier Calibration Connection Diagram using LynxTwo
Multi-channel Sound Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Appendix 7: Bridged Amp Calibration Connections . . . . . . . . . . . . 311

Appendix 8: Microphone Calibration Connection Diagram with Sound-

Connect™ * . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Appendix 9: Loudspeaker Test Connection Diagram . . . . . . . . . . . 315

Appendix 10: Loudspeaker Test Connection Diagram with Impedance

Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Detailed Drawing of Impedance Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Appendix 11: Time Selective Measurements with a Logarithmically Swept

Sinewave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Appendix 12: Connecting to a Database . . . . . . . . . . . . . . . . . . . . . . 321

DSNs and Data Source Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
ODBC Administrator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Universal Data Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Using a UDL or DSN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Example: Create a new DSN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325
Example: Create a new UDL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
SoundCheck Database Schema . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Appendix 13: Equation Editor Functions . . . . . . . . . . . . . . . . . . . . . . 329

User Equation Syntax . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Appendix 14: Keyboard Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Sequence Editor (Ctrl+Q) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Signal Generator (Ctrl+F4). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331
Memory List (Ctrl+Shift+Y) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Contents viii
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SoundCheck Virtual Audio Test Bench . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
SoundCheck Step Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334
Industry Standard Sequences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Optional Hardware (Separate data sheets available) . . . . . . . . . . . . . . . . . . . . . . . . . . 337

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

INDEX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Contents ix
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Contents x
 SoundCheck 6.11 - Instruction Manual

Software License Agreement

READ THE TERMS AND CONDITIONS OF THIS LICENSE AGREEMENT CAREFULLY

BEFORE INSTALLING THIS SOFTWARE. THE SOFTWARE IS COPYRIGHTED AND
LICENSED (NOT SOLD). BY INSTALLING THIS SOFTWARE, YOU ARE ACCEPTING
AND AGREEING TO THE TERMS OF THIS LICENSE AGREEMENT. IF YOU ARE NOT
WILLING TO BE BOUND BY THE TERMS OF THIS LICENSE AGREEMENT, YOU
SHOULD RETURN THE SOFTWARE, HARDWARE KEY, AND DOCUMENTATION
WITHIN THIRTY (30) DAYS OF YOUR INVOICE DATE, AND YOU WILL RECEIVE A
CREDIT OR A REFUND.

The enclosed Software is provided to the purchaser of the Software (“End-User”) by LISTEN, Inc.,
("Licensor") for use only under the terms set forth in this Agreement. Licensor reserves any right not
expressly granted to the End-User. The End-User owns the disk on which the Software is recorded, but
Licensor retains ownership of all copies of the Software itself. The End-User assumes sole responsibility
for the installation, use and results obtained from use of the Software.

1. License. Listen grants to End-User a limited, non-exclusive and nontransferable license to install, main-
tain and use the Software in object code form on a single computer owned or leased by End-User solely in
connection with the End-User's own business. End-User may make one copy of the Software, in machine-
readable form, solely for backup or archival purposes for the computer on which the Software is installed.
The Software is protected by copyright law. As an express condition of this License, the End-User must
reproduce on the copy Licensor's copyright notice and any other proprietary legends on the original copy
supplied by Licensor.

2. Restrictions. End-User agrees that the Software is a proprietary product and that all right, title and
interest in and to the Software, including all associated intellectual property rights, are and shall at all times
remain with Licensor. End-User may NOT sublicense, assign, or distribute copies of the Software to oth-
ers. THE END-USER MAY NOT DECOMPILE, REVERSE ENGINEER, DISASSEMBLE, OR OTHER-
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ERWISE ASSIGN OR TRANSFER THE SOFTWARE, OR CREATE DERIVATIVE WORKS BASED
UPON THE SOFTWARE OR ANY PART THEREOF.

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notice from Licensor if the End-User fails to comply with any of its provisions. Upon termination the End-
User must destroy the Software and all copies thereof. End-User may terminate this License at any time by
destroying the Software and all copies thereof.

Software License Agreement i

 SoundCheck 6.11 - Instruction Manual

5. Limited Warranty. Licensor warrants that, for ninety (90) days from the date of shipment by Licensor (i)
the media on which the software is furnished will be free of defects in materials and workmanship under
normal use; and (ii) the Software conforms to its published functional specifications current at the time of
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sor's election, to replace the defective Software or refund the purchase price. The End-User agrees that
the foregoing constitutes the End-User's sole and exclusive remedy for breach by Licensor under any war-
ranties made under this Agreement. This warranty does not apply if the Software (i) has been altered or
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tained in accordance with instructions supplied by Licensor or (iii) has been subjected to abnormal physical
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with or caused by incompatible operating systems or equipment, or for problems in the interaction of the
Software with software not furnished by Licensor.

No oral or written information or advice given by Licensor or its dealers, distributors, employees or agents
shall in any way extend, modify or add to the foregoing warranty.

THE WARRANTY AND REMEDY PROVIDED ABOVE ARE EXCLUSIVE AND IN LIEU OF ALL OTHER
WARRANTIES, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE IMPLIED
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USER ASSUMES ALL RISK AS TO THE SUITABILITY, QUALITY, AND PERFORMANCE OF THE
SOFTWARE.

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CAUSED AND REGARDLESS OF THE THEORY OF LIABILITY, INCLUDING NEGLIGENCE, WILL BE
LIMITED TO, AND IN NO EVENT SHALL EXCEED, THE AMOUNT ORIGINALLY PAID TO LICENSOR
FOR THE LICENSE OF THE SOFTWARE.

7. Enhancements. From time to time Licensor may, in its sole discretion, advise the End-User of updates,
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tively, "Enhancements"), and may license the End-User to use such Enhancements upon payment of
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USER TO BE ASSURED THAT IT WILL BE ADVISED OF AND LICENSED TO USE ANY ENHANCE-
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www.listeninc.com/site/register.html .

8. Export Regulations. Software, including technical data, is subject to U.S. export control laws, including
the U.S. Export Administration Act and its associated regulations, and may be subject to export or import

Software License Agreement ii

 SoundCheck 6.11 - Instruction Manual

regulations of other countries. End-User agrees to strictly comply with all such regulations and acknowl-
edges that it has the responsibility to obtain licenses to export, re-export or import Software.

9. General. This License will be governed by and construed in accordance with the laws of
Massachusetts, and shall inure to the benefit of Licensor and End-User and their successors, assigns and
legal representatives. If any provision of this License is held by a court of competent jurisdiction to be
invalid or unenforceable to any extent under applicable law, that provision will be enforced to the maximum
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following address:

LISTEN, Inc.
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Boston, MA 02118

This Agreement constitutes the entire agreement between the parties with respect to the subject matter
hereof, and all prior proposals, agreements, representations, statements and undertakings are hereby
expressly cancelled and superseded. This Agreement may not be changed or amended except by a
written instrument executed by a duly authorized officer of Licensor.

10. Acknowledgment. BY OPENING THIS PACKAGE AND/OR INSTALLING THIS SOFTWARE, THE
END-USER ACKNOWLEDGES THAT IT HAS READ THIS LICENSE, UNDERSTANDS IT, AND AGREES
TO BE BOUND BY ITS TERMS AND CONDITIONS. Should you have any questions concerning this
License, contact Licensor at the address set forth above.

Software License Agreement iii

SoundCheck 6.11 - Instruction Manual

Software License Agreement iv

 SoundCheck 6.11 - Instruction Manual

Installing SoundCheck

System Requirements
SoundCheck uses your computer’s CPU to perform all calculations and signal processing. Therefore, the
speed of your computer directly affects the overall performance of the SoundCheck system. In addition, all
stimulus waveforms and measured waveforms are played and/or stored in memory for optimum performance.
This means that long test signals and measurements require more memory and longer processing time than
short test signals and measurements. Therefore, it is recommended that 512 MB of RAM be used for
measurements of 4 seconds or longer and 1 GB of RAM for measurements of 10 seconds or longer.

Minimum Computer Requirements

z Windows® XP or Windows® 2000. (Also works in Microsoft® Windows® 98, Windows® Millennium
Edition & Windows NT® but these operating systems are not supported.)
z Windows 64 Bit OS is currently not recommended. 64 bit device drivers are not available for required
hardware.

Note: Footswitch option not available in Windows NT.

z Pentium® 4, 1.6 MHz processor minimum or equivalent (Celeron processors are not recommended).
z 1 GB of RAM (2 GB or more recommended for large WAV files or high resolution measurements
below 50Hz).
z 300MB of free hard-disk space required for complete software installation.

Backup
It is highly recommended that you make a backup of your SoundCheck critical folders on a regular basis. A
backup should always be made prior to installing a new version or update to SoundCheck. We recommend
that the following folders be included in any backup:
z Sequences
z Steps
z Data (If the default Data folder in SoundCheck is the location for your data files.)
z Results (If the default Results folder in SoundCheck is the location for your result files.)
z WAV files
z Last session.txt (Stores the preference that were last used in SoundCheck.)

Upgrading From an Earlier Version

If you are upgrading from an earlier version of SoundCheck 6.1 you should copy the old installation folder and
name it "SoundCheck 6.1 OLD" before installing the new version. This is a precautionary measure to keep
you from overwriting sequence steps that you have customized.
Installing SC6.11 overwrites the contents of the SoundCheck 6.1 folder.
If upgrading from SoundCheck 6.0 or earlier, the folder name does not need to be changed. This way you can
run both versions of SoundCheck without disturbing any tests you have already created. If you want to run
your SC6.0 Sequences in the new version, it is recommended that you export the sequences from
SoundCheck 6.0 and Import them into SoundCheck 6.1.

Installing SoundCheck 1
 SoundCheck 6.11 - Instruction Manual

Note: During installation, if the SoundCheck 6.1 installer finds a current SoundCheck 6.0 installation, it
will copy all the SC6.0 Steps and Sequence folders into the SoundCheck 6.1 directory. These
folders will be named SC6.0 Steps and SC6.0 Sequences. The SC6.0 sequences can now be run
using SC6.1 without affecting the original SC6.0 versions. Once a SC6.0 sequence has been
opened in SC6.1, it can no longer be used in SC6.0.

Important! SoundCheck 6.1 sequences are not backward compatible. They will not work if imported
into past versions of SoundCheck. Sequences from SoundCheck 4.x and 5.x will run in
SoundCheck 6.1.

Important! DAT files created with SoundCheck 6.1 are not viewable in previous versions of
SoundCheck. This includes SoundCheck 6.0x. The DAT file format has been updated in
SoundCheck 6.1.

SC5 Sequences (and earlier versions)

Sequences should be exported from SC5.0 to SC6.x.
Copying the Steps and Sequences folders should not be done.
When importing a sequence from SC5.0 the following steps should be checked:
z Stimulus: There is an issue with the Complex Stimulus steps from SC5.0 not retaining the proper
values after being imported into SC6.x.
z Autosave: The "Save to" locations must be refreshed.
z Post Processing: The "Smoothing" operation has a different default name. All subsequent steps that
use the Result of the PP step will need to be updated.
z Post Processing: The "Convert to Lin" and "Convert to Log" functions don't exist anymore. Convert to
Lin in SC5 is the same as multiply by 1 (and use custom units) in SC6.
z Display: Some Display steps may need to be rebuilt if the Results values are being overwritten.

Computer Setup
Please follow the procedures outlined in: SoundCheck_Computer_Setup.pdf. This can be found on the
SoundCheck install CD: D:\Documentation\manuals\SoundCheck_Computer_Setup.pdf. This shows our
recommended setup for Windows XP and optimization tips.

Software Installation
1. Place the SoundCheck installation CD in the CD-ROM drive of your computer.

If your computer is setup to Auto Run, you will be prompted to install the software. You can also begin
the software installation by double-clicking on the file Setup.exe in the root of the Listen CD-ROM, or
by using the Run command from the Windows Start menu and typing the letter of your CD-Rom
drive followed by setup.exe (e.g., f\:setup.exe).
2. Follow the instructions on the screen. Click Next to proceed.

Installing SoundCheck 2
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Hardware Key
In order make real measurements the hardware key must be installed. Without the hardware key,
SoundCheck will run in demo mode. You can save, print and recall data, and create and modify test
sequences. However, you cannot save any sequence settings. Also, while in demo mode, all other
functionality of SoundCheck is available, but all data is randomized. SoundCheck executes the test sequence
and adds random values to the data displayed or saved. All data generated in demo mode is randomly
adjusted in level and is therefore not valid.

Hardware Key Installation

1. Insert the included hardware key into the USB port of your computer AFTER SoundCheck is installed.
The computer will recognize the new hardware.

The hardware key should have a solid green light. (A flashing hardware key indicates that the driver
has not yet been installed.)

Note: If you have the Parallel Port Hardware Key, it will need to be connected to the Parallel Port of
your computer. You can then attach your parallel-port cable to the female 25-pin DIN
connector of the hardware key for normal printing operation.

2. During installation, you will be prompted to insert the included 3 ½” floppy disk into your floppy disk
drive. The floppy disk contains the status.dat file, which is unique to your hardware key. Your new
status.dat file will be copied to your SoundCheck 6.1\System folder.

If you lose your floppy disk with your unique status.dat, we can e-mail you a new one. You will need to
manually copy status.dat to the SoundCheck 6.1\System folder.

Note: The hardware key file status.dat needs to be copied to the SoundCheck 6.1\System folder in
order for the SoundCheck software to work.

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Optional Modules and Protected Sequences

Once SoundCheck is installed, with the proper status.dat file and hardware key, a list of Optional Modules and
Protected Sequences is available. Click on the Help menu of the SoundCheck main screen and then select
Optional Modules. The current list of modules and sequences available is found in Figure: 1-1 Optional
Modules List. This indicates which modules and sequences are currently enabled on the system as well as
items that can be added.

2000 Limits Editor 3103 IEEE 1329, Clause 10 Seq (JB03xx)

2001 Harmonic Distortion 3104 TIA-470 Seq (JB04xx)
2002 Sequence Editor 3105 IEEE 269, Clause 9 Seq (JB05xx)
2003 Spect Analyzer (Scope FFT) 3106 Hearing Aid Magnetic Comp Seq (JB06xx)
2004 Post-Processing 3107 TIA USB Headsets Seq (JB07xx)
2005 RTA Spect Analyzer 3108 TIA 810 Seq (JB08xx)
2006 Time Selective Response 3109 TIA 920 Seq (JB09xx)
2007 Loudness Rating 3110 ETSI TBR 38 Seq (JB10xx)
2008 Attack and Release 3111 (JB11xx)
2009 Statistics 3112 (JB12xx)
2010 Save to Database 3113 (JB13xx)
2011 Polar Plot 3114 (JB14xx)
2012 Equation Editor
2013 EQ a Wav File
2014 Signal Generator
2015 Multimeter
2016 LooseParticle
2017 Stimulus
2018 Stepped Sine
2019 IM Distortion
2020 Multitone
2021 Dual Ch Analysis

Figure: 1-1 Optional Modules List

Additional Software to install

If you intend to use a GPIB controller, an external footswitch or external buzzer with SoundCheck (optional
equipment), NIVisa is required. The NIVisa installer can be found on the SoundCheck installation CD.
1. Right click on the CD Drive in My Computer and open the Additional Software folder.

2. Open the NIVisa folder and run the executable file.

The only options that need to be installed are: GPIB and Serial. (The Complete Install selection
installs all options, but causes no conflicts with SoundCheck.)

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System Setup

SoundCheck, when installed at Listen onto a purchased computer, is configured with the appropriate sound
card driver. If a different card is installed, the setup will have to be changed. If only the software is purchased,
you should use this section to point SoundCheck to the appropriate sound card.

Sound Card
1. Open SoundCheck and select Hardware from the Setup menu.

2. Click Load and browse the list of Hardware Steps in the SoundCheck 6.1\Steps\Hardware folder.
Steps are configured to individual sound cards, and are named the brand and/or model of that sound
card. If an appropriate step exists for your sound card, select that step from the Hardware folder. If the
card is not listed, the setup for the card will have to be created.

Note: Please contact Listen for the most recent list of Hardware setups, or for help creating a new step.

Figure: 2-1 Hardware Editor

When using a sound card with Balanced Inputs and Outputs please follow the calibration and wiring guidlines
found in Connection Procedures; Balanced Sound Card Calibration Connections.

Note: When using the Digital Audio Labs “CardDeluxe“ in conjunction with Listen’s “SoundConnect“
microphone power supply, the Max In value of the Input Channel must be multiplied by 1.125.
This is to account for the impedance difference between the SoundConnect and the CardDeluxe.

A Note About Calibration

The Calibration Step includes all devices in the signal path including the Sound Card, Amplifier, and/or
Microphone. Therefore it is important to make separate calibration setups for every combination of devices
that will be used.

System Setup 5
 SoundCheck 6.11 - Instruction Manual

Set the stimulus

level that is appro-
priate for the ampli-
fier

Figure: 2-2 Set the Level in the Stimulus Editor

Amplifier Calibration

Note: The following procedure is not necessary when using the Standard Listen Amp/Sound Card
combination.

The Amplifier Calibration sequence that is included with SoundCheck, uses a stimulus level of 0.10 Volts (100
mV). This may not be suitable for very high gain amplifiers and could result in damage to the sound card if not
set to a lower level. In Figure: 2-2 Set the Level in the Stimulus Editor the stimulus has been decreased to
50mV.
1. Connect the Sound Card Output to the Amplifier Input and the Amplifier Output to the Sound Card
Input.

Important! BE VERY CAREFUL NOT TO SHORT THE OUTPUTS!

2. Under Operate select the Signal Generator and Multimeter.

3. Set the output level to 0.001 Volts.

4. Un-mute the Signal Generator and VERY slowly increase the output level. Stop when the input level
on the multimeter is within approx. 6 dB of the maximum input voltage of the sound card. (The Max
Input is typically less than one (1) volt for most Sound Cards.)

5. Note the output voltage on the Signal Generator. The calibration should not be higher than this value.

6. Under File open the Calibration folder and then open the Calibration - Output folder.

7. Right click Amplifier Calibration.sqc and uncheck the Read Only attribute.

System Setup 6
 SoundCheck 6.11 - Instruction Manual

See Figure: 2-3 Shutting off Read-only Attributes. This will also have to be done for the steps:
Amplifier Cal.sti, Sensitivity cal.Lim and Response margin cal.Lim. Use Windows Explorer to navigate
to: SoundCheck 6.1\Steps\Limits folder to change the attributes of the two limit files and then open the
Stimulus folder to change Amplifier Cal.sti. Now the sequence can now be opened, edited and saved.

Figure: 2-3 Shutting off Read-only Attributes

8. Under Setup select Stimulus. In the Level section, set the Level so that it is equal to the voltage
determined in the previous test. If this level is changed the Sensitivity and Response Margin Limit
Steps will need to be changed accordingly.

Once this is complete the standard amplifier calibration can be completed.

Note: It is a good idea to disable System Sounds in the Windows Control Panel. See the section
Disabling System Sounds in the Windows Control Panel for details on how to do this.

System Setup 7
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Disabling System Sounds in the Windows Control Panel

Windows sounds tend to be processed for maximum volume. If a transducer is connected for testing, and a
system sound is played, you will hear a loud noise and the transducer could be damaged.

Figure: 2-4

System Setup 8
 SoundCheck 6.11 - Instruction Manual

Introduction

Congratulations on your purchase of SoundCheck, created by Listen, Inc. SoundCheck is the first dedicated
electroacoustic test and measurement system for production line quality control testing as well as research
and development applications. SoundCheck was developed by some of the most knowledgeable and skilled
engineers and software programmers in the world. Our goal is to provide fast and accurate testing with an
intuitive user interface. Listen will constantly be looking for new ways to improve SoundCheck. Customer
feedback helps us develop better sound measurement solutions and is greatly appreciated. Please call or
email us at [email protected].

SoundCheck allows you to develop tests or modify existing tests from our extensive library.
Each test, referred to as a "Sequence" is essentially a script. A Sequence is a series of "Steps", with each
step performing a specific task. An extremely simple Sequence might have the following structure:

z Hardware Step (to define and configure data acquisition equipment)

z Calibration Step (to define the sensitivity of the Hardware and any needed EQ and Correction curves)
z Stimulus Step (define and generate the signal to be sent to the DUT)
z Acquisition Step (to play the Stimulus and record the DUTs response)
z Analysis Step (for example, to calculate frequency response of the DUT)
z Limits Step (to apply Pass/Fail criteria on acquired data)
z Display Step (to Display data and results)

Many other Step types are available, including Post-Processing, Printing, Statistics, etc. Each step type is
clearly defined and explained later in the manual.

In addition to running pre-defined Sequences, you can also generate stimuli and analyze data using stand-
alone "Virtual Instruments" (optional). These can be launched from the "Operate" menu, and replicate
familiar laboratory equipment. These include the following:

z Signal Generator (Generates a variety of stimuli and sends them to your output device).
z Multimeter (Measures RMS or Peak level).
z Oscilloscope (Allows user to view acquired data in the time domain).
z FFT-Spectrum (Allows user to view acquired data in the frequency domain).
z Real-Time Analyzer (Allows user to view frequency domain data in CPB i.e. 1/nth octave format).

Note: Virtual instruments are subject to the Hardware and Calibration settings in the active sequence.

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Operating Principles
SoundCheck operates on the same principles as a traditional, stand-alone measurement system consisting of
a Signal Generator, RMS Multimeter, tracking filter, and level recorder. With SoundCheck, all of these
functions are implemented in software as VI’s, or Virtual Instruments.

Speaker
Microphone

Tracking
Filter

Device Under Test

1000 Hz
Voltmeter

Sine Generator Level Recorder

Figure: 3-1 Traditional Hardware-based Test System

The advantages of software-based instruments are numerous. SoundCheck takes advantage of today’s high-
speed personal computers, professional audio sound cards, data acquisition cards and Windows software
platforms. This saves thousands of dollars in hardware cost compared with traditional audio test and
measurement systems. The system is modular, which means you can easily upgrade as your needs change.

Figure: 3-2 SoundCheck Software-based Test System

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SoundCheck Signal Flow

The diagram shows the successive transfer functions that occur in the signal chain, from the output of
SoundCheck back to the input.

S EQ V0 H0 X G Y H1 V1 C0 C1 R

Output DUT Input

Transducer Transducer

Figure: 3-3 Signal Flow

z S: Stimulus.
z EQ: equalization for the output transducer (e.g. Mouth) [eq-out L.dat, eq-out R.dat].
z V0: electrical stimulus played out the soundcard.
z X: physical input to the DUT
z Y: physical output from the DUT.
z V1: electrical response acquired by the soundcard.
z C0: correction out for the output transducer [corr-out L.dat, corr-out R.dat].
z C1: correction in for the input transducer (e.g. Microphone) [corr-in L.dat, corr-in R.dat].
z R: Response calculated with output and input transducers compensated.

The EQ correction curve is used to compensate for the response of the output transducer. C0 is used to fine-
tune the compensation for the output transducer, after the measurement has been made. The net result of this
two part compensation is: EQ.H0.C0 = 1

C1 is used to compensate for the input transducer: H1.c1 = 1

That way R is the response of the DUT to the stimulus S.

R= S. EQ. H0.g.h1.c0.c1 = g. s

All of the Correction Curves can be viewed in the memory list by selecting an XY Display from the Display
drop down list. The following curves will be present for both left and right channels:
z corr-in L.dat
z corr-out L.dat
z eq-out L.dat
z sens-in L.dat
z sens-out L.dat

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Controls
All SoundCheck controls are divided into individual modules, accessible from pull-down menus.
Start, Continuous, and Redo Test time of last Pause current Track lot and serial
measurement controls sequence sequence data logging numbers

Select a product model number or test sequence

to measure from the drop down list

Figure: 3-4 SoundCheck Main Screen

Pull-down menus
To view the selections in a pull-down menu, left click on a menu heading and click on the desired selection.

Setup (Updated)
The Setup menu shows the steps that are used in the Active Sequence. All other steps are greyed out and
can only be accessed through the Offline menu or Sequence Editor.

Open Step
editors from
Manual operation active
Optional modules sequence

Import or Export Sequences to

other SoundCheck systems.

Enter the Sequence Editor

Pop up context
Open Manual sensitive help
Check for Online
Offline (New) See Figure: Updates
3-6 Offline Menu Example Bug Reporting
for more information.

Figure: 3-5 SoundCheck Pull-down Menus

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 SoundCheck 6.11 - Instruction Manual

Offline (New)
These steps can be used to process data without affecting the active sequence. The processed data can then
be saved. Changes to steps can only be saved by selecting Save As and giving the step a new name. None of
the changes to a step will be saved with the active sequence when it is closed and saved. This provides the
opportunity to try different functions and ideas, to modify the display to show data in a different way and to
save the results.
In Figure: 3-6 Offline Menu Example Post-Processing has been selected from the Offline menu. The Curve
Division step is selected. Operand A and B are selected from the existing memory list of the Active Sequence.
After pressing the Apply button, the result shows up in the Memory List as a Protected Curve.

Figure: 3-6 Offline Menu Example

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SI Units
SoundCheck now uses SI Units throughout the system. It is important to note that values entered such as .1
Volts will change to 100m when SI Units are selected in the Preferences for a Virtual Instrument. Values can
also be entered directly with SI Units by typing 150m. It is then important to note the following table of
abbreviations for SI Units that should be used in SoundCheck.SI Units Table

Symbol Name Factor Symbol Name Factor

m milli 10-3 k kilo 103
u micro 10-6 M mega 106
n nano 10-9 G giga 109
p pico 10-12 T tera 1012
f femto 10-15 P peta 1015
a atto 10-18 E exa 1018
z zepto 10-21 Z zeta 1021
y yocto 10-24 Y yotta 1024

Figure: 3-7 SI Units

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Numeric Fields

With the cursor placed

after the 3, click the
Up Arrow key to raise
the value to .401V

Highlight the value in a numeric field by dragging the mouse cursor over the number while holding down the
left-button, or by repeatedly pressing the Tab button on the keyboard until you find the correct entry field. You
can enter the correct value by highlighting the value in the numeric field and entering the correct number using
the keyboard, or by using the left-button of your mouse to click on the up/down arrow keys next to the numeric
field to increase/decrease the present value.
Another method is to place the blinking cursor to the right of the value you want to increase or decrease. In
this example, the cursor is placed in the Voltage field. Using the up/down arrows on the keyboard allows you
to change the value in 1, .1 or .01 increments, depending on which digit the cursor is placed next to. By using
the Page Up/Down keys you can change the output level in 1 dB increments. In this example, the up arrow will
increment the level by 1.00V. Pressing the up arrow once increases the level to 1.01 V.
By putting the cursor in the Frequency field you can use the Page Up/Down keys to change the frequency in
R80 or 24th octave steps.

Note: The Page Up/Down and Arrow Up/Down keys can be mapped to the functions of a USB knob.
The USB knob can then be used for frequency/voltage changes much like a knob on a standalone
piece of test equipment. The USB knob setup instructions should include details on how to map it
to control the Page and Arrow functions. Set the Preferences of the Signal Generator as shown in
Figure: 3-8 Preferences for Signal Generator to Work With USB Knob so that it is properly
controlled by the USB knob.

Figure: 3-8 Preferences for Signal Generator to Work With USB Knob

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 SoundCheck 6.11 - Instruction Manual

Knobs

Instead of entering the desired value with the keyboard, you can also dial in the value with the virtual knob
located below the numeric field. Simply place the cursor over the knob, hold down the left mouse button and
rotate the knob to change the level.

Buttons

To start a measurement, left click Start. In addition, Start can be activated with the F2 key on your keyboard,
or an optional foot switch or bar code reader. Redo runs the same measurement again and overwrites the
results of the last measurement. Cont. (Continuous) repeats the measurement until Stop is selected. The
keyboard shortcuts are F3 for Cont. and F4 for Redo. There is no shortcut key for Stop.

Note: When Stop is selected, the measurement will stop at the end of the test sequence unless Abort
is selected from the Status window.

Graphs and Cursors

Individual data point values on a curve are displayed in the lower right hand corner of the graph. To move the
cursor to a specific frequency, place the cursor in the X-axis value box and double-click in the box. The box
will then be highlighted for you to enter a numeric value (e.g., 1000 for 1 kHz). The cursor can be moved by
dragging the cursor marker (+) while holding down the left mouse button to the desired point on the

measurement curve. Make sure Lock to Plot is activated ( ).

Click Display
and select

Y axis value Cursor can be moved one step at a

X axis value
time by clicking on the left and right
arrows next to the cursor readout.

Figure: 3-9 Frequency Response Graph

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Modifying Graph Display

The controls at the bottom of the Graph Display can easily be hidden to provide more space for the actual
graph of data. Click on Display and then Preferences to show the Graph Preferences editor. Click on the
Visible Items tab and select which items are to be hidden or visible. Clicking on Hide All or Show All toggles
the selection of all items. This makes it easy to turn all the controls on for editing the graph and then off before
saving the final display with the sequence.

Figure: 3-10 Graph Preferences

By left-clicking on the cursor icon , you can easily modify the cursor styles and plotting formats. The
different cursor formats are shown in Figure: 3-11 Cursor Styles .

Figure: 3-11 Cursor Styles

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Multiple Graphs Display

With multiple curves on a single graph, you can move the cursor from one curve to another using the upper
and lower diamond-shaped buttons, or the up and down buttons on the keyboard when the cursor is active.

Free, Snap to point, and Lock to plot cursor

By placing the cursor over Lock and left-clicking the mouse, you can modify how the cursor moves in the
graph. Free enables the cursor to be placed anywhere inside the graph by placing the cross over the cursor.
Left-click and drag the cursor freely to a new position in the graph. Snap to point makes the cursor move to
the nearest point on the curve that is active (in this case Fundamental [L], the checked curve name, is the one
for which Free, Snap to point, and Lock to plot apply). Lock to plot enables the cursor to move only along
the active curve when dragging it with the mouse or clicking on the right and left diamond-shaped buttons.

By left-clicking on the cursor icon, you can have the curve name appear on the graph by checking Show
Name. Bring to Center will move the active cursor to the center of the graph.

Cursor icon

Select Show Name

Figure: 3-12 Show Curve Name on Graph

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The Graph Palette

The Graph Palette enables you to move the graph, zoom in or out, and move the cursor by dragging the
mouse along the curve. To activate the Palette, move the mouse anywhere in the graph area and right click.
The menu in Figure: 3-13 Selecting the Graph Palette will appear. Choose Visible Items and then Graph
Palette.

Figure: 3-13 Selecting the Graph Palette

Zoom
To zoom different sections of the graph, place the mouse pointer on top of the magnifying glass and left click.
This will open the zoom window, allowing you six (6) different choices.

Zoom in any area of graph

Zoom vertically along the Y axis

Zoom horizontally along the X axis Undo zoom

Left-click on the zoom-in or zoom-out buttons. Move mouse pointer inside graph and single
click. Graph will zoom in or out automatically.

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Advanced Graph Controls

Auto Scale: Turns Autoscale on/off. To turn this on or off, place mouse pointer on the Lock symbol.

Autoscale OFF for X axis (Unlocked)

Autoscale ON for X axis (Locked)

X and Y-axis formatting: Choose value type, number of decimal places and Log or Linear scale by left
clicking on the “x.xx” or “y.yy” buttons.

Left click on x.xx or y.yy

Zoom control: Choose to zoom in to different areas of the graph

Hand: Choose to move graph with hand control

Changes graph to default

Copies graph to the graphic clipboard so it can be

pasted into word processing document

Figure: 3-14 Axis Scaling, Zoom and Style Controls

Indicators
z Pass/Fail - Whenever a measurement is performed and compared to tolerance limits, there will be a
Pass/Fail indication. If the test fails, a red background will appear with the word Failed. If the test
passes, a green background will appear with the word Passed.
z Curve Value - Single-number values can represent one data point (e.g., the measured level at 1 kHz,
an average, or a weighted value).
z Margin - Calculates the margin from a curve to one or two tolerance limits. A positive value indicates
that the curve is within the tolerance limit(s) and gives the least difference between the curves. A

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 SoundCheck 6.11 - Instruction Manual

negative value indicates that the curve has gone beyond the tolerance limit(s) and gives the maximum
difference between the curves.

Help
To display context sensitive help, choose Help from the pull-down menu or click on the question mark (?) in
the upper right corner of the screen. Move your cursor over the control or field of interest and the help text will
show information for that control.

Sequences

Running a Sequence performs most measurements in SoundCheck. A Sequence consists of individual steps,
or operations that are strung together to create an overall test. Custom test procedures can be written or
modified using the Sequence Editor. Typically, sequence names are product model numbers or device
names.

Steps
A Step is a unique operation that can be configured and saved so that it can be used in many different
Sequences. Every Step has a Step Category and a Step Editor. To edit a Step, choose Setup from the pull-
down menu and select the category for the Step in the sequence to be edited. (e.g., Hardware, Calibration,
etc.)
Steps can have attributes that are Step-specific (global). If one of these attributes is changed, that change
appears in ALL sequences that use that step. Step attributes can also be Sequence-specific (local). These
attributes are marked with a blue colored font. Changes to these attributes only appear in the sequence they
are saved in. (See Sequence Editor)

Sequence Status Window

After pushing Start, a Status window pops up, giving real time status and control over the sequence currently
running. If you wish to stop the current sequence in progress at any time, click Abort. Continue can also be
controlled via a footswitch.

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 SoundCheck 6.11 - Instruction Manual

Figure: 3-15 Sequence Status and Control

Note: The Status window will always appear on a PC monitor. If you do not want this window to be
visible, move it so that it is off the screen.

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Test Equipment Setup for Typical Applications

Loudspeaker Setup
1. Using an audio cable with ¼” phone connectors*, connect the output of the sound card to the input of
the power amplifier.

Note: Make sure to choose the same output and input channels that correspond to those selected
in the test.

2. Connect the output of the power amplifier to the loudspeaker under test.

3. Connect the microphone preamp cable to the microphone input on the microphone power supply
(e.g., SoundConnect).

4. Connect the output of the microphone power supply (you can use the RCA connector on the back of
SoundConnect) to the input on the Sound Card.

5. Select the appropriate test before clicking Start.

PASSED
Microphone
Power Supply
Mic Supply
Computer Output to
Sound Card
Input

Sound Card
Output
to Amp Input

Microphone

Power Amplifier Loudspeaker

Figure: 3-16 Loudspeaker Equipment Setup

Note: * The amplifier input and output connectors may be different. A more detailed wiring connection
diagram is in Appendix 1: Footswitch and Buzzer Serial Port Control.

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Earphone/Headphone Setup
1. Using an audio cable with ¼” phone connectors*, connect the output of the sound card to the input of
the power amplifier.

Note: Make sure to choose the same output and input channels that correspond to those selected
in the test.

2. Connect the output of the power amplifier to the earphone/headphone under test.

3. Connect the ear simulator preamp cable to the microphone input on the microphone power supply
(e.g., SoundConnect).

4. Connect the output of the microphone power supply (you can use the RCA connector on the back of
SoundConnect) to the Input on the Sound Card.

5. Select the appropriate test (e.g. Earphone) before clicking Start.

SoundCheck™
Pass
Passed
for Telephone Testing

Microphone Earphone/
Power Supply Headphone
under test
Mic Supply
Output to
Sound
Sound Card Output Card Input
to Amp Input
Ear Simulator

Power Amplifier

Figure: 3-17 Earphone Equipment Setup

Note: * The amplifier input and output connectors may be different.

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Microphone Setup
1. Using an audio cable with ¼” phone connectors*, connect the output of the sound card to the Input of
the Power Amplifier.

Note: Make sure to choose the same output and input channels that correspond to those selected
in the test.

2. Connect the output of the power amplifier to the mouth simulator.

3. Connect the microphone under test either to the direct input of the microphone power supply (e.g.,
SoundConnect BNC Input), or if no additional pre-gain is needed, connect directly to the input of the
sound card.

4. If using a microphone power supply, connect the output (you can use the RCA connector on the back
of SoundConnect) to the Input on the Sound Card.

5. Select the appropriate test before clicking Start.

PASSED

Microphone
Computer Power Supply
(optional)

Sound
Card Input

Sound Card Microphone

Output under test
to Amp Input
Amp Output
to Mouth Input

Power Amplifier Mouth Simulator

Figure: 3-18 Microphone Equipment Setup

Note: *The amplifier input and output connectors may be different.

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Hearing Aid Setup

1. Using an audio cable with ¼” phone connectors*, connect the output of the sound card to the Input of
the power amplifier.

Note: Make sure to choose the same output and input channels that correspond to those selected
in the test.

2. Connect the output of the power amplifier to the anechoic chamber.

3. Connect the hearing aid under test to a coupler, sealing the transmitter of the hearing aid towards a
calibrated microphone. Connect this mic to the microphone input on the microphone power supply
(e.g., SoundConnect). Connect the output of the power supply to the input on the sound card (you can
use the RCA connector on the back of SoundConnect).

4. Select the appropriate test before clicking Start.

SoundConnect
Mic Power
SoundCheck™ Supply
for Hearing Aid
Testing
PASSED

Anechoic Test Chamber

Sound
Card Input

DC Voltage
USB to Battery
connection Adapter
Sound Card Output to PC Input

to Amp Input DC Connect

Right Amp Output to Telecoil Loop Input Hearing Aid
in coupler
Power Amplifier Left Amp Output to Speaker Input

Figure: 3-19 Hearing Aid Equipment Setup

Note: * The amplifier input and output connectors may be different.

Note: DC Connect is an optional hardware item available from Listen, Inc.

Introduction 26
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Telephone/Cell Phone Setup

1. Using an audio cable with RCA connectors*, connect the output of the sound card to the input of the
power amplifier.

Note: Make sure to choose the same output and input channels that correspond to those selected
in the test.

2. Connect the output of the power amplifier to the mouth simulator cable for HATS.

3. Connect the microphone (Ear Simulator) to the microphone input of the microphone power supply
(e.g., SoundConnect).

4. Connect the output of the microphone power supply to the input on the Sound Card (you can use the
RCA connector on the back of SoundConnect).

5. Select the appropriate test before clicking Start.

Figure: 3-20 Telephone Equipment Setup

Note: * The amplifier input and output connectors may be different.

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Login

To view and change the system's login settings, select Login from the Edit pull-down menu on the main
SoundCheck menu bar. The Login screen also appears when first starting the SoundCheck program. Login
allows the SoundCheck administrator to prevent use of certain test system functions by other users. For
instance, Calibration, Sequence, and Step Setups can be password protected from unauthorized users.

3 levels of access to protect

system settings

Figure: 4-1 Login Setup

Access Level
There are three access levels: Engineer, Technician, and Operator.

Engineer
The Engineer level is the highest access level, and therefore all functionality is accessible.

Technician
The Technician level allows access to Calibration procedures, and may measure, print and save data.

Operator
The Operator level can only measure and print.

User Name
The user name can be stored with data, results, and included with printouts. It is useful for keeping track of
who performed the measurement. The user name is typed in at the login prompt or can be scanned in with a
barcode reader. Once the user name has been entered SoundCheck will remember the name and use it for all
future sessions. The name is remembered when SoundCheck is exited and re-opened. If a new user name
needs to be entered, simply open the Login screen from the Edit menu in SoundCheck and enter a new
operator name, or enter a new name in the Login screen upon opening SoundCheck.

Password
The default passwords are not specified (blank or empty) when SoundCheck is shipped. You must click
Setup (See Figure: 4-1 Login Setup) to create passwords.

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Passwords are case sensitive, so be careful with capital letters. Click Setup to open the Login Setup dialog in
order to create new passwords. (Always keep a written copy of your passwords and keep them in a secure
place.)

Note: You have up to three (3) seconds to click Setup, while the Login screen is open, to change and/or
create passwords. (See Figure: 4-3 Alternate Method for Accessing Login screen)

Login Setup
The Login Setup dialog enables the user to change or automatically remember the password at login time.
This essentially bypasses the user login. This can be changed at any time by clicking Setup while the Login
screen is open (this remains open for about 3 seconds).

Bypasses prompt for password at

Login

Figure: 4-2 Login Setup

Selecting Edit on the SoundCheck main screen and then selecting Login can also access the Login screen.

Select Edit from the main

screen and then Login to
access the login screen.

Figure: 4-3 Alternate Method for Accessing Login screen

Note: Tip: You can also edit the last session.txt file. Go to C:\SoundCheck 6.1\last session.txt. This file
contains the passwords and locations of folders used in creating sequences. It is also used to
save information about your SoundCheck session, such as your wallpaper preferences and pop-
up windows that have been disabled. Before editing this file, exit SoundCheck (as settings are
written to this file when SoundCheck closes). Any edits will become active the next time
SoundCheck executes.

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 SoundCheck 6.11 - Instruction Manual

For example, when changing sequences, you are prompted if you want to preserve unprotected curves in
your Memory List, in a dialog box like Figure: 4-4 Prompt to Keep Unprotected Curves. When the Don't
ask me again checkbox is checked, SoundCheck will use the chosen action (Discard or Protect) as the
default action each time the sequence is changed, and the dialog box will no longer appear. You may review
this setting in last session.txt.

Figure: 4-4 Prompt to Keep Unprotected Curves

Wall paper path

Position of windows in SoundCheck

"Do not Ask Again" settings

Figure: 4-5 Example of last session.txt

In Figure: 4-5 Example of last session.txt, you can see two entries in the last session.txt file labeled Prompt
to remove pre-runs and Protect Measured. When Prompt to remove pre-runs is set to False, the dialog is
disabled. SoundCheck is then using the Protect Measured field to determine whether measured curves are
protected when sequences are changed. When Protect Measured is set to True, the Memory List will
preserve all measured curves from one sequence to the next. When it is set to False, all unprotected curves
are discarded when the sequence is changed. See the Sequence Editor chapter for more information on
changing sequences.

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Quick Launch Screen

SoundCheck 6 now features an optional Quick Launch Menu, which enables you to select from several
different initial operations when first starting SoundCheck.

Figure: 4-6 Quick Launch Screen

z New: Click Go to start a new sequence from scratch.
z Open: Select from the list to open sequences, tutorials, virtual instruments and recently opened
sequences. Click Go after making a selection.
z View: Open the SoundCheck manual, go to the Listen, Inc website or open SoundCheck Help. Click
Go after making a selection.
The Do Not Show this Dialog Again check box allows you to stop the display of this screen when
SoundCheck starts.

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 SoundCheck 6.11 - Instruction Manual

Hardware Editor

To view and change the system’s hardware settings, select Hardware from the Setup pull-down menu on the
main SoundCheck menu bar, or use shortcut Ctrl+Shift+H. SoundCheck will work with a variety of sound
cards, including other multimedia sound devices such as the BlueTooth headsets and USB microphones
shown under Windows Sound and Audio Devices Properties (see Preferred Devices in the Appendix). There
are a wide variety of sound cards available with varying degrees of performance but we recommend that you
use one of the certified sound cards from Listen (see Recommended sound cards on our website).
SoundCheck will also work with a variety of National Instruments data acquisition cards such as digital input/
output and IEEE/GPIB that are supported by DAQmx. This includes dynamic signal measurement cards such
as the NI 4461, which requires DAQmx. Other manufacturers’ cards can be used, but require some
knowledge of LabView programming to create a Custom VI Step inside SoundCheck (see the section of this
user guide titled Adding a Custom LabView VI).

Note: I/O devices that are not manufactured by NI must have a LabView driver in order to be used with
SoundCheck.

The Hardware Editor has four tabs (similar in appearance to tabs of manila folders). Click a tab to select the
type of hardware to configure.

Figure 5-1: Analog/Digital Audio Hardware Setup

Sound Card
The following settings will affect how WAV files are created and played by SoundCheck, such as in the
Stimulus and Acquisition Editors.

Input and Output Tabs

The Input and Output settings for the audio hardware are divided into 2 sections.

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Sampling Rate
Sampling Rate refers to the sound card’s sampling rate in samples per second (e.g., 8000, 11025, 22050,
32000, 44100, 48000, 96000, 192000, etc.). Refer to the documentation provided with the sound card for
appropriate sampling rates. SoundCheck will attempt to test the sound card at different sampling rates and bit
depths. If they are supported, SoundCheck will only show those that work.

Note: When changing the sampling rate, the Rec/Play Delay must change accordingly. This delay can
be measured by clicking Calibrate or calculated by multiplying the old delay by the ratio of the old
sampling rate to the new sampling rate, e.g. 1.5ms @ 44.1kHz is 0.75ms @ 96kHz. If the old
delay was correct, it will convert automatically using the new sample rate.

Note: Sound cards with the new WDM (Windows Device Manager) drivers support all sample rates by
sample rate conversion.

Note: Using a higher sample rate proportionally increases the amount of memory required.

Note: When testing USB devices it is important to note the following Hardware Setup: If you use the
digital setting on your sound card, it automatically is set for full scale = 100%. Some sound cards
will not work this way, but can still access a Windows USB device. In that case, set the sound
card for analog, with Vp = 1.00. Either way, you define full scale as 1. (Refer to Reference Codec
& dBm0 in the Calibration section.)

Figure 5-2: Sample Rate

Bit Depth
Select the bit depth used by the A/D and D/A converters of the sound card. Typical values are 16 and 24 bits
(sometimes 32 bit words are used to convey 24 bits of information as in the LynxTwo sound card). Twenty-
four (24) bit audio will provide the greatest dynamic range (approximately 120 dB). However, when using 24-

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 SoundCheck 6.11 - Instruction Manual

bit audio, more computer memory is required. If there is insufficient RAM, SoundCheck may slow down
significantly, because the computer is using the hard drive as virtual memory. If this occurs, you may need to
upgrade the computer’s RAM.

Alias free freq limit (Hz)

This enables the user to limit the upper frequency range to which the sound card can measure.

Input or Output Device Selection

Select the device to be used for Input or Output from the drop down list. These are stored by device name with
the Hardware Step and can be selected on any computer using the same device setup. (Multiple computers
using the same HAR Step.) If the device is not available (sequence imported on another PC without the
proper hardware), a warning message will appear, stating that the device can not be found.

Input (Vp) and Output (Vp)

The maximum peak input voltage that the sound card can handle before overloading, sometimes referred to
as full-scale deflection (FSD). All sound cards provided by Listen Inc. include the FSD values for the input and
output channels in the appropriate Hardware Step shipped with SoundCheck. If you have another sound card,
enter the appropriate values when creating your Hardware Step. These calibration values can be measured
by clicking Calibrate.

Latency
This is the time delay or latency between input and output channels when operating in full-duplex mode
(record and play simultaneously). This value is expressed in seconds and in samples. The latency expressed
in seconds is calculated from the integer number of samples. SoundCheck uses samples in measurements,
since there are no rounding errors. (For sound cards that Listen provides, this value will be known.)
Most sound cards cannot record and play simultaneously. There is almost always a delay between the two
and the delay should not vary from measurement to measurement. The sound cards that Listen provides are
certified to have a high performance in making audio-related measurements. If you are using a sound card
that Listen, Inc has not certified, the measurement performance of SoundCheck may be severely
compromised!
If the latency is not constant, measurements will NOT be reliable.

Analog/Digital Radio Buttons

When set to Analog, the Max Input and Output values of the sound card can be set. (Values determined by
the Sound Card Calibration sequence.)
When set to Digital the Input/Output values change to 100% FSD (Full Scale Deflection) of the audio device
selected.

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Channel Rename
When a device is first picked from the device list, it appears in the Channel List as L or R. You can rename
this to indicate what transducer is connected to a specific audio input or output.

Figure 5-3: Rename Output

Virtual Channel
When connecting multiple transducers to a single audio input, Virtual Channels can be created. This enables
each transducer to have its own unique sensitivity value and unique channel name. This name is present in
any section of a SoundCheck sequence that requires channel assignment. This is especially useful in
Calibration.

The screen shot shows a

Mouth Cal mic and an
Ear Mic on the same
channel.
[V1] is automatically
added to the name indi-
cating that it is a Virtual
Device.

Figure 5-4: Virtual Channel

These virtual channels also appear in the Calibration Editor. (Refer to the section of this manual titled
Calibration Editor for more information.)

Calibrate Button
This runs the Sound Card Calibration Sequence. The sequence uses the current Hardware Step being edited,
including sampling rate, bit depth, etc.

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 SoundCheck 6.11 - Instruction Manual

Digital I/O
Configure the Digital Input and Output card being used to control external devices, such as relays. To send
and receive digital I/O commands (for example for controlling relays), use the Message Editor. These settings
will be reflected in the Message Editor when programming digital I/O commands.

Figure 5-5: Digital I/O Setup

Dev ID
Device identification number for digital I/O board. To determine the ID number in Windows, look at the System
Device Manager to locate your board.

No. of Ports
Number of Input/Output Ports available on the digital I/O board.

Port No.
Port currently being configured. In Figure 5-5: Digital I/O Setup, Port 1 is an input port. To configure whether
a particular port is an Input or Output, select the Port No. and then click either Input or Output.

Port Width
The total width or the number of lines of the port in bits. For example, you can combine two 4-bit ports into an
8-bit port on a digital I/O device by setting port width to 8.

Output/Input
You must indicate the Port direction.

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 SoundCheck 6.11 - Instruction Manual

Interface
Select which type of Computer Interface is being used to control external devices, such as a multiplexer or
turntable. To send or receive IEEE-488 (GPIB) and RS-232 commands, use the Message Editor.

Figure 5-6: External Interface Setup

How many?
Number of communication interfaces, such as COM ports and IEEE/GPIB1 interfaces.

Note: The IEEE interface card must have a LabView driver.

Interface No.
Interface Number currently being configured.

Type
Type of communication interface, such as IEEE-488, RS-232, Footswitch, or Buzzer. If the Footswitch is
installed and configured in the Hardware Step, it can control the Start button of SoundCheck and the
Continue button on the Status window. A second Footswitch can control the Redo and Abort button.

COM Port
Communication port number as defined by the Windows System Properties Device Manager.

Baud rate
Transfer rate speed of the communication port (in bits per second).

Data bits
Specify the data bits for this port. Consult your hardware manufacturer for more information.

Hardware Editor 38
 SoundCheck 6.11 - Instruction Manual

Parity
Specify the parity for this port if your serial device requires this setting.

Stop bits
Specify the stop bits for this port if your serial device requires this setting.

Flow control
Specify the flow control for this port if your serial device requires this setting.

DC Connect™
The Listen DC Connect is a USB-controlled DC power supply and measuring amplifier used for measuring the
DC voltage and current consumption on DC-powered audio devices. The table on the DC Connect tab lists
the serial numbers of all the Listen DC Connect instruments that you have registered in the Hardware setup.
To control DC Connect, use the Stimulus Editor and Acquisition Editor.

Figure 5-7: DC Connect™ setup

Enable
If the Enable check box is checked, the software searches the USB bus for DC Connect™ instruments
connected and powered on, and any serial numbers it finds are added to the table if they are not listed
already. If Enable is not checked, you may still enter your DC Connect™ device manually.

Device #
The device number indicates that the DC Connect is present. The serial number of DC Connect is shown
indicating that it is communicating with SoundCheck.

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 SoundCheck 6.11 - Instruction Manual

Add…
If you want to add a DC Connect instrument to the table and you do not yet have it connected to your USB
bus, click Add. A dialog window will pop up, into which you can enter the serial number, or click Don't Know
It Yet, in which case the instrument will be listed as unknown.

Figure 5-8: Add Serial Number of DC Connect™

Remove
To remove a DC Connect serial number from the table, click the row to select it, then click Remove. Note that
all serial numbers that came after that one will have a new device number.

Move Up and Move Down

These buttons change the order of the DC Connect™ serial numbers listed. The device numbers D1, D2, etc.
remain in sequential order. The Move buttons are used to change the device number assignments.

NI DAQmx (Audio Tab)

This sets the properties of the NI 4461 Analog Data Acquisition Card. (optional hardware for testing
electronics devices such as soundcards, amplifiers, preamps, etc.)

Note: The NI 4461 card requires the installation of NI-DAQmx.

When the NI-Daq Acquisition device is selected the Hardware Editor has the following constraints:
z Choice of available NI-DAQ channels is limited to Left or Right channel
z Digital signal in and out are not available. Only analog is available.
z Bit Depth is fixed.
z Input and Output values are in Volts.

Note: The RTA virtual instrument is not available when using a NI DAQmx device in SC6.xx. Also note
that the Multimeter and Scope/FFT cannot be used simultaneously.

Enable IEPE
The IEPE check box on the Audio Input tab is used to turn on ICP power on the inputs of the NI 4461. This will
power the SCM microphone as well as any ICP powered transducer (4 mA current standard). See Figure 5-9:
NI 4461 Input.

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SoundCheck 6.11 - Instruction Manual

Check to turn on ICP

power on the NI 4461
Inputs

Figure 5-9: NI 4461 Input

Figure 5-10: NI 4461 Output

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Calibration Editor

The Calibration Editor (Ctrl+Shift+C) is used to calibrate the complete SoundCheck test setup including
signal conditioning (e.g. amps and preamps) and transducers (e.g. microphones and sound sources). This
allows absolute measurements of acoustic, electroacoustic, electrical, and electronic devices. As seen in
Figure: 6-1 Input and Output Calibration of a Measurement System, the step calibrates the entire system.
The active sequence’s Calibration Step input/output sensitivities and units are also used for calibrating the
virtual instruments accessed in SoundCheck’s Operate pull-down menu.

Defining the Input and Output Signals

Calibration varies according to what you are measuring, e.g., loudspeakers, microphones, and/or electronics.
The first step is to define the input and output signals for the Device Under Test (DUT) which will be electrical,
acoustical, or a combination of the two, e.g., loudspeaker - electrical input (Volts), acoustical output (Pascals).

Input Physical
Output Physical unit is defined
unit is defined at at this point
this point. This is the sig-
This is the signal nal from the
to the DUT. DUT.

Figure: 6-1 Input and Output Calibration of a Measurement System

The figure above shows the Input and Output Calibration of a Measurement System and Definition of the Input
and the Output Terminals of the DUT.

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Defining the Units

SoundCheck requires that the physical units be defined according to the following criteria.
The output physical unit is related to the signal to the Device Under Test (DUT). The input physical unit is
related to the signal from the DUT. The input or output signal from a soundcard is represented in Volts (V) for
Analog Audio or in the case of Digital Audio, Full Scale Deflection (FS).

DUT Type Signal from DUT Signal to DUT Response Unit

Examples
Unit Input Signal Conditioning Unit Output Signal Conditioning

Loudspeaker Pa Microphone V Amplifier Pa/V

Microphone V Microphone (Itself) Pa Mouth or Anechoic Chamber V/Pa

Amplifier, ana- V Direct V Amplifier (no longer Direct In) V/V

log electronics

Motor, Fan, G Accelerometer V Itself or Shaker G/V

Bearings, etc.

Hearing Aid Pa Microphone (in coupler) Pa Anechoic Chamber Pa/Pa

Telephone Pa Microphone (in coupler) Pa Mouth Pa/Pa

The Calibration Sequence selected determines what type of calibration sequence is performed after selecting
Calibrate.
The ratio of the soundcard signal to the Device Under Test Unit is automatically determined by SoundCheck.
The user is required to determine the units of the DUT in the Calibration. SoundCheck uses the physical units
when displaying measurement data.
Linear units are absolute (e.g., Voltage, Watt, Pascal, G). Logarithmic units are relative to a reference level
(e.g., dB re 20µPa). For example:

? Pa
dBSPL = 20 log
20 µPa

?V
dBV = 20 log
1V
To convert linear units to logarithmic units, the following examples are useful references:

1V
0 dBV = 20 log
1V

1 Pa
94 dBSPL = 20 log
20 µPa

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Calibrating SoundCheck

Note: Do not open the Calibration Sequences found in the Calibration folder. These sequences are
accessed from the Calibration Editor when performing a calibration.

The calibration of SoundCheck enables response measurements to be performed directly in terms of the input
and output terminals of the Device Under Test (DUT). The Calibrate function in the Calibration Step measures
the sensitivity or gain of any external device such as a microphone or amplifier in the measurement chain.
Once this is done, the values and units in the Calibration Setup menu correspond to the signal level at the
DUT and not at the connectors of the sound card in the computer. Default calibration sequences are included
with SoundCheck. You can also create custom calibration sequences. Please refer to the User Created
Calibration Sequences section for more information.
z Sensitivity is a relative measurement of output to input. By definition, an electroacoustic transducer
converts either voltage into acoustical output (e.g., loudspeaker); acoustical input into an electrical
voltage (e.g., microphone); or both, an acoustical input into electrical voltage and back again to an
acoustical output (e.g., hearing aid). As another example, analog electronics, which usually amplify,
attenuate, or shape the electrical signal (e.g., Preamplifiers, Amplifiers or Signal Processors).
z Calibrating the Input establishes the correlation between the input voltage to the sound card and the
measured units. Input sensitivity is represented as Volts per measured unit (e.g., V/Pa).
z Calibrating the Output establishes the correlation between the output voltage of the sound card and
the measured units. Output sensitivity is represented as measured units per Volt (e.g., Pa/V).

Note: The units selected for calibration can be redefined when displaying data and results. Select units
for displaying data in the Analysis Editor (see Units ). In addition, the Device (e.g. microphone or
amp) Sensitivity is measured when Calibrate is clicked.

Note: We recommend that you Not use periods or commas in step names. This is known to cause a
problem with Calibration steps not saving the calibration information when the sequence is saved.

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Digital signals
When a soundcard channel is set to digital in the Hardware Editor, the Units for that channel in the Calibration
Editor will change such that V (Volts) is replaced by FS (Full Scale). This is because the input/output values of
the card are expressed relative to 100% Full Scale Deflection instead of Volts. The choice of physical unit
remains the same. Sensitivities are expressed in Unit/FS for output or FS/Unit for inputs.
The input and output of the soundcard are normalized to 100% FS. Any digital signal cannot exceed +1/-1 FS,
where 1 represents the maximum number of bits selected in the Hardware Step.
Please refer to Reference Codec & dBm0; Page 58, for more information.

Input physical units

are defined here Units and dB references
can be changed by click-
ing on the Units button.

Output physical units

The Calibration are defined here
Sequence selected
determines what type of
Enter the sensitivity
calibration sequence is
or measure it by
performed after selecting
selecting Calibrate
Calibrate

Figure: 6-2 Calibration Editor Using an Amplifier and Microphone

The input and output channels store calibration settings for both left and right channels. Each channel has a
corresponding device, such as a measurement microphone, amplifier, or direct input to the sound card
(Direct). You have the option to manually enter the correct sensitivities, either in linear or in log units from a
calibration chart, or measure the correct sensitivities by clicking Calibrate to the right of the Calibration
Sequence field.

Note: All calibration procedures are specialized sequences located in the folder C:\SoundCheck
6.1\Sequences\Calibration. You can create your own calibration sequences as well. If you save
the new calibration sequence in the calibration input or output subfolders, it will appear in the
respective drop down list in the calibration editor. Please see User Created Calibration
Sequences; Page 57, for more information.

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Equalization and Correction Curve

Input Channel
When a Calibration Step is selected, a complete set of EQ and correction curves are loaded into memory from
the calibration folders. When a Calibration Sequence is run, these curves are updated. These curves are used
to correct for the response of devices in the input or output signal chain. The correction curves can be
displayed since they are selectable items in the Memory List.
An example of this is to correct the measured signal for the measurement microphone’s frequency and phase
response (typically on its calibration chart) or for telephone measurements, where the DRP to ERP correction
curve is needed to compensate for the microphone’s position in the artificial ear. The correction file will be
named accordingly:
<Calibration Step name> corr-in <channel name>.dat for input channel correction
The Calibration Editor names these files automatically.

Note: Virtual channels can have separate and unique calibration curves. See Virtual Channels; Page
48, for more information.

Output Channel
An equalization curve will equalize the stimulus when the EQ checkbox is selected in the Stimulus Editor or
Signal Generator. (see Stimulus Editor chapter) The output correction curve is applied when it is selected in
the Analysis Editor.
The output-channel correction and equalization files will be named accordingly:
<Calibration Step name> corr-out <channel name>.dat for output channel correction
<Calibration Step name> eq-out <channel name>.dat for output channel equalization

Figure: 6-3 Calibration Units Setup

SI units are used throughout SoundCheck 6.1. For example, to display decibel values referenced to 20
microPascals, the dB ref value would be twenty (20) with a u added at the end and the unit would be Pa
resulting in 20 µPa. See Introduction - SI Units for more information.
For output calibration, the measured response will automatically be stored and used to correct any future
measurements. (e.g., if the amplifier’s magnitude and phase responses are not perfectly flat, the system will
correct the measured response as if it were perfectly flat.)

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Figure: 6-4 Input Calibration

Virtual Channels
Virtual Channels created in the Hardware Editor can have their own separate and unique calibration. This
enables you to switch the same hardware channel between multiple transducers that each have their own
unique calibration values. (e.g. switching between two different microphones on the same channel).
Click Open Table to view the calibration values for the various input and output channels. Note that none of
the values can be modified in the table. All or parts of the table can be highlighted, copied and pasted into a
word processor program for documentation and printing.

Figure: 6-5 Calibration Table

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Input Calibration

Direct
Direct refers to the input of the sound card. Direct should be used when there is no signal conditioning
between the device under test (DUT) and the sound card. For example, when measuring electronics such as
amplifiers, the direct input sensitivity should be set to 1 V/V or 0 dBV.
Clicking Calibrate will bring up a Multimeter virtual instrument. Check the input calibration of the test system
by applying a known signal source, e.g., 1 VRMS at 1 kHz from the Signal Generator, into the sound card.
You should read the same level, e.g., 1 volt, on the SoundCheck Multimeter virtual instrument.

Note: Please be aware that the input impedance of the sound card and the output impedance of the
signal generator can affect the reading.

Attenuator
The Attenuator setting should be used when there is an attenuator or pre-amplifier between the DUT and the
input of a sound card. For example, this would be used to optimize the signal-to-noise ratio of a measurement
when using a measuring amplifier with gain and/or attenuation, such as the Listen SoundConnect™
microphone power supply. This allows for a wider dynamic range of test levels and a better match to the input
range of the sound card.
Clicking Calibrate will open the manually-controlled Signal Generator and Multimeter instruments. Use these
virtual instruments to measure the input gain or attenuation of your measuring amplifier.

Microphone
Use the Microphone setting when measuring the sound pressure level from the DUT (e.g., earphone or mouth
simulator) with a measurement microphone, e.g., Brüel & Kjær Type 4144 microphone.
Enter the correct sensitivity from the calibration chart or click Calibrate to measure its sensitivity with an
acoustic calibrator. This is the preferred method since it takes into account the entire input signal path
including signal conditioning from the microphone power supply.

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Microphone Calibration Procedure

This procedure will allow you to check your measured microphone’s sensitivity against the microphone
manufacturer’s specifications.

Figure: 6-6 Microphone Calibration

1. Open the Calibration Editor and select the Input tab. The Calibration Sequence should be set to
Microphone.

2. Click Calibrate.

3. Select your calibrator model # from the pull-down menu or select Other Calibrator and enter the
acoustic calibrator’s reference level and frequency.

„ The microphone calibrator's reference level should be indicated in its specifications as a given dB
SPL value (relative to 20µPa) at a reference frequency.
„ e.g., for the Brüel & Kjær Type 4231 Acoustic Calibrator:
Sound Pressure Level: 94.00 dB ± 0.20 dB
Frequency: 1000 Hz ± 0.1%

Note: When selecting “other mic” under Measurement Microphone, the Measured
Sensitivity may indicate a failure for microphones with low sensitivity levels.
The lower limit is set to show failures if the sensitivity is below 3.17mV/Pa.
Ignore the Failure message as long as the sensitivity indicated is acceptable
for the mic that is being used.

4. Enter the gain or attenuation in dB that corresponds to the settings on your microphone power supply
or measuring amplifier in the Pre-Gain numeric field. If you are using a Brüel & Kjær Nexus, please
see Calibrating using a Brüel & Kjær Nexus section of this chapter.

5. Select your measurement microphone model number from the pull-down menu. If your microphone is
not listed in the pull-down menu, choose Other Mic.

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6. Place your acoustic calibrator on your reference microphone and click Calibrate to measure its
sensitivity.

„ The measured sensitivity of your reference microphone is displayed under Measured Sensitivity
in mV/Pa after clicking Calibrate. If the measured sensitivity is outside the manufacturer’s
specifications, a flashing FAILED message will appear. Check first to see if your connections are
correct or if the calibrator is turned on before assuming something is wrong with the microphone.
„ The FAILED message can also appear if the Calibrator’s frequency is not correct. If a Reference
Frequency of 1000Hz is entered, but the Calibrator’s actual frequency is 1008Hz, the Calibration
may Fail. To verify the Calibrator’s frequency, use the Spectrum Analyzer under the Operate
menu.
„ The meter on the right side indicates the corresponding dB level relative to 1 Volt per Pascal. If it
varies by a few tenths of a dB from your last calibration measurement, do not be alarmed, this is
normal. If it varies by more than 1 dB or failed the sensitivity test, you may want to have your
microphone checked by a qualified calibration lab.

Note: When choosing Other Mic as the microphone, the sensitivity check will always pass since
SoundCheck does not have the sensitivity listed in the look-up table. Please refer to the
manufacturer’s specifications to confirm the measured sensitivity is within appropriate limits.

Calibrating using a Brüel & Kjær Nexus

Note: We have also created an FAQ procedure document regarding use of the B&K Nexus with
SoundCheck. This can be found at our website, www.listeninc.com, under Support – FAQ –
Trouble Shooting – Item 16.

The Brüel & Kjær Nexus Type 2690 is designed to provide an output voltage regulated in 10 dB steps (e.g.
100 mV/unit, 316 mV/unit, etc.). To ensure proper calibration using SoundCheck, you must do the following to
enter the proper pre-gain value:
1. Enter the transducer sensitivity in Nexus per the Brüel & Kjær instructions.

2. Choose the Nexus output level you want (e.g. 1.00 volt per Pascal).

3. Enter the pre-gain value in SoundCheck using the following equation:

⎛ NexusOutputVoltage ⎞
Pr e − Gain = 20 Log ⎜⎜ ⎟⎟
⎝ TransducerSensitivity ⎠
Example:
A B&K microphone is used with a sensitivity of 50 mV/Pa and the Nexus is set to an output of 1.00 V/
Pa.

⎛ 1.00V ⎞
Pr e − Gain = 20 Log ⎜ ⎟
⎝ 0.050V ⎠
Pre-Gain = 26 dB which is entered in the Pre-Gain box (see Figure: 6-7 Entering Pre-Gain Using
B&K Nexus).

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SoundCheck will now report the actual transducer sensitivity as seen in Figure: 6-7 Entering Pre-
Gain Using B&K Nexus.

Figure: 6-7 Entering Pre-Gain Using B&K Nexus

Output Calibration

Amplifier
The Amplifier setting should be used when there is an amplifier between the output of the sound card and the
device under test. This might be required for loudspeaker measurements, to drive difficult loads (e.g., low
impedance devices) or to test at levels above 2 VRMS.
Enter the gain of your amplifier or run the Calibration test to measure it. If you are going to measure it, make
sure your input is calibrated first, and then follow the Amplifier Calibration Procedure (below). (Refer to the
Quick Start Guide or to the Amp Calibration video tutorial found on the SoundCheck Installation CD in the
Tutorials folder.)
For Amplifier Calibration, the Input Channel in the Calibration Editor must be set to 1 V/V, to get an accurate
calibration.

Amplifier Calibration Procedure

1. Connect your selected output channel from the computer’s sound card to one of the inputs on the
power amplifier. Then connect the power amplifier’s corresponding output (unloaded) into the
computer sound card’s selected input channel.

2. Click Calibrate to measure the amplifier’s sensitivity (gain) and frequency response.

The measured sensitivity of your amplifier is automatically entered in the output sensitivity field. If the
measured sensitivity fails, check your wiring and connections and try calibrating again.
If the measured response margin fails, check to see that the amplifier is not connected to anything
other than the sound card and that it is properly grounded. If there is a bump around 120 Hz (or 100
Hz if line frequency is 50 Hz), you might be picking up hum due to poor grounding or bad cabling.
For more troubleshooting information, go to http://www.listeninc.com and click Support.

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For more details, please refer to the Amplifier Calibration section in the System Setup chapter, and
the setup diagrams in the appropriate Appendix.

Mouth Calibration and Correction

Mouth Calibration and Correction should be the selected calibration sequence when you want to use an
acoustic mouth simulator (e.g., Brüel & Kjær Mouth Simulator Type 4227) or sound source for testing
microphones close to the source (e.g. vocal mics) with a swept sine at a constant sound pressure level.

Figure: 6-8 B&K 4227 Calibration Editor

1. Using a calibrated reference microphone (e.g., B&K 4191 or 4192), place the microphone in the same
position that you intend to measure your microphone or hearing aid under test.

2. Click Calibrate in the Output area to begin the calibration procedure for your mouth simulator.

Figure: 6-9 Calibration Sequence Menu

3. The first step in the calibration procedure is a message stating that the reference microphone needs
to be calibrated first. Note that you may need to move the Status window to see the entire message.

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Figure: 6-10 Step 1 of Mouth Calibration

4. After clicking Continue in the Status window, SoundCheck will then measure the mouth’s sensitivity
and compare it against preset upper and lower limits. If the limits need to be modified, you must first
change the properties of the Limits Step Sensitivity Cal.Lim in Windows by right clicking on the file
(C:\SoundCheck 6.1\Steps\Limits\Sensitivity Cal.Lim) and opening the Properties dialog box. There,
uncheck the Read Only checkbox at the bottom of the window, and then click OK. Next, go back to
SoundCheck, and open the Mouth Calibration sequence located in the following folder:
C:\SoundCheck 6.1\Sequences\Calibration\Mouth Calibration.sqc. Now you can modify the
Sensitivity cal Step.

Figure: 6-11 Mouth Sensitivity in Pascals per Volt

5. After the Mouth sensitivity is compared to upper and lower limits, the frequency response is compared
against appropriate limits in the Response margin cal.Lim Step. The two points closest to the upper
and lower limits are highlighted with yellow dots.

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Figure: 6-12 Mouth Frequency Response Without Equalization

Figure: 6-13 Mouth Calibration Message Step

6. If the Mouth frequency response is within acceptable limits, the message in Figure: 6-13 Mouth
Calibration Message Step will appear.

Figure: 6-14 Equalized Mouth Response

7. After clicking Continue, SoundCheck will generate an equalized stimulus and play it through the
Mouth. The typical equalized response for a Brüel & Kjær Mouth Simulator Type 4227 is ±0.5 dB from
100 Hz to 10 kHz.

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Note: As mentioned above, Calibration frequency range and frequency response limits can be modified
by opening the Mouth Calibration sequence in C:\SoundCheck 6.1\Sequences\Calibration\Mouth
Calibration.sqc. Please contact Listen or your local representative if you need assistance.

Figure: 6-15 Updated Mouth Sensitivity

8. Once the calibration procedure is complete, SoundCheck will update the Mouth sensitivity. You can
then choose OK to overwrite the original B&K 4227 Mouth calibration or choose Save As… and save
this new calibration under a different name.

Anechoic Test Box

The Anechoic Test Box setting should be used when you want to use an anechoic chamber (e.g., the Brüel &
Kjær Type 4232 Anechoic Test Box) or sound source for testing microphones and hearing aids at a short
distance (e.g. up to 1 foot) with a swept sine at a constant sound pressure level. The calibration procedure is
identical to the Mouth calibration, except that the reference microphone needs to be placed in the correct
position depending on whether the microphone is a pressure or free-field microphone. A free-field microphone
needs to be pointing directly at the loudspeaker (on axis) and a pressure microphone should be 80 to 90
degrees off axis. For more details about microphone placement, refer to the relevant anechoic test box
instruction manual.

Anechoic Room Calibration

The Anechoic Room Calibration can actually be used for Artificial Mouth and Anechoic Test Box calibration as
well. The calibration sequence adds a prompt for a level that the calibration will be done at, in dB, and a Loop
to “Fine Tune“ the equalization curve and output correction.

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User Created Calibration Sequences

You can create your own calibration sequences to account for such things as specific frequency range. These
sequences must be stored in the following location:
C:\SoundCheck 6.1\Sequences\Calibration\Calibration - Input
C:\SoundCheck 6.1\Sequences\Calibration\Calibration – Output
(This assumes that the default installation location for SoundCheck was used.)
Input sequences must be stored in the Calibration - Input folder and Output sequences must be stored in the
Calibration - Output folder.
An existing sequence can be used as a template. Simply open the calibration sequence that is similar to what
you are looking for and then select Save As. Give it a unique name so that it can be identified when selecting
it in the Calibration Editor.
You can also create a Calibration sequence from scratch.
While developing the Calibration sequence it should be opened and run in SoundCheck rather than running it
from the Calibration Editor. The sequence should be written such that it creates and places in the Memory
List, curves and values with the following names:

Curves
z corr-in
z corr-out
z eq-out

Values
z sens-in
z sens-out

Note: It is highly recommended that you open an existing calibration sequence to see how a new
sequence should be constructed.

The following Curves and Values are created and named automatically by SoundCheck when the calibration
sequence is run from the Calibration Editor.
Curves
<Sequence Name> Corr-In <Channel Name>.dat
<Sequence Name> Corr-Out <Channel Name>.dat
<Sequence Name> EQ-Out <Channel Name>.dat
Values
<Sequence Name> Sens-In <Channel Name>.dat
<Sequence Name> Sens-Out <Channel Name>.dat
SoundCheck will add the Calibration Step name and channel name when the calibration sequence is run from
the Calibration Editor.
For simplicity and consistency, the sequence should be written such that all Stimulus, Acquisition and
Analysis, is done on the left channel. SoundCheck will automatically adjust the channel assignment when the
new calibration sequence is run from the calibration editor.

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If the required curves or values are not generated (or found) for a user created calibration sequence, Unity
gain will be used by default.

Reference Codec & dBm0

Figure: 6-16 BlueTooth test signal chain

The test of a BlueTooth Headset means that SoundCheck is sending some digital wave in the DUT and some
acoustical signal is coming out.
Therefore, assuming you have a linear behavior, if you are sending a sine digital pattern in, you will get a
acoustical sine wave out. Moreover, you will be able to measure an overall Receive Gain in Pa/FS.
Definition: 1 Full Scale = maximum absolute value of the digital wave. E.g.: 32767 ≡ 1 FS for a 16 bit
encoded wave.

Now, in telephone testing, one prefers to talk about Pa/Volt.

To translate FSD in Volt, a virtual reference CODEC is used.
That ref CODEC is such that a digital sine at zero dBm0 applied at the input yields 0.775Vrms at the output of
the CODEC.

The ref level of zero dBm0 is defined differently depending of two coding laws: A-law and µ-law (mu-law).
For A-law, 0 dBm0 is the level of a sine which is 3.14 dB below saturation. That means that the absolute peak
amplitude of the sine is 10^(-3.14/20) = 0.6966 FS and the rms value is 0.4927 FS, equivalent to –3.14 -3.01
= -6.15 dBFS.1

For µ-law, 0 dBm0 the level of the sine is 3.17 dB below saturation. That yields: 0.6942 FS pk ≡ 0.4910 FS
rms, equivalent to –6.18 dBFS.

1. 3.01 dB ≡ √2, crest-factor of sine.

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Figure: 6-17 Graph of one period of Sine @ 0dBm0

Alternatively, you can use the following setup, which is closer to the reality:
z Hardware Digital Output
z Hardware max out: 100%
z Output Calibration Sensitivity: .775/0.491 = 1.579 V/FS (µ-law)
z Output Calibration dB ref: 0.775 V (0 dBm0)
z In the end, 0dB = 0.775 “Volts“ and +3.17dB is the saturation point.
Moreover, you may use vV (virtual Volt) as an output calibration unit.

When testing USB devices it is important to note the following:

Hardware: If you use the digital setting on your sound card, it automatically is set for full scale = 100%. Some
sound cards will not work this way, but can still access a Windows USB device. In that case, set the sound
card for analog, with Vp = 1.00. Either way, you define full scale as 1.

Calibration: If you want to use standard telephony u-law codec references, then set the sensitivities to
1.579V/V and the dB reference to dBu (dB re 0.775V).

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Units

Units Overview
SoundCheck is set up to provide the user with a great deal of flexibility regarding measurement units. Units
can be defined in five different places. The Calibration Editor, Analysis Editor, Post-processing Editor, Display
Editor, and Messages Editor allow you to make changes to the units of the curves, single values and results
generated by the sequence.
SI Units are used throughout SoundCheck 6.1. For more explanation on SI Units please refer to Introduction
- SI Units.

Calibration Editor
The Units button in the Calibration Editor will set the units for only the Signal Generator, Multimeter, FFT, and
Real Time Analyzer (RTA) virtual instruments. In the example below, the microphone that is connected to the
Left channel has a sensitivity of 14 mV (0.014 volts) per Pascal. By clicking Units, you can choose the units
for the decibel reference. In Figure: 7-1 Input Channel Units Affect Units of Virtual Instruments the
reference has been chosen to be 20 µPa. This enables the Multimeter to display the measurement in both dB
re 20 µPa and absolute units (Pascals).

Figure: 7-1 Input Channel Units Affect Units of Virtual Instruments

In Figure: 7-2 Changing Unit Names, the decibel reference has now been changed to dB re 1 G. Upon
clicking OK, the sensitivity has now changed to 14mGs. The Multimeter will now read out in dB re 1.00 G.
Thus, changing the units in the Calibration Editor will change the units that are displayed in the virtual
instruments.

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Figure: 7-2 Changing Unit Names

Several common dB references are already pre-programmed in SoundCheck.

dB SPL Re 20uPa
dB Pa Re 1 Pa
dB V Re 1 Volt
dB m Re 1 mWatt
dB u Re 0.775 V (600 Ohm load)
dB FS Re 1 FS

Figure: 7-3 Common Decibel References

Note: The Use Custom Units check box is available in the following editors: Analysis, Post-Processing,
User Equation and Memory List. If the box is left unchecked, the units from the Input and Output
Calibration editors will be used. If the Analysis-Response Measurement is set to Absolute the
units will be that of the Input Calibration Step. If it is set to Relative then the units will be the Input
Units over the Output Units. Please refer to the Calibration Editor section for more information
on Physical Units.

Note: When Use Custom Units is checked, the units can be modified to be any type desired.

Analysis Editor
The Analysis Editor enables you to process measured time signals using a variety of analysis algorithms. The
curves and single values created by this step will use the units indicated in the Units tab. The units selected
here apply to the DUT response and typically agree with the units selected for your input and output devices in
the Calibration Step. For more details on how to use this editor, please refer to the Analysis Editor section.
The Units button in the Analysis Editor will set the units for the data generated by that particular Analysis Step
(e.g., frequency response). In the example below, the units were changed from electrical voltage decibels (dB

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V) to electrical power decibels (dBm) by choosing “dBm” from the pull-down menu (see Figure: 7-4 Changing
Units in Analysis Editor).

Figure: 7-4 Changing Units in Analysis Editor

The corresponding data display will show the measured curves in dBm (dB re 1mW).

Display Editor – Memory List

Use the Display Editor to format the presentation of data on the screen using six types of display windows.
Refer to the Memory List Contents (Curves, Values, Results Tabs) section for more details.
Typically the units for the curves and single values are set up in the Analysis Editor. However, the units can be
temporarily modified if a curve needs to be rescaled, for example by changing the decibel reference. These
changes will disappear when the sequence is run again, unless the curve or value with the new units is
protected in the Memory List. Refer to the Memory List Contents (Curves, Values, Results Tabs) section
for more information on Protected Items.
In Figure: 7-5 Modifying Units of Names in Memory List, the units of the y-axis for the curve Harmonic 10
are modified in the Display Editor. To do this, open the Memory List and choose a curve or single value with
values in the y-axis. Note that only one curve can be selected in the current tab of the Memory List. The Units
Setup window will then appear and user-defined units can be entered once the Use Custom Units box has
been checked. These new units are only valid while the display is open. Once the test sequence is run again,
the units for the measured data will revert back to the units defined in the Analysis Editor.

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Figure: 7-5 Modifying Units of Names in Memory List

Post-Processing Editor
By clicking Units in the Post-Processing Editor, the Units Setup screen appears. The default units in this
editor are that of Operand A, as modified by the post-processing operation. In this example, the units of
Operand A are dBm re 1.00 mW. Since the operation being performed is Reciprocal Value, the new units will
be dB re 1.00 x 103 Watts since this is the reciprocal of 1 mW. This unit can be changed by clicking Use
custom units in the Units Setup window. The post-processed result will then be displayed in these user-
defined units.

Figure: 7-6 Choosing Custom Units in Post-Processing Editor

Each mode of the Post-Processing Editor has a Units button located as in Figure: 7-6 Choosing Custom
Units in Post-Processing Editor, except the User Equation. In the User Equation mode, you must designate
the units of the equation results on the right of the editor, and set the units for any User Defined Constants
created on the left side of the Editor. Units cannot be changed on curves or single values created by other
steps in the sequence.

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Figure: 7-7 Change Units in User Equation Mode of Post-Processing Editor

Messages Editor

Figure: 7-8 Choosing Custom Units in Post-Processing Editor

The Units button becomes available when the Messages Editor is set to ask the Operator for a numerical
value during the sequence. The Units Setup screen appears when this button is clicked. There are no units for
this value by default. Any units you designate will be sequence specific (blue field).

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Messages Editor

The Messages Editor (Ctrl+Shift+M) is used in a test sequence to:

z Provide messages to the operator.
z Enable the operator to input information needed to complete the test (e.g., a reference resistance
value when measuring loudspeaker impedance).
z Communicate to devices through the PC’s RS-232 or IEEE-488 (GPIB) interface.
To view and change the system’s message settings, select Messages from the Setup pull-down menu on the
main SoundCheck menu bar. The Message Setup dialog provides user prompts, control of external
equipment and calls to other programs.

Choose external commu-

nication channel

Enter text or bus commands

here

Associate conditions with

events (e.g., Set an external
bit high or low)

Figure 8-1: Operator Messages Setup

There are three choices for communication of your message. You can send a message to the Operator, a
Digital I/O card, or an external Interface connected to your PC.

Operator
Display messages or instructions on the computer screen for the operator to read (e.g., test signal is not
present or the DUT needs to be placed in a test fixture). You can send a text message to the operator during
the sequence, or poll the user for information during the sequence (such as temperature or humidity
conditions).

Pass/Fail
Sets the Pass or Fail verdict the message is associated with, e.g., No Signal Detected – Fail.

Wait
Control length of time (in milliseconds) the Message Step waits before finishing. This can be used to ensure
commands or devices settle before continuing to measure.

Numeric
This prompts the operator when a numeric value needs to be entered in a sequence. An example of a
Message Step setup to request a numeric during the sequence is the figure shown below Numeric Entry using
Messages Editor. In this example, the sequence is measuring the performance of the internal soundcard, and
the operator is prompted to Enter the Measured Delay each time the sequence runs. You can add units to this

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numerical value by clicking the Units button and selecting the proper scale and unit for your value. See the
Units section of this manual for more information on using the Units dialog box.

Note: Operator messages can be displayed in local languages based on the Windows operating system
in use on the machine running SoundCheck.

Figure 8-2: Numeric Entry Using Messages Editor

Dialog
Enables you to select one of two conditions: yes or no. This can be used to determine functionality of the test
system, (Was the test signal audible?) or to determine how the sequence will proceed (Do you want to save
this data?).

Figure 8-3: A Yes/No question for Operator

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Figure 8-4: Question as it Appears When the Step Dialog Test X Runs in Sequence

Digital I/O

Set the "State" of the

Output switches that
should occur when the
Check the Outputs
message is posted.
that are to be
enabled.
Set the condition the
message should Send
on, e.g. Send on Pass
or Send on Fail

Set the amount of

time to wait before
Set the Port number Send the command to
and "Input or Output" the Digital I/O.
for the Digital I/O

Figure 8-5: Digital I/O Message Setup

Port
Select Port number (1, 2, or 3). Note that this setting is in blue, making it sequence-specific. The text field
below the Port number will indicate whether you have selected an Input or Output Port.

State
Bits 0-7 can be controlled through the Messages Editor. Check the box above the appropriate bit to enable the
output, and then set the bit to the ON or OFF position.

Wait
You can set an amount of time for the step to pause before proceeding to the next step in the sequence. This
may be needed to allow settling.

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External Interface
Communicate with other devices via a computer interface such as RS-232 or IEEE-488 (GPIB).

RS-232
Setting the Interface Type to RS-232 enables SoundCheck to send control messages to an external device
that accepts RS-232 commands. Add a Message Step to the sequence to send a command to the selected
device.

Choose the interface type

(RS-232 or IEEE-488) by
selecting its number.

Figure 8-6: RS-232 Setup Screen When Write/Read Message is Selected Function

Figure 8-7: RS-232 Setup Screen When Set Control Lines is Selected Function

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Figure 8-8: RS-232 Setup Screen When Read Control Lines is Selected Function

RS-232 Interface Actions

1. Invoke RS-232 command based on the PASS/FAIL status of the previous step in the sequence.

2. Read message from another instrument or write (send) message to another instrument.

3. Wait for n number of milliseconds before executing the RS-232 step configured in the Messages
Editor.

IEEE-488 (GPIB)
Setting the Interface Type to IEEE-488 enables SoundCheck to send control messages to an external device
that accepts IEEE-488 commands.

Figure 8-9: IEEE Message Setup

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Output Message
IEEE commands that SoundCheck uses to control an addressed device. Messages must be entered in full
(e.g., including Header, Header Separator, Data and Data Separator where appropriate). Only ASCII
characters are allowed.

Interface Message
The IEEE commands listed below. These commands are used to setup and control the interface itself, rather
than a particular device.

Figure 8-10: Interface Message Choices

z Device Clear (DCL) – causes all connected devices that implement the command to return to a
predefined device-dependent state.
z Selected Device Clear (SDC) – sets all devices currently addressed as listeners to a predefined
device-dependent state. Otherwise identical to Device Clear.
z Group Execute Trigger (GET) – provides a means of triggering devices simultaneously. GET causes
all capable devices, which are currently addressed as listeners, to initiate a preprogrammed action
(e.g., trigger, start a sweep etc.)
z Go To Local (GTL) – returns all devices currently addressed as listeners to local control. A device will
return to remote when it is again addressed as a listener with REN true.
z Unlisten (UNL) – unaddresses all current listeners connected to the bus. UNL is used to guarantee
that only the desired listeners are addressed.

Remote Enable
Enables SoundCheck to be controlled.

Serial Poll
SoundCheck interrogates an addressed device to ascertain the state of each bit in its status byte. A serial poll
is typically used to synchronize SoundCheck with an external device, such as the B&K 9640 Turntable, to
make sure it is in the desired position before making a measurement.

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Syntax for Sending RS232 (serial) or IEEE-488 (GPIB) Commands in

SoundCheck

Visible Characters:
In SoundCheck, you need to use a specific syntax in the Messages Editor to send generic ASCII commands
to your device. Any visible characters in the command field of the Messages Editor are sent through without
being altered. For example, the command SYSTEM would be sent to the device as the ASCII byte stream for
the characters:
S
Y
S
T
E
M
which would be:
83
89
83
84
69
77

Non-visible (Termination) Characters:

However, some devices require a termination character at the end of each sent command, which most often is
not a visible character. To send any non-visible characters using the SoundCheck Messages Editor, you must
enclose the decimal ASCII code for that character in brackets like this: <10>
Here are a few characters that are not visible but are often used in serial communication, followed by their
decimal ASCII codes:
Line Feed (or \n): 10
Carriage Return (or \r): 13
Tab: 9
To include any of these characters in the command string, you must surround the decimal ASCII code for that
character in brackets (e.g. line feed is <10> and carriage return is <13>). To produce an end-of-line character
(\r\n), you need to combine both line feed and carriage return
characters: <10><13>

Example:
For example, when sending commands to a device like the Agilent 34401a, you must terminate each
command with a line feed character. To initiate RS232 control over this device, you must send a
SYSTEM:REMOTE command. In the SoundCheck Messages Editor, this command would look like:
SYSTEM:REMOTE<10>

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Figure 8-11: Messages Editor RS232 Example

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Stimulus Editor

The Stimulus Editor (Ctrl+Shift+S) creates or loads a WAV file that the Acquisition Step can play. The available
stimuli include:

z Frequency stepped-sine sweep (Stweep™) – a stepped-sine sweep using an integer number of

cycles at each frequency step, ensuring a smooth transition from frequency to frequency. This
ensures significantly less transducer settling time and results in faster and more accurate
measurements.

z Frequency Log Sweep - an optional continuous log sine sweep used for simulated free-field
measurements.

z Log Amplitude Sweep at a single frequency.

z WAV file (Windows audio file), user selectable.

Note: The WAV file must have the same sample rate as that set in the Hardware Step of the
Sequence. See Figure: 9-1 WAV file sample rate.

Stimulus Editor Hardware Editor

Figure: 9-1 WAV file sample rate

z DC Connect – allowing SoundCheck to control DC Connect™ for making DC voltage/current

measurements (requires DC Connect™ optional hardware).

z Two Tone – two simultaneous stimuli to use for IM and Difference distortion measurements.

z Noise – featuring Pink and White Noise, with scalable Duration (s) and Band limits: Fmin and Fmax.

z Multitone (New) – an ensemble of tones regularly spaced in frequency. The amplitudes are equal
and to minimize the crest factor, the phase of the tones is random. An example of the setup of the
step is shown in Figure: 9-24 Multitone Stimulus Selection.

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Stimulus Settings
To view and change the system’s Stimulus settings, select Stimulus from the Setup pull-down menu on the
main SoundCheck menu bar. The Stimulus Editor will appear indicating the current test signal settings for the
selected test.
Preview stimulus
waveform after push-
ing Update

Various Stimulus
Choose standard Editor Modes. Note
ISO freq. steps or that DC Connect
define your own stimulus can only be
created using Lis-
ten's DC-Connect™
Define the output interface or equiva-
level in linear or dB lent.
units based on the
calibration output Select Start and
setup Stop frequencies
Determine measur-
Duration of Stimulus ing time at each fre-
calculated from sig- quency step by the
nal parameters after number of cycles
pushing Update

Channel Out button to View Table button Custom Stimulus Name creates a Apply EQ uses the output
select which Output or to create and mod- name for the item used in the Analysis equalization that is speci-
Virtual Output the stimu- ify custom stimuli step. (Waveform seen in; stimulus, fied in the calibration step
lus will be used for. acquisition, analysis and memory list)

Figure: 9-2 Stimulus Setup for Frequency Step Sweep

Signal Parameters for Frequency Stepped Sweep (Stweep™) Excitation

Level
Enter the correct test level in either dB or linear units with the keyboard or the mouse. The output level and
units are influenced by the output calibration sensitivity and units. The level set in the Stimulus Editor is the
root mean square (RMS) value at the terminals of the device under test (e.g. if an amplifier is powering a
loudspeaker and its gain has been entered in the output calibration sensitivity field, the output level in the
Stimulus Editor will be the output level coming out of the amplifier).
Use Memory List - The Stimulus level can be taken from a value in the memory list. This allows you to set the
stimulus level dynamically during the sequence execution (e.g. Mouth Calibration sequence).

Important! When selecting “Use Memory List“ in the Stimulus Editor, the sequence
must be configured to NOT Preload the Stimulus. In the Sequence Editor
select Sequence from the drop down menu and select Configure Sequence.
Uncheck “Preload Stimulus“.

Note: Note that this field is sequence-specific and should only be changed in steps already inserted in a
sequence. (See Sequence-Specific in the Sequence Editor section.)

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When entering the units for the stimulus, remember to set the units in the Message step.

Start Frequency
First excitation frequency in the Stweep. Generally it is best to set this to the highest frequency you want to
measure, so that the measurement sweeps from high to low frequency in order to minimize transducer settling
time (low frequencies have more energy than high frequencies).

Stop Frequency
Last excitation frequency in the Stweep. Generally it is best to set this to the lowest frequency you want to
measure, so that the measurement sweeps from high to low frequency in order to minimize transducer settling
time.

Step Progression

Resolution
Determines the number of measurable frequencies, including the start and stop frequency. You may choose
standard ISO frequency steps such as R10, which corresponds to preferred 1/3 octave center frequency
steps, or choose user defined linear or log step sizes.

Figure: 9-3 Single-Tone Excitation Using User Defined Step size

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Resolution - User Defined Step size, Log or Linear

When User Defined Step size is chosen, the number of steps will determine how many unique frequencies
are generated. For example, step size of one (1) allows only one frequency (the stop frequency) to be
entered. In Figure: 9-3 Single-Tone Excitation Using User Defined Step size, a 10-cycle, 1 kHz tone has
been generated.

Figure: 9-4 Simple Two Frequency Sweep Using the Table

Cycles (#) & Duration (s)

To ensure proper measurement accuracy, each sine step must have a minimum number of cycles AND a
minimum duration. To properly measure the level of a sine, you need at least three (3) cycles. In the presence
of background noise, it is likely more cycles will be required. Because of noise, settling time and input-output
delay, you also need a minimum duration to achieve a precise measurement.
In regard to noise only, the S/N ratio measurement increases by three (3) dB each time the duration is
doubled. The Stweep algorithm ensures that each step has a duration that is greater than the Min Duration
AND contains an integer number of sine cycles that is at least equal to Min Cycles.
As the Stweep covers the specified range of frequencies, each step has a number of cycles equal to Min
Cycles in frequencies below the transition frequency, and a duration equal to Min Duration in frequencies
above the transition frequency. By adjusting these two parameters, it is possible to optimize the total duration
of your Stweep as well as the measurement accuracy.
z Min Cycles – Minimum number of cycles of sine at each step.
z Min Duration – Minimum Dwell time, in seconds, at each step.

Note: Stimulus steps using the Stweep excitation from SC4.x and SC5.x will have a Min Duration
value of zero (0) s.

z Transition - The frequency at which the dwell time exactly matches the minimum number of cycles
specified. Below that frequency the Min Cycles condition is applied. Above that frequency the Min
Duration condition is applied.

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For example, if a Stweep of 20k to 20 Hz is set to have five (5) Cycles minimum per step and 10ms minimum
duration, then the transition frequency will be 500 Hz. Below 500 Hz, all steps will be five (5) cycles long and
above 500 Hz all steps will be 10 ms long. If you do the math, at 20 Hz, five cycles will require 400 ms and at
20 KHz 10 ms contains 200 cycles.
To display the Stweep with new parameters, click Update. Located below the display, Duration indicates the
time required to play the stimulus signal. This calculated time is dependent on the test parameters selected in
the Stimulus Editor (for example, step size and cycles (#); this does not include system overhead time for data
and display processing).

Channel Out
This allows the user to select the output for this Stimulus Step as noted in Figure: 9-5 Channel Out. Virtual
device channels can be selected in this window as well.

Note: SoundCheck 6.1 only creates signals on one channel at a time. To create signals on two
channels, you will need to use two (2) Stimulus Steps and then assign them to two channels in an
Acquisition Step.

The Acquisition Step will deter-

mine which channel the Stimulus
is actually played out of.
Play uses the output channel
specified here.

Figure: 9-5 Channel Out

Play
Plays the stimulus that is present in the Stimulus Editor. This allows you to hear the signal from the editor,
without having to run the entire sequence.

Apply EQ
When checked, this will create a correction for the response of the Output device selected in the Calibration
Step. A complete calibration of the Output must be run before an EQ curve is stored.

Important! Equalization curves are only applied when the Output Calibration is set to Mouth
Calibration, Anechoic Room or Anechoic Chamber Calibration.

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Signal Parameters for Amplitude Sweep Excitation

Figure: 9-6 Stimulus Setup for Amplitude Sweep

Frequency
Enter the frequency you want to sweep in amplitude. You may only choose a single frequency here.

Start Level & Stop Level

Choose the amplitude level, either in linear or dB units.

Cycles (#)
Choose the number of cycles of the selected frequency for each step.

Steps #
The number of steps is the total number of equal level increments needed to go from Start Level to Stop Level.
The progression is done in dB.
The Start Level counts for one step. Then, the step size (in dB) is given by: (Stop Level dB – Start Level dB)/
(Steps # -1).

Note: Tip: To increase the level in integer increments, (e.g., 1dB steps), enter the Start and Stop levels
and select the proper unit (dB). Increment the value in the Steps field until the value in the Step
Size field is 1. By putting the cursor to the right of the Steps Value, you can use the Up/Down
arrow keys of the keyboard to quickly scroll to the desired value.

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Duration
To display the Stweep with new measurement parameters, click Update. Located at the bottom of the editor,
the Duration indicates the total time required to run the stepped-sine sweep. This calculated time is dependent
on the test parameters selected in the Stimulus Editor, for example, step size and Cycles (#) (this does not
include system overhead time for data and display processing).

Creating Complex Stweeps in the Stimulus Editor

Any combination of Stweeps and amplitude sweeps can be created using the Stimulus Editor and the View
Table function. In addition, each added step in the stimulus can have its own Cycles (#), Level, Start/Stop
Frequency, etc. This enables you to create a variety of stimuli that can accentuate the DUT’s linear and non-
linear characteristics. In the following example, a one-decade Stweep (1/3 octave steps from 100 Hz to 1 kHz)
will be combined with a 1 kHz amplitude sweep.

Figure: 9-7 Creating the One-decade R10 Stweep

As in Figure: 9-7 Creating the One-decade R10 Stweep, choose the R10 resolution and a Start Frequency
of 100 Hz and a Stop Frequency of 1 kHz. The test level is set to 1 V and Cycles (#) is 6 in this example, but
can be any value.
Click View Table and then Insert. A new editor window appears. Choose Log Amplitude Sweep as the new
Stimulus Type. In Figure: 9-8 Adding the Log Amplitude Sweep to Create a Complex Stimulus, the Start
Level and Stop Level can be any value, but were chosen to be 1 and 5 volts respectively in this example.
Cycles (#) is set to 3.

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Figure: 9-8 Adding the Log Amplitude Sweep to Create a Complex Stimulus
Change the Steps value by either using the up/down arrows or typing a value in. Adjust the Steps value until
you have the desired Step size in dB (e.g., 1.00 dB) and click OK to add this stimulus table. Next, click Update
to display the changes. The result is shown in Figure: 9-9 Complex Stweep Combining Frequency Sweep
and Amplitude Sweep.

Note: By putting the cursor to the right of the Steps Value, you can use the Up/Down arrow keys of the
keyboard to quickly scroll to the desired value.

Figure: 9-9 Complex Stweep Combining Frequency Sweep and Amplitude Sweep
A complex stweep with variable resolutions in specific frequency bands can be created. In this case a new
step is created and named 40k to 20 Optimized. If the basic values are entered as shown in Figure: 9-10
Basic Stweep, 40kHz to 20 Hz, a 40k to 20Hz stweep is created with a duration of 5.529 seconds.

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Click View Table to

open table editor

Figure: 9-10 Basic Stweep, 40kHz to 20 Hz

Double
click on a
line to edit
or high-
light the
line and
click edit.

Figure: 9-11 Show Table Mode Allows Editing of Each Line

Figure Figure: 9-11 Show Table Mode Allows Editing of Each Line shows the Table. Highlight a line and
click Edit or double click on a line to open the Line Editor window.

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Figure: 9-12 Line Editor Window

Figure Figure: 9-12 Line Editor Window shows the first edited step of the stimulus. Once all the changes
have been made, click OK to return to the Table Editor. Additional steps can be added by clicking Insert,
changing properties and then clicking OK.

Each line can be

edited separately.
Click Insert to add
new sections.
Any section can be
moved indepen-
dently.
Click Update to
show the changes
in the graphic dis-
play and to see the
new duration.

Figure: 9-13 Stimulus Table with Optimized Values

The final Optimized stweep now has a duration of 3.47 seconds. (To determine the frequency change points
as seen in Fig 8-12, refer to the Stweep chart which can be found on the SoundCheck install CD under:
Documentation\Manuals.) Click OK and Save the sequence so that the changes are saved to the hard drive.

WAV File Excitation

SoundCheck can load any WAV file to be used as an excitation signal.

Note: The sampling rate of the WAV file must match the sampling rate of the Hardware Step.

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The Stimulus Step now only creates one channel at a time. To output a stereo WAV file with a different signal
on each channel, you need to use two Stimulus Steps with the proper channel assignment. You also need to
assign them to two appropriate channels in the Acquisition Editor.
You need to play a WAV through the Stimulus Editor if you want to capture the Time Record of the WAV as a
test signal in the Acquisition Editor later in the sequence. In Figure: 9-14 Sample of Artificial Speech, the
Stimulus Type was chosen to be a WAV File. The Duration refers to the actual length of the WAV file. In this
case, an 11 second sample of artificial speech is displayed.

Note: Using the WAV File option in the Stimulus Editor limits you to the Broadband or Spectrum
Algorithms in the Analysis Editor.

Stimulus Type set

to WAV
Browse to WAV file
folder and select a
WAV file.

Figure: 9-14 Sample of Artificial Speech

WAV Info
z Level: the level is set in physical units. You can also use a memory list value.
z Peak: the maximum absolute value of the file (in dB FS, or %FS).
z RMS: the RMS value of the entire wave file (in dB FS, or %FS).
z WAV format: stereo/mono, sampling rate, bit depth.
z Time: total duration of the wave file in mm:ss.ms.

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DC Connect

Figure: 9-15 Use DC Connect to Get Voltage or Current Measurements

Control Method: USB

This Stimulus Step will set up the DC Connect™ device assigned to this channel assignment with the
following settings: Control Method, Source Type, Polarity, and Max Current. If your Sequence Configuration is
set to Preload Sequence (which is a default setting), then the first Stimulus Step of this type will run when the
sequence is loaded, and the DC Connect LEDs will show all the settings designated in these four fields before
you run the sequence. If Preload Sequence is not selected, you will see the LEDs on the front panel of the
DC Connect light up to match these four settings when the Stimulus Step runs.

Note: By preloading the sequence, DC Connect will be operational even if the sequence Start button
has not been clicked. For example, if DC Connect is set to provide 9V DC to power the DUT, the
9V will be applied to the DUT once the sequence is loaded into memory. This will take place
BEFORE you click Start.

Use the Level field to set the output voltage source or current source level. That level will be output when the
Stimulus Step runs, which again, may be when the sequence is loaded. If Source Type is set to voltage, the
Level unit is V (volts). If the Source Type is set to current, the Level unit is mA (milliamps).

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Control Method: Analog

When you set the Control Method to analog, the Level field disappears and a Settings/Sweep selector
appears. When Settings is selected, you can change the settings of the four DC Connect LEDs.

Figure: 9-16 Analog Sweep Settings for DC Connect

When Analog Sweep is selected, you are given the controls to construct a voltage source or current source
stepped waveform. These are the same controls used in the audio log amplitude sweep stimulus type, and
they operate in the same way regarding number of steps, Start and Stop levels, and the View Table function.
Here the units are V or mA. (See: Signal Parameters for Amplitude Sweep Excitation, in this chapter.)

Two Tone Stimulus

When you play two tones in a non-linear system, they interact in such a way that frequencies are present at
the output that were not part of the stimulus. These by-product frequencies are different linear combinations of
the two original frequencies and are called Orders. Orders are highly undesirable since they have no
harmonic relationship to the original signal.
Types of two-tone stimulus available:
z Intermodulation stimulus: this stimulus superimposes a sweeping frequency tone against a fixed
frequency tone. Usually the sweeping frequency is restricted to frequencies five times greater than
the fixed tone frequency. The fixed tone is usually a low frequency tone.
z Difference frequency stimulus: this stimulus is made of two sweeping tones which are separated by
a specified frequency interval. That frequency interval can be a fixed difference or a fixed ratio.
Application to Loudspeaker measurements
Intermodulation distortion is useful to detect amplitude and Doppler modulations on high frequencies when a
low frequency signal produces a large excursion of the diaphragm.
Difference frequency distortion is useful to detect distortion at high frequencies, where single tone harmonic
distortion would fall far out of the frequency range of the loudspeaker or the ear.

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For more details on these techniques see: Steve Temme, “Audio Distortion Measurements”, Bruel & Kjaer,
Application Note BO 0385-11.

Sweep Type - IM

Two Tone Stimulus

Type

Sweep Type set to

Master Tone set-

Figure: 9-17 Stimulus for IM Distortion – Master Tone Settings

Slave Tone
Fixed tone frequency

or

Use value from

memory list

Figure: 9-18 Stimulus for IM Distortion – Slave Tone Settings

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Sweep Type - Difference

Set Master Tone

properties

Sweep Type set to

Difference

Figure: 9-19 Stimulus for Difference Distortion – Master Tone Settings

Slave Tone

Select Fixed and

set difference fre-
quency.

Figure: 9-20 Stimulus for Difference Distortion – Slave Tone Settings

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As an alternative
the Slave Tone can
be set to Ratio.

Figure: 9-21 Slave Tone Set to Ratios

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Noise
Pink and White noise stimulus is available with variable Duration, Band limits (Freq-min and Freq-max) and
control of RMS Level in physical unit (linear or dB).
z Pink Noise: Noise with a continuous frequency spectrum and with equal power per constant
percentage bandwidth. For example, equal power is any one-third octave band.
z White Noise: Noise with a continuous frequency spectrum and with equal power per unit bandwidth.
For example, equal power in any band of 100-Hz width.
The white noise and pink noise used in SoundCheck have a Gaussian amplitude distribution. Theoretically,
the crest-factor is infinite. Of course that doesn't happen in a WAV file. Practically, the expected crest-factor
can be anywhere between 3 and 5. The longer the wave file, the greater the chance of being close to 5.

Figure: 9-22 Band Limited Pink Noise

Figure: 9-23 RTA display of Band Limited Pink Noise

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Multitone
The Multitone stimulus has been added to the list of stimulus types. A Multitone is an ensemble of tones
regularly spaced in frequency. The amplitudes are equal and to minimize the crest factor, the phase of the
tones is random.
z Choice of Fmin, Fmax
z Choice of resolution (frequency spacing): R10 to R80, User Defined Log and User Defined Linear
z Control of Duration (s)
z Control of global RMS or Peak level

Figure: 9-24 Multitone Stimulus Selection

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Acquisition Editor

Select Acquisition (Ctrl + Shift + A) from the Setup pull-down menu on the main SoundCheck menu bar to
view and change the system’s acquisition settings. Acquisition determines how test signals (Stimuli) are
played and measured signals recorded or analyzed in a sequence. Measurements can be made in a variety of
ways.

Select the Input Channel.

Virtual Channels are
available as well.

Record Padding: add

extra time to the Record
process

Available Measurement
modes
Custom Curve Names
can be used
Use Channel Name adds the
channel name to the Curve
Name
Choose from the list of Select the Output Channel.
Stimuli in memory
Virtual Channels are available as
well.

Figure: 10-1 Acquisition Play and Record Setup

Time (sec)
In Record mode, Time (sec) specifies the total record time. This is typically used for measuring background
noise or noise from the DUT. The minimum Record time is 50 mSeconds.

Record Padding (sec)

Available in Play & Record mode. This allows the user to add extra time to the Record process to capture
information beyond the length of the stimulus. This can be used to compensate for "Time of Flight" when there
is a great distance between the mic and the source. (Especially useful for Telephony measurements where
there can be a long delay due to the signal chain.)

Record Delay (sec)

With Virtual Instrument modes, the Record Delay (sec) is the time in seconds before the acquisition of signal
starts. (Not available in all modes.)

Note: SI units are used throughout SoundCheck. A time of .5 seconds will be represented as 500m Sec.

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Curve Name
This field allows you to use a custom name for the acquired waveform or curve. (Not available in all modes.)

Use Channel Name

When this is checked, the acquired waveform or curve will also have the Channel name appended to the
Curve Name. This can be seen in the Memory List. See Figure: 10-2 Waveform Name in Memory List as an
example. (Refer to the Display Editor section for more information.)

Use Channel Name Unchecked

Use Channel Name Checked -

[L] is appended to the name

Figure: 10-2 Waveform Name in Memory List

Stimulus
Any stimulus in memory can be selected. (Only available in Play & Record mode.)

Input/Output Channel
Input and output channels are selected here. Any channel that has been set up in the Hardware Step can be
selected, including Virtual Channels. Refer to the Hardware Editor section for more information.

Configure Record / Configure Generator

Configure Record / Configure Generator is used to set the properties of the Virtual Instruments that are
selected in the Mode field. (Not available in all modes.) Refer to the Virtual Instruments chapter for more
information.

Mode
Measurements can be made in the following ways:
z Record a time signal from a device under test (DUT )
z Play a stimulus into a DUT and record a DUT’s time response
z Use the Multimeter, Oscilloscope, Spectrum Analyzer, or Real Time Analyzer (RTA) as stand-alone
instruments

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Note: * Refer to the Virtual Instruments section for more details.

z Use the Signal Generator in combination with the Multimeter, Oscilloscope, Spectrum Analyzer, or
RTA.
The Acquisition Step allows you to combine SoundCheck’s Virtual Instruments to play test signals and acquire
signals for analysis. The following are the different Acquisition modes available:

Play & Record

Simultaneously play a stimulus and record the time response. This common mode is used when measuring a
device’s response to a test signal and then analyzing its response (e.g. magnitude, phase, distortion) in an
Analysis Step.
Please note that SoundCheck can Play and Record on two channels simultaneously. To do this, select two
different physical channels using Input Channel and Output Channel.

Figure: 10-3 Record Only Without a Stimulus Signal

When recording a time signal (in Record, Play & Record or Oscilloscope mode), the recorded time waveform
will appear in the WFM tab of the Memory List. You may give this waveform a custom name in the Acquisition
Editor. You may then analyze the recorded time waveform from the DUT, to find the peak SPL, for example.
You may also display or save the DUT time signal to disk, using the WAV file format in the Autosave Step, or
by using Save Waveform As… WAV in the File menu of the Memory List.

Signal Generator
The Signal Generator can be used for manual control of a test signal during a sequence, (e.g., audible tuning
of a transducer), or playing a WAV file (Refer to the Virtual Instruments section). Specify a Frequency and
Output Level for your Sine Wave, or the file path and percentage of the originally recorded level of the WAV
file. The WAV file can also be equalized to a target spectrum stored in the Calibration Step (Refer to Signal
Generator for more information)

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You can play a sine wave or a WAV file continuously or for a specified duration of time. The WAV file can also
be configured to play a user defined (N) number of times. If you do not want the Signal Generator to appear
on the screen during the sequence, check Hide Panel. If you choose Play Continuously the Hide Panel
check box is not available since the Virtual Instrument requires user intervention to stop the signal.

Select stimulus type

from the drop down
list

Click Configure Gen-

erator to Open the
Signal Generator for Set stimulus fre-
editing. quency and level in
physical units

Click Hide Panel and

the Signal Generator
will not be seen Signal can be played
when the sequence continuously or for a
is run set Duration

Figure: 10-4 Signal Generator Options

Multimeter
The Multimeter can be used for measuring overall signal level. Choose between linear and exponential
averaging and the number of averages you wish to make. If you want the Multimeter to run for a preset time,
choose Lin and the number of averages multiplied by the record time will determine the total measurement
time. If you choose Exp, the Multimeter will run continuously until you click OK or Cancel in the Multimeter
window.
If you do not want the Multimeter to appear during the sequence, check Hide Panel. If exponential averaging
is selected, the Hide Panel option is not available since the Virtual Instrument requires user intervention to be
stopped. Change the name of the curve (the acquired signal) that will appear in the Memory List by altering
the Curve Name field.
For more information on the individual controls of the Multimeter refer to the Virtual Instruments section.

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When selecting Limits in the

Multimeter, a Limits step must
precede the Acquisition step
in the sequence

Averaging Time

Figure: 10-5 Multimeter Options

Note: The Multimeter frequency range is the full range of the sound card based on its sampling rate.
The broadband dynamic range of most sound cards is limited by their DC offset. Their AC
dynamic range is typically much greater and sometimes it makes more sense to use the
Spectrum Analyzer and power sum the frequency range of interest in a Post-Processing Step.

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Figure: 10-6 Limit Step Setup for Multimeter

To use the Limits function of the Multimeter Acquisition Step in a sequence, a Limits Step must precede the
Acquisition Step. See Figure: 10-6 Limit Step Setup for Multimeter. For more information on the use of this
step please see Multimeter in the Limits Editor chapter.
Measurement Type should be set to Mulimeter.
Upper Limit and Lower Limit should be set to the proper values.
Click OK to close the Limits Editor. When prompted with the warning message, click Yes to proceed, since
there is no curve to select.

Oscilloscope
The Oscilloscope can be used to make sure the recorded waveform does not look clipped or distorted. Note
that delta µs cannot be changed, since this is based on the sampling rate of the sound card. If you want the
Oscilloscope to run for a preset time, choose Lin and the number of averages multiplied by the record time
will determine the total measurement time. If you choose Exp, the Oscilloscope will run continuously until you
click OK or Cancel in the Oscilloscope window, or Continue or Abort in the Status window. If you do not want
the Oscilloscope to appear during the sequence, check Hide Panel. As with the Multimeter, if exponential
averaging is selected, the Hide Panel option is not available since the Virtual Instrument requires user
intervention to be stopped. Refer to Virtual Instruments regarding functions available for the Oscilloscope via
the Acquisition Step. The minimum Time value is 50ms.

Calculate Spectrum
z Off - FFTs are not being done in the background which makes it faster.
z On - Collect data while the Scope is running and then switch to FFT scope to view or save the
spectrum.

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Figure: 10-7 Oscilloscope Options

Spectrum Analyzer
The Spectrum Analyzer can be used for analyzing pure tones or noise coming from the DUT, since these
signals are typically flat when plotted on a linear frequency scale. Lin will average for only the number of
averages entered (e.g., 3). Exp applies an exponential time weighting where Time Sec is the exponential time
constant tau (τ). Power averages the RMS amplitude of each FFT bin and excludes phase information.
Complex averages the RMS amplitude of each FFT bin but includes phase information. Note that the delta µs
is based on the sound card’s sampling frequency. Because of this, it can only be changed via the sound card
driver software and/or switching jumper cables on the card itself.
If you do not want the Spectrum Analyzer to appear during the sequence, check Hide Panel. As with the
Multimeter, if exponential averaging is selected, the Hide Panel option is not available since the Virtual
Instrument requires user intervention to be stopped. Refer to Virtual Instruments regarding functions
available for the Spectrum Analyzer via the Acquisition Step.

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FFT record
length in seconds
and/or number of
Spectral lines.
Minimum value
of 50ms.

Figure: 10-8 Spectrum Analyzer Options

Real Time Analyzer

The Real Time Analyzer (RTA) analyzes a signal, using constant-percentage bandwidth (1-Nth octave) filters.
This can be used to analyze background noise, since it is usually flat when plotted on a log frequency scale.
The RTA has 1/1, 1/3, 1/6, 1/12, and 1/24 octave digital recursive filters. The upper frequency range is based
on the sound card’s sampling frequency. The highest frequency that can be measured will be no more than
one-half the sound card sampling rate (Fsample). For example, if you are using a sound card with a 44.1 kHz
maximum sampling rate, the maximum measurement you can acquire will be at approximately 22kHz. The
Detector Time determines the time duration of the window to be sampled. Fast sampling averages every
0.25s of data, and Slow averages every 2s of data. You can input your own averaging time by using Other and
entering a value in the field to the right.
As with the above Virtual Instruments, you can choose Linear or Exponential averaging. Additionally, you can
choose A, B, or C Weighting to display, but not save, the overall weighted level of your measurement (this
setting will not affect the display or saving of the acquired data).
If you do not want the RTA to appear during the sequence, check Hide Panel. As with the Multimeter, if
exponential averaging is selected, the Hide Panel option is not available since the Virtual Instrument requires
user intervention to be stopped. Refer to Virtual Instruments regarding functions available for the Real Time
Analyzer via the Acquisition Step.

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Figure: 10-9 RTA Options

Generator & Multimeter

The Signal Generator and Multimeter are typically used for trimming output or input levels on electronic
devices, e.g. active loudspeakers or crossovers. Refer to Virtual Instruments regarding functions available
for the Signal Generator and Multimeter via the Acquisition Step. The Record Delay (sec) allows for a wait
time before the Multimeter is started.

Record Delay sets the amount

of time before the Multimeter is
started.
Create custom curve names.

Figure: 10-10 Signal Generator and Multimeter Options

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Generator & Oscilloscope or Generator & Spectrum Analyzer

The Signal Generator and Oscilloscope or Signal Generator and Spectrum Analyzer are used to play and
analyze a test signal in a sequence. The Signal Generator produces a constant frequency sine wave, or plays
a WAV file. The Oscilloscope displays the time signal on the screen. The Oscilloscope will add the
Oscilloscope time record to the WFM tab of the Memory List. The Spectrum Analyzer will add the FFT
Spectrum and Summable Spectrum to the Curves tab of the Memory List. Typically, white noise is used as a
test signal when analyzing a DUT with a spectrum analyzer, since it is flat when analyzed with constant
bandwidth (FFT) filters. Refer to Virtual Instruments regarding functions available for the Oscilloscope via
the Acquisition Step.

Note: All FFT spectrum are summable spectrum in SC6.11.

Figure: 10-11 Combine Signal Generator and the Oscilloscope or Spectrum Analyzer

Generator & Real Time Analyzer

The Signal Generator and Real Time Analyzer will play and analyze the test signal. Typically, pink noise is
used as a test signal when analyzing a DUT with an RTA, since it is flat when analyzed with constant
percentage bandwidth (nth octave) filters. Check Hide Panel if you do not want the Signal Generator or RTA
to open when the sequence is run. As with the Multimeter, if exponential averaging is selected, the Hide
Panel option is not available, since the Virtual Instrument requires user intervention to be stopped. The RTA
will add the 1/Nth Octave RTA to the Curves tab of the Memory List. Refer to Virtual Instruments regarding
functions available for the Signal Generator or RTA via the Acquisition Step.

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Figure: 10-12 Generator & RTA

Read from DC Connect™

When you select Read from DC Connect from the Mode drop down list, the Acquisition Step will read a
single measured value from the DC Connect device over the USB interface. Ignore the channel assignment,
since the communication with the device is thru USB. This type of Acquisition Step would likely follow a
Stimulus Step that sets the DC Connect output voltage or current source level.

Figure: 10-13 DC Connect™ Options

If DC Connect is set up as a voltage source, choose units of mA DC, since the current draw of the load is
being measured. If DC Connect is set up as a current source, choose units of V, since the voltage across the
load that results from the applied source current is being measured.

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Analysis Editor

The Analysis Editor (Ctrl+Shift+N) enables you to process measured time signals using a variety of analysis
algorithms. Choose an algorithm based on the type of measurement needed. See Figure 11-4: Choice of
Algorithm for more information on what measurements are possible with each algorithm. Please note that the
HarmonicTrak and Time Selective Response algorithms are optional and only available in advanced versions
of SoundCheck.
To view and change the system's analysis settings, select Analysis from the Setup pull-down menu on the
main SoundCheck menu bar. The Analysis setup allows for a variety of measurements thus generating many
curves that can be viewed from the Memory List and further processed.

Note: Apply allows you to change the settings in the editor and apply a new analysis without making a
new measurement. The result of the new calculations will appear immediately in Memory List.

View Modes
The Analysis editor has two modes to view step information: Simple and Advanced. Figure: 11-1 Analysis
Editor - Simple View shows the low level information that is provided in Simple View. This is the default view.

Simple View

Figure: 11-1 Analysis Editor - Simple View

Additional settings can be accessed by switching to Advanced View as shown in Figure: 11-2 Analysis
Editor - Advanced View. The settings of the items on these screens is active whether the view is Advanced
or Simple.

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Figure: 11-2 Analysis Editor - Advanced View

Waveforms
Apply is used to update the Memory List with the new results and curves. You can also change the settings in
the Analysis Step and then click Apply to run a new analysis without making a new measurement. This
analysis can be applied to any waveform in the Memory List by selecting it in the Response - Waveform In
section.

Seven Algorithms for Relative response is the

analyzing time domain response level divided by the
signals stimulus level. Absolute
Response is the response
level only.

All waveform in memory

appears in this menu.
Select the desired Stimulus
(Waveform Out).

Select the Response (Wave-

form In) related to the
selected Stimulus.
Apply allows you to change
the settings and apply a new
analysis without making a
new measurement. The
result of calculation will
appear immediately in Mem-
ory List

Figure 11-3: Analysis Setup

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Relative response is the response level divided by the stimulus level. Absolute Response is the response
level only. When increasing the input level, the relative response amplitude level will not change if the system
is linear, because the output level will increase by the same amount as the stimulus level.

Algorithms
The user can select an algorithm for frequency analyzing the time data. The algorithm choices are discussed
below.

Figure 11-4: Choice of Algorithm

Broadband RMS
This algorithm does not utilize any filtering. This measures the total RMS energy at each excitation frequency.
The upper frequency limit used to determine the total RMS energy is based on the sound card's sampling
rate. For example, at a sampling rate of 44.1 kHz, the upper frequency limit is approximately 22 kHz. Please
note that this value is also influenced by the data acquisition card's anti-aliasing filter. Typically the highest
usable frequency is 45% of the maximum sampling rate.
Uses include measuring buzzers and other harmonically-rich devices. To measure OSPL on hearing aids
according to ANSI S3.22 and other similar standards, you must use this algorithm.

Spectrum (New)
The spectrum algorithm calculates an averaged FFT of the response waveform. This is performed according
to the Frequency Resolution Weighting and Overlap settings in the editor. This algorithm can be used to
measure the background noise prior to applying a stimulus to the Device Under Test (DUT).
The default resolution of 10 Hz requires a measurement length of at least 0.1 Second. A resolution of 1 Hz
requires a measurement length of at least 1 Second. The resolution is inversely proportional to the time
required.
The Weighting function selected will also set default values for the Overlap Percentage.

Figure: 11-5 Weighting and Default Overlap % shows the selections of the Time Tab for Spectrum Analysis.
It also includes a table of Weighting and the Default Overlap Percentage.

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W e ig h tin g D e fa u lt
Type O v e rla p %
Select proper window type
No n e 0
Refer to Figure 11-8: Table of Ha n n in g 75
4 Te r m B la c kma n -
Window Applications for more Ha r r is 85
information 7 Te r m B la c kma n -
Ha r r is 90

Figure: 11-5 Weighting and Default Overlap %

Note: Warning! A resolution smaller than 1 Hz can require a great amount of system memory. Out of
memory errors may result.

HarmonicTrak™
This module allows multiple harmonics to be measured in one stepped-sine sweep (Stweep™). You would
also choose this algorithm in order to measure the DUT's THD and/or Rub & Buzz distortion characteristics.
To choose a specific range of Harmonics, click Edit List in the Editor (see Figure 11-9: THD Calculated
Using First Four Harmonics)
This measures the levels of any harmonic or sub-harmonic when using sinusoidal excitation. This algorithm
also includes Two Tone distortion and normalized distortion (See “IM and Difference Distortion” on
page 117.)

Heterodyne
This is the same algorithm used in the Brüel & Kjær Type 2010 and 2012 analyzers. This algorithm is very
accurate but, unlike HarmonicTrak, it cannot measure the harmonics and fundamental simultaneously.
Heterodyne measures just the fundamental response using sinusoidal excitation with excellent background
noise rejection and fast calculation speed.

Time Selective Response

This module enables time selective measurements with a logarithmically swept sine wave, which can be used
for simulated free-field measurements in non-anechoic environments. By removing the stimulus from the
response waveform (deconvolution operation) the global impulse response is calculated directly, and from
that, the frequency response is determined. The result of the deconvolution process can be added to the
memory list by selecting ”Deconvolved Response” in the time tab.
In just one sweep, the free-field response of the fundamental and harmonics can be measured and analyzed
(see Appendix 11: Time Selective Measurements with a Logarithmically Swept Sinewave for technical
details). This algorithm is only available when using a Frequency Log Sweep in the Stimulus Step of the
current sequence. Please note that the Frequency Log Sweep must sweep from low to high frequency.
Use this to measure free-field frequency response without requiring an anechoic environment. The Impulse
response of the fundamental can be displayed using linear or log amplitude.

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Dual-Channel (New)

Stimulus Response

Dual-Channel spectrum analysis yields the true transfer function between the input and output.
This technique should be used mainly with broadband stimulus such as noise. However, it could also be used
with arbitrary waveforms such as voice or music.
A scan FFT is performed in parallel on x(t) and y(t), which yields to two series of spectrum: {X0, X1,… , XN-1}
and {Y0, Y1,… , YN-1}.
By averaging these spectrum together we get:

z Auto-spectrum: G XX = E XX , which is the average power spectrum for the stimulus. E[.] is the
mean and X denotes the complex conjugate of X.
z Auto-spectrum: G YY = E YY , which is the average power spectrum for the response.

z Cross-spectrum: G XY = E XY , which is the average cross-spectrum between stimulus and

response.
G XY
z Frequency Response: H 1 = ----------- , this is an unbiased estimator when noise is present at the
G XX
output.
–1
z Impulse Response: h 1 ( t ) = ℑ [ H 1 ( f ) ] , which is the response of the DUT to an ideally short
–1
impulse. ℑ is the inverse Fourier Transform.
2
G XY
2
z Coherence: γ = ----------------------- & Non-coherence: 1-γ2 , these functions give you the degree of linear
G XX G YY
relationship between the stimulus and response for each frequency.
2
z Coherent Power (CP) = γ ⋅ G YY , CP is the part of GYY which is linearly related to the stimulus.
2
z Non-Coherent Power (NCP) = ( 1 – γ ) ⋅ G YY , NCP is the part of GYY which is not linearly related to
the stimulus, such as noise and distortion.
2
γ
------------- CP
z SNR = or ------------ , The Signal to Noise Ratio is the ratio at each frequency between the power
2 NCP
1–γ
linearly related to the stimulus and the part non-linearly related, such as noise and distortion.

z Non-Coherent Distortion:
NCP - in %.
NCD ( f ) = 100 -----------------
∑ GYY
f
The NCD gives the proportion of noise and distortion which is present in the Response Spectrum
GYY. It is a function of frequency. Making a power sum of it with Post-processing will give you a single

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Noise & Distortion number. The NCD function used along with multitone or noise stimulus will give
you a global assessment of the non-linearities of your DUT.
z Correlations:

–1
a. C xx ( t ) = ℑ [ G XX ( f ) ] , Auto Correlation of Stimulus. The peak value is equal to the total
power of the stimulus.

–1
b. C yy ( t ) = ℑ [ G YY ( f ) ] , Auto Correlation of Response. The peak value is equal to the
total power of the response.

–1
c. C xy ( t ) = ℑ [ G XY ( f ) ] , Cross Correlation of Stimulus and Response. The position of the
peak yields the delay of the input to the output.

Multitone (New)
The results are similar to Dual-Channel Analysis but the Frequency Response is the amplitude and phase of
only the tones that are present.
Because all the tones are analyzed in parallel, Multitone is the fastest way to get the Frequency Response.
Regarding distortion; because a Multitone stimulus has a rich frequency content (like "real-life" signals, e.g.
music), it produces more realistic distortion components.
Using Multitone, the Non-Coherent Distortion curve yields a quick and global distortion assessment of the
DUT.
In addition, one can make the Power Sum (using Post-Processing) of the NCD curve to get a single
percentage. That number quantifies the global Distortion & Noise present at the DUT and can be used as a
quality figure.

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Complex vs Power Averaging

Figure 11-6: Complex vs Power Averaging

For Dual Channel and Multitone Analysis, the cross-spectrum yields the average phase relationship between
input and output. The cross-spectrum is calculated when the Complex Averaging option is selected from the
Frequency tab of the Analysis Editor. See Figure 11-6: Complex vs Power Averaging
Complex is selected by default.
Cross-spectrum cannot be used when making measurements on devices with non-stable phase due to
frequency shift or jitter (e.g. BlueTooth headsets or MP3 players). As an alternative, select Power, which gives
an estimate of the frequency response based on the Auto-Spectra only. In this case, the cross-spectrum is not
calculated so phase information is no longer available and the list of analysis functions is reduced.

When Power is selected, the following functions are available in the Analysis Editor:
z Auto Spectrum - Stimulus and Response
z Frequency Response (Magnitude Only)
z Time Envelope (Time Tab)
z Auto Correlation - Stimulus and Response (Time Tab - Dual Channel only)

The Complex and Power options apply only to Dual-channel and Multitone Analysis.

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Analysis Settings
The user can select options from the Analysis Editor to add curves and single values in the sequence. For
example, checking the Loose Particles box will add a Loose Particle Count single value to the Memory List.
In the Analysis Editor, many of the options become available only when an appropriate algorithm is selected.
Figure 11-7: Appropriate Algorithm vs. Desired Measurement, shows a chart displaying available
measurements when each algorithm is active.
Time Dual-
Desired Broadband Harmonic
Spectrum Heterodyne Selective Channel Multitone
Measurement RMS Trak
Response Spectrum
Frequency Response X X X X X
Noise X X
Distortion X X X X
Impedance X X X X X
Loose Particles X X X X X X X
Impulse Response X X
Time Envelope X X X X X X X
DC X

Figure 11-7: Appropriate Algorithm vs. Desired Measurement

Distortion

Weighting
HarmonicTrak uses a step FFT analysis: at each sine step of the response, a weighting window is applied and
an FFT is performed.
The available weighting Window types are: Hanning, 4 Term Blackman-Harris and 7 Term Blackman-Harris.
The performances of the windows are shown in Figure 11-8: Table of Window Applications.

Window Type Min Cycles Min H2 Lowest Comment

per Step Measurable
Distortion
Hanning 5 -40 dB 1.0% General purpose, high-speed but sidelobe
attenuation is low compared to other windows
Blackman-Harris 10 -90 dB 0.003% More precise but require more time. Good for
4 Term most electroacoustic measurements.
Blackman-Harris 15 -120 dB 0.0001% Most precise due to greatest attenuation of
7 Term side lobes. Best window to use when
measuring very low distortion devices, such
as electronic circuits and products.

Figure 11-8: Table of Window Applications

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Harmonic Distortion

Figure 11-9: THD Calculated Using First Four Harmonics

Harmonics
The Harmonics field value indicates the harmonic number; 1 is the fundamental, 2 is the 2nd harmonic, etc.
Select which harmonics to measure, either individually or as a group. You can also measure sub-harmonics,
e.g. 0.5 harmonic. Use the Edit List button to modify list preferences.

Edit List

This button enables modification of the list of harmonics. To add a single harmonic, enter the single harmonic
value (e.g. 5) and click Add. To enter a range (e.g. 10 through 15) enter the starting harmonic in the box to the
left of the To button. Then click To and enter the ending harmonic. Clicking Add will add the harmonic family
to the list.

Select which Harmonics or sub-

harmonics to measure simulta-
neously

Figure 11-10: Add Sub-harmonics to List of Harmonics

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Harmonics Plotted at Actual Measured Frequency

Traditionally, the harmonics of the signal are displayed at the excitation frequency. When Harmonics at
measured frequency is selected, harmonics will be displayed on the XY Graph at the actual measured
frequency. By displaying the shifted harmonics and the Fundamental, one can determine whether harmonic
amplitude levels increase or decrease due to amplitude changes in the frequency response or are actual
increases or decreases in distortion energy. THD and Rub & Buzz distortion calculated using the amplitude
normalized distortion method removes the effects of DUT's frequency response modifying distortion levels.
For more information, please reference How to Graph Distortion Measurements by Steve F. Temme, found at
the Listen website:
http://www.listeninc.com/files/pdf/AES_94th_how_to_graph_distortion_measurements.pdf. In Figure 11-11:
Fundamental Response with Harmonic 2 and 3 at Actual Measured Frequency you can see the
harmonics plotted at actual measured frequencies.

Figure 11-11: Fundamental Response with Harmonic 2 and 3 at Actual Measured Frequency

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Total Distortion
Total Distortion (TD) is the power sum of all the harmonics selected in the Analysis Step. It is presented in the
units of the Harmonics themselves. It represents the level of distortion at each excitation frequency. The
calculation is based on the Harmonics selected in the Analysis Editor.

TotalDistortion = (H ² + H ² + ... + H ² )
2 3 N

THD
Total Harmonic Distortion (THD) is the percent of the total signal that is affected by distortion due to the
harmonics signals. It is the power sum of all the harmonics excluding the fundamental, divided by the power
sum of all the harmonics, including the fundamental if IEC Method is selected (see Measure Relative to
Fundamental only for more options). The THD measurement only takes into account the harmonics selected
in the Analysis Step Distortion tab.

TD
% THD = × 100
(H ² + TD )
(IEC Method)
2
1

TD (IEEE Method)
% THD = × 100
H1

THD + Noise
Total Harmonic Distortion plus Noise (THD+N) includes the distortion caused by noise in the test surroundings
and in the device(s) under test. The standard THD measurement only takes into account the magnitudes of
the Fundamental and following Harmonics, while the THD plus Noise measurement also measures the energy
between harmonics, and includes it as part of the distortion of the signal. The calculation includes the Total
Distortion (TD), the total noise power from the signal, including noise between the harmonics (TNP), and the
Fundamental (H1) to get the THD + Noise result.

TD 2 + TNP
THD + Noise =
H 1 + TD 2 + TNP
2

Note: Due to the high precision algorithm used, this measurement requires a minimum number of 15
effective cycles per step (after discarding cycles). A Blackman-Harris window should also be
used.

Rub & Buzz

Rub & Buzz is the power sum of all harmonics selected above the 9th harmonic divided by the power sum of
all the harmonics selected, including the fundamental. Harmonics 10 and higher are the main contributors to
the audible rub and buzz even though lower order harmonics may be higher in level. Refer to Are you

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Shipping Defective Speakers to your Customers by Steve F. Temme; http://www.listeninc.com/files/pdf/

Rub&Buzz.PDF.

(H ² + H 11²...HN ² )
% Rub & Buzz = × 100
10

(H ² + TD² )
1

Normalized THD and Rub & Buzz

An alternate algorithm for the THD and Rub & Buzz measurements is calculated using the harmonics after
replotting them at the actual measured frequency of their signals (see Harmonics Plotted at Actual
Measured Frequency). The % THD and %Rub & Buzz is then calculated using the following method:

(H 2 f ) 2 (H 3 f ) 2 ( Hn f ) 2
NormalizedTHD = + + ... +
( H 12 f ) 2 + TD 2 ( H 13 f ) 2 + TD 2 ( H 1nf ) 2 + TD 2

The values of THD Normalized and Rub & Buzz Normalized can be compared to the Harmonic N shifted
curves (where N is the number from 2 to your highest Harmonic requested).
For more information on presentation of distortion measurements, read How to Graph Distortion
Measurements by Steve F. Temme.
http://www.listeninc.com/files/pdf/AES_94th_how_to_graph_distortion_measurements.pdf.

Measure Relative to Fundamental only

Figure 11-12: Choose How to Calculate Measurements

THD and Rub & Buzz measurements can be calculated using one of two methods. Choose IEC to include the
fundamental and all the harmonics (Total Distortion) in the denominator (typically used in Europe), or IEEE to
use the fundamental (first harmonic, typically used in the USA).

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IM and Difference Distortion

When you play two tones in a non-linear system, they interact in such a way that you get new frequencies at
the output. These frequencies are different linear combinations of the two original frequencies and are called
orders. This is the case when music is played through a loudspeaker. These orders are particularly annoying
because they have no harmonic relationship with the original frequencies.
Two types of two-tone distortion are commonly used.
z Intermodulation distortion: this distortion occurs when a high frequency tone is superimposed on a
high-level, low frequency tone. The high frequency signal is modulated by the low frequency.
z Difference frequency distortion: this distortion arises when 2 tones are separated by a small
frequency difference. This distortion is similar to harmonic distortion but is especially noticeable when
the 2 tones are at high frequencies.

Application to Loudspeakers Measurements

Intermodulation distortion is used to detect amplitude and Doppler modulations that occur when low frequency
signals produce large excursions of the speaker voice coil.
Difference frequency distortion is used to detect distortion at high frequencies, where single tone harmonic
distortion would fall far out the frequency range of the loudspeaker or of the ear.
For more details on these techniques see: Steve Temme, Audio Distortion Measurements, Bruel & Kjaer,
Application Note BO 0385-11
http://www.listeninc.com/files/pdf/AES_94th_how_to_graph_distortion_measurements.pdf.
IM (or difference frequencies) are measured using step FFT analysis in a method similar to HarmonicTrak.
For each step frequency, processing is applied on the entire spectrum of the signal.

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Distortion Formulae for IM and Diff Distortion:

IEC - Voltage Method

z Total IM:

IMD( f ) = ∑ (H
p >1
p (f) + H−p
(f)
)2

z Total Diff Distortion:

DFD( f ) = ∑H
p >1, even
−p
2
(f) + ∑
p >1, odd
(H p (f) + H−p
(f)
)2

z Total IM Distortion Ratio (%):

IMD( f )
IMDR( f ) = 100
H f1 + H f 2

z Total DF Distortion Ratio (%):

DFD( f )
DFDR( f ) = 100
H f1 + H f 2

z TD+N (%): Power sum of noise and TD (IM or Diff).

TD(2f ) + N 2
TD + N ( f ) = 100
H f1 + H f 2

IEEE - Power Method

z Total IM:

∑ ⎛⎜⎝ H ⎞
2 2
IMD( f ) = + H−p ⎟
⎠
p
(f) (f)
p >1

z Total Diff Distortion:

⎛H ⎞
∑H ∑
2 2 2
DFD( f ) = −p (f) + ⎜ p + H−p ⎟
p >1, even p >1, odd ⎝ ⎠
(f) (f)

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z IM Distortion Ratio (%):

IMD( f )
IMDR( f ) = 100
H 2 f1 + H 2 f 2

z DF Distortion Ratio (%):

DFD( f )
DFDR( f ) = 100
H 2 f1 + H 2 f 2

z TD+N (%): Power sum of noise and TD (IM or Diff).

TD(2f ) + N 2
TD + N ( f ) = 100
H 2f 1 + H 2f 2

Confidence and Noise

When making any measurement there is always a level of measurement uncertainty, partly due to noise. That
noise adds randomness to the level of the measurement. Therefore a measurement is only an estimate of the
true value. Since we know the level of noise, it is possible to calculate the Standard Error (σ) of the estimated
level.
If we consider one measurement with a value of x and a standard error of σ, then the confidence that the true
value will be within the limits ±nσ is as follows:
z [x-σ , x+σ] with 68% confidence
z [x-2σ , x+2σ] with 97% confidence
z [x-3σ , x+3σ] with 99.7% confidence.
These limits are called the confidence limits.
The Standard Error for the Fundamental as well as every selected harmonic or order can be displayed. The
Standard Error is calculated in the same units as the Fundamental and the resulting curve is based on one
standard deviation (σ).
There is a choice of having the Standard Error as a single curve (σ) or the Confidence Limits as 2 curves
(measured curve ±a σ). The factor a, is chosen by the user.
A Noise curve can also be displayed. This is the RMS level of Total Noise for each stimulus frequency or
frequency pair when measuring Intermodulation and Difference Frequency distortion.

Impedance
Impedance measures the voltage level across a known reference resistor and calculates the impedance.

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SI units are used through-

out SoundCheck 6.1.

.25 Ohms is represented

as 250milliohms

Figure 11-13: Enter Known Reference Resistor

Ref Resistor
Value of the reference resistor, in Ohms, placed in series with the transducer under test. See Impedance
Setup below for more details.

Impedance Setup
(Refer to Appendix 10: Loudspeaker Test Connection Diagram with Impedance Box for a detailed
drawing of the impedance box)
To measure the transducer's impedance, connect a small resistor, about 1/100th to 1/10th of the expected
value of the transducer's DC resistance, in series with the transducer, between its negative terminal and
ground. For example, use a 0.1-Ohm resistor for an 8-Ohm loudspeaker. This way both the acoustic (e.g., left
channel) and impedance response (e.g., right channel) of the transducer can be measured in parallel.
To measure the current flow through the resistor, connect the Right Input of the Sound Card across the
resistor.

Important! WARNING! Make sure to connect the ground of the output from the amplifier to the ground
on the Right Input. The positive lead of the Right Input should be connected to the negative
terminal of the transducer, the same as the resistor.

Enter the value of current sensing resistor in series with the transducer in the Ref. Resistor field.

Figure 11-14: Impedance Measurement Circuit

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z Z = impedance of device under test (e.g., loudspeaker)

z VS = voltage out of amplifier (measured during calibration)
z VR = voltage across resistor (e.g., 0.1W reference)
z i = current running through DUT and reference resistor

(VS − VR ) VR
Z= i= => Z = (VS × RREF ) − RREF
i RREF VR

Note: Listen offers an optional Impedance Measurement Interface Box for connecting the power
amplifier, transducer, and SoundCheck system. This features dual banana leads, alligator clips, a
removable cable for the impedance measurement channel input and a removable cover for easy
access when changing the reference resistor. For more information, please contact Listen, Inc.

Loose Particle

Figure 11-15: Choose Threshold and Max Frequency for Loose Particle Detection
During the manufacturing process of a loudspeaker, some loose particles of foreign material may stay trapped
in the gap behind the diaphragm or dust cap. During operation at low frequencies, these particles randomly hit
the diaphragm making a click or pop noise. This algorithm detects loose particles as impulses in the sound
emitted by a loudspeaker during a measurement. Loose particle defects are easier to catch at low frequencies
(typically at or below resonance) where maximum driver displacement occurs. Any type of stimulus may be
used for this type of measurement.

Averaging Time
This is the width of the running rms averaging applied on the time signal to generate the time envelope used
to detect loose particles.

Max Stimulus Frequency

All frequencies below this point will be discarded in the loose particle detection algorithm. This value should
be set to the upper frequency of your Stweep. As an example, if you use a stimulus from 20 Hz to 200 Hz, set
the maximum frequency to 200 Hz.

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Min/Max Duration
Allows the user to ignore transients which do not fit within these limits.

Figure 11-16: Min and Max Duration

Attack Threshold & Hysteresis

All peaks that exceed the threshold are counted as loose particles. You must define this threshold and set it
high enough to exclude random background noise. Establishing the threshold level will require some trial and
error. Use a known good speaker (or Golden Speaker) to choose a level above the background noise. Then,
measure a loudspeaker with known loose particle defects to verify that the threshold is exceeded.
To avoid false peak detection, the hysteresis level should be set to a value greater than the background noise.

Figure 11-17: Threshold and Hysteresis

Note: The Loose Particle Detection Algorithm gives you the total number of individual peaks that
exceed the threshold (Particle Count). Sometimes you will get false peaks from transient
background noise events such as a box dropping or an air gun going off. This can be limited by
setting the Min/Max Duration levels. The hysteresis level can be used to ignore steady state
background noise.

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For more information regarding Loose Particle Analysis please refer to two AES papers presented by Listen,
Inc.: Enhancements for Loose Particle Detection in Loudspeakers by Pascal Brunet & Steve Temme; Listen,
Inc. http://www.listeninc.com/files/pdf/Enhancements_for Loose_Particle_Detection_AES116.pdf
Loose Particle Detection in Loudspeakers by Pascal Brunet, Steve Temme; Listen, Inc. and Evan Chakroff
http://www.listeninc.com/files/pdf/Loose_Particle_Detection_AES115.pdf

Figure 11-18: Set Limits on Loose Particle Threshold

A Single Value Limit Step is used to obtain a Pass/Fail verdict for the DUT.

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Units

Figure 11-19: Set Units for Your Measurement

Abs/relative - the measurement can be relative or absolute.
z Default Unit: In case of Absolute, the frequency curves are in the physical unit of the response
waveform (e.g Pa). The dB ref is the one setup in calibration at acquisition time. In case of Relative,
the frequency curves are in relative unit (e.g. Pa/V). The unit is the ratio of the response unit over
stimulus unit, with a dB ref of 1. All algorithms are subjected to Rel/Abs except Spectrum, Time
Envelope & Loose Particles, which are always in abs unit.
z Custom Unit: the unit is set by the user and determines the string used and the dB ref.

Important! Beware, the math applied for abs/rel stays the same.

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Delay

Figure 11-20: Choosing Settings for Delay Method

Auto Delay
The auto delay is the delay, in seconds (then converted to meters and inches based on the speed of sound in
air), between the output and input terminals. By clicking Set Values you can manually enter the delay based
on the distance in meters or inches from the acoustic center of the loudspeaker to the microphone. By
selecting Auto Delay, SoundCheck will automatically calculate the delay. Using auto delay will cause the test
time to increase due to additional CPU usage required for calculating the cross-correlation. Use Memory List
allows you to set the delay by selecting an item from the Memory List. A value named Record Delay will
appear in the Memory List, enabling you to save this value with other test information.

Note: Note: The auto delay value will only be correct if the proper sound card delay is entered in the
Hardware Step. Calibrate the sound card to determine/confirm the hardware delay. Additionally,
be aware that measuring in an environment that has strong reflections can produce an erroneous
time delay.

Settling

Figure 11-21: Discard Three Cycles at the Beginning of Testing

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Discard Cycles
This is the number of cycles that are discarded at the beginning of each frequency step. Normally this should
be set at zero but in some circumstances, such as if the transducer has sharp resonances or compression
circuits, the number of discarded cycles can be increased to achieve higher accuracy.
Typically you should discard 1 cycle when measuring an electroacoustic device and 0 cycles when measuring
electronics.

Note: The number of cycles per step in the Stimulus Step must be greater than the discard cycles. If the
discard cycles number is equal or is greater than the number of cycles in the Stimulus Step,
SoundCheck will not display any measurements.

DC
If your soundcard or data acquisition card is DC coupled, select DC to measure the DC voltage. If the
soundcard is not DC coupled, the DC current or voltage waveform can be read from a DC Connect™†
instrument using your AC coupled, soundcard. A soundcard input is connected to the DC Connect Analog
Monitor back-panel output. The Analysis Step is preceded by an Acquisition Step set to Record or Play &
Record. Be sure to assign the Analysis and the Acquisition Step’s Input Channels to the soundcard input
channel that you've connected to the DC Connect™.

Figure 11-22: Select DC to View Current or Voltage Options

Note: † Note: DC Connect, made by Listen, Inc., is a USB-controlled DC voltage and current source
and measuring amplifier. See the Listen website for more details. http://www.listeninc.com/site/
dc_connect.html

When you check the DC Connect measurement checkbox, a mA or V choice appears. Choose the mA
current measurement if you are operating DC Connect in voltage source mode, or choose the V voltage
measurement if you are in current source mode. This step will create a DC Current Waveform or DC Voltage
Waveform curve.
For example, when this type of Analysis Step follows a Play & Record Acquisition Step, the X-axis of the DC
Current Waveform curve matches the X-axis of the played stimulus. The stimulus will likely be an audio
amplitude/frequency sweep, or a sweep of the DC voltage.
If you also check the Time Envelope checkbox, you create a Time Envelope curve whose units are also in
mA or V. The x-axis of this curve is time.

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Time

Figure 11-23: Define Envelope and Units of Impulse Response

Time Envelope
The Time Envelope is used to view the magnitude of the response time signal. This is useful in analyzing the
effects of compression in an electrical circuit and/or an electroacoustic transducer.

Impulse Response
The Impulse Response is the time domain response of a system to an idealized infinitely short impulse. An
impulse response is the time domain equivalent of a frequency response function, and can be computed using
the Inverse Fourier Transform on a frequency response function. This can only be accessed when Time
Selective Response or Dual-Channel is the chosen algorithm.
The units for the impulse response can either be dB, where the resulting display is an Energy Time Curve, or
linear values. With linear units, the impulse response will look like a ring-down curve that you would see on an
oscilloscope. To change the impulse response units, select the Units tab.

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Curve Names

Use Channel Name appends the

channel indicator to the curve
name, i.e. Fundamental [L].

Figure 11-24: Use Default Curve Names

Use default curve name or replace them with more detailed names.
SoundCheck allows you to alter the curve names created in the Analysis Step through the Curve Names tab.
Highlight and replace the default names to use custom names for your curves and single values. This may be
especially helpful when using multiple Analysis Steps to measure multiple Stimuli, in a single sequence or in
subsequences. If two Analysis Steps in the same sequence have the same curve name, the 2nd Analysis
Step will append a 2 in front of the curve name, e.g. 2-Fundamental [L], 3- Fundamental [L], and so on.
Return all curve names back to their default names by selecting the Reset to default check box. This will
cause the Custom Curve Names field to be grayed out and revert the names back to their original state. No
edits will be possible. To create edits, uncheck the Reset to default box.
Notice that any custom curve names you enter will be saved with the sequence information, and will not be
used by the same step in other sequences.

Note: Changing curve names in an existing sequence may affect your displays. For example, if
Fundamental [L] was originally selected to display on the XY Graph and the curve name is
changed to Model ABC Frequency Response [L], the display will cease to display
Fundamental [L]. You then need to open your Display Step, select the XY Graph to make it
active, and select Model ABC Frequency Response [L] from the Curves tab of the Memory
List.

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Recall Editor

The Recall Editor (Ctrl+Shift+R) allows you to open previously saved data into your current sequence for
post-processing or display. Any SoundCheck data or results file (marked by *.dat and *.res file extensions)
can be accessed and entered into the current Memory List. WAV files must be of the same sample rate and bit
depth that is set in the Hardware Step of the sequence.

Figure: 12-1 Recall Editor

Note: DAT files created with SoundCheck 6.1 are not viewable in previous versions of SoundCheck.
This includes SoundCheck 6.0x. The DAT file format has been updated in SoundCheck 6.1.

Filepath to Recall
Browse to the .dat or .res file you wish to reference. The file path will appear in the Filepath to Recall field.
Note that this information is sequence specific, and so must be redefined each time a Recall Step is entered
into a new sequence.

Curve Names to be Recalled

After selecting your *.dat or *.res file, the Recall Editor will display the names of the curves or results saved to
that file in the Curve Names to be Recalled text box. These names will be inserted into the Memory list as
placeholders for data that will be created during the sequence run. These names will include any Test
Information (See the Autosave Editor) that was saved with the files.
The Add… and Clear buttons on the right hand side of the editor allow you to edit your selected list of data.
The Add… button will allow you to add a name (an empty curve, single value or result) to the Curve Names
to be Recalled text box. You may wish to do this when you know the data will be created later in the
sequence. Clear will empty the text box of all information, removing placeholders from the Memory List until
the step is executed in the sequence.

Recall
The Recall selection is the only information specific to the step.
The user can choose to enter All Curves into the current sequence, or use the Last Curve Only choice to
recall only the most recent curve or result saved to the file.

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Note: When a SoundCheck 6.1 sequence that contains a Recall Step(s) is exported, a copy of the
recalled file(s) is also exported to the Exported Sequence Folder. The file path to this data will
change once the sequence is exported (to point to the file when it is in the exported folder that the
"*.sqc" file is in), and again when the file is imported into SoundCheck 6.1 (to reflect the path of
the data file on the new system).

An example of the use of the Recall Editor can be found in the Relative to Reference Standard sequence
located in the Loudspeaker folder.
In this case the curve of a reference standard golden loudspeaker is stored and then recalled in this sequence
in order to compare it to the response of the speaker under test.

The Recall step must be placed before

the Post Processing step that will be
using the recalled data.

An example of the Post Processing

step can be found in Figure: 12-4
Curve Selected in Post Processing.

Figure: 12-2 Recall Step in Sequence

The Reference Standard.dat file is located by browsing to the Data folder. The proper curve is then selected.
Note that in this example Last Curve Only has been selected to use the latest Reference Standard
calibration and thus limits the list to only one item.

Figure: 12-3 Recall Editor, Select Curve

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This curve can now be used in the Post Processing Step to perform a curve division calculation.

Figure: 12-4 Curve Selected in Post Processing

Custom Curve Name

The name of any curve or result can be given a custom name. In the example in Figure: 12-5 Custom Curve
Name shows that the name has been changed from “Reference Std [L]” to ““Golden Unit“. Since this is a Blue,
Sequence Specific field, the new curve name only applies to this sequence. This new curve name will need to
be selected in associated steps such as Post-Processing.

Figure: 12-5 Custom Curve Name

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Add
This allows you to add curve names to the list, as replacement names for existing items to be recalled. This is
useful for changing a long list of curve names; i.e. Polar Plot Curves.

Clear
This will clear the contents of the Names to be Recalled. You can then add custom names using the Add
button. It is important to know the number of curves in the list so that a correspoinding number of new names
are added.
In the example in Figure: 12-6 Replacing Names Using Add Button, 20 curves are present in the Polar.Dat
file. After clicking the Clear button, 20 new names can be added to the list. These new names will replace the
old curve names in the Memory List.

First click on Clear and then click on

the Add button to enter new curve
names. (Only one curve name can be
entered at time.)

Figure: 12-6 Replacing Names Using Add Button

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Post-Processing Editor

To view and change the system’s post-processing settings; select Post-Processing from the Setup pull-down
menu on the main SoundCheck menu bar, or use the shortcut Ctrl+Shift+O. Post-Processing allows a variety
of operations to be applied to measurement data, including additional calculations, smoothing, and statistics.

Select Type of Calculation

Select Curve from the Memory List for

Operand A or B

Select Operation type

Uncheck "Use Default" to create a

Check to Show Data for the selected custom name for the result
axes

Create custom Units

Click on "Apply" to generate a result which
can be viewed or used in other steps with-
out having to run a new measurement

Figure: 13-1 Post-processing Editor

Desired Result
This is the name of the newly created curve. If Use default is checked, the Result name is automatically
generated. A new name will be created using the original curve name concatenated with the mathematical
operator, e.g., <Operand A><mathematical operator><Operand B>. This applies to all types of Post
Processing steps except the User Equation. See the User Equation (optional) section for more details.
When this box is checked, a custom name can be entered manually. In Figure: 13-1 Post-processing Editor
the result has been named Relative to Reference.

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Arithmetic
Allows block arithmetic operations (e.g., addition, subtraction, multiplication, and division) to be performed
between two complex data sets (magnitude and phase vs. frequency) or wave forms. Operand A and B can
be any curve, wave form or value chosen from the Memory List. Mathematical operations are performed in
parallel on Operand A and B: Point by point operation. Interpolation is performed when the frequency axis of
the two operands do not match.

Select Operation and Choose x-axis for

Select Type Select Operand A Select Operand B "Work in" Mode Result

Figure: 13-2 Arithmetic Post-processing

z Available Operations: Addition, Subtraction, Multiplication and Division
z Work in mode: Mathematic operations can be performed on the dB or power values instead of Linear
values (for Y axis)
Example of Work in dB: 90dB + 90dB = 180dB (The math is applied on the dB values.)
Example of Work in Linear: 90dB + 90dB = 96dB (The math is applied on the linear values.)
Example of Work in Power: 90dB + 90dB = 93dB (The math is applied on the power values.)

Note: Multiplication or Division of dB to dB values is NOT allowed.

z Units are combined according to the operation chosen. For more information on the combination of
units, refer to Appendix 13: Equation Editor Functions. (The units of the final result can be modified
by clicking Units in the editor.)
z Result x-axis same as: Allows you to set the x-axis scale from the selected operand or combination
of operands.

X-axis combination:

Operand type X-axis Combin

A B A B A&B Output type Rule applied

Curve Point x Curve YB, ZB is applied as a complex constant on the entire curve
A regardless of XB.

Curve Point x Point Curve value is applied on point value @ XB using interpola-
tion.

Curve Point x Curve Result curve is the same as A except at XB, where points A
and B are combined.

Curve Curve x Curve Points with XA only.

Curve Curve x Curve Points with XB only.

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Curve Curve x Curve Points with XA & XB combined.

Point Point x Point One point with XA..

Point Point x Point One point with XB.

Point Point x Curve Two points of same values @ XA & XB.

You may choose A & B combined as your x-axis, instead of choosing to combine magnitude values
regardless of frequency. This allows you to splice curves with different ranges together. This works best when
the range from one curve ends when the next curve’s range begins (see Windowing). Figure: 13-3 Low
Frequency and Mid Frequency Curves Before Post Processing shows a Low Frequency and a Mid
Frequency curve (in the XY Graph of the Display Editor). Figure: 13-4 Two Curves Have Been Combined
Into One Curve, Titled LF + MF shows the resulting curve when the two curves are added and the x-axis is
the same as A & B combined.

Two
curves
before
they are
com-
bined.

Figure: 13-3 Low Frequency and Mid Frequency Curves Before Post Processing

New
curve
named
"LF+MF"
in Post
Process-
ing step

Figure: 13-4 Two Curves Have Been Combined Into One Curve, Titled LF + MF
Microphone or loudspeaker measurements that require two different measurements to acquire the proper
response data can be combined into one curve using this technique.

Constant
Allows any curve, value or wave form in the Memory List (Operand A) to be modified by block arithmetic
operations (i.e. addition, subtraction, multiplication, and division). Operand B can either be a single value or a

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user defined constant. The operation is made on real data. The constant is applied on only one axis: each
value of a single axis of Operand A is combined with the constant, Operand B.

Axis choices for Operand A:

z X – Modifies (+, -, x, /) Operand A by the factor entered in the Constant value box ONLY ON THE X
Axis. i.e. Frequency
z Y – Modifies (+, -, x, /) Operand A by the amount entered in the Constant value box ONLY ON THE Y
Axis. i.e. Magnitude
z Z – Modifies (+, -, x, /) Operand A by the amount entered in the Constant value box ONLY ON THE Z
Axis. i.e. Phase curve
Operand B can be a Single Value item from the Memory List. In this case you can chose the x, y or z
value in the Operand B selection field. This value can then be applied to Operand A as per the rules
stated above.
Work in mode is the same as in Arithmetic except: Multiplication or Division of dB to dB values is
allowed. Refer to the Arithmetic section for more information.
Units combination is the same as in Arithmetic. Refer to the Arithmetic section for more information.

Select Type Select Operand A Select Operand B Select Operation Select Name option

Figure: 13-5 Curve Shifting Using a Constant

Unary
Allows unary operations (e.g., change sign, reciprocal value, absolute value, square, square root, exponential,
logarithm) to be performed on a complex data curve as well as wave forms. Exp is e(Operand A) and Ln is the
natural logarithm of Operand A. (These two operations are applied in the complex domain as well as in the
real domain depending on the format of Operand A.) Single values, curves and waveforms are available as
Operand A. However, it should be noted that not all operations are valid with all operand types. All functions
are available for all operand types except Unwrap Phase and Group Delay, which can only be applied to
curves.

Select Type Select Operand A Select Operation

Figure: 13-6 Options for Unary Edits

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Scalar (Statistics)
This allows calculations of a single value from a specified curve or waveform. Again, not all operations are
valid for all operand types.
z None of these functions can be applied on single values.
z IEEE and ITU loudness operations can only be performed on frequency curves.
z Attack and Release operations can only be performed on wave forms.

Select Type Select Operand A Select Operation Select Search Range

Optional modules for telephone

loudness measurements

Optional modules for hearing aid

measurements

Figure: 13-7 Statistics Available in Post Processing

Average
N
⎛ y----i⎞ over the search range where the level is in linear units
Calculates the arithmetic average y = ∑ ⎝ N⎠
i=1
(e.g., Pascal) and is the number of chosen frequencies.

Power Sum

∑ yi
2
Calculates the square root of the sum of the squares of each Y value in a spectrum: PwrSum = ;
i
e.g. the square root of the sum of the power of each RTA bin, or the sum of the power of a specific frequency
band of an FFT spectrum. (All FFT spectrum are summable spectrum in SC6.11.)

Maximum
Finds the maximum curve Y value in the specified search range and returns X, Y and Z values at that point.

Minimum
Finds the minimum curve Y value in the specified search range and returns X, Y and Z values at that point.

Est. Resonance
Finds the resonance frequency, amplitude, and quality factor (Q) of a peak in a curve. The calculation is
based on an algorithm that fits a quadratic polynomial to sequential groups of data points. The number of data
points used in the fit is specified by the width control in terms of either how many dB down from the peak or %
of the peak. For most woofers, -3 dB will suffice, but for low Q drivers (such as tweeters) -1 dB may be
required in order to resolve the resonance frequency from the fitted curve.

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Est. Notch
Finds the antiresonance frequency, amplitude, and quality factor of a dip or notch in a curve.

IEEE-661 OLR
This calculates the average of the Freq. Response from Start Freq to Stop Freq. The average is taken of the
amplitude raised to the power of (1/Exponent). The Freq. Response must be given in dB. The average is
calculated using the trapezoid rule. Values for Freq. Response at the exact Start and Stop Frequencies are
found by interpolation.
To calculate OLR according to ANSI/IEEE 661, the Start Freq must be no higher than 300 Hz and the Stop
Freq must be no lower than 3300 Hz. The Frequency Response shall (according to the standard) cover this
frequency range and include at least 12 measurement points within the frequency range.

x
i
1⁄α x –1 1⁄α
i α
⎛ ----- 20⎞
- ⎛ -------------
20 ⎞
⎜ 10 ⎟ + ⎜ 10 ⎟
⎝ ⎠ ⎝ ⎠
N ----------------------------------------------------------
⎛ fi ⎞ 2
∑
⎜ log -----------⎟
⎝ f i – 1⎠
i=2
LoudnessRating = – ( 20 )log -------------------------------------------------------------------------------------
-
⎛ fN ⎞
log ⎜ -----------⎟
⎝ f i – 1⎠

z α = exponent (default value 2.2) (This value can be user defined.)

z N = number of measured frequencies
z fi = frequency at index i
z xi = electroacoustic sensitivity of the path
dB Correction is added to Freq. Response, and may be used to correct for different dB references
(e.g., if the Freq. Response is dB relative to 1 V/Pa and the OLR shall be dB relative to 1 mV/Pa, the
dB Correction shall be 60 dB).

ITU-T SLR & RLR (Optional Module)

Calculates the send and receive loudness ratings according to the ITU-T Rec. P79 Loudness Rating from the
values in the Freq. Response. The formula is:
N2
10 ( m ⁄ ( 10∗ ( S i – W i ) ) )
LoudnessRating = – ------ log
m ∑ 10
i = N1
z m = loudness growth exponent (This value can be user defined.)
z i = frequency band index (ISO R10 1/3-octave bands)
z Wi = frequency weighting in dB (This value can be selected from the Memory List.)

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z Si = electroacoustic sensitivity of the path

z N = frequency band number (typically 4-17 where band no. 1 = 100 Hz)
dB Correction is added to Freq. Response, and may be used to correct for different dB references
(e.g., if the Freq. Response is dB relative to 1 V/Pa and the OLR shall be dB relative to 1 mV/Pa, the
dB Correction shall be 60 dB).

ITU-T STMR (Optional Module)

Calculates the sidetone loudness ratings according to the ITU-T Rec. P79 Loudness Rating from the values in
Freq. Response.
For IEEE standards, the exponent can be user defined. For ITU standards, both the exponent and the
weighting curve can be user defined. This is for future use and modifications of standards. The step is set to
Use Default Values by default.

Select Type Select Operand A Select Operand B Select Operation Select Name option

Figure: 13-8 ITU-T SLR Settings

Search Range
Specify the individual points or range of points to calculate the curve statistics. This can be applied either to
time waveforms or frequency curves.

Figure: 13-9 Search Range

Smoothing
Selects the degree of smoothing for the displayed curve. Smoothing corresponds to a running average on a
frequency axis with a window of the given width (1/n octave or number of Hertz). The running average can be
weighted using a Hanning window in order to get a smoother curve result. Figure: 13-10 One-third Octave
Curve Smoothing compares an 8196-line with the same curve smoothed by 1/3 octave.

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Figure: 13-10 One-third Octave Curve Smoothing

Intersection (search)
This is used to find the intersection points between two (2) curves or waveforms. By selecting Search Up, the
first intersection point can be found. By selecting Search Down, the last intersection point can be found.
Return all intersection points will yield a curve of all of the intersection points. (This can also be displayed
as a table of values in a Display Step.)
Search Range allows you to narrow the range of the search or to exclude regions that a search should not
occur within.

Select Type Select Operand A Select Operand B Select Search Criteria

Figure: 13-11 Find Intersection of Two Crossover Curves

User Equation (optional)

This section allows the user to build an arithmetic equation using constants and the values generated by the
sequence. The user builds an equation (similar syntax to writing an equation in Excel) and defines the
variables and results at the top of the editor. Build this equation by selecting a curve, single value name, or
defining a constant from the pull down lists that appear in the top table of the User Equation Parameters
window.
Assign variable names for these data in the Variables column, using numbers and letters, but no spaces.
Choose which axis of the curve or value you wish to use. The Values and Units columns are only accessible
if you are in a user defined constant row.
Curves and Values from the Memory List have sequence-determined values and units. Use these variables in
the equation box in the Post Processing Editor. ALL CALCULATIONS ARE PERFORMED IN LINEAR UNITS
IN THE REAL DOMAIN. Units drawn from the Memory List are analyzed, and if a log scale is in use, it will be
first converted to linear before being used in calculation. The Editor will then convert back to the log scale to
output results, if desired. Define the units of the results by clicking Units.

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Create Variables

Create equa-
Assign units
tion(s). Use the
syntax in the
Appendix for
User Equations

Clears the Equa-

tion window and
all fields in the
Parameters Table Input Name for results

Figure: 13-12 Assign Variable Names to Curves and Values From the Memory List
You can find a list of valid function syntax for this equation box at the back of the manual, entitled User
Equation Syntax. Each equation must produce only one new variable as the result. In the equation box, the
result must be on the left, an equal sign immediately to the right of the result, and then the remainder of the
equation. A semicolon (;) should end every individual equation.
Each result will be listed on the right hand of the editor, and will appear in the Memory List as you have named
it. You may use numbers and letters, but no spaces. You must assign unit information for this new value,
created in your equation.

User Equation Syntax

Each equation must start with the result variable, followed by the equal sign, then the operators, variables and
constants that will produce your result. Equations shall be separated by a semi colon.
Help menus are available for the User Equation (optional) section of SoundCheck Press Ctrl+H on your
keyboard to open the Context Help window (see Figure: 13-13 Get Help for the Equation Text Box). It will
give information on the last item your mouse has scrolled over. Press Ctrl+H again to make the Context Help
window disappear, or click the close box button in the upper right hand corner.

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Figure: 13-13 Get Help for the Equation Text Box

In general, use the following procedures:
1. Define the Input Operands

a Define the variables of input operands. Default is “a0, a1 …aX”

b Define the units of user defined variables.

3. Create Equation

a The desired results list will be generated by the equation.

b Default curve names are the same as the result variables but can be changed manually by the
user.

3. Modify results parameters

a Change the name of the desired results. (This name will appear in the Memory List.)

b Define the units of the desired results. In the column labeled Select Units and then click Units…
to change the units for that line (see Figure: 13-12 Assign Variable Names to Curves and
Values From the Memory List).

Note: When creating or editing very large equations, it may be helpful to use a text editor such as
Wordpad since it has more space for typing. The equation can then be copied and pasted into
the Equation field in SoundCheck. A useful tool in Wordpad is Find and Replace.

Windowing
This type allows you to trim the curve selected in Operand A with respect to the X axis. Select a range of X
values to include in the new curve from the Search Range list box, or define a new range by clicking Edit
Range (see Search Range) then name the new windowed curve before leaving the step (by default, the new
curve will be named as seen in Figure: 13-14 Frequency Window Options, with the range appended to the

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original name). You can select All Points to include the entire acquired range of the test signal. This feature
allows you to splice curves together cleanly. You can trim curves first by setting the Frequency Window and
then splice them in an additional Post Processing step.

Select Type Select Operand A Edit Search Range Desired Result Name

Check desired
Click Add to enter search range
new search range
into list
Click Apply to see
result name

Figure: 13-14 Frequency Window Options

Resolution
A curve can be resampled according to a new resolution. e.g.: Linear spectrum resampled to 1/3 octave.

Note: If you want to down sample, it is better to smooth the curve before hand.

Select Type Select Operand A Original Resolution Select New Resolution

Figure: 13-15 Resolution

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Directivity Index
This function is used to calculate the Directivity Index from a set of off axis response curves. These curves
must be measured on an arc, around the DUT (based on Polar Response). This process yields a single curve
that indicates the directivity at specific frequencies.

Select Weighting and

Select Type Select Reference Curve A Select Curve Group Increment

Figure: 13-16 Directivity Index

z Reference Curve: This is the On Axis measurement (0 degrees).
z Weighting Function: This is a means of applying a weighting curve that will emphasize/de-
emphasize measurement values according to the angle of the measurement. This is applied to the
group of selected curves. The standard is: w(q)=|Sine q|.
z Formula Applied: For a set of off-axis frequency responses L(f, q) and a defined weighting function
w(q), the directivity index function is defined by:

maxθ
L ( f, 0 ) ⋅ ∫
2
w ( θ ) dθ
0
Index ( f ) = 10 log ------------------------------------------------------------
maxθ
-
∫ w ( θ ) ⋅ L ( f, 0 ) dθ
2
0

where Maxq is the total range of angle.

z Incrementation:
z Auto Increment equally divides the selected curves across the Total Rotation in degrees. (If
Total Rotation is set to 180 degrees and there is one Reference curve and nine Off Axis curves, Auto
Increment will calculate an angle of 20 degrees between each measurement.)
z Increment (deg.): Sets the Angle of increment in degrees for each measured curve.
z Desired Result: This can use the default name or a user selected name.

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Nth Octave Synthesis (New)

This operator is meant to transform an FFT Spectrum into an RTA Spectrum. The transform is done by
making a power sum of all adjacent FFT lines that are encompassed in the target nth-octave bands. The final
RTA Spectrum has the same frequencies as the RTA analyzer.
This can be used after an analysis step using the Spectrum or Dual-Channel algorithms. e.g. A response
auto-spectrum with 1 Hz resolution can then be transformed into a 3rd octave spectrum, from 20Hz to 20kHz.
The algorithm can be used to convert the Summable Spectrum saved from the FFT Spectrum Analyzer. This
operation can also be used to reduce the resolution of an RTA spectrum, e.g.: going from a 1/24th octave to a
1/3rd octave spectrum.

Note: All FFT spectrum are summable spectrum in SC6.11.

Any FFT Spectrum acquired with SoundCheck can be processed with Nth Octave Synthesis. It should be
noted that this operation should not be used.on a frequency response result (Fundamental from
Harmonictrak), because one cannot make a power sum of the ratios of output over input. In the case of
frequency response, the correct approach to get an nth octave result, is to use the smoothing and resolution
operations in Post Processing.
The example in Figure: 13-17 1/nth Octave Synthesis shows the Summable Spectrum (acquired with the
Spectrum Analysis module) being synthesized to an RTA Spectrum with a resolution of 3rd Octave. The result
is compared to the Summable Spectrum in the XY Graph. The FFT Summable Spectrum is in Yellow and the
RTA Spectrum is in Green.

Figure: 13-171/nth Octave Synthesis

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FFT Spectrum apply nth Octave RTA Low Frequency Cut-off

Minim um Tim e nth octave R10 Cut-off R20 Cut-off R40 Cut-off R80 Cut-off
Resolution Required synthesis (1/3rd oct) (1/6th oct) (1/12th oct) (1/24th oct)
100 Hz 10 mS > 2000 Hz 4000 Hz 8000 Hz 16000 Hz
10 Hz 100 mS > 200 Hz 400 Hz 800 Hz 1600 Hz
1 Hz 1S > 20 Hz 40 Hz 80 Hz 160 Hz

Figure: 13-18 FFT to RTA nth Octave Synthesis

A minimum of 5 lines is enforced to ensure ANSI nth octave filter compliance. That constraint gives a lower
frequency cut-off for the operation. The chart in Figure: 13-18 FFT to RTA nth Octave Synthesis shows the
relationship between the resolution of the FFT Spectrum and the result of applying nth Octave Synthesis to
get the RTA Spectrum. The chart shows the resulting low frequency cut-off point.

Resolution
The Resolution Post-Processing operation should be used on signals acquired with HarmonicTrak,
Heterodyne and Time Selective Response Analysis modes.

Note: When performing Curve Smoothing and Curve Resolution changes it is essential that the Curve
Smoothing step be performed first. Run the Curve Smoothing step and then run a second post-
processing step to change the resolution of the result of Curve Smoothing.

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Limits Editor

To view and change the system’s test limits, select Limits from the Setup pull-down menu on the main
SoundCheck menu bar, or use the shortcut Ctrl+Shift+L. You can use this step to set Pass/Fail bounds for
your measured curves, waveforms and single values. A curve or value that crosses the upper or lower limit set
by the step will give a Fail result, while a curve or value that lies between or equal to the set boundaries will
Pass. There are many different ways of applying limits to measurement data.
Options include:
z Floating limit curves to fixed data
z Floating data to fixed limit curves
z Setting Absolute limits
z Allowing data to float on the x axis
z Data from the memory list can be used to create limit curves which can be offset by a predetermined
amount.
z Data from the memory list can be used as a limit curve, i.e. +/- 3 sigma of running statistics.
The Limits Editor functions are now divided between two tabs; Data and Parameters. Figure: 14-1 Limits
Editor Tabs: Data and Parameters shows the settings available under the new tabs.

Drag limit points

with a mouse.

Resolution of the
X and Y axis can
Data and be set from 0 to 6
Parameters decimal places
tabs.

Select one curve

from the Memory
List that limits will
be applied to

Remove existing Limits (Clear). Use

current measurements to create limits
(Copy), or use previously saved mea-
surements or test items as limits.

Parameters tab

Figure: 14-1 Limits Editor Tabs: Data and Parameters

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The following is a summary of the changes to the Limits Editor in SoundCheck 6.1.
z Click on Apply and the limit curves and results are updated in the memory list. Settings can be
changed and tested without having to run a new measurement. Note the additional condition in
Figure: 14-22 Save or OK Warning after Apply.
z Dynamic Selection of limit curves in Memory List, so that limits can come from another measurement
or Recalled DAT file.
z Show measurement curve on table (disabled for waveform)
z SI Units now implemented
z The editor now incorporates the look and behavior of the Display Step.
z Easier dragging of limit points
z Graph or Plot items such as the Mapping Mode or precision of the X and Y axis are now stored when
the step is saved.
z Failed Points can be stored as curves in the Memory List.

Note: Limits can be applied to only one curve at a time. Old limit steps that applied limits to multiple
curves will only apply to the first curve in the list. Sequences from SoundCheck 6.01 (and
previous versions) that applied limits to multiple curves in one step (e.g.; Self Test) will need to be
updated to work in SoundCheck 6.1. A separate limit step must be used for each curve that the
limits should be applied to.

Precision of Limits Display

The precision of the Limits Editor display is set through the graph controls located below the graph. Click on
x.xx or y.yy, click on Precision and select the number of decimal places to display. This changes only the
precision of the graph. It does not change the precision of how the limits are applied to the data. See
Absolute Comparison Precision for an explanation of changing the precision of the applied limits.

Note: Setting the Absolute Comparison Precision overrides the Display Precision set by the user.

Format and Mapping Mode selections are also available. See Advanced Graph Controls in the Introduction
chapter for more information.

Critical Points
One critical point is generated for the upper limit and a second is generated for the lower limit. These points
show up as yellow circles on the Limits Editor Display but are not passed on to the Memory List. This is to be
used as a visual marker to aid in building and editing limit steps.
In the case where the data is within the bounds of the limit curve, this point shows where the data is closest to
the limit curve.
In the case where the data lies outside the bounds of the limit curve, this point shows the greatest deviation of
the data relative to that limit curve.

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Data Tab Settings

The following choices are available in the Data selection field:
z Single Values - Any single number value from the memory list
z Curves - Any curve that is available in the memory list
z Waveforms - WFM and WAV files
z Multimeter - Used to pass the limit values to a subsequent Acquisition step that uses the Multimeter.
Multimeter Limits are no longer applied to selected data in SoundCheck 6.1.

Using the Limits Editor

You need only to specify the minimum number of X-Y data pairs (or knee points) that define the shape of the
tolerance curve. All other points in between the specified knee points of the limit curve will be interpolated and
compared to see if any point on the measurement curve intersects. In the example below, a frequency
response curve for a telephone headset is shown in green. The upper and lower limits (red) were entered in
the table manually. After the points are entered you may click on any of the limit curve points on graph to
move them. Holding down the control key restricts the movement of the point to the y axis. This feature is

Frequencies and
dB levels entered
manually in table

Figure 14-2: Entering Limits in Table

Upper and Lower Limits

Note: Floating Limits or Floating Data requires upper and lower limits.

Select whether to apply an upper, lower limit or both. Distortion, for example, should only require an upper
limit, but response limits will require both an upper and lower limits if Floating Limits or Floating Data is
selected. See Parameters tab for more information.

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Clear
Deletes the limit curve(s) and enables you to enter a new curve manually or by copying a Data curve (single
value or curve). Select the range of value you want to delete by holding down the left mouse button and
dragging over the cells in the Limits table. The cells that will be deleted will be highlighted in blue.

Figure 14-3: Clearing (deleting) Values from Limits Table

To select the entire table, hold down the control key and click on any cell in the table. The center line of the
table will switch to a Blue line indicating that the entire table is selected.

Copy
Copies the selected data curve from the Memory List (Fundamental [L]) and inserts the curve values into the
Upper or Lower Limits table. In the example below, the response curve (green) was copied into the Upper
and Lower Limits table. The upper limit was offset from Fundamental [L] by +3 dB and the lower limit was
offset by -3 dB.

1. Copy Data
2. Enter Offset in dB
3. Click Offset to shift
Limit Curve

Selected
Curve

Figure 14-4: Creating Limits by Using Data From Memory List

Note: SoundCheck may have difficulty copying very large arrays (>2000 points). For example, copying
an FFT Spectrum into the Limits Table may cause you difficulty. Computer hardware will dictate
full capability.

Delete
Removes those points that have been selected in the Upper Limit and/or Lower Limit curves. To select one
or more points, place the I-beam mouse pointer in the cell that contains the frequency you want to delete (in

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the example in Figure 14-5: Deleting Values in Limits Table, points above 6300 Hz will be deleted). Left-
click the mouse and drag it to the right and highlight both frequency and amplitude values. A blue border
surrounds the cells in the table that will be deleted.
Clicking Delete will remove these cells from the table. By deleting the same cells in Lower Limit, the resulting
Pass/Fail limits are shown in Figure 14-5: Deleting Values in Limits Table.

Figure 14-5: Deleting Values in Limits Table

Offset
Enables you to move or offset the entire or selected section of a limit curve(s) by a specified amount. The
values you want to offset must be highlighted in blue. Enter the number you want to offset by (usually you will
offset in the Y-axis, leave the X-axis field at 0.0 to make no changes there) and then click Offset. You can
select all the values in the limit table by clicking the horizontal line between the two unit specifications.
To select the entire table, hold down the control key and click on any cell in the table.

Offset by Percent
Offset by percent allows you to set the percent difference from a mean value that is acceptable for upper and/
or lower limits. In Figure: 14-6 Offset by Percent the mean value is 1 and the limits should be + or - 10%.
1. Enter the mean value (1) in the Upper and Lower Limit value boxes.

2. Enter the Percent of offset in the Upper and Lower Limit Offset boxes and select %.

3. Click Offset for the Upper and Lower Limits.

4. The Upper and Lower Limit values are updated in the value boxes and on the meter or graphs.

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Figure: 14-6 Offset by Percent

Insert
X-Y cells can be added to the limit table by clicking on a cell and then clicking on the Insert button.

Pass/Fail Tolerance Axis

You can choose which axis will be compared to a Pass/Fail tolerance. Typically it is the y (magnitude) axis,
but tolerances can be generated for the other axes. The units for the tolerance curves or values are
automatically assigned based on the x, y, or z-axis units.

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Data Tab - Data Type

Single Values
Single Values is used when applying limits to items from the memory list that are single number values. This
can be used for comparing the measured level at a specified frequency to a lower and upper threshold or a
single value created from a Post-processing Step, such Curve Average or Loose Particle Count.
The use of Single Value is not limited to values acquired by a measurement. Figure: 14-7 Single Values
shows limits applied to the value of “Diaphragm Diameter”. This number was entered by a technician during
the execution of the sequence. The number was passed from a Message step to the Memory List.
User defined limit values can be entered manually in the numeric input field or by clicking and dragging the
Upper and/or Lower Limit arrows. If either the upper or lower limit is defined from the memory list, the ability to
click and drag the arrows is disable.

Figure: 14-7 Single Values

Offset for single value (linear or %)

z Linear allows you to select specific upper and/or lower values. Offset by percent allows you to select
the percent difference from a target mean value that is acceptable for upper and/or lower limits. See
Figure: 14-6 Offset by Percent for an example.

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Curves

Select Curve
from memory
list

Figure: 14-8 Curve selected, User Defined Limits

Waveforms (New)

Select Wave-
form from
memory list

Figure: 14-9 Waveform

Because waveforms have so many points, the following rules apply:
z User defined limits may be created as X-Y (Time-Amplitude) "knee points" by the user.

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z User defined limits will be converted to waveforms and output to the memory list to enable the user to
plot data and limits together.
z Dynamic limits may be applied to waveforms. However, the user may not copy a waveform in the
Limits Editor to create "static Limits" (i.e. limits saved with the step) because of the large waveform
size.
z A Single Value may be applied as a limit on a waveform.
z User will not be able to view the waveform data in the table to which the limits are to be applied in the
Limits Editor. This will only be visible in the graph.

Multimeter
Sets the upper and lower limits in the manual Multimeter or in the subsequent Multimeter Acquisition step.
This Limit Step must be before the Multimeter Acquisition Step in a sequence in order to work. When the
sequence runs, the Multimeter Limit step will pass the Upper and/or Lower limit values on the Acquisition step.
This is an exception to all other Limit Steps which require that the curve or value be created before applying
the limits.

Important! Multimeter Limits steps, from previous versions of SoundCheck, that were used to apply
limits on single value data from the Memory List will no longer work. These steps should be
opened and edited to set the data type to "Single Value". Once Single Value is selected, a
value can be selected from the list. See Single Values section for more information.

Upper and Lower Limit Source

User Defined
Limits can be entered manually or copied from the selected data curve.

Memory List (New)

This function is also called Dynamic Limits. Limits can be called from an item in the memory list by clicking on
the drop down menu. These limits could be recalled from a DAT file or from a previous measurement in the
sequence. The example in Figure: 14-10 Limits from Memory List shows the upper and lower limits being
called from 2 files; +3 Sigma and -3 Sigma.
Only applicable data types from the Memory List are available to be used as dynamic limits for any given data
type. i.e; Only single values and curves can be applied as limits on curves. If a curve is selected as data, a
waveform cannot be selected from the Memory List.

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Select Curves
from memory
list drop down
menu

Figure: 14-10 Limits from Memory List

Note: No offset is available when using dynamic limits.

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Parameters Tab Settings

z The Resolution for X & Y can be set independently.

Absolute Comparison Precision

To pass or fail the device under test to within 1 dB, choose Precision = 0; within 0.1 dB choose Precision =1;
within 0.01 dB choose Precision =2, etc. The default precision is one (1) decimal place. In this case, a data
point of .05 is rounded up to .1 and then the limit, which has also be rounded to the selected precision, is
applied. When the data equals the limit, a Pass verdict is returned. Only when the data is outside the bounds
of the limits is a Fail verdict returned.

Note: Regardless of the resolution set in the Limits step, the default resolution for the Results Display
window is two (2) digits of precision.

Note: Setting the Absolute Comparison Precision overrides the Display Precision set by the user.

The example in Figure: 14-11 Absolute Comparison Precision 2 decimal places show the Absolute
Comparison Precision set to 2 decimal places on the y axis. The value of 77.79 dB at 6.3 kHz is outside the
limit tolerance by .01 dB (-10m dB). In this case the Limit step returns a Failed verdict.

Figure: 14-11 Absolute Comparison Precision 2 decimal places

By changing the Absolute Comparison Precision to 1 decimal place the y axis value is rounded to 77.8 dB.
The data values have not changed. Only the precision of the application of the data has changed. Since the
Limit value and the Data value are the same, a Pass verdict is returned with a margin of 0 dB. This is shown in
Figure: 14-12 Absolute Comparison Precision 1 decimal place.

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Figure: 14-12 Absolute Comparison Precision 1 decimal place

Alignment

Note: Floating Limits or Floating Data requires upper and lower limits.

Figure: 14-13 Y axis Floating Limits

x axis float Limits

In many instances, electroacoustic transducers will exhibit sharp resonance or anti-resonance in their
frequency response curves. For example, a small shift or reflection due to a slight change in microphone
position can cause false rejects. SoundCheck can take into account these slight changes in peaks and dips in
the frequency response curve by floating an X-axis tolerance.
When the x-axis Float Limits box is checked, SoundCheck will shift the frequency response curve by the
amount specified in the Step Size box. See Figure: 14-14 X axis Float Limits.

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The X-axis tolerance can be either logarithmic or linear. If it is set to Log, the step size (amount that
SoundCheck will shift the curve in the X direction) is in percent (%). If you want to shift the curve by 1/24th of
an octave, you would set this value to 3 percent. Maximum and Minimum refer to the greatest amount, in
percent, that the curve will be shifted. If Lin is chosen, the step size is in Hz as well as the Maximum and
Minimum frequency limits (e.g. ± 10 Hz).

Figure: 14-14 X axis Float Limits

Aligned Limits
Positions the tolerance limits relative to the curve by a specified offset at a user-defined reference point in the
Align Reference box. The Align Reference numeric field is enabled when this tolerance type is selected.
See Figure: 14-15 Aligned Limits.

Figure: 14-15 Aligned Limits

Aligned Data
Positions the measurement curve relative to the tolerance limits by a specified offset at a user-defined
reference point in the Align Reference box.

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X Axis - Log vs Linear Interpolation

X axis Log Interpolation

is selected

If a data point lies between two points along a limit curve, SoundCheck must interpolate along the Limit Curve
in order to determine how the data point is compared to the limit curve. When Log is selected, the data value
is compared to the limit curve using a Log X axis scale. This can be seen in Figure 14-16: Log Interpolation.
The data point is 4.4 dB at 1000 Hz. The Limit curve starts at 5 dB at 100 Hz and ends at 3 dB at 10 kHz. In
this case, log interpolation compares the data to a value of 4 dB at 1 kHz. Thus the Data Point is ABOVE the
limit curve.

Data point:
4.4 dB at 1
kHz

Figure 14-16: Log Interpolation

Using the same limit curve and data point, the example in Figure 14-17: Linear Interpolation shows a
different result when Linear Interpolation is selected. Here the Limit Curve is interpolated to be 4.82 dB at 1
kHz. Thus the data point is BELOW the limit curve.
In general it is good practice to have the display X axis mapping and the interpolation control set to the same
scale. This way, the interpolation matches the visual representation of the curves. In the end, this should
prevent false visual failures.
Interpolation along the Y axis is always Linear regardless of the settings of the X Y Graph Display.

Data point:
4.4 dB at 1
kHz

Figure 14-17: Linear Interpolation

For no interpolation between limit points, select Individual Points under Limits Parameters - Alignment. See
Individual Points on page 161.

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Failed Points (New)

When Failed Points is selected on the Parameters tab the points of failure are stored in the Memory List as a
curve.
„ One curve for Upper Limit and another for Lower Limit
„ Curve of failed points contains all (and only) the points that exceed the limit curve
 If the limit step is executed and there are no failed points (PASS situation), the failed points
curve is populated with a value of NaN (Not a Number).
 If the limit step is not executed, the failed points curve will remain empty.

Figure: 14-18 Failed Points

Individual Points
The measurement is compared to the absolute values of the individual tolerance points. Only when the
measurement exceeds the tolerance at specific limit points will a failure be indicated. In Figure 14-19:
Individual Limit Points the level at 6300 Hz is below the level of the limits at 5000 and 8000 Hz, but the limit
status indicates Passed. There is no interpolation between limit points.

Select Individual
Points

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Since there is no
Limit Point at
6300 Hz the limit
status indicates
Passed.

Figure 14-19: Individual Limit Points

Absolute Limits
The measurement is compared to the absolute values of the tolerance limit(s). When Apply is clicked,
SoundCheck will highlight those points where the data exceeds the upper and lower limits by the greatest
amount. In Figure 14-20: Curve Compared to Absolute Limits, the measured curve (Test Monitor) failed by
2 dB at 2.5 kHz (note the small yellow circle at 2.5 kHz).

Yellow circle at
point of maximum
deviation

Failure Margin

Figure 14-20: Curve Compared to Absolute Limits

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Floating Limits
The tolerance limits will float (shift up and down) in reference to the measurement curve such that the
maximum number of data points will fit between the tolerances. By clicking Apply, the speaker that previously
failed now passes by 3.0 dB, because the tolerances have shifted downward to fit between the measured
data. When Floating Limits is chosen, SoundCheck will execute a best fit curve fitting routine between the
upper and lower limits. Yellow circles will highlight those points closest to the limits (in this case 2.5 kHz and 4
kHz).

Figure 14-21: Curve Compared to Floating Limits

When using Floating Limits or Floating Data a warning message will appear when you click on “Ok” or “Save
as”, after clicking Apply. This warning appears because “Apply” may have moved the limits. You are then
prompted to:
z Save Current - Save using the new position of the limits.
z Cancel & Revert - Revert to the unmodified limit step settings and return to the editor.
z Save Previous - Save the limits as they were before the last time the Apply button was clicked.

Figure: 14-22 Save or OK Warning after Apply

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Floating Data
The amplitude of the tolerance curves stays fixed as it does when set to Absolute. The data points will float
(shift up and down) in reference to the upper and lower tolerances, such that the maximum number of data
points will fit between these tolerances. The example in Figure 14-23: Data Floats and Tolerance Curves
Stay Fixed shows a reference point of 1 kHz at 82.3 dB. In the first frame, the Data curve is obviously outside
the range of the limits even though the shape of the response is correct. By selecting Float Data from the
Parameters Tab, the Upper and Lower Limit Curves will remain at their current levels. After clicking Apply the
Data curve has shifted to best fit the Limit Curves. Note that the reference point of 1 kHz is now at 77.3 dB.

Frame 1
Data curve is
above Limits.
Reference point
1kHz at 82.3dB.

Select Floating Data

Frame 2
Click Apply
Data curve shifts
Reference point
1kHz at 77.3dB.

Figure 14-23: Data Floats and Tolerance Curves Stay Fixed

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Comparison of Absolute and Floating Limits Curves and Floating Data

The following three figures show how the same response curve can have limits applied in three different ways.

Figure 14-24: Absolute Limits – Measured curve is outside of absolute value of tolerances,
so the condition is FAIL. The level of the response is 96.2 dB at 500 Hz.

Figure 14-25: Floating Limits

Measured curve stays at its measured level (e.g., 96.2 dB at 500 Hz), but tolerance curves shift downward to
match this level. No values exceed tolerance, therefore a PASS verdict is returned.

Figure 14-26: Floating Data

Measured curve shifts upward to fit in between the absolute values of tolerance curves. The 96.2 dB level at
500 Hz shifts upward to 104.95 dB. No values exceed tolerance, therefore a PASS verdict is given. A copy of
the Floated Data is passed to the Memory List.

Aligned Limits
Positions the tolerance limits relative to the curve by a specified offset, at a user-defined reference point in the
Alignment Reference box. The Alignment Reference numeric field pops-up when this tolerance type is
selected.

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Figure 14-27: Align Limits Selection

Aligned Data
Positions the measurement curve relative to the tolerance limits by a specified offset at a user-defined
reference point in the Alignment Reference box. A copy of the Aligned Data is passed to the Memory List
with “Floated“ appended to the end of the name.

Figure 14-28: Aligned Data Selection

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Limits Editor Summary Table

Limits Type Data Tolerance(s)

Individual Points Stays fixed at measured level. Same as Absolute but with no
interpolation between data and
limits resolution.
Absolute Stays fixed at measured level. Stays fixed at values entered in
Limits Editor.
Floating Limits Stays fixed at measured level. Moves up or down such that
maximum number of points in data
curve can fit between tolerances.
Floating Data Moves up or down such that Stays fixed at values entered in
maximum number of points in data Limits Editor.
curve can fit between tolerances.
Aligned Limits Stays fixed at measured level. Used Moves up or down to align the
in some telephone (e.g. TIA 470B) Reference x, y value to the
and military standards. This limit will measurement curve.
not be used in the newer TIA 470C
standard.
Aligned Data Moves up or down to the anchor Stays fixed at values entered in
point (X and Y values entered in Limits Editor.
Alignment Reference section of
Limits Editor). An example is
anchoring the 1 kHz measured
curve value at 0 dB.

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Appropriate Limits for Loudspeakers

Sensitivity
To check the sensitivity at one frequency in a curve, choose Alignment: Individual Points. Enter the
frequency and maximum and minimum levels in the Upper and Lower Limit tables. Click Apply to display the
Pass/Fail indicator and also show the measured sensitivity (interpolated if there is not an exact measurement
point) at the specified frequency.

Response
Choose any type except Individual Points. Floating Limits is a good way to test for curve shape. It also
floats the limits to the measurement curve, so that it is still possible to read the absolute level off the Y-scale.
The displayed Pass/Fail indicator will also show the margin of acceptance or failure. A negative number
indicates the maximum margin of failure and a positive number indicates the minimum margin of acceptance.

Phase (Polarity Test)

Choose Individual Points or Absolute Limits, Upper and Lower. Set limits on the z-axis. Enter the
maximum and minimum level of acceptable phase in degrees for the transducer under test. If the positive and
negative terminals get flipped, you should see approximately a 180-degree phase shift. So in general, it is
best to measure a transducer that is known to be correctly wired and measure its phase response. Then add,
for example, 45 degrees to the measured value for the upper limit and -45 degrees to the measured value for
the lower limit. The difference between upper and lower value should never exceed 180 degrees.
Also, it is advisable to make sure the appropriate delay offset has been entered into the Analysis setup. This
will prevent some unwanted phase wrapping and will make reading the phase response curve less frequency
dependent. Also, Autodelay can be checked in the Analysis Step in the sequence (see the Delay section of
the Analysis Editor).

Total Harmonic Distortion

Choose Absolute Limits, Upper Only. Enter the maximum level of acceptable total harmonic distortion, over
the measured frequency range, for the transducer under test.

Rub & Buzz

Choose Absolute Limits, Upper Only. Enter the maximum level of acceptable Rub & Buzz distortion, over
the measured frequency range, for the transducer under test. Bear in mind that Rub & Buzz distortion should
be much lower than THD. Set limits at 1% or lower.
One way to establish Rub & Buzz limits is to measure several speakers that do not exhibit any (or minimal)
Rub & Buzz distortion. Use the Statistics Editor to calculate the maximum level of the measured Rub & Buzz
curves. In the Statistics Editor, select Rub & Buzz in the Data list box, and check the box marked Max. This
step will then update the curve Rub & Buzz Max each time a speaker is tested. After all the known good
speakers are tested, the Rub & Buzz Max curve is a good guideline for an upper limit for Rub & Buzz
distortion on future speakers.

Impedance
Choose Absolute Limits, Upper and Lower. Enter the maximum and minimum level of acceptable
impedance, over the measured frequency range, for the transducer under test. Be sure to select Impedance
from the Memory List in the Limits Editor as your comparison curve.

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Loose Particles
Choose Single Value, Absolute Limits, Upper Only, and compare your limit value with the Value Loose
Particle Count (your Limit Step must come after the Analysis Step in the sequence). Enter the maximum
count of loose particles acceptable for the transducer under test. Keep in mind that a limit value of one (1) may
cause false rejects if a single, loud transient occurs (e.g. a box falling on the floor).

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Display Editor

The Display Editor (Ctrl+Shift+D) allows the user to display data in XY graphs, polar plots (optional), results,
and tables, as well as display text information and pictures. The Display options are much more flexible than
in previous versions. The user has more control of display parameters such as curve type, line style, and line
width. The control center of the new Display Editor is the Memory List. To access this list, select Memory List
or Display from the Setup menu in the main SoundCheck window. Selecting Memory List will only display
the Memory List window. To edit an existing Display Step in your sequence, choose Display from the Setup
menu and this will also open the Memory List.

Figure: 15-1 Example of Display Editor Showing One XY Graph,

a Table, Results, and the Memory List.

Memory List Contents (Curves, Values, Results Tabs)

In the Memory List, the user sees four tabs labeled Curves, Values, Results and WFM (Waveforms). The
names of the curves, values, results and waveforms generated by the sequence can be accessed by clicking
on any of these tabs. Names with an empty circle contain no data and act as placeholders when creating a
sequence. After the sequence is run, the circle will be filled indicating that data is in memory and can be
displayed. If one or more steps are added to the sequence after it is run, the associated names will be
preceded by an open circle until the sequence is run.

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Figure: 15-2 Memory List With Empty Curves Prior to Running the Sequence

Figure: 15-3 Memory List Now Holds Data After the Sequence has Been Run
To view the data associated with the names in the Memory List, select one or more names under the Curves,
Values, Results or WFM tabs. Select a single name by left clicking on it once. To select more than one name,
hold down the Control key while making multiple selections. To de-select a name, click on it a second time
while holding down the Control key. To select a range of curves highlight the first curve in the range, hold
down the Shift key and then select the last curve in the range.

Figure: 15-4 Two Curves Selected From the Memory List

You cannot display any information from the Memory List without first adding some display windows to the
layout. Under the Display menu of the Memory List, you can select from six types of displays. You can select
as many displays as you like, in any combination. More about the functions of these displays can be found in
the next section of this chapter.

Display Menu
The Memory List can produce seven types of Display windows: XY Graph, Waveform Graph, Table, Results,
Polar Plot (optional), Text Box, or Picture (Figure: 15-5 Types of Display Windows are Available in the
Memory List). Only certain types of data are appropriate for each display. When data is selected from the
Memory List, the Active Display attempts to show this data (this will be the most recently used display window

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and will be labeled Active in the title bar). If the data selected is not compatible with the Active display, the
Memory List will look for an open display that IS appropriate. If none are available, the user will get an error
indicating the appropriate type of window to display the data. For example, if your display consists of only XY
Graphs, and you select a result name from the Results tab of the Memory List, there will be no appropriate
place to display the result, and you will get an error message.

Figure: 15-5 Types of Display Windows are Available in the Memory List

Preferences
There are some options common to most Display windows. The Display menu in the Display window will
often contain a Preferences… option. Each type of Display window has a unique set of options configurable
through these Preferences. Examples of options available include changes in color and units.

Visible Items can be

selected from a check
box list

Figure: 15-6 Display Preferences

Export
Four of the Display windows - XY Graph, Table, Results, and Polar Plot - allow you to export your data to
Excel. In the Export menu of the display window, you can select Excel… to immediately send all data
displayed on the Active display window to Excel. An Excel worksheet will appear on your desktop with your
data filled in. You then name and save this file to retain your data. The other option, Excel format… is used to
set up the way your data is exported to Excel. These preferences are saved when the Display is saved. If you

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do not set your own preferences for exporting to Excel, default settings will be used. Figure: 15-7 Settings
Available to Format an Excel File. shows the options available to you when formatting your Excel file.

Use a pre-existing template Numerical data may be

for the file shown in Scientific or Float-
ing point notation, with user
controlled precision.

You may enter a Custom

header in the text box here.
(Use it to denote a tab and "Create New File" will
note that a line feed will not always write over existing
be recognized.) information in the Excel file,
while "Append Existing File"
will add new data to the end
of the open worksheets.

Figure: 15-7 Settings Available to Format an Excel File.

You can choose which axes to include. This may become useful, for example, if all your data has the same X-
axis. In that case, you may avoid taking up disk space by omitting the X-axis from all Exports after the first
one. Data exported to Excel will be displayed in columns by default, but you may also export to rows. If your
data requires a Header, you may use the Standard Header, which includes unit information, or you may create
your own header.
You can choose to export your data in scientific or floating point notation. Test Information such as Operator
name, Time of test, Lot number, and Serial number can be exported with your numerical data. All data will be
exported to a new Excel spreadsheet each time by default, but you may choose to append your data to an
existing Excel file that was created by SoundCheck. Each different name of a curve, value, or result will be
saved to an individual worksheet in your Excel workbook. The worksheet will have the same name as the
curve, value, or result saved there.

Note: If selected, time information is exported with one second resolution, but the default Time/Date
format in Excel is one minute resolution. To display the complete time information, format the cell,
row, or column in Excel that contains the data. For example to show hour, minute, and second
information format the row or column to HH:MM:SS.

Figure: 15-8 Curves From XY Graph Exported to Excel Using Formatting From 1-7

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XY Graph

Figure: 15-9 XY Graph Showing Three Curves

The XY Graph can only be used to display curves. Multiple curves may be shown on one graph, with one or
two Y-axes in use. Users may change the colors of a line on the graph by right clicking on the name of the
curve to change and choosing Color. Other XY Graph properties such as Line Width, Line Style, and Point
Style may be configured through the Legend Palette as well.

To access these display prop-

erties, place the cursor on the
legend and left-click. A list will
appear headed by "Common
Plots. By dragging the mouse
over the selections, a graphic
menu will appear where you
can choose plot type, line style,
line width, etc.

Figure: 15-10 Choices to Configure the XY Graph Through the Legend

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Display Property Selection Available

Common Plots

Color
Choose a color for one of
your plotted curves.

Line Style
Choose a solid line or a
dashed line.

Line Width
Choose width of the line
of your curve.

Bar Plots
Choose between line and
bar graphs.

Fill Base Line

Fill the space above or
below your line graph, to
the indicated boundaries.

Interpolation
How the line between
known points will be
drawn.

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Point Style
The appearance of points
on the graph. The current
selection is “none”.

X Scale Units are displayed for the x-axis

Y Scale Units are displayed for the y-axis

Modifying a Graph Display

The controls at the bottom of the Graph Display can easily be hidden to provide more space for the actual
graph of data. Click on Display and then Preferences to show the Graph Preferences editor. Click on the
Visible Items tab and select which items are to be hidden or visible. Clicking on Hide All or Show All toggles
the selection of all items. This makes it easy to turn all the controls on for editing the graph and then off before
saving the final display with the sequence.

Figure: 15-11 Graph Preferences

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Randomize Color
A Randomize Color function has been added to the Display Editor in SoundCheck 6.1. This is especially
useful in polar plot measurements or sequences with a large number of curves. This function creates a
random list of colors for the curves displayed in the active graph. These new colors are linked to the curves in
the memory list. If you then display one of the curves in a different display, it will use the same color assigned
by “Randomize Color”.
This can be found on the Display drop down menu of the XY, Polar Plot and Waveform Graphs.

Figure: 15-12 Randomize Color Function

Graph Scaling Options

The XY Graph is set to Autoscale by default. You may change the scale of the XY Graph by selecting options
from the Scale Palette, found below the bottom left hand corner of the graph.

Figure: 15-13 XY Graph with Scale Palette Circled

The Scale Palette contains settings that affect the appearance of the graph in your display. There are three
rows in the Scale Palette, the first contains the Units and scale information for the x-axis, the second row is for
the y-axis on the left hand side, and the third row is for a possible y-axis on the right hand side of the graph.
This second axis will appear when multiple curves with different units in the Y-axis are displayed on the same
XY Graph.

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The Autoscale buttons toggle the scaling of the x or y-axis so that the entire
curve is displayed automatically. By clicking on a button and locking it, you set
the x or y-axis to Autoscale. Clicking on the button and unlocking it will allow
the scale of the axis to be altered.

Clicking on either of these buttons reveals a menu to change the properties of

the corresponding axis.
Format- You can change the appearance of the numbers on the axis, this is
set to Decimal by default, but there are many options, such as scientific, hexa-
decimal, engineering and SI.
Precision - Set the number of decimal points you would like to see repre-
sented on your axis. Selectable from a drop down menu.
Mapping Mode- Set the scale of the axis to linear or logarithmic.
Visible Scale and Visible Scale Label may be turned off by clicking the
appropriate menu item. The check mark will be removed when the Scale and
Scale Label are not visible.Grid
Color - You can choose any color for the major and minor grid lines of the
selected axis.
Zoom options are denoted by the picture of the magnifying glass. Starting at
the top left picture, and going clockwise, the first option allows you to select a
window in your graph, and the display will then zoom in to show only your
selection. You may select only a range of x values, or only a range of y values.
The arrows pointing inward cause your display to look smaller (zoom out) and
the arrows pointing outward cause your display to look bigger (zoom in).
Finally, the picture of the magnifying glass and an arrow return you to the most
recent display setting.
When the Cursor button is active, you can move cursors on the graph by the
click and drag method. Place the mouse on a data point until an outline of the
crosshairs appears as the cursor, then click and hold the mouse button down
while moving to the desired location of the point. Then release the mouse but-
ton.
When the Hand button is active you can move or pan your graph to a
different location by clicking and holding on the graph and then moving
it in any direction.
The Scroll Bar can be used to slide the graph along the x axis. This
can be used to easily inspect the graph while zoomed in.

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To measure a difference in level between responses, you can use the XY Graph and the Cursor Palette to
get numerical values of positions on your curves. The Cursor Palette is below the graph on the right side of
the display.

Figure: 15-14 XY Graph with Cursor Palette Circled.

You may place two cursors on your graph, (labeled in Figure: 15-14 XY Graph with Cursor Palette Circled.
as Low and High), after the curve they are locked to. Their position in x and y is listed to the right of the name.
The Delta entry is the difference between them in the x and y-axis. You can toggle the black box directly to the
right of the y-axis value to enable movement of your cursor. When your cursor is enabled (black box is visible,
as cursor for "Low" curve in Figure: 15-14 XY Graph with Cursor Palette Circled.) you may move the cursor
up, down, right or left by using the diamond on the right of the Cursor Palette, or by using the arrow keys on
the keyboard. The up and down keys will move the cursor between the displayed curves (unless Lock to Plot
has been selected).

Left clicking on the Cursor button shows the cursor style menu.
The options here are much like those in the Legend Palette. You
can change the color and shape of the cursor.
Show Name will show the name of the curve the cursor is on, at
its current location.
Bring to Center positions the cursor at the median x value of the
graph, and Go to Cursor will scale the x-axis so that the current
position of the cursor is now situated in the center of the display.
Left click on the cursor-locking button to attach your cursor to a
data point on a curve. A free cursor will not follow the data points.
Snap to Point or Lock to Plot will both enable the cursor to
remain on the selected curve. You choose which curve to lock
your cursor to from the list in this menu. You will be able to select
from any of the curves you have added to the XY Graph. In this
example, if Lock to Plot were selected, the cursor would remain
on the Fundamental [L] curve.

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The Active Cursor buttons allow you to select which cursor will
be moved when clicking on the cursor Direction Control. When
one cursor is active it can be moved left and right as well as up
Clicking on the and down. When two cursor buttons are active, both cursors will
Direction Control move when the direction control is clicked.
moves the active
cursor left, right,
up and down

Display
From the Display menu of the XY Graph window, you may select to show magnitude, phase, or both
components of the curve on the same graph. You can also display the unwrapped phase.
The Preferences listed under the Display menu of the XY Graph opens a window allowing the user to
change the name of the window (the term Active will still appear when applicable, see Figure: 15-9 XY Graph
Showing Three Curves), and change configurations of each axis separately. There are three tabs to control
the axis. The tabs labeled X Axis and Y Axis control the bottom and left side of the graph, respectively. The Y
Axis 2 tab will become active when two or more curves are selected with different units used for the Y-axis.
The second Y-axis scale appears on the right side of the XY Graph. You can enable or disable graph lines,
toggle between a linear or logarithmic scale on the axis, or change the scale options of the axis.
The axes are set to Autoscale by default. This ensures that when a new curve is selected, the graph will
rescale to show the entire curve. You can change this setting to Free, which will require you to scale the graph
manually. In the Y Axis options, Auto Offset is available. Here you can set the visible range on the Y-axis.
When this is selected on the Y-Axis tab, the Standard axis ratio becomes available on the X-Axis tab.
Selecting this option will ensure that the aspect ratio set by the Auto Offset will remain constant, even if the
overall size of the graph changes (you can change the overall size of the graph by holding your mouse over
an edge of the XY Graph display window until it turns into a black double-sided arrow, and dragging to a
desired size). This enables the XY Graph to display a user-defined dB range per decade of frequencies. In
Figure: 15-16 Configurable Preferences for X Axis of XY Graph, the XY Graph will always be 50 dB per
decade, regardless of actual size of the screen.
Many of the options described above may also be configured from the XY Graph's Graph Palette and Cursor
Palette.

Using the Standard Axis Ratio Feature in SoundCheck™

This feature allows the user to ensure that the vertical dimension of decibel range, for example 25 dB or 50
dB, corresponds to the horizontal dimension of one decade (e.g. 20 Hz to 2 kHz).
1. Select the Display pull-down menu in your XY graph and choose Preferences…

2. Click on the Y Axis tab, click the Auto Offset radio button and enter the proper decibel range
(Figure: 15-15 Configurable Preferences for Y Axis of XY Graph). The typical ranges are 25 or 50
however any value can be used.

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Figure: 15-15 Configurable Preferences for Y Axis of XY Graph

3. Select the X Axis tab, click Standard axis ratio, and click OK (Figure: 15-16 Configurable
Preferences for X Axis of XY Graph). Make sure that the X-axis is set to Free and NOT Autoscale.

Figure: 15-16 Configurable Preferences for X Axis of XY Graph

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Polar Plot (optional)

Figure: 15-17 Polar Plot With Five Discrete Cursors Enabled.

The Polar Plot allows the user to visualize directionality characteristics of the device under test. Your list of
Responses in the Memory List should be in order (from lowest angle to highest or highest to lowest).
SoundCheck will assume that all measurements have been taken consecutively. When all the curves are
selected (there must be more than one to show data on the Polar Plot), there will be one color for each. By
default, the Polar Plot is Autoscaled, displays the magnitude of the response at a frequency of 1000Hz, and
the curves will be set at an interval of 10 degrees. These default settings may be altered by selecting
Preferences from the Display menu of the Polar Plot window.

Display
The Display menu in the Polar Plot display window allows you to show or hide an XY Graph or a legend in
your Polar Plot window (see Figure: 15-23 Polar Plot). A checkmark next to these items means they are
visible. You may also change the appearance of your Polar Plot by setting the Preferences found in this
menu. (See Figure: 15-12 Randomize Color Function for information on how to easily change the plot
colors.)

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Figure: 15-18 Polar Plot Settings

You may also add an XY graph to your Polar Plot display window (see Figure: 15-23 Polar Plot). This graph
will show all the curves you have selected from the Memory List. There are two tabs in the Polar Plot Settings
window, one for the Polar Plot and one for the XY Graph. Click on the top of the tab to access the options for
the desired graph.

Polar Plot Options

The Visible Section allows you to change the viewable portion of the 360 degrees available. Use the arrow
buttons to scroll through the options, or left click the current selection to view the possible displays.

Figure: 15-19 Choices of Polar Plot Quadrant(s) to View

If your curves represent less than 360 degrees of data, then you can choose to Mirror your information around
the vertical axis of the polar plot. The data will start at 0º at the North position of the circular grid, and proceed
counter-clockwise. By clicking the Mirror check box, all data will be mirrored from the left side of your display
to the right.
You can choose the color of your plot background or plot gridlines by left clicking on the small square of color,
and then selecting a new color from the color palette.

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Figure: 15-20 Choose the Color of the Polar Plot Background and Grid Lines.
The Polar Plot display assumes that the first curve in your series of curves is at the 0º mark of your rotation.
You can enter a value in degrees into the Zero Adjust field to reflect the true angle of the first measurement.
Every other curve is assumed to be taken at 10 degree increments. Use the Angle Increment field to set this
to some other value, or indicate the full range you have measured in the Interval field, to Auto Increment the
curves so they are equally spaced from zero to your indicated value.

Scaling

Figure: 15-21 Polar Plot: Autoscale Enabled

The Polar Plot, like the XY Graph, is set to Autoscale your curves by default. You may set this to manual in this
window, and set a minimum and maximum range. As you add or remove curves to your display using the
Memory List, this value will not change, and you may wish to return to Autoscale to ensure you are seeing all
of your values. The Precision field sets the number of decimal places displayed on the Polar Plot.
You may show magnitude on a log scale by checking the Log box, or make the minimum value of the Polar
Plot the minimum magnitude in the selected range of curves by using the clip to min check box.

Cursors

Figure: 15-22 Polar Plot: Range of Cursors Active.

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Once you select all your curves to be displayed, you will see one line. This line represents the response level
for each curve at a frequency of 1000Hz. If you choose to display the XY Plot, you will see the selected
curves, with one cursor labeled 1000. This is a discrete cursor. You can add other discrete cursors at other
frequencies, and an additional line will be added to your Polar Plot with each discrete cursor. The default
frequency increments are one-octave widths (e.g. 1000, 2000, 4000, 8000, etc.)
To see the response over many frequencies, select the Range option. You can set the start and end values of
the range, and one line will be added to your Polar Plot for each measured frequency. You can see these
frequencies in the legend to the right of the Polar Plot.

A color is assigned to
each point within the
designated range.

Each measured point

within the range will
create a line in the
polar plot.
Polar Plot with a
Range of Frequencies
Selected; from
1000Hz to 2000Hz.

Figure: 15-23 Polar Plot

The XY Plot tab of the Polar Plot Preferences contains a subset of the functions available through the XY
Graph preferences dialog. There is no auto-offset or standard axis ratio option.

Results

Figure: 15-24 Typical Results in Results Display Window.

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The Results window displays the test results, margins, and actual yield percentage if one or more Statistics
Steps are in the sequence, before the Display Step. Only those names from the Results tab of the Memory
List can be displayed in this window. You can export these selected results values to Excel as it is explained in
the XY Graph section of this chapter. The options for formatting are the same.
In the Display menu of the Results window, you will find the Preferences that you may set for this Display
window.

Figure: 15-25 Preferences Available for the Results Display Window

You can change the name of the Results display window in the Preferences dialog box. You can also use
Show Limits and Show Yield to display more information about the limits producing the pass/fail result.
Change the notation and precision (decimal places) to further customize your numerical values. The Overall
Pass/Fail selection performs a Boolean AND function on your selected results and shows the final Pass or
Fail verdict. When Overall Pass/Fail is selected, a Pass or Fail verdict will be the only item visible in the
Results display window.

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Figure: 15-26 Overall Pass/Fail of Test

Table

Figure: 15-27 Table of Curves, in Column Format

A Table displays the numerical values, the name, and units of the Curves, Values, Results or WFM selected
from the Memory List. Any combination of these three types of information can be displayed in the same table.
Preferences for this window can be set by choosing Preferences from the Display menu.

Figure: 15-28 Preferences Available for a Table Display Window

You can change the title of the Table display window, and set the notation and precision for the numerical
values in the table. By default, the names selected from the Memory List for display on the Table are displayed
in columns, but you can change this to rows by choosing to Transpose the data. When the Curves, Values,
Results and WFMs are displayed in column format, you can manually adjust the width of all the columns by
putting your cursor over the grid lines in the table until it becomes a double-sided arrow.

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Stretch the column width by

placing the cursor over a ver-
tical gridline and dragging it
left or right. When the cursor
looks like a double sided
arrow, the width of the col-
umn can be adjusted by left
clicking on the mouse and
moving the cursor.

Figure: 15-29 Stretch Column Width

The Column Width can stretched by placing the cursor over a vertical gridline, and dragging it left or right.
When you select Reset all Columns (Figure: 15-28 Preferences Available for a Table Display Window),
you may set the width automatically by specifying a width (in pixels) in the Column Width field. When
Transpose is selected, it allows you to set the width of the row header (which then contains the name and unit
information of the curves, values and results) and the rest of the table is no longer manually adjustable. You
can also choose to hide all unit information, if you wish, by leaving the Display Units box unchecked. Note
that the Curve, Value, or Result name will still be visible.

Text

Figure: 15-30 Text Display Window, with Display Menu Shown

The Text box can be used to annotate tests. The text box allows you to enter free-form notes into your display
layout, although it is not a full-fledged text editor.
The Display menu in the Text display window allows you to change the formatting of the words and numbers
of your display. You can change the size, font, style, and color of the displayed text, and also change the title
of the Text display window.

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Figure: 15-31 Format Options for Text Display Window.

Also included in the Display menu is the option to write your text to a Microsoft Word file, or create and print
an HTML file. Choosing either of these options from the Text display window will send only the information
from your Text window to a *.doc or *.html file.

Picture

Figure: 15-32 Picture Display Window can Hold any Jpeg or Bitmap.
The Picture display window allows you to open jpeg's (*.jpg) or bitmap (*.bmp) images in the display.

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Figure: 15-33 Choose an Image Path for the Picture Display Window.
The File menu of the Picture Display window allows you to open a different image to display. The Preferences
for this display window is located in the Options menu. Through Preferences, you can change the name of
the window, or change the picture being displayed by browsing to a new file. You can also choose to size the
Picture Display window based on the size of the image, or to fit the image to the Picture Display window
dimensions.

Memory Menu

Figure: 15-34 Memory Menu of the Memory List

Protect Data
Any unprotected Curves, Values, Results and WFMs generated by your sequence are overwritten in memory
each time the sequence is run. To keep the current data and results in memory as more tests are run, highlight
the name(s) and select Protect from the Memory Menu of the Memory List. Protecting your information will
keep it in the Memory List until you discard it. These Protected curves will be represented in your Memory List
by a name (identical to the name you chose to protect, with a suffix of "-p" added) preceded by a check mark.
Each subsequent protected curve, value, or result will be numbered, with the most recent measurement
showing the highest number to the left of the name.
Using this method, you may choose to Protect any information after the sequence has been run. Protected
data is not discarded when changing sequences. You must explicitly delete the data by using the Unprotect
or Delete option in the Memory Menu of the Memory List.

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Unprotect Data
You may choose to Unprotect Curves, Values, Results or WFMs you had Protected earlier. By unprotecting
this information, you will delete it from Memory, and you will no longer have access to it (unless you have
saved it previously). To do this, simply select the curve, value, or result name that is no longer needed and
choose Unprotect from the Display menu of the Memory List (Unprotecting any name that is not protected
will have no effect). Unprotecting data that is created by the current sequence will cause the protected data to
fill the placeholder for the data in the sequence.

Autoprotect data
To keep data and results in memory every time a sequence is run, use the Autoprotect function. When an item
is highlighted in the Memory List and Autoprotect is selected, the icon to the left of the item(s) changes to a
diamond shape (). Autoprotecting allows you to designate name(s) that you want to protect before the
sequence is run, and a copy of the curve, value, or result generated each time the sequence is run will be
protected in the Memory List (until Undo Autoprotect is selected). The name of each item is preceded by
number indicating its order in the series.

Note: In order to use Autoprotect, the Update Display Steps at sequence completion option in the
Configure Sequence dialog window (in the Sequence Editor) must be disabled. This option is
disabled by default when creating a new sequence.

Choosing Autoprotect for

the Fundamental curve will
create a diamond  next to
that curve, and all informa-
tion will be protected.

Fundamental [L] is a place Protected curves will have

holder for information, indi- checkmarks on their left, and
cating that the item is to be curves that are protected mul-
Protected. Each time the se- tiple times with the same
quence is run the data for name will be numbered.
Fundamental [L] is append-
ed to the end of the memory
list and protected.

Figure: 15-35 Fundamental [L] has Been Autoprotected

Undo Autoprotect
To stop Autoprotecting an item, highlight the original name (with the diamond to the left []) and select Undo
Autoprotect. The protected curves will remain in the Memory List, but all measurements following this action
will only remain in the list until the next time the sequence is run. Future measurements will no longer protect
a curve automatically.

Note: The data and results are in RAM and thus will only be saved to disk by using commands in the
File menu or using one or more Autosave Steps.

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Rename
You can rename a curve at any time. Renaming a curve, value or result will automatically protect it, since a
curve of that name may not exist in the sequence. Select the names from the current tab you wish to rename,
and then choose Rename from the Memory Menu of the Memory List.

Units
To increase flexibility, the user may temporarily change the units of Curves, Values, Results and WFMs in the
Memory List. These changes disappear each time the sequence is executed. If changes are made to a curve,
value or result that is not then protected, the unit information will revert to the values created by the sequence.

Overwrite
This is used to replace the data (magnitude and phase) of a curve in the memory list (target) with the contents
of another. This is especially useful for importing custom correction curves and/or EQ curves.
In Figure: 15-36 Overwrite a curve step 1, we have loaded a Microphone Correction Curve into the memory
list (see: Open saved Curves/Values/Results). Next select Overwrite from the Memory drop down menu.

Figure: 15-36 Overwrite a curve step 1

In Figure: 15-37 Overwrite a curve step 2, the Calibration Curve for the Input is selected (Powered spkr &
SCM 2 mic corr-in L). Click on OK to replace the data of this curve with the data from “Microphone Correction
Curve“. The name of the target curve does not change, only the data changes. The new curve will correct for
the response of the microphone, in future measurements.

Figure: 15-37 Overwrite a curve step 2

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Add Comment - View Comment

Comments can be attached to Curves in the memory list. In Figure: 15-38 Add Comment to curve, the curve
is selected in the memory list. Add Comment is selected from the Memory drop down menu. The comment
can then be entered in the editing window. This comment will show up to the right of the curve name in the
memory list. To view long comments, select View Comment.

Figure: 15-38 Add Comment to curve

Delete Data

The Delete option, in the Memory Menu, will remove the Curves, Values, Results and WFMs in the Memory
List. The user may choose to delete only selected information, or to Delete All the information on the active
tab of the Memory List.

Note: Delete All only removes information from the tab that is selected. Data under the other tabs is not
removed.

After deleting Curves, Values, Results and WFMs native to the sequence, the Memory List will display an
empty circle to the left of their names and data added to the display (by using the Open Data, Open Results
menus) will disappear. Protected and Autoprotected curves will remain in the Memory List until they are
unprotected or deleted.

Select All
You are able to select all the names of the current Memory List tab by choosing this option from the Memory
Menu of the Memory List. This is useful to add all results to a results display for an Overall Pass/Fail verdict, or
to add a long series of curves to a XY Graph or Polar Plot.

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File Menu

Open layouts, data and results previ-

ously saved to disk.

Save the current layout, selected

curves, values and results to disk.

Rename current layout, or save curves,

values and results as a *.dat, *.res, *.txt
or *.WAV file.

Create and Print company reports in

Word and HTML

Revert display to discard changes, or

close to maintain changes in memory.

Figure: 15-39 File Menu of Memory List.

Opening the Display

To open a Display Step already inserted in your sequence, select Display from the Setup menu of the main
SoundCheck window, or open the Sequence Editor and double-click the Display Step to open it for edit.
From the Memory List, it is also possible to open a saved layout by selecting Open Layout..., or Open
Layout and Data… from the File menu. This acts like the Load button on the other Editors, and will give you
a glimpse of a display not present in the current sequence. If this new display layout is saved or closed, it will
replace the old display in the sequence.

Note: Any change to the layout will be saved with your Display Step if you choose to save changes to
the sequence.

Editing the Display

To edit a display layout, select a Display Step (*.Dis) from the Sequence Editor or click on Setup from the
main SoundCheck window and then selecting Display (CTRL+Shift+D)

Note: Opening the Memory List from the Setup menu of SoundCheck DOES NOT open a Display Step.

The Display Step in the current sequence should be the one under edit. More than one Display Step is
possible in the sequence. Display window choices and layout are saved with the step, but Plot colors,
Selection from the Memory List, and Autoprotected curves/values/results are sequence specific.
You can Revert your display to its most recently saved form, or close the Display Step (which also closes the
Memory List). Closing the Display Step will keep recent changes in the sequence, but when the sequence is
changed, or SoundCheck is closed, you will need to decide if you want to save changes to the sequence.

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Save Curves/Values/Results
Items from the Memory List can be saved
Saving of Waveform files has been updated:
z You can select 2 WFMs and select "Save As - WAV" to save the two as a single stereo WAV file. One
WFM will be the left and the other the right. If you select 3 or more WFM files you will get an error
indicating that this is not allowed.
z You can save multiple WFMs to a single *.WFM file.

Open saved Curves/Values/Results

The Memory List can be used to recall (see Recall Editor chapter) saved *.Dat and *.Res files and display
saved curves, values and results in the current Memory List. Enable this option by selecting Open Data… or
Open Results… from the File menu of the Memory List. You may import the SoundCheck-specific files
mentioned above, or a file saved as text. Opening a text (*.txt) file will automatically open the Data Import
Wizard.

Note: DAT files created with SoundCheck 6.1 are not viewable in previous versions of SoundCheck.
This includes SoundCheck 6.0x. The DAT file format has been updated in SoundCheck 6.1.

Data Import Wizard (text import from saved file)

The first Import Wizard screen (Figure: 15-40 Data Import Wizard Screen 1) will display the contents of the
selected text file. The default settings are:
z Delimited
z Column delimiter - tab
z Data is in - columns
z Data offset: 0 columns and 0 rows
The text file shown in Figure: 15-40 Data Import Wizard Screen 1 is tab delimited in a row format and
includes a header row of frequency values.

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Figure: 15-40 Data Import Wizard Screen 1

To configure the import wizard, do the following:
1. Choose whether data is delimited or fixed width. If the data is delimited, choose the type of delimiter
(tab, comma, space, other).

2. Choose the data format (columns or rows).

3. Choose whether the data file includes a header. The row/col: box refers to how many rows (or
columns) the header is offset from the first row (or column). In Figure: 15-40 Data Import Wizard
Screen 1, the header information is in the first row, therefore the offset value is 0. Check the
Standard Header box if the data file was stored using the SoundCheck Standard header format (see
Autosave Editor for more details regarding the standard header format).

4. Increment the Data offset if the data begins at a row (or column) other than Row 1 (or Column 1). If
the first row or column contains the data (as in Figure: 15-40 Data Import Wizard Screen 1), then
the offset should be 0.

5. Click Next when finished.

Figure: 15-41 Configuring Import Wizard Screen 1

The next screen (Figure: 15-42 Data Import Wizard Screen 2) shows which row or column is the X-axis and
which row(s) or column(s) is the Y-axis. Typically, the X-axis is set to common and the Y-axis is set to
increments. If the X-axis is set to increments, SoundCheck will interpret the first row (or column) to be one
X-axis and the second row (or column) to be the corresponding data values. Thus, the X and Y-axes are
grouped in pairs (e.g., rows 1 and 2 are the X and Y data respectively for Data Set #1, rows 3 & 4 are the X

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and Y data respectively for Data Set #2, etc.). The set individually option allows you to choose which rows or
columns are X-axis values. Click Next once the appropriate settings have been made.

Figure: 15-42 Data Import Wizard Screen 2

Figure: 15-43 Data Import Wizard Screen 3

Note: The import wizard keeps imported data in memory. Depending on your computer hardware, you
may not be able to import large data arrays such as an FFT spectrum or time waveform.

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The following table is a breakdown of the settings in Figure: 15-43 Data Import Wizard Screen 3.

Location of X-axis values.

X-axis data type and units. Typically the X-

axis values are linear (Hz) and displayed on
a logarithmic axis.
Location of Y-axis values. The Row/col:
value is based on which curve is high-
lighted in the Curves list. In this case, curve
1 (the highlighted curve) is located in Row
2.
Y-axis data type and units. Typically, the Y-
axis values are in dB and displayed on a
linear axis. The decibel reference value can
be entered.
Data curves are available in the imported
text file. Curves can be added or removed
by clicking Add and Remove. If you want
to apply the settings for a highlighted curve
(e.g., dB re 20 µPa) to all the curves in the
list, click Apply Setting to All..

Ability to rename a curve. The highlighted

curve(s) can be individually named by
entering the new name in the Name: box.
The import configuration should be saved
using Save Settings… This allows you to
recall these settings in the future by using
the Load Settings... button shown in
Figure: 15-40 Data Import Wizard
Screen 1. Once settings are loaded, you
can click Finish and data is immediately
imported.

Note: When importing correction or equalization curves, choose Units with no prefix or unit name and
set the dB reference to 1.00.

After adding text, data, or results files to your display, you must select Save Layout and Data… from the File
menu of the Memory List to keep the added curves, values or results in the Display Step you have created.

Saving the Display

Saving your Display preserves the current arrangement of display windows and selected names in your
sequence, as well as Display attributes (line thickness, colors, etc.). Choose Save Display and Data to keep
recalled information with your Display Step as well. You can also save selected curves and values by
choosing Save Data or selected results by using Save Results. These choices will automatically save your
selections to a *.dat or *.res file.

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You may also save your curves, values or results to a *.txt or (when appropriate) a WAV file, by using the Save
Data As… and Save Results As… selections in the File menu. Saving to a WAV file is only applicable to a
time record of the stimulus used (create a time record by selecting the Add Record Time check box in the
Acquisition Step). If you choose to save to a *.txt file, you will be asked to make formatting choices, as shown
in Figure: 15-44 Make Formatting Choices When Saving to a Text File From the Memory List.

Figure: 15-44 Make Formatting Choices When Saving to a Text File From the Memory List
The options available in this window are identical to those of the Autosave Editor when saving to a Text file.
You may choose which axes to save, whether to include a standard or custom header, to orient your data into
rows or columns, and the notation and precision of your numerical values.

Printing Display
You may create reports from the layout of your Display Step by printing to Microsoft Word, or creating and/or
printing an HTML file. Your company logo can be included on your report by loading it into SoundCheck
through the Memory List (only one logo may be loaded at a time). The page setup pertains to the HTML file to
be printed, and allows you to include a header containing the operator name, date of the report, and list page
numbers. You can also set custom margins on your report, in units of inches or centimeters. The Printer
Setup button takes you to the Windows Print Setup, where you can choose a printer and designate the size
and orientation of your media.

Figure: 15-45 Page Setup Allows You to Format Your Report and Choose a Printer

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HTML formatting of Text Boxes

Text boxes with unformatted text will print in standard system font if the display is printed to HTML. If you wish
to have formatted text such as Bold or different colors, it is important to use HTML formatting so that the text is
displayed correctly. By using HTML formatting a wide range of print styles and effects can be achieved for the
final print out. Figure: 15-46 HTML Style Text Box shows how the HTML text would appear in the editor
window. This can be typed in manually or created with an HTML editor. Figure: 15-47 HTML File or Print Out
Example shows the Text Box as it is displayed in the HTML file. This provides a great amount of flexibility for
formatting text in the display.

Figure: 15-46 HTML Style Text Box

Figure: 15-47 HTML File or Print Out Example

The following blocks of text can be used as a guide for formatting the text in a SoundCheck Display text box.
Additional formatting can be accomplished by using any simple HTML editor or Word.
Cut and paste the text into a Display text box and edit the phrases Words in bold and Words in normal. Note
that the paragraph markers {</p>} will create the line breaks.
This example prints a bold title and normal text.
<p><font face="Arial, Helvetica, sans-serif"><strong>Text Window Title in Bold</
strong></font></p>
<p><font face="Arial, Helvetica, sans-serif"><strong>Words in bold </strong>- Words
in Normal</font></p>
<p><font face="Arial, Helvetica, sans-serif"><strong>Words in bold </strong>- Words
in Normal</font></p>
<p><font face="Arial, Helvetica, sans-serif"><strong>Words in bold </strong>- Words
in Normal</font></p>
The next example adds color to the selected text blocks.

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<p><font face="Arial, Helvetica, sans-serif"><strong>Text Window Title in Bold</

strong></font></p>
<p><font face="Arial, Helvetica, sans-serif"><strong>Words in bold Black </strong>-
Words in Normal</font></p>
<p><font face="Arial, Helvetica, sans-serif"><strong><font color="#00FF00">Words in
bold Green</font></strong> - Words in Normal</font></p>
<p><font face="Arial, Helvetica, sans-serif"><strong><font color="#FF0000">Words in
bold Red</font> </strong>- Words in Normal</font></p>
Last but not least is to change the size of the font in the Title.
<p><font size="6" face="Arial, Helvetica, sans-serif"><strong>Text Window Title in
Bold</strong></font></p>

Useful HTML format tools

<h1> huge headline <</h1>

<h2> big headline </h2>
<h3> bold headline </h3>
<strong>make words bold </strong>
<b> make words bold </b>
<em> emphasizes words </em>
<i>italicizes words </i>
<u>underlines words </u>
<br> - a line break
<p> - a paragraph break
<hr> - a horizontal line
<ol></ol> - makes a numbered list
<ul> </ul> - makes a bulleted list
<li> </li> - makes a list item

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WAV File Scaling

Any waveform from the memory list will be normalized to +/- full scale deflection in Versions 6.00, 6.01, and
6.10 when converted to a WAV file.
SoundCheck 6.11 handles this in a different manner.

Rules for scaling Waveforms when they are saved as WAV files:
z A Waveform is not scaled or normalized if the amplitude unit is FS, FSD, dB re:FS, or dB re:FSD.
z Waveforms with dB re:[any unit] get converted to their linear version upon being saved as a WAV.
z If the waveform has units based on Full Scale Deflection (dB FS or dB FSD), but the Absolute Linear
Peak Amplitude is greater than 1.0, the data of the resultant WAV file will be clipped.
z For any waveform with units that are not based on FSD (e.g. Pa, dB SPL, V/V, etc.), data will be
normalized to +/- 1.0 FS (or 0dB FSD), which is the maximum allowed amplitude of a WAV file. The
scaling either increases or decreases the amplitude values of the data so that the Peak value of the
data in the WAV file is +/- 1.0 FS.
z It is possible for a SoundCheck user to convert the units of a waveform from anything to FS (either
directly from the Memory List or via Post-Processing), so its peak amplitude could be greater than +/-
1.0. In this case, no scaling occurs. Saving such a waveform as a WAV file means that there are
points lying outside the allowable range. Upon saving this WAV file, these points will be coerced to
either +1.0 or -1.0 FS (i.e. clipped). See Figure: 15-48 WFM saved as WAV examples

When a WFM with an amplitude greater than 1 FS is saved to a WAV file, the resulting WAV file is clipped.

When a WFM with an amplitude less than 1 FS is saved to a WAV file, the resulting WAV file is not scaled.

Figure: 15-48 WFM saved as WAV examples

z When acquiring data on a digital channel or creating a stimulus for a digital channel, the waveform
will, by definition, have an absolute peak amplitude of less than or equal to 1.0 FS. Saving these
WFMs as WAV files will not result in clipping.
z If you are saving the waveform as a WFM, the data is never scaled, normalized, or clipped.
z In SoundCheck, when a WAV is opened from disk, it has units of FS. (Peak allowable range of +/- 1.0)

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Serial Number Editor

You can choose to automatically increment the serial number each time the sequence is run, or to prompt the
operator to manually enter the serial number of the DUT. When used in a sequence along with the Autosave
Step (see Autosave Editor) the updated serial number can be saved with measurement data. The serial
number also appears at the top of the main SoundCheck window and in reports generated by the Printing
Step. To view and change the system’s serial number settings, select Serial Number from the Setup pull-
down menu on the main SoundCheck menu bar, or use the shortcut Ctrl+Shift+E.
When exiting SoundCheck, the last recorded serial number is saved in the last session.txt file. The next time
SoundCheck is opened, the last serial number is automatically recalled to the S/N field of the main
SoundCheck window. This enables the operator to continue measuring a lot that was not finished before their
shift was over.

Auto Increment
With Auto Increment selected, the S/N prefix appears along with the incremented number. Using a step
configured as in the figure below (Figure 16-1: Serial Number Setup), the serial number for the first three
items tested would be; ABC1, ABC2 and ABC3.

Figure 16-1: Serial Number Setup

Note: The S/N prefix is a sequence-specific item. Changes to this item only appear in the sequence
being edited. For more information regarding step-specific vs. sequence-specific items, refer to
the Sequence Editor section of this manual.

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Prompt Operator
When Prompt Operator is selected, any alpha-numeric combination can be entered by the user. This number
is then used to identify the data. Once the number is entered, the user clicks OK to continue running the
sequence.

Figure 16-2: Serial Number Prompt

Note: The Serial Number Step must precede the Autosave Step in a sequence for the serial number to
be correctly recorded with the measurement data.

Please note that the Serial Number category is no longer called Serial #, but is now called Serial No. To use
steps from your old version of SoundCheck, copy the steps from the Serial # folder in SoundCheck x.x into the
Serial No. folder in the SoundCheck 6.1 directory.

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Statistics Editor

The Statistics Editor allows you to perform a variety of statistical measurements on the data that is produced.
These measurements include: minimum, maximum, mean, standard deviation, Pp, Ppk, and Best/Worst fit to
Average for curves.

The editor can operate in either of two modes depending on the application. The Online mode allows for the
use of the statistics step in a sequence. You can use this mode to determine the standard deviation after each
run and determine whether the spread of the results is outside of acceptable limits. Statistical calculations are
made upon the consecutive runs of a sequence when using Online mode.

Online Mode
The values calculated by the Statistics Step are created from curves, values, and results generated during the
open sequence.

Important! If the Hardware, Calibration, Acquisition, Analysis or Statistics Steps are changed, all
unsaved statistical data is lost.

It is important to understand the circumstances that will enable you to keep building upon the current statistics
values. The first time the sequence is run, the statistical values begin to fill. This first run produces curves and
values that are based on only one set of data. In other words, the curve Minimum, Maximum, Mean, and
Standard Deviation are all identical curves the first time the sequence is run.
The second time the sequence runs, all the statistics calculations are performed using the current and
previous data together. The third time, the algorithm integrates the current run values with the running
statistics calculated from the last two runs, and so on.

Redo (New)
When Redo is selected from the SoundCheck Main screen, the last measurement gets overwritten and the
statistics recalculated to include the new measurement. This is an unlimited Redo. It can be selected as many
times as is necessary.

Unlimited Redo

Figure: 17-1 Redo is unlimited

A change in the lot number, changing the sequence or changing certain steps of the current sequence (see
Note above) will reset and empty all your Statistics curves. Any statistics values from this point on will not take
old curves/values into account.

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Offline Mode
SoundCheck 6.1 introduces a new mode for analysis.
You can use the Offline mode to calculate statistics on previously measured data. The Offline mode is used
outside of a sequence and can be used on protected curves or other previously collected data. The Offline
mode compares each of the selected curves to each other, rather than to previous runs, and outputs the
results to the memory list in the form of protected curves. If you want to calculate the average of a group of
impedance curves, you can use the Offline mode to compare these curves. It should be noted that the Best
and Worst Fit to Average options are only available in Offline mode, and can be used to determine "Golden
Units" and "Outliers".
When using stored *.dat files to create statistics, verify that the *.dat file contains multiple tests of the same
measurement. Please note that any statistical analysis becomes more valid with a large number of samples.
Depending on the variability of your measurements, you may need 60 to 100 tests. You can adjust your Sigma
value based on the number of samples available.

Note: Mean, Maximum, Minimum, and Standard Deviation calculations are done on the numerical
values as they are stored in the file. No conversion is made to use a linear scale.

Statistical Process Control measurements have been added to SoundCheck 6.1. These options allow users to
track the quality of the production by comparing deviations to user-defined limits. For more information see
SPC - Statistical Process Control (New).

Select items from memory

list and statistical processes
to run

Click Apply and the

curve results appear in
Select Statistics the memory list
from drop down
menu

Figure: 17-2 Statistics Offline

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Choosing What Statistics to Create

You can decide what curves, values and/or results to analyze statistically. In the figure below (Figure 17-3:
Choosing Data and/or Results, and tracking runs performed on these statistics.), the top area of the
editor indicates the number of times this particular step has run in this sequence. In this example, all statistical
values now in the Memory List are based on 10 measurements.

Figure 17-3: Choosing Data and/or Results, and tracking runs performed on these statistics.

You can choose to calculate statistics on Data (curves and values), Results or both. The Data or Results
items are selected form the Data and Results lists, respectively. Data items will include the curve and/or value
names displayed in the Memory List. Each selected name in the list box will have between one and four
calculations performed, which depends on how many statistics boxes are checked.

Statistics for Curves and Values

The Data section of the Statistics Editor (see Figure: 17-2 Statistics Offline) contains all the options for
statistical measurements that this step may perform.
z Max – Compares the current Y (magnitude) and Z (phase) value at point X (frequency or time) with
the existing maximum for point X. If the new value is higher, the maximum value is rewritten. The
Memory List is updated with a new curve or value whose name ends in Max (e.g., Fundamental [L]
Max). This enables you to track the upper extreme of the range of the DUT.

Note: To view the Z values in the Display Step, select Phase from the Display menu in the XY
Graph, or use a table to display the numerical values of the curve or single value.

z Min – Compares the current Y and Z value at point X with the existing minimum for point X. If the new
value is lower, the minimum value is rewritten. The Memory List is updated with a new curve or value
whose name ends in Min (e.g., Fundamental [L] Min). This enables you to track the lower extreme of
the range of the DUT.
z Mean - Calculates the mean Y and Z value at every X point along the curve. If a single value, this
command calculates the average single value. The Memory List is updated with a new curve or value
whose name ends in Mean (e.g., Fundamental [L] Mean). Variation in the mean after many tests have
been run indicates a new factor has been introduced that may be causing problems.

Note: This is not to be confused with Statistics: Average in the Post-Processing Editor, a single
value which is the average of all the Y values in one curve.

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z Standard Deviation - The standard deviation is a measure of the dispersion of the Y and Z dimension
of the selected curve or value. SoundCheck uses the equation,

∑ (χ −M)
2

σ= i

n −1
where xi is the current Y or Z value at point X, M is the mean of all the past values at point X, and n is
the number of values in the set.
Choosing this option creates two new curves. These may be viewed as bounds around the curve
being measured. For example, if Fundamental [L] is chosen from the Data list box, and the
Standard Deviation box is checked, the user will see two new curves in the Memory List:
Fundamental [L] +1.00sigma and Fundamental [L] -1.00sigma (this is assuming 1 sigma was
indicated, as in Figure: 17-2 Statistics Offline). When these two curves are displayed on the XY
Graph with the Fundamental [L] Mean curve, the Mean curve should fall directly between the two
Standard Deviation curves. Future Fundamental curves have a 68% chance of falling within these
bounds. If 2 sigma is chosen, you know that there is a 95% chance new curves will fall between these
bounds. At 3 sigma, there is a 99% chance that new curves will fall within the bounds. Responses that
fall outside the Standard Deviation of the Mean may indicate erratic problems with the DUT or the test
environment.
Please note that Standard Deviation values become more accurate when a large number of samples
are taken.

z Absolute Standard Deviation - The absolute standard deviation is the pure σ value.
The curve that is the result of this calculation is available in the memory list.

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SPC - Statistical Process Control (New)

Statistical Process Control can be used to monitor the quality of the production.
Statistics can be calculated on a specific scalar parameter (e.g. THD or sensitivity @ 1kHz) for a group of
loudspeakers (e.g. the production of the day). The Statistics module calculates the capability indexes and the
results are made available in the memory list. These can then be saved using an Autosave Step. The history
of these indexes can be used to check the trend of production using some external software (e.g. EXCEL).

Figure: 17-4 USL/LSL settings

Menu choices:
z USL: Upper Specification Limit. The maximum tolerance of the production limits. Constants set by the
user. e.g. 92.5 dB SPL. (see Figure: 17-4 USL/LSL settings)
z LSL: Lower Specification Limit. The minimum tolerance of the production limits. Constants set by the
user. e.g. 88.5 dB SPL.
z Process Capability indexes Pp and Ppk. These indexes are added to the existing list: min, max,
mean, sigma. These indexes are calculated in real time and appear in the memory list.

Pp - A measure of process performance

Essentially it is a measure of variance/spread of one's data with respect to specification limits. Values greater
than 1 indicate that the 6 sigma range is within the limits. If Pp is equal to 1, the range of 6 sigma exactly
equals the range of the limits. If it is less than one, the 6 sigma range exceeds the limits. Ideally or to be safe,
the process would yield a result of 1.33 (8 sigma) or higher. This means that your measured parameter will not
exceed the limits more than 0.0063% of the time. To the right is a table of Pp values and the related
Percentage of Failure. The formula for Pp is:

P p = ( USL – LSL ) ⁄ ( 6σ )

Ppk - Process performance index

This is similar to Pp, except that it takes into consideration any off-centered alignment of the data. The 6
sigma range may be much smaller than the limits range, but the mean could still be close to one of the limits.
This would result in a high Pp but a low Ppk. The formula for Ppk is:

P pk = Min [ ( USL – mean ), ( m ean – LSL ) ] ⁄ ( 3σ )

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If the spread of data is Well Centered, then Ppk

equals Pp. This would be a good situation. In this
example, Pp = 1.5 and Ppk =1.5 on day 1.

If the spread of data is Off Centered, Ppk is less

than Pp. This is a warning sign of a bad trend. In
this example, Pp = 1.5 and Ppk =1.05 on day 2.

If the spread of data is outside the USL/LSL limits,

Ppk will be below 1. This of course, indicates pro-
duction problems. In this example, Pp = 1.5 and
Ppk = 0.66 on day 3.

If the mean is outside the USL/LSL limits, Ppk will be

less than zero. This indicates a serious problem. In
this example, Pp = 1.5 and Ppk = -0.28 on day 4.

The graph shows the Pp and Ppk values plotted over the
course of the days indicated in the above examples. An
ideal situation would be to have Pp and Ppk equal on all
days. In this case, Pp (solid blue line) is constant indicat-
ing that the spread of the data is consistent. Ppk
(dashed green line) is unfortunately not consistent.
Tracking the two values in such a way gives you a quick
check on your production performance for a particular
line.

Note: Careful selection of USL and LSL numbers is essential to have meaningful Pp and Ppk numbers.
Calibration of the SoundCheck system is also critical.

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Best Fit to Average (New)

You can select the number of Best Fit curves that you want to produce. For example, if you have five hundred
curves representing the impedances of five hundred speakers, you might want to determine which ten of
those were the closest to the average (to find "Golden" reference unit). To do this, you should enter "10" in the
"No. Ranked" field in the editor. This will determine which ten curves are the closest to the average, and rank
them according to how close they are.

In addition to determining which curves are the best fit, the option also produces a deviation curve for each of
the "best fit" curves. These curves are the arithmetic difference between the mean curve and the "best fit"
curves.
The best fit is the curve, which minimizes the quadratic distance to the average curve:

∑ Xi – Yi
2
ε = , where X is the average curve and Y is one of the result curve.
i

Best fit curves with

ranking appears in ranking number
memory list

Deviation curves

Figure: 17-5 Memory List - Best Fit to Average

The curves selected in Figure: 17-2 Statistics Offline, that meet the Best Fit criteria, appear in the memory
list. The numbers of the curves are indicated along with their ranking. See Figure: 17-5 Memory List - Best
Fit to Average for an example of the items created in the memory list.

In addition to the Best Fit to Average function, a Worst Fit to Average function is also included. This function
maximizes the quadratic distance to the average curve using the same formula as shown above. With this
option, you can isolate a specified number of outliers. As with the Best Fit function, this option will generate a
group of curves whose quantity is specified in the editor along with a group of corresponding deviation curves.
This function can be useful in determining which of the tests represent useless data. You can remove these
curves from their data group and re-perform the statistical measurements in order to get results that are more
meaningful.

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Statistics for Results

The Results section of the Statistics Editor (see Figure: 17-2 Statistics Offline) holds the options for
Statistical calculations you can perform on a Result, the Margin or the Verdict.
z Individual Limits Yield [%] - Each Result chosen from the list box has its own Verdict (Pass/Fail).
Selecting Individual Limits Yield will create a running tally of the success rate of each result, as the
sequence runs multiple times. This value will reflect the percent of times the Individual Limit has
passed and can be viewed next to the Limit Result in the Results Display (see Results ), or as a
Value in a Table of the Display Step. You could use this value to set a Limits Step, and alert the
operator when a Result is failing over 75% of the time.
z Overall Yield [%] -A Boolean AND function is performed on the Verdicts of the result names selected
in the Statistics Step. A PASS or FAIL Verdict is recorded for that test run. The next time the
sequence runs, the new value (after the Boolean AND) will be compared with the previous. For
example, after two runs, if one run passed and one failed, the Overall Yield will be 50%.
z Margin Mean - Each time the sequence is run, the Margin mean value is recalculated. There will be a
unique Margin Mean for each Result selected, named e.g. Response Margin [L] Margin Mean.
Tracking the Margin Mean can give advance notice that a particular process is drifting towards an out-
of-specification condition (e.g. if the Margin Mean is getting smaller over time).
z Margin Standard Deviation - The standard deviation is a measure of the dispersion of the result
margins. The equation used is the same as the one used for calculating the standard deviation for a
curve or value. When choosing this option, two new values are created, named Response Margin
+1.00 sigma and Response Margin -1.00 sigma (assuming 1 sigma was specified). These may be
viewed as bounds about the margin being estimated. When these two values are displayed on the
Table with the Response Margin Mean value, the Margin Mean value should fall between the two
Standard Deviation values. If you choose one 1 sigma (one Standard Deviation) then the bounds
created will indicate that 68% of future runs will fall with in these bounds. If 2 sigma is chosen, the
user knows that there is a 95% chance new Margin values will fall between these bounds. At 3 sigma,
there is a 99% chance that new Margin values will fall within the bounds. Response signals that fall
outside the Standard Deviation curves may indicate a new issue in the DUT or the test environment.

Note: Please note that Standard Deviation values become more accurate when a large number of
samples are taken.

z Absolute Margin Standard Deviation - Applies only to the Margin of the Results. It is calculated in the
same method as Absolute Margin Standard Deviation.

Adding Statistics Steps to the Sequence

In the case that more than one Statistics Step exists within a sequence, the Statistical values remain
completely exclusive to the step. For example, you can insert a jump condition into your sequence, and run a
Statistics Step called Passing Stats if a Limits Step passes and Failing Stats if the Limits Step fails. In this
way, you can keep your averages, maxima and minima comprised of only Passing, or of only Failing data.

Verdict of the Step

In the sequence, the Verdict of the Statistics Step is dependant on whether the user has selected an Overall
Yield calculation in that step. If the Overall Yield box has been checked, the step’s Verdict will be Pass if all
the Results selected are Pass. If any of the Result verdicts are Fail, the Overall Yield will fail, causing the step
verdict to be Fail. If Overall Yield has not been selected in the step, the step will pass by default.

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Note: All Mean and Standard Deviation calculations are done on the numerical values of the data or
result. No conversion is made to linear units.

Statistics Example Sequence

The Statistics sequence located in the Loudspeaker sequence folder can be used as a template when
creating a new sequence. These steps can be added to an already existing sequence as well.
Figure: 17-6 Statistic Step Settings shows the settings of the Statistics steps in the sequence.
Figure: 17-7 Statistics Sequence Display shows the results screen of a sample run of speakers.

Figure: 17-6 Statistic Step Settings

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Figure: 17-7 Statistics Sequence Display

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Autosave Editor

The Autosave Step (Ctrl+Shift+U) allows any item appearing in the Memory List to be automatically saved to
disk when the sequence runs. SoundCheck can automatically store data and results in five distinct formats.
You may save to a text file, Microsoft Excel, database, SoundCheck specific files (*.dat, *.res and *.wfm files)
or save the time response as a WAV file (*.WAV).
To view and change the Autosave settings, select Autosave from the Setup pull-down menu on the main
SoundCheck menu bar. You may also create a new Autosave Step, or insert an Autosave Step into an existing
sequence using the Sequence Editor.

Figure 18-1: Autosave Editor, Configured to Save to an Excel File Named Fundamental to Excel
The Autosave Editor is divided into four major sections – Save, Format, Test Information, and Filename.

Save
You may choose to save only Data, only Results, both Data and Results, or only Waveforms. The Data,
Results, Waveforms, Data Folder, Results Folder, and Waveforms Folder fields will become active or
inactive (grayed out) accordingly. A path must be entered in the Data Folder, Results Folder, or Waveforms
Folder if the field is active. Previous selections that appear in an inactive (grayed-out) field will be ignored.

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Figure 18-2: Save Portion of Autosave Editor, Saving Data and Results
If you intend to import SoundCheck data into other applications, you should save Data and Results in
separate files. You can do this by using different file paths in the Data Folder and Results Folder path boxes.
If this is done in the same Autosave Step, the two separate files will have the same name. If you wish to use
different filenames for curves and results information, this will require separate Autosave Steps for each file.
This has very little effect on the speed of a measurement. It is important to remember that if both Data and
Results are saved to the same path in one Autosave Step, the Data and Results will both be contained in the
same file (unless the DAT, RES format was chosen, then the filename extensions will be different, thus
creating separate files).

Note: It is not possible to save both Data and Results to the same text file. The folder paths must be
different in this case.

Format
In this area of the Autosave Editor, the file type (e.g. Text, Dat, DB, etc.) selected by the user defines what
other options the user can configure. All options are linked to the format selected; many fields will toggle
between active and inactive as you change the file type.

Figure 18-3: Options Included for Custom Formatting

File Type
There are five options to choose from. You must use an Autosave Step in your sequence for each File Type
you need.
z Text – Save output to a text file. Output can be imported into other programs like a filter design
program. When Text is chosen, you can then choose to store either frequency or time headers (x),
amplitude (y), and/or phase data (z). A test saving five 3-D curves (x, y, and z axes) of 100 points
each takes under 200ms, and creates a file size of 15KB.
z DAT, RES, WFM – Data (*.dat), Results (*.res) and Waveform (*.wfm) are saved to a binary file. This
can be used with SoundCheck’s internal data processing modules. The x, y, and z data are stored

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automatically in the DAT format. A test saving five 3-D curves of 100 points each takes under 200ms,
and creates a file of 11KB.
z DB – Save directly to database. The user is required to enter a Universal Data Link (UDL) or Data
Source Name (DSN) to gain access to a database either on the local machine or on a connected
server. A test saving 5 3-D curves of 100 points each takes 6 to 8 seconds, and adds approximately
200KB to a Microsoft Access file. Below is an example of one table created by SoundCheck. You can
find a more extensive description of the relational table structure at the end of the manual, in the
section titled SoundCheck Database Schema.

Note: Tip: The fastest way to save directly to a database is to save single values, such as the Pass/
Fail verdict. The curves can be saved to a *.dat file for subsequent analysis.

Figure 18-4: Example of a Portion of the Test Information Saved to the SoundCheck Database
Schema (Shown in Microsoft Access).

z Excel – Saves selected curves and/or results to an Excel file. Each selected curve, value, or result is
saved on a separate worksheet, that has the same name as the item selected from the Memory List
(i.e. there will be a worksheet named Fundamental if the Fundamental curve is selected). A test
saving five 3-D curves of 100 points each takes 2 to 5 seconds, and creates a file of 21KB. Save to a
new Excel file, or append a file that SoundCheck has created.
z

Note: SoundCheck saves the x-axis values at least once when saving to a text file or Excel. If you
want to append y and or z values to either a text file or Excel workbook, DO NOT check the x-
axis box. The x-axis will be written in the first row or column, depending on the layout.
Subsequent curves will then only contain y and/or z data, since the x values would be
redundant.

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Figure 18-5: Example of X, Y, Z Data Saved to Microsoft Excel, in Row Form.

Important! Excel files that are Targets of an Autosave Step should not be open when the sequence is
run. Open files may prevent data from being saved. Do not attempt to close Excel manually
when it is opened by an Autosave Step. Let SoundCheck close Excel in the run of the
sequence. We do not recommend using Office 97 due to reported compatibility issues.

z WAV – SoundCheck will create a *.WAV file of the selected Data or Waveform. In data mode, this
option is only appropriate for time-based curves.

Axes
Choose one or more axes to be saved. To store only the magnitude data (e.g., decibel values), check just the
Y-axis box. Selecting axes only applies to Text and Excel file types. For Dat, Res, and DB, x, y, and z-axes are
automatically stored.

Header
z None – For a *.txt file, the first row or column will contain the frequencies. The Data is in subsequent
rows or columns based on the Display being used.
z Standard – Header information related to the data and/or results will be the first row or column.
(Curve name, axis units, freq. points, etc.)

Figure 18-6: Standard Header of Text File

z Custom – Allows user to define header for compatibility with other programs and personal
preferences. When using this option, you can choose among tab, comma, space, or other as the
delimiter. For tab, use \t between the custom header fields (e.g., Header1\tHeader2\tHeader3).

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Layout
z Rows – Aligns data in rows with headers above each column.
z Columns – Aligns data in columns with headers along each row.

Delimiter
When writing a *.txt file, the user can choose to separate data values using commas, tabs, spaces, or a user
defined character.

Excel Template
If Excel is selected from the File Type choices, the user has the option of browsing to a pre-defined Excel
template to arrange or analyze data. This template can utilize a master worksheet to collect data from other
worksheets in the Excel workbook. The master worksheet can then be used for presentation and graphing of
the data in any format that can be utilized in Excel.

UDL or DSN
If DB is selected, the user MUST browse for a Universal Data Link (UDL) or Data Source Name (DSN) to
access their target database. See the section titled Appendix 12: Connecting to a Database for more
information on using DSNs and UDLs. The user must select a pre-existing UDL or DSN file. Create a UDL or
DSN with the help of your company database administrator or consult your Windows manual to create one,
using the correct provider for your database software. When you browse for this file, SoundCheck will verify
the connection to your database, and create the set of tables for your SoundCheck data.

Notation
z Scientific – Scientific notation is used. (1.03E+2)
z Floating Point – Floating Point notation is used. (102.86)
z Decimal places – Enter the desired precision for your data.

Test Information
You will notice that all test information is written in blue, and therefore is sequence specific (more about blue
vs. black fields in the Introduction). These settings will need to be reconfigured when you insert an Autosave
Step into a new sequence. When DB is selected as your file type, Operator, Time Stamp, Lot No, and Serial
No will be automatically saved to database. See the section titled SoundCheck Database Schema of this
manual for more information on the data stored in your database. All other file types allow the user to save
only the selected test information.

Figure 18-7: User Simply Clicks to Select Test Information

z Operator – Keeps the Operator name (login name) with the curves or results being saved.
z Time – Attaches a time and date stamp to the information being saved (up to one second resolution).

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z Lot No. – The lot number entered on the front panel is recorded with the data.
z Serial No. – The serial number entered on the front panel is recorded with the data. To have a unique
serial number assigned to each row or column of data, choose the SN auto increment step in the
Serial No sequence step category.
z Prompt for comment – After the test has run, the operator can enter a text note. This appears as a
separate field on the same line as the test data.
Below is an example of a Text file with the lot number and serial number added. Other Test information would
be added to the left of the serial number, and would also follow the row or column format selected by the user.

Figure 18-8: Text File with Test Information Added.

If a *.dat, *.res or *.wfm file is chosen, all Test Information will be appended to the curve or result name.

Filename
The Autosave Step saves the selected curves, values or results to a file whose type is pre-selected. The name
of the file being saved can also be determined in the Autosave Editor.
z New – Every time the Autosave Step runs, it will create a new file and overwrite an existing file of the
same name without prompting the user. The first time SoundCheck is asked to copy over an existing
file, it will prompt you if the file should be replaced. You may tell the system to Always Replace
without Prompting (check the appropriate box) to disable this message in the future. You may
change this setting back (to enable prompting) by exiting SoundCheck and opening last session.txt
from the SoundCheck directory. Find the entry PROMPT TO OVERWRITE FILE=False and set it to
PROMPT TO OVERWRITE FILE=True. Save the last session.txt file and open SoundCheck.
z Append – If a file of the same name exists in the same folder, the Autosave Step will append the new
data to it. If a file of the same name does not exist in the folder, Autosave will create a new file. When
saving data to Excel, the append function can only operate on Excel files that have been created by a
SoundCheck sequence in the current session (i.e., while the file is still open).
z Automatic – SoundCheck automatically stores the file to its specified location using the constructed
filename template. This option can also be used to append multiple tests to the same file (e.g., as a
table). In the example below, Option was set to Automatic and the sequence included a Serial
Number Auto-increment Step. Choose a text string (e.g., sequence name) and click Add. To erase
the file name, click Clear. To make a user defined name with the other text strings (e.g., Prototype or
Pilot Run), click User Defined from the Construction pull-down menu, and click Add. Then any text
in the User Defined field will be added to the filename.
z Prompt Operator – SoundCheck will prompt the Operator to enter a filename without an extension.

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Construction & Template

Choose the item(s) to add to the filename template. In the following example the sequence name (Autosave)
and the lot number (Demo 99) were added to the template to form the filename: Autosave Demo 99.txt .

Figure 18-9: Create a Filename by Selecting From the Construction Palette and Add >
Choose from the options listed in the Construction list box to build a filename for your data.
z Sequence name – uses current sequence name for filename. The sequence name is typically the
model number of the product being tested.
z Lot name or number – uses current lot name for filename.
z User defined – enter text for filename (e.g., DUT model name or model number). Entries in this box
will only be applied to the filename when <user> is in the Template field. Invalid characters are
shown below.

Figure 18-10: Character Type Error

z Serial number – uses current serial number for filename.
z Date – uses current date for filename.
z Time – uses current time for filename. This has one-second resolution and will generate a unique
filename each time the sequence is run. For this reason it is not appropriate to be used with the
Append option.

Note: If you want to append a file and include date/time stamp information, check the Time
checkbox in the Test Information section of the Autosave Editor.

z Data or Results – append data or results to the filename to distinguish data from results

Note: If the test sequence automatically increments the serial number (SN auto increment step), a
separate file will be created for each measurement. To store all the measurements in one file,
do not use this text string (<sn>) as part of the file name.

In a Sequence
Using the Autosave Step with the Sequence Editor, the Autosave Step can be inserted into any existing test
sequence. It should be inserted after any analysis or post processing. In this example, it has been placed
immediately before the Display Step.

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Figure 18-11: Note the Placement of the Autosave Step in the Sequence

Note: Autosave Steps from past versions (4.13 and earlier) may need to be revised. Previous
versions of SoundCheck allowed the user to choose two file types in a single Autosave Step.
If you copy a 4.13 or earlier sequence into the 6.0 folders, the data file type (*.dat) will be
used in the sequence and the results file type (*.res) will be ignored.

With the variety of file types available to save user data, keep in mind that one Autosave Step is needed for
each type of file you wish to create or append. If you wish to save curves to a *.txt file and results to a *.res file,
two steps must be inserted in the sequence to accomplish this. Similarly, you may wish to use three Autosave
Steps to save the Time Response in a *.WAV file, the curves to an *.xls file and then record all the results
information to database.
The default Autosave sequence that is delivered with SoundCheck 6.1 uses a Serial Number Step to
automatically increment the serial number before proceeding to the Autosave Step. The functions of the
Sequence Editor (such as Step Configuration of the Limit Steps) could be adjusted to jump over the Serial
Number and Autosave Steps if the device under test failed the Limit Step conditions. In a sequence without
jumps, data for all items tested would be saved, regardless whether the DUT passes or fails.

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Print Editor

The Print Editor (Ctrl+Shift+P) enables you to produce a printed report each time the sequence executes.
Send a standard SoundCheck report (shown in the figure below titled Figure 19-1: Printing Editor Standard
Report) to your printer, or save a report to a Microsoft Word file or to HTML format. Open the Printing Editor
by selecting Printing from the Setup menu of the main SoundCheck window.

Figure 19-1: Printing Editor Standard Report

There are three modes to choose from in the Select Print Type field, Standard, Word, and HTML. The
Standard Print type sends a report to your printer formatted as Printing Editor. You can choose any
combination of two graphs, tables, and/or results displays for your printout. This mode is identical to the
Printing Editor available in previous versions of SoundCheck.
Both Word and HTML modes create a report based on the layout of the currently open Display Step, when the
Printing Step executes in sequence. A Display Step MUST come before the Printing Step in the sequence and
be open when the Printing Step runs.
The Word mode will take a screen shot of your final Display Step, and create a Word document. Word is
opened and you can add notes, a header and footer, print the document and/or save it.
The HTML mode requires that you designate a path and filename for your HTML file, and decide whether you
would like to simply create the HTML file and save it to disk, or send it directly to a printer.

Note: There is a difference in the page size when selecting Create HTML from the print menu. This
creates an HTML file that can be opened in Internet Explorer or in an HTML editing program.
Selecting Create HTML maximizes the page size according to the Internet Explorer defaults. See
Figure 19-3: Internet Browser Setup for HTML printing. Selecting Print HTML in a Print Step
or CTRL+P from the Memory List will create a smaller, bordered printout.

Note: When printing to HTML, the default graphic format is Bitmap or BMP. This provides the best
graphic quality but the file size is large. If a smaller file size is required, the format can be changed
to JPG by editing: C:\SoundCheck 6.0\Last session.txt.

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Figure 19-2: Printing Editor in HTML Mode

It is important to set the printing properties of your Internet Browser when printing with HTML. The Browser
attributes are applied to the final printout.

Open the Inter-

net Browser and
select Page
Setup.

Margins set to .25”

and orientation set to
Landscape

Figure 19-3: Internet Browser Setup for HTML printing

Figure 19-3: Internet Browser Setup for HTML printing, shows the suggested Page Setup selections:
z Landscape Orientation
z All margins set to .25”. (Some printers require a bottom margin of .55”) We recommend that the
printer be set to “borderless printing“ if possible.

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Many functions of the Printing Editor are contained in the menu bar. The following sections describe what
options are available.

File

Figure 19-4: File Menu Options of Printing Editor

In the File menu, you can open saved data or results files to be displayed for printing. Additionally, Data or
Results in the current sequence can be saved to a *.dat, *.res, *.txt, or *.WAV file. You may load your company
logo to customize your reports. Page Setup enables you to choose page formatting and printer options, and
you can print your report immediately using the Print command in the menu. Print Preview shows a preview
of your report only if you are in Standard mode.

Display

Figure 19-5: Display Menu Options of Printing Editor

The Display menu enables you to configure your printout while in Standard mode. The Preferences command
opens the dialog box shown in the figure below (Figure 19-6: Preferences in Display Menu). Here, you have
the option of enabling one or two displays (marked Display A and Display B). If you choose to show one
display, options for Display B will become disabled, and Display A will be the only display. For each display
you may choose to show a Graph, a Table, or Results.

Figure 19-6: Preferences in Display Menu

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The figure below (Figure 19-7: Show Graph and Table) shows a graph and a table on the Standard Print
report. Notice that unlike the Display Step, the Printing Step has two Memory Lists, one for each type of
display. XY Graphs and Tables can display curves and single values, and a Results display can display the
result margins and verdicts.

Figure 19-7: Show Graph and Table

Figure 19-8: Configure Graphs on the Printing Editor

Use Graph Options (shown in the figure above titled Figure 19-8: Configure Graphs on the Printing
Editor) to adjust scale options on the x or y-axis. You can remove grid lines or change from a linear to a
logarithmic scale. You can also cancel the default Autoscaling of the graphs, allowing you to choose your own
scale.
In the Y Axis options, Auto Offset is available. Here you can set the visible range on the Y-axis. This enables
the XY Graph to display a user-defined dB range per decade of frequencies. When this is selected on the Y-
Axis box, the Standard axis ratio becomes available on the X-Axis box. Selecting this option will ensure that
the aspect ratio set by the Auto Offset will remain constant. Since you cannot alter the graph size in the
Printing Editor, the Standard axis ratio is set by default.

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Figure 19-9: Table Options

The table data can be transposed from rows to columns, and the width of the columns can be controlled for
each of the two possible tables.

Figure 19-10: Results Options

Show Limits displays the upper and/or lower bound of your Limits Step in the results display. The results can
be displayed individually, or by choosing Overall Pass/Fail, you can perform a Boolean AND on the results
selected for display, and receive one Pass or Fail notice. To choose Overall Pass/Fail in this example, you
would first need to uncheck the Show Limits box, and then the Overall Pass/Fail box will become available.
The choices in the figure above (Figure 19-10: Results Options) are mutually exclusive.

Curve

Figure 19-11: Curve menu options of Printing Editor

In the Curve menu, you can alter the properties of the curves and single values in the Memory List box of the
Printing Editor. Delete enables you to delete curves, single values or results selected from the Memory List
box on either Display A or Display B (called “Graph A” and “Graph B” in the figure above, titled Figure 19-11:
Curve menu options of Printing Editor). You can rename one selected curve, single value or result at a time
in either Display A or Display B. Similarly, you can change the units of the Y axis of one curve or single value
(not valid for results) at a time from either of the two displays.

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Main Menu Printing Options

Different printers may require settings other than the default settings noted below. If a laser printer has trouble
with printing, try "turning off" Color/Grayscale printing. Other changes may be necessary.

On the SoundCheck
Main Menu select Edit
and then Options.

Select Printing from

the drop down menu.

Figure 19-12: Main Menu Printing Options

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Adding a Custom LabView VI

SoundCheck provides a way for you to integrate your own LabView code into your SoundCheck test. To edit
the parameters of an existing custom step in your SoundCheck system, choose Custom from the Setup menu,
or use the shortcut Ctrl+Shift+X. Both methods will open the Custom Editor, if there is a Custom step in the
sequence. If not, a dialog window opens so that you can choose an existing Custom step to edit.

Creating a Custom VI
1. Make sure the SoundCheck application is closed.

2. Open your LabView development system.

To develop your own custom vi for SoundCheck 6.1, LabView 7.1 is required. If you want to run
SoundCheck only within your development system, you may use a higher version of LabView.
3. Open the LabView VI template (C:\SoundCheck 6.1\System\Custom VIs\your step name here.vi).

4. Choose Save As from the File menu of the open VI to name your step.

5. Save your custom VI name into the same location, in the Custom VIs folder.

Make sure it has the .vi extension (lower case). For example, save it as Sigma extraction.vi
6. Combine your code with the SoundCheck template.

Making a Template
1. Note your VI name, because the step name and step editor name you create for it must be the same
as the VI name (before the extension), and it is CASE SENSITIVE.

2. Open the LabView VI SoundCheck\System\Custom VIs\your step name here Editor.vi.

3. Choose Save As from the File menu of this template VI and make sure to use the same name as
your custom vi.

Make sure it contains Editor.vi after the custom name. For example, save it as Sigma extraction
Editor.vi.

Note: Use the Editor to set variables needed in your Custom Step.

Creating a Custom Setup

1. In creating your Custom Step, place any subvis in C:\SoundCheck 6.1\System\Custom VIs\subVIs.

The naming convention of these subvis is not controlled by SoundCheck, but you may wish to use
your own convention.
2. Close and save your step and step editor vis.

3. Start SoundCheck and open the Sequence Editor.

4. Choose Custom from the Category pull down menu on the left hand side of the Sequence Editor.

5. Choose New from the Step menu of the Sequence Editor, and then name the new step with the same
name as your step VI and step Editor VI.

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In this example, the new step would be called Sigma extraction (do not include the .Cus extension in
this dialog). This opens your Custom Editor of the same name (Sigma extraction Editor.vi).
6. Once this step is created and saved (click OK), you can insert the new step into your sequence.

Note: These two VIs (your step name here.vi and your step name here Editor.vi) work together
within SoundCheck and must be located in the System\Custom VIs folder. In our example,
the Sigma extraction Editor.vi is used to set parameters in your custom step, and Sigma
extraction.vi is called when your custom step is run in the sequence to execute your custom
code.

Using your Custom VI in a Sequence

Insert the step into your sequence.
1. Double-click on the Display Step in the sequence list and view the list of curves, values, and results
generated by your sequence.

If you have used the Curves Generated option in your Editor, you will add names to the Memory List
with your step. These curve, value, and result names will allow steps, such as Limits and Display
Steps that occur later in the sequence, to act on your custom curves.
2. Follow the instructions highlighted in yellow on the VI diagram, and wire in all your custom code.

Important! CAUTION: The curves listed in the Curves Generated array in your Custom Editor
must have exactly the same name as those created by your custom vi (and it is CASE
SPECIFIC). This ensures that the placeholders for the data and results in the Memory
List are filled with the correct data when the sequence runs.

Note: If you make your custom VI wait for user interaction, such as clicking a Done button, you
must set up that sequence step to Display when Run (see Sequence Editor). Otherwise,
SoundCheck may not be able to continue with the sequence.

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Sequence Editor

The Sequence Editor (optional) enables creation and customization of sequences to fit your specific testing
needs. Sequences can involve a few steps for a straightforward measurement (e.g., loudspeaker frequency
response), or include dozens of steps for elaborate tests. To view and change the current sequence, select
Sequence from the Setup pull-down menu on the main SoundCheck menu bar, or use the keyboard shortcut
Ctrl+Q.
Regardless of how comprehensive a test sequence may be, every sequence follows this basic flow chart.

Figure: 21-1 Sequence Editor Flow Chart

Other steps (to compare the test results to a set of tolerances, or to calculate parameters based upon the raw
measured data, etc.) may be added to the sequence, but in essence, the test follows the organization shown
in Figure: 21-1 Sequence Editor Flow Chart. Sequences are comprised of individual steps that are found in
one or more of fifteen different step categories. SoundCheck is delivered with many default steps that can be
used with minor or no modifications.
However, a SoundCheck sequence is more than just a series of steps. The outcome of individual steps can
determine later actions in the sequence. For example, if a Limits Step outputs a Fail result, you can configure
the sequence to jump over an Autosave Step, thereby only saving data when a Pass condition exists. By
creating new sequences, adding to old ones, or making simple modifications, you can customize the
sequence to best suit your test requirements.

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User Interface
The right side of the sequence editor uses the new Navigation Tree. The editor window allows the right side to
be expanded for easier viewing of long step names. Settings for the size of the sequence editor window and
the width of columns are stored in the “Last session.txt“ file. This will be recalled the next time SoundCheck is
run. Double click on the first line of the sequence, (Overall sequence) at the top of the edited sequence list to
open the Configure Sequence window. To open the Step Configuration editor, double click on any Step
Configuration item.

Note: Note: The comment field in the Configure Sequence window can be used to include notes about
the sequence; version, date created, author, etc.

Line number for

each step in
sequence

Click to expand
or collapse the
Step Configura-
tion information

Conditional
Branching or
“Jumps” show
the line number
and step name

Figure 21-2: Sequence Editor

Sequence Editor Features

z Tree list with expand/collapse to show configuration of a selected step (See Figure 21-2: Sequence
Editor)
z Loops & Sub-sequences visually easier to identify.
z Line number for each step in a sequence and Sub-sequence.
z Step Configuration can expand or collapse by clicking on the +/- of each step. If a step does not have
any configuration information the +/- selector will not be available.
z The Active Sequence (right hand) side of the sequence editor can be “stretched” to show long file
names.

Note: Note: The left hand window will show the sequence tree when the Step Category is set to
“Sequence”. It should also be noted that sub-sequences are not shown in this view.

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It is possible to “Mass Add“ steps to a sequence. This is very useful when adding a block of steps from
another saved sequence.

Block of steps
inserted above
Display step

Figure 21-3: Mass Add Steps

Figure 21-3: Mass Add Steps shows an example. Under Category select Sequence and pick a sequence
from the list. Select a group of steps from the sequence on the left hand side of the window and click on the
“Insert” button to add them to the active sequence on the right hand side of window. They will be added above
the step that is highlighted.

Sequence Menu

Figure 21-4: Sequence drop down menu

z Rename - used to rename sequence that is being edited
z Clear - Removes all steps from sequence being edited
z Documentation (New) - Opens Documentation Export window
z Memory List - Opens memory list window

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Documentation (New)

The Documentation function will allow you to export a list of the steps of the active sequence along with
information regarding the configuration of the steps.

Figure 21-5: Documentation editor

z Export the list of steps of a sequence to a text file in 2 text formats or to an Excel file: (See Figure 2-3:
Documentation editor)
1. Delimited txt file; tab, comma, semicolon and other

2. Space-aligned for fixed width text editors

z The Documentation setup window allows you to select:

1. Summary: Shows the Simple step information first (this is the collapsed view which used to
be called “Hide steps configuration“.) For sequences with sub-sequences, only the master
sequence setup is shown (e.g. Sub-sequence Compare to Ref Standard).

2. Current View: same layout as on screen

3. Expanded Details: Steps names, configuration and settings:

a. Line number

b. Output Channel / Input Channel

c. Category

d. Step title

e. Step configuration

z The Comment window gives you a space to enter general notes about the sequence and it’s use. This
info shows up in the Quick-Start menu.
An example of the output from the Documentation editor is shown in Figure 21-6: Documentation in Excel
spreadsheet.

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L is t e n S o u n d C h e c k 6 . 1 0 . 0 0 0 3 w w w . lis t e n in c . c o m
Sequence: L o o p S t im u lu s L e v e l
Thu Nov 17 2005 4 :4 8 PM
O p e r a to r : MW D
C o m m e n t: L o o p S t im u lu s w it h A u t o s a v e B

Ty pe S te p N a m e # Out In
( O v e r a ll s e q u e n c e )
d is p la y in s t r u c t io n s
c le a r d a t a a t s t a r t
show d is p la y w h e n s e q o p e n e d
c lo s e d is p la y a t s t a r t
Har C a r d D e lu x e s in g le - e n d e d
Cal C r o w n A m p & S C M 2 M ic
Mes S t a r t S t im L e v e l 1
d is p la y s t e p
o v e r w r it e c u r v e s
Po s C u r v e p lu s c o n s t a n t d B 2
o v e r w r it e c u r v e s
S ti 6300-100Hz 3 L
o v e r w r it e c u r v e s
A cq P la y & R e c o r d 4 L L
o v e r w r it e c u r v e s
A na THD 5
o v e r w r it e c u r v e s
Po s Curv e M ax 6
o v e r w r it e c u r v e s
L im M a x D is t o r t io n L e v e l 7
o v e r w r it e c u r v e s
D is L o o p S t im u lu s L e v e l 8
d is p la y s t e p
The sub-sequence
ju m p o n p a s s t o # 2 : C u r v e p lu s c o n s t a n t d B
title is given a step ju m p o n f a il t o # 1 0 : C u r v e m in u s c o n s t a n t d B
number in relation to ju m p a f t e r 1 2 r u n s t o # 2 6 : D is t o r t io n L e v e l N o t R e a c h e d
the other steps of the o v e r w r it e c u r v e s

master sequence. Seq A u t o s a v e b lo c k 9

> ( O v e r a ll s e q u e n c e )
> p r e lo a d S t im u lu s
Steps preceded > d is p la y in s t r u c t io n s
by an arrow “>” > c le a r d a t a a t s t a r t
are part of sub- > c lo s e d is p la y a t s t a r t Steps of sub-
sequences. Har > C a r d D e lu x e s in g le - e n d e d sequences are
Cal > C r o w n A m p & S C M 2 M ic
numbered
Ser > A u t o in c r e m e n t 1
Mes > S a v e to D a t 2 separately.
> d is p la y s t e p
> ju m p o n f a il t o # 4 : S a v e t o T e x t
A ut > S a v e to D a t 3
Mes > S a v e to T e x t 4
> d is p la y s t e p
> ju m p o n f a il t o # 6 : S a v e t o E x c e l
A ut > S a v e to T e x t 5
Mes > S a v e to Ex c e l 6
> d is p la y s t e p
> ju m p o n f a il t o # 8 : S a v e t o D B
A ut > S a v e to Ex c e l 7
Mes >Sa e to D B 8

Figure 21-6: Documentation in Excel spreadsheet

The documentation example shows the result of selecting the “Expanded View” format. If “Summary“ were
selected, the step configuration information below each step would be omitted.
When a sequence contains sub-sequences, arrows ">" represent sub-sequences and the number of them
denotes what level the sub-sequence is.

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Figure: 21-7 Sequence Editor Setup

Editing Sequences
Every sequence is comprised of several steps. The Sequence Editor allows you to configure the sequence as
a whole, as well as to configure individual steps. The right side of the Sequence Editor is devoted to the
sequence being developed or modified. At the top right, located in the Folder box, is the path where the *.sqc
file can be found.
The user can choose a specific path for sequence and step folders. You can browse across a network, or use
steps from another version of SoundCheck. This allows users to have their own unique set of sequences and
steps on a network drive or the local PC.

Figure: 21-8 Browse to Paths for the Steps and Sequence Folders.

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Just below the Folder box, there is a drop-down menu listing the sequences found in that directory. When a
sequence is chosen from this menu, SoundCheck loads its steps and configurations into the Active
Sequence list box.

Figure: 21-9 Category List

All the steps are listed in order and executed sequentially, unless a step is configured with one or more
conditional branches (or jumps). You can change the order of these steps by highlighting a step (clicking on it)
and then clicking the Move Up or Move Down buttons to move the step within the sequence. SoundCheck
will prompt you if you are moving steps that are part of a jump. By double clicking the steps in the right hand
Active Sequence list box, you can edit steps within the sequence. Each step will open in its own editor (e.g.
A Sti step will open the Stimulus Editor). At this time you cannot edit sub-sequences from the master
sequence. Instead, open the sub-sequence itself in the Sequence Editor to edit it.

Abbreviation Associated Editor

Har Hardware
Cal Calibration
Mes Messages
Sti Stimulus
Acq Acquisition
Ana Analysis
Rec Recall
Pos Post-Processing
Lim Limits
Dis Display
Ser Serial Number
Sta Statistics
Aut Autosave
Pri Printing
Cus Custom
Seq Sub-sequence

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Sequence-Specific

Note: Within individual step editors, parameters known as Sequence-Specific are in blue print.
Changes to these settings will only affect the step in the current sequence. All other items are
Step-Specific or Global, which means that the changes made will occur in all sequences that
use that step. To avoid making unwanted Step-Specific changes, either save the step with a
new name or create a new step.

You can also remove or insert steps into the current sequence. Removing a step is as simple as selecting the
step in the Active Sequence list box and then clicking Remove from the center of the Sequence Editor. To
insert a step, you must first browse to the location of the step (or Steps directory) on your local or networked
machine. This directory will be displayed in the folder field at the upper left corner of the Sequence Editor.
Then, choose the desired Category from the pull-down menu and select (by single-clicking) the step you wish
to add. Click Insert in the center of the Sequence Editor to add the step to your sequence. You may then use
the Move Up and Move Down buttons to position the new step correctly. When a step is present in the
current sequence, a checkmark will appear in the left list next to the step name, as in Figure 20-5.

Step Categories
The Category pull-down menu on the left side of the editor allows you to choose from any of the steps
available in the current Steps folder. Double clicking a step name in the left hand Category list box of the
Sequence Editor will open that step for editing. Editing steps from the left side of the Editor may change global
properties (black print).

Important! Any changes to sequence specific fields (blue print) will be ignored.

Figure: 21-10 Hardware step used has check mark

Specifies properties of audio interface card to be used for testing, as well as other interfaces (GPIB, RS232,
DIO, and optional Listen DC Connect DC measuring interface).

Calibration
Specifies the Input and Output devices (amplifier, microphone, etc.) and their respective sensitivities.

Messages
Specifies text based, digital I/O based messages, or RS-232 and/or IEEE messages.

Stimulus
Specifies the test signal (sine-based or a WAV file).

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Acquisition
Selects method of data acquisition, e.g., Play and Record, Record only, Real Time Analyzer, etc.

Analysis
Selects the analysis algorithm.

Recall
Recalls a saved data file (SoundCheck-specific *.dat, *.res, *.wfm and standard *.WAV files) into the
sequence Memory List.

Post-Processing
Allows for complex data operations.

Limits
Checks measurement data against preset tolerances.

Display
Selects how the data and results will be presented.

Serial No
Selects automatic incrementing of a serial number, or a prompt for the user to enter a Serial Number.

Statistics
Calculates running statistics of curves and results that are updated with each test run.

Autosave
Saves data, results and/or wave forms to disk in one of five formats.

Printing
Selects how the data and results will be printed.

Sequence
Allows you to copy a step from a pre-existing sequence into the selected sequence. When this is selected in
the Category pull down menu, a second menu appears that lists all the sequences available in the folder you
selected. The user can then select a step from the left hand sequence to be inserted into the current
sequence (on the right).

Important! The Sequence Specific (Blue) fields of the this inserted step will retain the settings it had in
the saved sequence on the left.

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When the selected Category is Sequence, the Insert Seq button appears in the center of the Sequence
Editor, above the Insert and Remove buttons.

Figure: 21-11 Inserting a Sub-sequence

Clicking Insert Seq will insert the entire sequence into your current sequence as in Figure: 21-11 Inserting a
Sub-sequence. Notice that for the selected step in the Active Sequence (right) list box, the category is Seq
and the step name is Rub & Buzz, the name of the sequence described on the left hand side of the editor.
This feature adds another level of flexibility to your test. Because the sub-sequence may contain different
Hardware and Calibration Steps, you may choose to use the Hardware and Calibration Steps of the parent
sequence for all sub-sequences, or you may use each sub-sequence’s native Hardware and Calibration Steps
(while the sub-sequence is running). Make this choice through the Configure Sequence dialog box in the
Sequence Editor.

Step Menu

Figure: 21-12 Step Menu of Sequence Editor

The options in the Step menu will only affect a step of the currently selected step category. You can create
new steps in that category, rename or delete existing steps (you must have one step in the Category list box
selected), edit the selected step, or choose to select all the steps in the Category list box (all steps in a given
category). Select All may be useful if you wish to insert many steps from the selected category into the
sequence.

Note: Attempting to save a sequence or step that is read-only will produce a dialog box that will tell you
which file(s) is not allowing the save to take place. You can change the Read Only attributes in
Windows and then save the sequence. Refer to Microsoft Windows documentation on how to do
this.

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You can also open a step for editing by double-clicking on its name in the Category list box. From the step
editor you may rename and save your step if you wish. Keep in mind that only global changes (fields with
black print) will retain their settings when you edit a step outside of a sequence.

Important! Also, remember that any change(s) made to a black field in a step will be reflected in ALL
sequences that use that step.

Sequence Menu

Figure: 21-13 Sequence Menu of the Sequence Editor

Like the Step menu, the Sequence menu allows you to create new sequences, save, rename, and edit
existing ones. Reverting a sequence will discard all changes made since the last time the sequence was
saved to disk. You may clear a sequence if you wish to use entirely different steps and configurations (while
keeping the sequence name) and deleting the sequence will remove the sequence name from the list of
available sequences.

Configure Sequence
Configure Sequence allows global configuration of all steps in sequence (e.g., Display Steps when run for
two (2) seconds). Note that sequence configuration specifications override any individual step configuration.
Options can be seen in Figure: 21-14 Configure Sequence Setup.

Figure: 21-14 Configure Sequence Setup

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z Preload Steps into memory improves the speed and performance of the sequence. While the
sequence itself places little demand on memory, the use of long Stimulus files may require the use of
Virtual Memory, slowing down the speed of the test. Preloading these steps helps resolve the memory
problem.
z Show Display when sequence opened opens all of the final display windows of a sequence as soon
as the sequence is opened.
z Close opened Display at start of sequence closes all Display windows as soon as the sequence is
started.
z Clear measured data at start of sequence.
z Update Display during sequence allows display screens to change during the execution of the
sequence, so that you can view the data as it is measured. This does slow down sequence
performance. The default sequence configuration is to update Display Steps only at sequence
completion.
z Display instructions when opened allows you to choose a document or graphic to be displayed as
soon as the sequence is opened. This can be used to show instructions on how the measurements
are to be performed.
z Display steps when run for x seconds shows each step for a user defined number of seconds.
z Display steps on FAIL for x seconds displays every Failing step.
z Wait for confirmation stops after each step has been executed and waits for user input. When
Display step on FAIL is selected with this option, each step will be displayed until you choose to
continue on the Status window or Enter on the keyboard.
z Halt on FAIL will cause the sequence to abort at the first step that fails.

Edit Step
You may edit a step in the sequence two ways, by selecting the step for edit (in the Active Sequence list box)
and then choosing Edit Step from the Sequence menu, or by simply double-clicking on the step in the Active
Sequence list box. When in the Sequence Editor, as long as you use one of these two methods your entries
in the local fields (those with blue print) will be saved when you save the sequence.

Assign Channel
There is no longer a Channel Assign selection in the menu. This is now done in the Stimulus and Acquisition
Steps. (See Acquisition Editor and Stimulus Editor sections for more information.)

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Figure: 21-15 Input and Output Channels of Acquisition Step.

Configure Steps
You can configure individual steps to fine tune their role in the sequence. These changes are sequence-
specific. Configuring individual steps allows implementation of loops and conditional branching in the
sequence. You can find these options by highlighting a step in the current sequence, and selecting Configure
Step… from the Sequence menu of the Sequence Editor. The dialog in Figure: 21-16 Configuring the Test
for Signal Step will appear.

Figure: 21-16 Configuring the Test for Signal Step

Using these options, you can alter the path of the sequence based on the outcome of a particular step.

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z Wait for Confirmation causes the sequence to pause after the selected step is completed and wait
for user input (click Continue or Abort in the Status window).
z Display step when run… (or Display Step on FAIL…) eliminates the need for user confirmation.
Enter the amount of time you wish the sequence to pause while the step is displayed. The sequence
will resume once the step times out.
z Halt on FAIL or Halt on Pass allows the sequence to be stopped based on the result of the step
(PASS or FAIL).
z Jump on PASS to… (or Jump on FAIL to…) allows for conditional branching. Depending on the
PASS/FAIL result of the step, the sequence will jump to a different point in the sequence. The drop-
down menus contain the names of all the steps in the sequence; you may jump forward or backward
in the sequence. You can also elect to loop through part of the sequence for a given number of
iterations and jump to a selected step.
z Overwrite data is selected so that the generated data item will be overwritten in the Memory List
each time a sequence loop occurs. This helps reduce the number of curves that appear in the
memory list. This can be set on a per-step basis. In other words, you can overwrite data for some
curves in a loop and keep all repeated data for other curves.
z Keep repeated data enables you to keep the repeated measured curves in memory, and they will be
added to the memory list with an iteration prefix, i.e.; 2-Fundamental, 3-Fundamental, etc. Curves are
only kept when the iteration logic produces a Pass.

Expand All (Show Steps Configuration)

After adding configurations to steps and sequences, you can view jump commands and other details of the
sequence in the Active Sequence (right) list box by choosing Expand All from the Sequence menu.

Figure: 21-17 Show Step and Sequence Configurations in Effect

The Active Sequence list box now displays the step names and any step or sequence configurations. The
overall sequence configurations are listed first, as in Figure: 21-17 Show Step and Sequence
Configurations in Effect, and take precedence over any conflicting step configurations. The Hardware and
Calibration Steps are not configurable, and are therefore not included in this list. Any individual step
configurations are displayed immediately after the step they affect. In Figure: 21-17 Show Step and
Sequence Configurations in Effect the Test for Signal Step is set to Jump to the Measure Impedance Step if

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the condition is Pass. To return to a normal sequence list, click the Collapse All button in the middle of the
Sequence Editor.

Note: The final step of a sequence cannot be used in conditional branching. Jump on Pass or Fail will
not be executed. In order to execute a jump at the end of a sequence, add a dummy display or
message step at the end of the sequence, and then configure the previous step to jump to the
desired location.

Creating a New Sequence

This is the basic procedure required to complete a sequence. You may alter it to fit your test needs.
1. In the Sequence Editor, under Sequence select New.

2. Name the Sequence. This will save an empty sequence with the new name. You will see an empty
Active Sequence list box on the right hand side of the Sequence Editor.

3. Under Category (left side of editor) select Hardware.

a. Then select from the list of existing Hardware Steps (or create a new one) corresponding to your
system.

4. Click Insert>>.

5. Under Category select Calibration. Then select from the list of existing Calibration Steps (or create a
new one).

Note: We recommend that you Not use periods or commas in step names. This is known to cause a
problem with Calibration steps not saving the calibration information when the sequence is saved.

Note: Notice: The order of the Step Categories in the pull down list is also the order the steps are
normally used in a sequence.

6. Click Insert>>.

Note: After opening any of these sequence steps in its editor, they can be saved under a different
name by click on Save As in the Step Editor.

7. Under Category select Stimulus.

a. Then select the stimulus step to be used for the test.

8. Click on the Insert>> button.

9. Select the channel for the Stimulus output.

10. Under Category select Acquisition.

a. Select the method for playing the stimulus signal and recording the DUT (device under test)
response.

11. Click Insert>>.

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12. Select the channel for the Acquisition input and output.

13. Under Step Category select Analysis.

a. Select the type of signal analysis that will be performed.

14. Click Insert>>.

15. Select the channel for the Analysis input and output.

16. Under Category select Display.

a. Select a step to display your data.

17. Click Insert>>.

18. Under Sequences (right side of editor) highlight the Display Step that was just inserted.

19. Under the Sequence pull-down menu, select Configure step.

a. Select Display step when run. This is required in order to see the results of the sequence.

20. Under the Sequence pull-down menu, select Configure Sequence.

a. Select Preload Steps to optimize test speed.

21. Double click to open your steps on the right hand side of the editor. Make any changes to sequence-
specific (blue fields) there. Then save and run your sequence.

Exporting/Importing Sequences
Sequences developed on one SoundCheck installation can be used by other SoundCheck systems using the
Export Seq command from the File menu. This will copy the sequence, its configuration, and any steps
associated with the sequence to a folder with the same name as the sequence selected to export.
To import a sequence into the current sequence folder, select File→Import Seq… from the main
SoundCheck window. If a step or sequence being written has the same name as an existing step in the
destination directory, you will have to choose to use the old step or replace it with the new one. Care should
be taken to ensure that overwriting a step does not affect a sequence using the previous version of the step.
Steps may also be copied from one system to another by using standard Windows Cut and Paste from the
source step folder into the same category folder on the destination system.
You can run a sequence without importing it into your local session of SoundCheck. The sequence will use
the steps present in its own directory. Doing this will avoid copying over steps you may have on your system
that have names identical to steps in the exported sequence. This is valid for any sequence that does not
contain sub-sequences in sub-folders of the main exported sequence folder.
When working in an exported sequence (without importing) you can make and save changes to this sequence
at its location. You cannot re-export a sequence without first importing it into SoundCheck.
Sequences exported out of SoundCheck 6 also copy any instructions files from sequence configurations, any
*.dat, *.res or *.wfm files from Recall Steps, picture files being used in your Display Step, or WAV files used in
the Acquisition or Stimulus Steps into the exported sequence folder. On import, your SoundCheck system
may ask where these files should be stored, and will update paths in your sequence accordingly.

Example - Exporting a Sequence

To export a sequence, do the following:

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1. Make sure the sequence you want to export is the current sequence, and has been saved.

2. Select File→Import Seq….

3. Open the folder where the exported sequence will reside. This can be a folder on the local hard drive
or anywhere on a network.

4. Once you have opened the destination folder, click on Select Cur Dir.

5. SoundCheck will then create a folder with the same name as the exported sequence. The folder will
be populated with the steps and additional files needed by the sequence. If a folder of the same name
already exists in that directory, the export process will abort. It will not issue an error.

Example - Importing a Sequence

To import a sequence, do the following:
1. Select File→Import Seq….

2. Open the folder where the sequence to be imported (*.sqc file) resides. This can be a folder on the
local hard drive or anywhere on a network.

3. Click Select Cur Dir.

4. SoundCheck will then display the following message before importing the sequence:

Figure: 21-18 Import Sequence

In this example, Cherry Picking is the name of the sequence that will be imported. The default
destination is the folder where the current sequence resides. The current sequence is the sequence
that is open when you are importing: in this case, it is in the folder Loudspeakers. If you want the
imported sequence to reside in this folder, click Yes, proceed, otherwise click on No, choose a
different destination.
5. SoundCheck will now import the sequence. If there are steps in the imported sequence with identical
names in the SoundCheck Steps folder (this folder resides in C:\SoundCheck 6.1\Steps by default),
SoundCheck will ask if you want to overwrite these steps. If you choose to overwrite them, all
sequences that use these steps will use the global settings (fields in black) of the new steps. If you
choose not to overwrite them, the sequence being imported will use the steps that are in the default
Steps folder.

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6. SoundCheck may also ask where to place any data, document, Excel template, or WAV files that are
imported with the sequence.

7. If you are importing a sequence with sub-sequences, make sure to place all sub-sequences in the
same directory as the master sequence.

Running Sequences from a Network Drive

Exported sequences can be stored on a network drive and run from that location. This is useful when many
SoundCheck systems are networked and running similar sequences, which is typically done for product
testing. In order for this to work properly, the following must be done:
1. The Hardware and Calibration Steps (*.har and *.cal) in the exported sequences must exist in the
C:\Soundcheck 6\Steps\Hardware and C:\Soundcheck 6\Steps\Calibration folders on the local
SoundCheck test stations.

2. The input and output devices for each local station must be calibrated.

3. The folder paths on each local station must be set to the local drive:

Figure: 21-19 Folder Paths

4. After you export the sequence to the network drive, navigate to the exported folder and DELETE the
Hardware and Calibration Steps (*.har and *.cal). When the local stations open the exported
sequence, the Hardware and Calibration Steps will be automatically loaded from the local folders
(C:\Soundcheck 6\Steps\Hardware and C:\Soundcheck 6\Steps\Calibration).

5. To open any sequence on a network drive, use File→Open (Crtl + O) from the main SoundCheck
screen and browse to the location of the *.sqc file.

Guidelines for Using Multiple Sub-sequences

Stimulus, Acquisition and Analysis steps should be configured to “Overwrite Data” when the same steps are
used in Multiple Sub-sequences. The default state of steps when added to a sequence is “Keep Repeated
Data”. When steps of the sub-sequences (and/or master sequence) are configured to “Keep Repeated Data”,
redundant curves can be generated in the memory list of the master sequence, i.e.; Fundamental [L], 2-
Fundamental [L], 3-Fundamental [L], etc.
The sequence will also take less time to run if it simply “Overwrites” stimulus or waveform items that share the
same name between sub-sequences.

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As an alternative we recommend using unique data names so that the data from one sub-sequence can be
differentiated from that of another. Keeping track of data in the master sequence is much easier when unique
names are used. This also allows you to keep all of the “Waveform Out” information in the memory list of the
master sequence.

Change step configuration

to “Overwrite Data“.

Figure: 21-20 Stimulus Step Editor and Step Configuration

Change step configuration

to “Overwrite Data“.

Figure: 21-21 Acquisition Editor and Step Configuration

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Change step configuration

to “Overwrite Data“.

Figure: 21-22 Analysis Editor and Step Configuration

Hardware Step
Any Master Sequence that contains sub-sequences using non-audio hardware (Digital I/O, IEEE, RS-232,
Footswitch, Buzzer or DC Connect) will need to have that hardware enabled in the Hardware Step of the
Master Sequence. If each sub-sequence has a different hardware step that calls different peripheral devices,
the Hardware Step in the Master Sequence will need to have all of those devices enabled as shown in Figure
4.

Figure: 21-23 Hardware Step of Master Sequence

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Basic vs. SoundCheck Equivalence Chart

For those who are more familiar with the Basic programming language, the chart below shows how
SoundCheck sequence programming compares to Basic.

Basic SoundCheck

Initialization: x = a Message Step: prompt operator for numeric input to use as variable.
Recall Step: recall a value to use as a variable.
User equation: set a variable in a custom equation.

x= y Overwrite old curve (or value) with new curve in memory list. (Overwrite
data selection in step configuration)

Goto Jump on pass and/or fail to step x

For i=0 To n Do After n repetitions jump to step x and Jump on pass and/or fail to step y

Do While/Until Jump on pass and/or fail to step x

If Then … Else … Jump on pass and/or fail to step x

Case … Do Limits

Enter Message Dialog

Comment Line Not implemented yet

Figure 21-24: Comparison chart of SC Sequence language to Standard Programming languages

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Virtual Instruments

The Virtual Instruments offered by SoundCheck allow you to manually operate the different components of the
test system as stand-alone instruments (e.g., Signal Generator (Ctrl+F4), Multimeter (Ctrl+F5), Oscilloscope
(Ctrl+F6), Spectrum Analyzer (Ctrl+F7), Real Time Analyzer (Ctrl+F8)).
The Virtual Instruments include:
z A Signal Generator to generate sine waves, noise and WAV files.
z Multimeter to display the weighted or unweighted RMS level of an input signal.
z Oscilloscope to view time waveforms.
z FFT Spectrum Analyzer for narrow-band frequency analysis.
z Real Time Analyzer for nth octave analysis. (Not available when using NI DAQmx hardware devices.)

An overload indicator is included in the Multimeter, Oscilloscope and FFT/RTA. The

Overload button indicates that the input hardware has been overloaded, that is, the amplitude of the input
signal exceeds the range of the hardware. When the input signal is actively overloading the hardware, the
Overload button becomes visible and flashes. After the overload condition ceases, the button stops flashing,
but the button remains visible in order to let the user know that an overload condition had been present in the
current data acquisition session. The overload indicator is reset (i.e. hidden) by clicking Overload, or by
stopping and starting the virtual instrument.

Signal Generator
Choose the output Channel, Frequency, and Output Level of the sine wave or WAV file to play. The Signal
Generator always opens with Mute enabled to prevent any inadvertent, excessively high levels being played.
When you are ready to play your signal, click the blinking Muting button to disable muting.

Drop Down menu for

selecting Output
Channel
Drop Down menu for select-
ing stimulus types Max level and units defined by
Output section of Calibration
Editor

Vary frequency linearly or

logarithmically

Vary level linearly or logarithmi-

cally
Reference 1kHz tone

Temporarily mute output

Figure: 22-1 Signal Generator Set to Create a Sine Wave

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The level and units are determined by the calibration setup. For example, if you have calibrated the output
sensitivity to include the gain of an amplifier in the path of the output signal, the level indicated will be the level
into the DUT. The output level is in physical units. Refer to the Calibration Editor for more information on
Physical Units.

Enable EQ Check box

Equalizing Status light indi-

cates the EQ'd signal is
being created. When the
light goes out the process is
complete.

Figure: 22-2 Signal Generator Set to Play a WAV File

Note: WAV file playback “N times“ is not available when using NI DAQmx hardware devices.

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WAV file playback

z The level is shown in both RMS and in Peak, % FSD or dB FSD.
z Sampling rate, bit depth, and mono/stereo info for the selected wav file are displayed in the WAV info
section.
z Control of the level out is in physical units rms (limited by Vmax of Soundcard
You may also create an Equalized version of the WAV file by checking the EQ box and clicking Start. This will
record an additional WAV file in the same directory as the parent WAV file. The selected WAV file is equalized
by applying the EQ curve defined in the Calibration Step.
The new equalized WAV file (using Figure: 22-2 Signal Generator Set to Play a WAV File as an example)
will be named program material EQ.WAV. The EQ curve is channel-specific, can be viewed in the memory list
and can be manipulated via Post-processing or calibration. For more information on generating or
manipulating EQ curves refer to the Calibration Editor.

Equalize a WAV file

Many modern electroacoustic products, in particular mobile phones, incorporate nonlinear digital signal
processing for noise suppression and speech encoding. Usually these products must be tested using complex
excitation signals such as real or simulated speech. Prior to their use, these special signals need to be
equalized to compensate for the non-flat response of the mouth simulator or loudspeaker used as the output
device.
The Calibration Step of sequence that is active when the Signal Generator is opened must have an
equalization curve associated with it. EQ curves have already been created for the default Calibration Steps:
Mouth Calibration and Anechoic Test Box Cal.
1. Make sure that the desired output channel has an appropriate EQ curve available in the memory list.

2. Open the Signal Generator by choosing it from SoundCheck’s Operate menu. (Open the RTA as well
if you wish to see the measured signal change as the equalization is applied.)

3. Select WAV file from the radio button in the upper left hand corner of the Signal Generator. Browse to
the WAV file you would like to equalize, and set your Output Level and number of times for the file to
play. Press Start to play the file, and watch the unequalized response on the RTA. The WAV file will
stop playing when the number of times to play has passed, or, if you have chosen Continuous Loop,
click Stop when you are satisfied.

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Enable EQ Check box

Equalizing Status light indi-

cates the EQ'd signal is
being created. When the
light goes out the process is
complete.

Figure: 22-3 Creating an Equalized WAV File

4. Select the EQ option at the top of the Signal Generator, make sure your Output Level is appropriate,
and the WAV file is set to play a fixed number of times (for Duration will play the WAV file once). Press
the Start button and watch the equalized response of your WAV file on the RTA.

5. The equalized version of the WAV file will be saved to the directory of the original file. If the original file
was named program material.wav, the new file will be named program material EQ.wav.

6. Return to editing your sequence (this should still be the sequence containing the Calibration Step
used earlier). Add an Acquisition Step to play the equalized WAV file (e.g. program material EQ.wav)
through the Signal Generator, and record the response through the RTA, as in Figure: 22-4 Play the
Equalized Signal in the Sequence. Keep in mind that most of the user entry fields in the Acquisition
Step are sequence-specific, and therefore must be edited after the step is inserted into your
sequence.

Figure: 22-4 Play the Equalized Signal in the Sequence

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Multimeter
Choose the input Channel, Record Time in milliseconds, the number of Averages to measure the RMS level of
the input signal. Averaging can be set to Linear or Exponential. (For more information on Virtual Channels
refer to the Hardware Editor section.)

For more information on Virtual

Channels refer to the Hard-
ware Editor section.
RMS level defined by cali-
Set input channel bration input setup

Select Limits On to enable

Select Weighting Type Upper and Lower limits func-
tion

Figure: 22-5 Multimeter

The level and units are determined by the Calibration setup. For example, if you have calibrated the input
sensitivity to include the sensitivity of a microphone used to measure the input signal, the level indicated will
be the absolute SPL level at the microphone position.
When the Limits On box is checked (as in Figure: 22-6 Enter Limits for the test signal), Upper and Lower
limit values appear, as well as a Pass/Fail indicator. If the signal remains within the limits entered by the user,
the indicator will be a green Passed sign. A signal exceeding the upper or lower bound will indicate Failed.
You can use this in a sequence by adding a Limits Step using the Multimeter setting before the Acquisition
Step calling the Multimeter. This will programmatically set upper and lower bounds on your Multimeter as the
sequence runs.

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Set Upper and

Lower limits for
Pass/Fail indicator

Figure: 22-6 Enter Limits for the test signal

Spectrum Analyzer
The spectrum analyzer allows detailed analysis of spectral components. The weighted spectrum is now
available. The weighting functions include: none, A, B, C or any other curve in the SoundCheck Memory List.

Estimated Fre-
quency and Level

Choose Window
Units based on type and Weight-
Calibration ing

Cursor position
and level

Harmonic Cursor
Displays harmonics
and THD level

Figure: 22-7 FFT Screen Overview

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FFT Controls

Display (Mode Select and Cursor Readout Controls)

z Spectrum/Time: Selects mode of operation - frequency or time analysis. The

Oscilloscope will run in the time domain, while the Spectrum Analyzer will run in the frequency
domain.

z Est. Freq: Displays interpolated frequency estimate, in Hz, at Cursor 1. The interpolated
frequency value is significantly greater in resolution than the measurement bandwidth.

z Est. Level: Displays the calculated level estimate at Cursor 1, in units RMS. In order to get
valid results for Est. Frequency and Est Level, Cursor 1 must be positioned before or during
measurement. The interpolated level value is significantly great in resolution than the direct reading in
the Cursor 1 legend.

z Spectrum (Display properties): Allows you to change the color and attributes of the
Spectrum Line. For more information on these controls refer to the Display Editor section.

z Cursor 1/2: Shows position on X and Y-axis of the two cursors.

User can position the Cursor manually by entering the desired X value directly into the cursor legend.
z Delta: Difference (in relevant units) between the two cursors.

Axis Scaling, Zoom and Style Controls

z Curve Attributes: Controls curve attributes See the Introduction section for more information on
these graph controls.

z Auto Scale: Turns Autoscale on/off. To turn this On or Off. Place mouse pointer here.

Autoscale OFF Autoscale ON

z Precision: Allows you to set the level of precision for the display of values.

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Scale

z Y axis: Provides choice of dB (relative) or linear (absolute) units.

z X axis: Provides choice of linear or log X axis.

Trigger Controls

Triggering can be used to automatically capture a spectrum when the signal level exceeds the value set in the
“Trigger Level” field.
z Trigger Channel: Sets Sound Card Channel analog input select.
z Trigger Level: Sets level of measurement trigger, in either Physical Units or dB. If dB is chosen, the
trigger threshold is on the positive value of the waveform.
z Trig. Offset (sec): Sets the amount of time that the Acquired Signal is shifted relative to the point at
which it triggered. A negative offset indicates that the signal will be shifted to the right by the time that
is in the field i.e. -100mS.
z Slope: Selects whether Positive going signal triggers before negative going signal.
z Indicator light next to Triggered button indicates when the signal is triggering measurement.

Resolution
When the Display type is set to Time, only the Time [sec] field is available.
When the Display type is set to Spectrum both the Time and Spectral lines fields are available.

z Time [sec] indicates the total amount of time allowed before the next trigger will be allowed.
Measurement record length in seconds (sec).
z dT [sec]: Sampling Interval of the time signal. This is the inverse of the sampling rate determined in
the Hardware Step.
z Spectral lines: Number of FFT lines from 0 Hz to 0.5x (half) of the sound card sampling frequency.
z dF [Hz]: Resolution/spacing of Spectral Lines.

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Averaging Controls

z Linear/Exponential: Different averaging modes.

Linear will average for only the number of averages entered (e.g., 13) and then stops measuring.
When Linear averaging is selected, the Averages indicator will appear, specifying the number of
averages currently completed.
Exponential allows for continuous measurement. Averages, in this case, sets the number of spectrum
that are averaged together for each measurement display. If this number is set to 1, there will be no
averaging. This will then be the raw spectrum.
z Start Button (Available in Linear mode): Starts the acquisition of data. Acquisition ends when the
number of averages is complete.
z Continuous (Available in Exponential mode): Starts the continuous measurement of spectrum and
ends when the Stop button is clicked. The Continue button allows you to resume a previously started
measurement.

Spectrum

z Input Channel: Makes any predefined channel, including Virtual Channels, will be available for input.
z Average: Displays the average spectrum, either Linear or Exponential, as determined in the
Averaging Field.
z Power: The result is the average Power of each FFT bin, excluding phase information.
z Complex: The result is the average of the complex value of each FFT bin (amplitude and phase); this
must be used in conjunction with the trigger controls. The signal must be very stable when using
triggering, otherwise slight random variations in phase from one trigger cycle to the next will cause
synchronous components to be underestimated in amplitude. A greater signal to noise ratio can be
obtained by using this.
z Maximum: Displays the maximum of each spectral line.
z Minimum: Displays the minimum of each spectral line.

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Weighting Controls

z Window: User selectable time window. Available windows are shown above.
z Weighting: Allows you to select A, B or C weighting. Additionally, a curve from the Memory List can
be used as a weighting function. This is applied to the measured spectrum, i.e. frequency domain.
z Apply Correction: Applies the correction curve associated with the input channel. Refer to the
Calibration Editor for information on the creation of Calibration Curves.

Operation Control Buttons

z Save to Memory: Saves the current measurement data to the memory list. This saves both the
Summable Spectrum and the RMS Spectrum. The Summable Spectrum displays the amplitude
corrected for the noise energy bandwidth of the time window used in the FFT calculation (e.g.
Hanning, 4-Term Blackman-Harris, etc.). The FFT spectrum should be used when measuring pure
tones and/or sinusoidal distortion components, such as harmonics. The Summable Spectrum must be
used when using the Power Sum post-processing function. Typical applications include determining
the total power in a frequency band when using Pink or White noise or program material.

Note: All FFT spectrum are summable spectrum in SC6.11.

z Cancel: Closes the Spectrum Analyzer, any changes to user defined fields will not be stored
z OK: Closes the Spectrum Analyzer, storing all settings.

Measurement Status

z Buffer Use: This shows memory buffer use. If this indicator is not solid red, there is no data loss (all
data processed). Real time analysis is performed.
z Real Time: This shows the update rate of the data display. A solid green bar indicates that the data is
being displayed as quickly as it being acquired. There will be circumstances where the display
processor cannot keep up with the actual data processing. Since the display may not be able to be
updated after each completion of a new average, this field would be a partial green bar. The actual
time data is still processed even though the display is not updated with each new average. After the

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number of required averages has been calculated, the final screen is the cumulative average of all
averages.

Measurements
Listen’s SoundWare™ FFT program allows straightforward measurements of acoustic, vibration and electrical
signals. The procedure to make a measurement is relatively simple:
1. Set up the Y-axis, X-axis, time window, and units in the Scale and Weighting sections.

In the Trigger and Averaging sections:

2. Select the Input Channel where the signal input is connected to the sound card.

3. Input the Trigger Level and the Slope.

4. Determine the Time record length. For lower frequencies and higher resolution, a longer record length
is needed. The delta Hz will automatically be updated to reflect changes in record length and number
of FFT Lines.

5. Enter the number of FFT Lines desired and select type of averaging (Linear or Exponential).

6. Select and type in the number of Averages needed.

Running a Measurement
After set up of the above sections, pushing Start in linear averaging mode will start the measurement and
averaging and will stop the analyzer when finished (when the requested number of averages is reached). In
Exponential averaging mode, this button becomes the Continuous button which, when pressed, starts
exponential averaging. To stop exponential averaging, press the Continuous button again. Pressing Start in
linear averaging mode while running will stop the measurement and averaging. Use the cursors and/or saving
facilities to analyze and view data.

Note: The Estimated Frequency and Level fields only update during measurements. When the
measurement is finished (as in the case of linear averaging), the fields will reflect the last cursor
position before the completion of the last average.

Using the Graph Cursors

When the cross (+) cursor appears (selected using the Return to Cursor button), click on the graph cursor and
drag it to the frequency line of interest to read the frequency and level data. Use the other cursor facilities to
zoom, scale and change the graph attributes. Refer to the Introduction section on tips for using graph
controls.

FFT Weighting Types

An FFT analysis must be made on a time record or measurement of finite length. The measurement is then
limited to a specified window. Spectral leakage occurs when the acquired data does not exactly correspond to
one of the spectrum frequency lines. This leakage leads to amplitude accuracy errors as well as obscuring
adjacent frequency peaks. For these reasons it is important to apply a Weighting function to obtain more
useful information from a measurement. Various windowing types affect the results of the measurement in
different ways.

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None (Uniform)
Also referred to as Rectangular. No weighting is applied to the measurement. This works well with transients
that are shorter in length than the measurement time. Due to the flat characteristic in the time domain, all parts
of the signal are equally weighted.

Hanning

This is a smooth window function, which is one period of a cosine2 function and tapers to zero at the
beginning and end of the measurement. Hanning is recommended for the analysis of noisy signals. Its main
advantage is that it has excellent frequency selectivity.

Blackman-Harris
This window has a low ripple (<0.87dB) in the pass-band and a low skirt (<-80 dB) in the stop-band.
Blackman-Harris is recommended for harmonic and order analysis. Its main advantage is that it has an
excellent dynamic range combined with good frequency selectivity.

Flat-top
This window has very negligible ripple (<0.01dB) in the pass-band (in the frequency domain). The window’s
main use is for level measurement of sinusoids (calibration), due to its negligible amplitude errors. Its main
advantage is that it has excellent amplitude accuracy.

Note: Audio Analyzer Type 2012, Brüel & Kjær Technical Documentation, BE 1074-12, 1994.

Figure: 22-8 Windowing Types

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Signal Content Window Type

Sine wave or combination of sine waves Hanning, Blackman-Harris

Sine wave (amplitude accuracy is important) Flat Top

Narrow-band random signal (vibration detail) Hanning

Broad-band random (white noise) Hanning

Closely spaced sine waves Blackman-Harris

Signals with harmonics Blackman-Harris

Unknown content Blackman-Harris

Figure: 22-9 Table of Applications vs Window Types

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Oscilloscope
The Oscilloscope allows you to display and analyze the waveform of the signal from your transducer. This
instrument draws a graph of the instantaneous input signal as a function of time. You can configure the
settings of the SoundCheck Oscilloscope to take a linear average of the input signals as well. The units of the
Y axis of the Oscilloscope are determined by the Calibration Step. Controls for the Oscilloscope are similar to
those in the Spectrum Analyzer and are defined in more detail in the Spectrum Analyzer section.

Set the function to

Time to use the
Oscilloscope

Select Start/Con-
tinuous to begin
measuring, click
this button again
to freeze or stop
the measurement

Figure: 22-10 Oscilloscope

z Triggering: Refer to the Spectrum Analyzer section for more information. All of the controls
available in Spectrum are available except for the following: Average – Maximum - Minimum, Power -
Complex, Window, Weighting, Apply Correction, Spectral Lines, dF, THD and X & Y Axis scale.
Triggering can be used to automatically capture a spectrum when the signal level exceeds the value
set in the “Trigger Level” field.
z Calculate Spectrum
„ Off - FFTs are not being done in the background which makes it faster.
„ On - Collect data while the Scope is running and then switch to FFT scope to view or save the
spectrum. The spectrum acquired by Calculate Spectrum will be available in the Memory List.

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Real Time Analyzer

The Real Time Analyzer (RTA) allows you to analyze a signal using Constant-Percentage Bandwidth (1-Nth
octave) filters. This method of frequency analysis is inherently different than using the FFT. The FFT approach
operates on a whole block of time data, for example of time block 100 ms in length. The recursive digital
filtering utilized in the RTA is a continuous process and for every input (each time sample from the sound
card), an output data value is obtained. Thus the RTA functions like a bank of analog 1-Nth octave filters that
are wired in parallel.
An RTA should be used when analyzing non-linear audio devices (such as cell phones), when using complex
signals (such as simulated or actual speech). Testing devices using pink noise or tone bursts lend themselves
to be analyzed with the RTA as well.

Note: The RTA module is not available when using NI DAQmx hardware devices.

To use the RTA, choose Real Time Analyzer (Ctrl+F8) from the Operate pull-down menu.
The RTA will start as soon as it opens. The RTA wakes up in the same mode it was last used (e.g., Exp
averaging with a Slow time constant using 1/3 octave filters).

dB reference based Choose input

on Calibration set- channel
tings

Choose the filter

bandwidth

Figure: 22-11 1/Nth-Octave Real Time Analyzer

Spectrum

Octave Band (was Filter Width)

The RTA has 1/1, 1/3, 1/6, 1/12, and 1/24 octave digital recursive filters. The upper frequency range is based
on the sound card’s sampling frequency. The highest frequency that can be measured will be no more than
one-half the sound card sampling rate (Fsample). To measure beyond 22 kHz, choose a sampling rate higher
than 44.1 kHz.
Because of the different filter widths, the highest filter that is displayed will typically be lower than Fsample/2.
For example, the highest 1/3 octave filter that can be used for a 44.1 kHz sampling rate is 16 kHz. To measure
closer to the actual upper limit of 22 kHz, you must use filters that are narrower (e.g., 1/12 or 1/24 octave).
The following controls operate the same as in the Spectrum Analyzer. Refer to the Spectrum Analyzer
section for more information.
z Input Channel – Any predefined channel, including Virtual Channels, will be available for input.
z Average
z Maximum

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z Minimum
z Buffer Use
z Real Time Indicator
z Weighting
z Apply Correction

Averaging
z Linear: Linear will average for only the number of averages entered (e.g., 13) and then stops
measuring. When Linear averaging is selected, the Averages indicator will appear, specifying the
number of averages currently completed.
z Exponential: Exponential averaging is a continuous process. It is equivalent to a running average. As
the averaging time gets longer, the response of the filters slows down.
z Choice of Averaging Time: Fast (250 ms), Slow (1 s), User Defined (s).

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Controlling SoundCheck 6.1 from Another Program Using ActiveX

From any programming language that supports ActiveX, you can run SoundCheck test sequences, receive
test data and results, and start up and exit SoundCheck.

LabView’s ActiveX Library

SoundCheck is written in LabView. SoundCheck is made up of a few hundred LabView routines called VIs.
Each VI has a set of inputs and outputs and resides as a *.vi file in your SoundCheck folder and subfolders.
LabView provides a library of ActiveX object interfaces, each with a set of properties and methods. In your
SoundCheck folder is a file called "SoundCheck 6.1.tlb" which contains the LabView 7.1 Type Library. In your
programming language development system, you likely can browse for this *.tlb file, creating a menu of
LabView ActiveX objects, properties, and methods to insert into your lines of code.
The ActiveX interface used to control SoundCheck is the Call method of the VI object. The Call method
defines inputs to a VI, runs the VI, and then receives the outputs from the VI. A good feature of Call is that
your program execution will stay on that line of code until the Call is completed, for example until a test
sequence is completed.

SoundCheck’s ControlSC.vi
The VI that you Call is ControlSC.vi, which is located in the "…/System/Program VIs/" folder of your
SoundCheck folder. ControlSC.vi has the following inputs and outputs (not all outputs are returned by every
command):

Input or
Control/Indicator Name Type Description
Output?
Command Input string One of seven commands directing SoundCheck
to do some action. The command word may be
followed by parameters that are separated by
spaces, all in the same string.

Success? Output boolean Tells whether or not the command and action
were successful.

Pass? Output boolean Tells whether or not the test sequence passed or
failed overall, typically as configured in the final
Display step.

Margin Output double float The margin of passing or failure in the last Limits
Step of a test sequence.

Table Output string Multi-purpose table of information in standard

tab-delimited spreadsheet format, in which col-
umns are separated by tabs and rows are sepa-
rated by CR-LF.

Xdatapoints Output array of double Array of X values of requested data curve. Exam-
floats ple: Frequency in Hz.

Ydatapoints Output array of double Array of Y values of requested data curve. Exam-
floats ple: Magnitude in dB.

Zdatapoints Output array of double Array of Z values of requested data curve. Exam-
floats ple: Phase in deg.

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Common Properties of the Success? Returned Parameter

For all seven commands, the "Success?" parameter returns a False if SoundCheck was busy or if the
command was not understood. SoundCheck is busy and cannot process any commands if, for example, it is
not finished processing the last command that was sent or a test sequence is running. If "Success?" returns a
False, SoundCheck is probably busy, and therefore it is suggested practice to reissue the command until
Success? = True. But do not reissue the command more than about 10 times, which should take a total of less
than one second.

The Seven Commands of the “Command” Input

1. Open

Command string: open <sequence path>”

Example: open C:\SoundCheck 6.1\Sequences\Loudspeakers\Fundamental.sqc
Action:
Loads a desired test sequence into SoundCheck and prepares it for execution. Unloads the
previously loaded sequence. If this command is not issued, SoundCheck will have its default
sequence that it loaded at start-up.
Returned parameters:
z Success? - True if the requested sequence was opened successfully. False if:
„ Opening a sequence not currently permitted
„ Sequence file not found or path invalid
„ Sequence file corrupt
„ One or more steps in the sequence not found or is corrupt.
z Table – One row for each step in the sequence. Four columns, as follows:
„ Output channel
„ Input channel
„ Step category (3-letter abbreviation)
„ Step name.

2. Lot

Command string: lot <lot number (any alphanumeric characters)>

Example: lot SC200108
Action:
Sets the Lot Number in SoundCheck. This Lot Number will remain in force until it is changed.
Returned parameters:
Success? – True if the Lot Number was set successfully.

3. Serial

Command string: serial <serial number (any alphanumeric characters)>

Example: serial LSX00844

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Action:
Sets the Serial Number in SoundCheck. This Serial Number will remain in force until it is changed (the
sequence may be configured to change it as well).
Returned parameters:
Success? – True if the Serial Number was set successfully.

4. Run

Command string: run

Action: Runs the test sequence currently loaded in SoundCheck.
Returned parameters:
z Success? – True if the sequence ran to completion, regardless of whether or not it passed. False if:
„ Running a sequence not currently permitted.
„ Sequence aborted at some point.
z Pass?
z Margin
„ Table – One row for each step in the sequence. Three columns, as follows:
 Pass or FAIL
 Margin
 Limit-Max/Min info.

5. Names

Command string: names

Action: Returns a list of curve names generated by the last test sequence run. If no sequence was run or if
the sequence did not generate any curves, the list is empty.
Returned parameters:
z Success? – True if a list of curve names was returned, even if it was empty.
z Table – One column: the curve names.

6. Curve

Command string: curve <curve name>

Example: curve Fundamental [L]
Action:
Returns a binary representation of the data from the requested curve, and other curve info.
Returned parameters:
z Success? – True if the requested data was returned. False if the requested curve was not found
among the curves generated by the last sequence run.
z Table – 17 rows, 2 columns. A table of information about the data values including units and log
scaling. The first column contains the item names, the second column the item values:

Controlling SoundCheck 6.1 from Another Program Using ActiveX 273

 SoundCheck 6.11 - Instruction Manual

„ N points - number of data points in the curve

„ X data - "dB" or "lin"
„ Y data - "dB" or "lin"
„ Z data - "dB" or "lin"
„ X axis - "log" or "lin"
„ Y axis - "log" or "lin"
„ Z axis - "log" or "lin"
„ X prefix - standard SI prefix such as "n", "µ", "m"
„ Y prefix - standard SI prefix such as "n", "µ", "m"
„ Z prefix - standard SI prefix such as "n", "µ", "m"
„ X unit - such as "Hz"
„ Y unit - such as "Pa", "V"
„ Z unit - such as "deg"
„ X dB ref - dB reference, in floating point or scientific notation
„ Y dB ref - dB reference, in floating point or scientific notation
„ Z dB ref - dB reference, in floating point or scientific notation
„ Single val? - "True" or "False", True meaning that only the Y value of only the first data point is of
interest.
z Xdatapoints
z Ydatapoints
z Zdatapoints

7. exit

Command string: exit

Action: Exit SoundCheck. SoundCheck and LabView Run-Time will quit and close.
Returned parameters:
Success? – True if SoundCheck started exiting.

Starting Up SoundCheck
You do not use ActiveX to start up SoundCheck. You use a Windows® "command line" command. In Visual
Basic, for example, the line of code is:
Shell "C:\SoundCheck 6.1\SoundCheck 6.1.exe"
If your SoundCheck folder is not in the root directory, replace the beginning of the path with the path to the
SoundCheck folder on your system.

Command Line Options

SoundCheck interprets three command line options:
z -m – minimize SoundCheck immediately after it starts up

Controlling SoundCheck 6.1 from Another Program Using ActiveX 274

 SoundCheck 6.11 - Instruction Manual

z -h – hide the main SoundCheck window so that it cannot be brought into view even by clicking the
SoundCheck task bar button.
z -s – do not display the Status window that is normally displayed during the running of a sequence.

Note: The only restriction on the use of these options is that the -m and -h options cannot be used
together.

In Visual Basic, for example, the line of code to start up SoundCheck with both the main window and Status
window hidden is:
Shell """C:\SoundCheck 6.1\SoundCheck 6.1.exe"" -h -s"

Creating the VI ActiveX Object

Here are some Visual Basic lines of code that illustrate how to create the VI object you need. These lines
should be executed right after starting up SoundCheck.
Set lvApp = CreateObject("labview.application")
lvVIPath = "C:\SoundCheck 6.1\System\Program VIs\ControlSC.vi"
Set lvVI = lvApp.GetVIReference(lvVIPath)

Calling the VI
Here are some Visual Basic lines of code that illustrate how to call ControlSC.vi to issue commands to
SoundCheck. In this example, you set the Serial Number.
paramNames(0) = "Command"
paramNames(1) = "Success?"
paramNames(2) = "Pass?"
paramNames(3) = "Margin"
paramNames(4) = "Table"
paramNames(5) = "Xdatapoints"
paramNames(6) = "Ydatapoints"
paramNames(7) = "Zdatapoints"
paramValues(0) = "serial " & txtSerialNum
paramValues(1) = False
paramValues(2) = False
paramValues(3) = 0#
paramValues(4) = ""
paramValues(5) = ""
paramValues(6) = ""
paramValues(7) = ""

lvVI.Call paramNames, paramValues

Only paramValues(0) above is an input to ControlSC.vi. You must set the remaining seven paramValues to
dummy values prior to making the Call. After the Call returns, paramValues(1) through (7) will contain values
returned by the VI.

Controlling SoundCheck 6.1 from Another Program Using ActiveX 275

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Controlling SoundCheck 6.1 from Another Program Using ActiveX 276

 SoundCheck 6.11 - Instruction Manual

Data File Format

DAT Binary Format

Key:
B=bytes, b=bits, uint=unsigned integer, float=floating-point number in IEEE standard format

Note: Strings do not have a termination character

ONCE AT BEGINNING OF FILE

4B 32b uint number of curves (curve structures) in file

BEGINNING OF FIRST CURVE STRUCTURE

4B 32b uint number of bytes in curve structure: header, data, and descriptors

64-BYTE HEADER USED TO GET INFO Prior TO LABVIEW CLUSTER UNFLATTEN

16B string SoundCheck flattened cluster type, "Data", right padded with spaces
2B 16b uint SoundCheck version number for this cluster type
1B 8b uint number of dimensions in data array (obsolete in SoundCheck, now set to 0)
42B string curve name, right padded with spaces
3B reserved for SoundCheck, binary 0 for now

FLATTENED LABVIEW CLUSTER

4B 32b uint number of chars (N) in curve name
NB string curve name
4B 32b uint number of X-Y-Z data points (N) in curve
N*3*8B 64b float data points in X-Y-Z X-Y-Z X-Y-Z order
2B 16b uint Xdata (0=dB, 1=linear)
2B 16b uint Ydata (0=dB, 1=linear)
2B 16b uint Zdata (0=dB, 1=linear)
2B 16b uint Xaxis (0=log, 1=linear)
2B 16b uint Yaxis (0=log, 1=linear)
2B 16b uint Zaxis (0=log, 1=linear)
4B 32b uint number of chars (N) in Xunit
NB string Xunit
4B 32b uint number of chars (N) in Yunit
NB string Yunit
4B 32b uint number of chars (N) in Zunit

Data File Format 277

 SoundCheck 6.11 - Instruction Manual

NB string Zunit
8B 64b float X dB ref
8B 64b float Y dB ref
8B 64b float Z dB ref
1B boolean single-value flag (0=normal curve, 1=single value)
1B boolean protected flag (0=unprotected, 1=protected)
1B boolean display X flag (0=do not display, 1=display)
1B boolean display Y flag (0=do not display, 1=display)
1B boolean display Z flag (0=do not display, 1=display)
4B 32b uint Plot Color (RGBa)
1B 8b uint Plot Interpolation (0-5)
1B 8b uint Plot Point Style (0-16)
1B 8b uint Plot Line Style (0-4)
4B 32b uint Plot Point Color (RGBa)
1B 8b uint Plot Line Width (0-5)
1B 8b uint Plot Bar Plot Style (0-10)
4B 32b uint number of chars (N) in Test Info
NB string Test Info

BEGINNING OF SECOND CURVE STRUCTURE

4B 32b uint number of bytes in curve structure: header, data, and descriptors

Data File Format 278

 SoundCheck 6.11 - Instruction Manual

WFM File Format

Key:
B=bytes, b=bits, uint=unsigned integer, int = signed integer, float=floating point number in IEEE
standard format
Note: strings do not have a termination character

ONCE AT BEGINNING OF FILE

4B 32b uint number of waveforms (waveform structures) in file

BEGINNING OF FIRST WAVEFORM STRUCTURE

4B 32b uint number of bytes in waveform structure: header, data, and descriptors

64-BYTE HEADER USED TO GET INFO Prior TO LABVIEW CLUSTER UNFLATTEN

16B string SoundCheck flattened cluster type, "Waveform", right padded with spaces
2B 16b uint SoundCheck version number for this cluster type
1B 8b uint number of dimensions in waveform array (obsolete in SoundCheck, now set to 0)
42B string waveform name, right padded with spaces
3B reserved for SoundCheck, binary 0 for now

FLATTENED LABVIEW CLUSTER

4B 32b uint number of chars (N) in waveform name
NB string waveform name
8B 64b float X0 Waveform start value
8B 64b float dX Waveform increment
4B 32b uint number of points (N) in waveform
N*4B 32b float waveform points
2B 16b uint Xdata (0=dB, 1=linear)
2B 16b uint Ydata (0=dB, 1=linear)
2B 16b uint Yaxis (0=log, 1=linear)
4B 32b uint number of chars (N) in Xunit
NB string Xunit
4B 32b uint number of chars (N) in Yunit
NB string Yunit
8B 64b float Y dB ref
1B boolean display Y flag (0=do not display, 1=display)
1B boolean display X flag (0=do not display, 1=display)
1B boolean overload flag (0=no overload, 1=overload)

Data File Format 279

 SoundCheck 6.11 - Instruction Manual

1B boolean protected flag (0=unprotected, 1=protected)

4B 32b uint number of flattened steps (N) in sequence history (for SoundCheck use)
N*(4B 32b uint number of chars (M) in flattened step string, MB string) (for SoundCheck use)
4B 32b int Waveform Channel Number (-1 - N Channels)
4B 32b uint Plot Color (RGBa)
1B 8b uint Plot Interpolation (0-5)
1B 8b uint Plot Point Style (0-16)
1B 8b uint Plot Line Style (0-4)
4B 32b uint Plot Point Color (RGBa)
1B 8b uint Plot Line Width (0-5)
1B 8b uint Plot Bar Plot Style (0-10)
4B 32b uint number of chars (N) in Test Info
NB string Test Info

BEGINNING OF SECOND WAVEFORM STRUCTURE

4B 32b uint number of bytes in waveform structure: header, data, and descriptors

Data File Format 280

 SoundCheck 6.11 - Instruction Manual

Connection Procedures

Amplifier Calibration Connection Diagram using the DAL CardDeluxe

Figure: 25-1 Amp Calibration Connection - CardDeluxe

1. Make sure amplifier is OFF.

2. Plug 1/4-inch jack into Left Out of sound card.

3. Plug RCA phone (or other connector type appropriate for your amplifier) to amplifier input channel.

4. Plug 1/4-inch jack into Right In of sound card.

5. Plug Banana connector (or other connector type appropriate for your amplifier) to amplifier output
channel.

Note: The ground of the adapter must be connected to the amplifier minus (-) connection or a “loop”
condition will occur that could result in damage to the amp and sound card.

6. Turn amplifier ON.

7. Press Calibrate in Calibration Editor to calibrate amplifier.

8. After calibration is successful, click Save As to save new amplifier gain settings to disk or close
Calibration Editor and click File -> Save to save the entire sequence.

Connection Procedures 281

 SoundCheck 6.11 - Instruction Manual

Amplifier Calibration Connection Diagram using LynxTwo Multi-channel

Sound Card

Figure: 25-2 Amp Calibration Connection - Lynx

1. Make sure amplifier is OFF.

2. Plug XLR female into CH1 Out (White XLR Male).

3. Plug RCA phono (or other connector type appropriate for your amplifier) to amplifier input channel.

4. Plug XLR male into CH2 In (Red XLR Female).

5. Plug Banana-to-RCA female connector to amplifier output channel.

Note: The ground of the adapter must be connected to the amplifier minus (-) connection or a “loop”
condition will occur that could result in damage to the amp and sound card.

6. Turn amplifier ON.

7. Press Calibrate in Calibration Editor to calibrate amplifier.

8. After calibration is successful, click Save As to save new amplifier gain settings to disk or close
Calibration Editor and click File -> Save to save the entire sequence.

Connection Procedures 282

 SoundCheck 6.11 - Instruction Manual

Microphone Calibration Connection Diagram Using SoundConnectTM *

Figure: 25-3 Mic Calibration

1. Plug microphone into front of SoundConnect. Make sure appropriate polarization voltage is selected.

2. Plug RCA phono (or other connector type appropriate for your power supply) to output connector on
back of SoundConnect.

3. Plug 1/4-inch jack into Left In of sound card.

4. Insert microphone into calibrator and turn the calibrator on.

5. Click Calibrate in Input section of Calibration Editor to calibrate microphone. Make sure units are V/
Pa and dB re 20 µ.

6. After calibration is successful, click Save As to save new microphone gain settings to disk or close
Calibration Editor and click File -> Save to save the entire sequence.

Connection Procedures 283

 SoundCheck 6.11 - Instruction Manual

Loudspeaker Test Connection Diagram

Figure: 25-4 Loudspeaker Test

1. Make sure amplifier is OFF before connecting any cables.

2. Plug 1/4-inch jack into Left Out of sound card.

3. Plug RCA phone (or other connector type appropriate for your amplifier) to amplifier input channel.

4. Plug the Banana connector (or other connector type appropriate for your amplifier) to amplifier output
channel and then connect to loudspeaker.

5. Plug microphone into front of SoundConnect. Make sure appropriate polarization voltage is selected
and mic has been calibrated.

6. Plug RCA phono (or other connector type appropriate for your power supply) to output connector on
back of SoundConnect.

7. Plug 1/4-inch jack into Left In of sound card. Make sure mic power supply is ON.

8. Turn amplifier ON. You are now ready to run your loudspeaker test sequence. Turn amplifier OFF
before shutting down PC.

Note: If a footswitch has been supplied, plug it into the computer’s COM port (DB9 connector on
back of PC). Make sure that the Hardware Step in the sequence(s) you choose to run have
the footswitch enabled. Refer to section on Hardware Editor in SoundCheck manual. Make
sure that Hardware Type External Interface is chosen and the selected interface is
Footswitch. NI VISA must be installed on your PC for the footswitch to operate properly. If
Listen has supplied the PC, NI VISA will already be installed. If Listen did not supply the PC,
NI VISA will be installed during the SoundCheck installation process. You can always reinstall
NI VISA by inserting the SoundCheck CD-ROM. The footswitch function is not available in
Windows NT.

Connection Procedures 284

 SoundCheck 6.11 - Instruction Manual

Loudspeaker Test Connection Diagram with Impedance Box

Figure: 25-5 Loudspeaker Test With Impedance

1. Make sure amplifier is OFF before connecting any cables.

Note: Note: Amplifier should be calibrated before making any measurements. Refer to Calibration
Editor for details.

2. Plug 1/4-inch jack into Left Out of sound card.

3. Plug RCA phone (or other connector type appropriate for your amplifier) to amplifier input channel.

4. Plug Impedance Box banana connectors to amplifier output channel and then connect Impedance
Box long leads to loudspeaker.

5. Plug microphone into front of SoundConnect. Make sure appropriate polarization voltage is selected
and mic has been calibrated.

6. Plug RCA phono (or other connector type appropriate for your power supply) to output connector on
back of SoundConnect.

7. Plug 1/4-inch jack into Left In of sound card. Make sure mic power supply is ON.

8. Plug Tip-Ring-Sleeve (TRS) 1/4-inch jack into Impedance Box.

Note: A Balanced cable is used for this connection in order to “Float“ or Isolate the ground of the
soundcard input from the output of the amplifier.

9. Plug TRS 1/4-jack into Right In of sound card.

10. Turn amplifier ON. You are now ready to run your loudspeaker test sequence. Turn amplifier OFF
before shutting down PC to avoid unwanted transients from potentially damaging loudspeaker.

Connection Procedures 285

 SoundCheck 6.11 - Instruction Manual

Balanced Sound Card Calibration Connections

When calibrating a sound card with Balanced inputs and outputs it is important to follow the wiring procedure
noted in Figure: 25-6 Balanced Sound Card Calibration Connection.

DMM
set to
Volts AC

+ -

Sound Card Balanced Output Sound Card Balanced Input

(to Meter) (from Meter)
+ +
- -

NC NC

Figure: 25-6 Balanced Sound Card Calibration Connection

z For the purpose of calibration, do not connect the ground of the XLR connectors. Leave them
“Floating”. (NC = Not Connected)
z Do not short the Low (-) of a balanced output to ground. With some Active Output devices this will
result in distortion on the High (+) signal.
z (The low (-) of the balanced input can be tied to ground. Shorting the low input insures that it is not a
source of noise and usually causes no problem.)

Note: When a sound card is calibrated for Balanced mode but used in Single-ended mode, there will be
a 6 dB drop in the output level. Only one line of the balanced output is being used. See Figure:
25-9 Balanced Output to Single-ended Input.

When calibrating and/or using a Balanced Sound Card in Single-ended mode it is important to follow the
guidelines outlined in the following section.

Connection Procedures 286

 SoundCheck 6.11 - Instruction Manual

Balanced vs Single-ended Connections

Single-ended or Unbalanced outputs can typically be connected to Balanced inputs in either of the two
methods shown in Figure: 25-7 Single-ended Output to Balanced Input 1 and Figure: 25-8 Single-ended
Output to Balanced Input 2.

Single-Ended output to Balanced input

With the output + RCA or cable

XLR +
¼" Phone 0 dB is measured
level of the Single- - at the Balanced
ended Output Input
device set to 0 dB,

Figure: 25-7 Single-ended Output to Balanced Input 1

Single-Ended output to Balanced input

+ RCA or cable
XLR +
With the output ¼" Phone
level of the Single- - 0 dB is measured
ended Output at the Balanced
device set to 0 dB, NC Input

Figure: 25-8 Single-ended Output to Balanced Input 2

Balanced output to Single-ended input wiring is a different matter. It is important to not short the Low (-) of a
balanced output to ground. With some devices with Active Balanced Outputs this will result in distortion on the
High (+) signal. (Transformer balanced outputs can have the low connected to ground.)
Figure: 25-9 Balanced Output to Single-ended Input shows the suggested wiring for connecting a
Balanced output to a Single-ended input. The measured level at the single-ended input is down by 6 dB since
only one line of the Balanced output it used.

Balanced output to Single-Ended input

+
XLR cable RCA or +
With the output - ¼" Phone -6 dB is measured
level of the at the single-ended
Balanced Output NC
input
device set to 0 dB,

Figure: 25-9 Balanced Output to Single-ended Input

Note: (NC = Not Connected)

Connection Procedures 287

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Connection Procedures 288

 SoundCheck 6.11 - Instruction Manual

Appendix 1: Footswitch and Buzzer Serial Port Control

Note: Use of the footswitch and buzzer with SoundCheck requires that NIVisa is installed on the
system. This can be found on the SoundCheck installation CD under Additional Software.
(Footswitch and Buzzer control cannot be used with Windows NT.)

Serial Port Pin Out Definition

Figure 26-1: Serial Port Pin Out

Buzzer On/Off Message

The output of the serial ports of the computer can be used to control remote devices such as a Piezo Buzzer.
The voltages are generally 11.2V DC when the Line is high and -11.2V DC when the line is low. The standard
wiring for a Piezoelectric Buzzer is to connect the Positive lead to the DTR Line and the Negative lead to
Ground. Similarly, a second device can be connected across the RTS Line and Ground to receive completely
separate On/Off messages. Footswitches or other types of external devices cannot be used with a second
buzzer on the same COM port,, e.g., Buzzer A and Buzzer B can be on COM Port 1 and Footswitch 1 and
Footswitch 2 can be on COM Port 2.

Appendix 1: Footswitch and Buzzer Serial Port Control A 1-289

 SoundCheck 6.11 - Instruction Manual

Figure 26-2: Buzzer A and B Wiring

Insert the Buzzer On Step into a sequence. Highlight the Buzzer On Step and select Sequence from the
Menu bar. Click on Configure Step and check Display step when run and set the time to 0.0 seconds.

Select "Wait for confir- Check-off "Display

mation" only if the step when run" and
buzzer is to remain on set the time to 0.0
until the operator seconds
selects "Continue" on
the front panel

Figure 26-3: Configure Message Step

Double click on the Hardware Step in the Sequences section. Select Interface. Under COM Port select the
port that will be used. In this case Serial port 1 is selected. Select the Number of Interfaces that will be used
on the Serial Ports. Select the Interface Number and then select the Type of interface; e.g., Interface 2 is a
Buzzer. Click OK to close the editor. The Analog and Digital settings are not changed. The Interface settings
are simply added to the Hardware setup for this sequence.

Appendix 1: Footswitch and Buzzer Serial Port Control A 1-290

 SoundCheck 6.11 - Instruction Manual

Select the Number of

Interfaces used on Com Select the Type of Inter-
1&2 face used
Select the Interface
number

Set the COM Port

Figure 26-4: Hardware Step - Interfaces

Setting the Message steps in the Sequence

Double click on the Buzzer On step on the right of the Sequence Editor. Function should be set to Set
Control Lines. Interface, Number 2 and DTR high are selected. Under Setup the following should be
selected: Pass/Fail and Wait. The wait time can then be set for the length of time the buzzer should sound.
This will also be the amount of time before the next step of the sequence is executed.

Select Set Control Lines

Select Interface
Select DTR high
Select the Number of the
Interface

Select the amount of time

Select Pass and Wait to sound the buzzer

Figure 26-5: Message Step - Interface Settings

Insert the Buzzer Off message below (after) the Buzzer On Step in the Sequences section. Double click on it
to edit the step. The message section needs to be set to match the settings in the Buzzer On step. DTR low
should be selected to shut the buzzer off. Under Setup, Pass or Fail must be selected. Select Wait only if the
Buzzer Off message is to be displayed for a selected amount of time.

Appendix 1: Footswitch and Buzzer Serial Port Control A 1-291

 SoundCheck 6.11 - Instruction Manual

Select Interface Select Set Control Lines

Select the Number of the Select DTR low

Interface

Select Pass and Wait

Figure 26-6: Message Step - Interface Settings

Note: Footswitches and a Buzzer can be connected to the same Serial Port connector but there is
usually limited room for wiring in standard connector housings.

Note: Two Buzzers can be connected to the same Serial Port at the same time with no footswitches.
Only one Buzzer can be connected to a Serial Port when two Footswitches are in use on the
same port.

Remote Control Switch

The serial port connections can also be used as a Remote Control Switch. A foot switch (or similar) can be
wired across pins 7 and 8 to act as a Start and Continue switch. A second switch can be added across pins 6
and 7 for the Stop and REDO function. These switch functions are pre-set in the SOUNDCHECK system and
cannot be changed.

Note: When two switches are used on a single serial port, a buzzer cannot be used on the same serial
port. Use a second serial port if needed.

Figure 26-7: Serial Port Switch Wiring

Appendix 1: Footswitch and Buzzer Serial Port Control A 1-292

 SoundCheck 6.11 - Instruction Manual

1. To enable the Remote Control Switch function, open the sequence that it is to be used in. Open the
Sequence Editor and double click on the Hardware Step in the Sequences section.

Double click on
the hardware step

Figure 26-8: Select Hardware Step

2. Under Settings select Interface. Under Interface Number select 2 and under Type select
Footswitch.

3. Click on Save to close the Hardware Editor and then close the Sequence Editor. Save the sequence
to store the changes.

Select the Interface Number Select Footswitch

Select the COM port

Figure 26-9: Hardware Set For Footswitch

Appendix 1: Footswitch and Buzzer Serial Port Control A 1-293

 SoundCheck 6.11 - Instruction Manual

Appendix 1: Footswitch and Buzzer Serial Port Control A 1-294

 SoundCheck 6.11 - Instruction Manual

Appendix 2: Installing the Digital Audio Labs - CardDeluxe

Before installing the audio card in the computer check the Input and Output level jumpers, the Input level
jumpers should be set on +4 dBu and the Output level jumpers should be set on -10dBu.

Note: The actual value for the input is +4 dBV (dB referenced to 1.00 volt) as opposed to + 4dBu. There
is a silk screening error on the sound card PC board, which shows the units to be dBu instead of
dBV.

Set Input jumpers to +4 dBu

Set Output jumpers to -10 dBV

Figure 27-1: CardDeluxe jumper settings

1. After installing the card in the computer use the latest driver found on the SoundCheck installation
CD.

2. Once the driver has been installed select the Multimedia icon from the Control Panel folder.

3. Click Start, then click Settings, and then click Control Panel.

Appendix 2: Installing the Digital Audio Labs - CardDeluxe A 2-295

 SoundCheck 6.11 - Instruction Manual

Double click
on the Multi-
media or
Sounds and
Audio
Devices icon

OR

Figure 27-2: Select Audio Devices

Preferred Device
1. Under Audio set the Prefered device for Playback and Recording to the Onboard Sound Card. In the
example below, the default device would be Realtek in Windows XP or SB16 in Windows 2000.

Click on the
Audio tab

Check this to
force Windows
to use the
Onboard
Sound Card for
playback of
Windows
sounds and
multimedia
material.

OR
Windows XP Windows 2000

Figure 27-3: Device order in Multimedia settings

Note: The CardDeluxe configuration panel can normally be opened from the icon in the Windows
Tray. It can also be opened using the following instructions.

2. Select the Devices tab. Double click on Audio Devices to open the list.

3. Double click Audio for CardDeluxe Analog + Digital Audio to open the properties screen.

Appendix 2: Installing the Digital Audio Labs - CardDeluxe A 2-296

 SoundCheck 6.11 - Instruction Manual

Click on the Devices tab

Double click on Audio
for CardDeluxe Ana-
log + Digital Audio

Figure 27-4: Select CardDeluxe

4. Under General click on Settings… to open the Configuration menu.

Click Settings…

Figure 27-5: Settings

Appendix 2: Installing the Digital Audio Labs - CardDeluxe A 2-297

 SoundCheck 6.11 - Instruction Manual

Setting Up

Enable clock master should

NOT be checked.

Check off Enable advanced

monitoring

Check Lock to playback

The Analog Input should be

turned all the way down.

The Analog Output should be

turned all the way up.

Figure 27-6: CardDeluxe mixer settings

Appendix 2: Installing the Digital Audio Labs - CardDeluxe A 2-298

 SoundCheck 6.11 - Instruction Manual

Right click on CardDeluxe

clock and set to Internal
clock.

Figure 27-7: Internal clock settings

Appendix 2: Installing the Digital Audio Labs - CardDeluxe A 2-299

 SoundCheck 6.11 - Instruction Manual

Appendix 2: Installing the Digital Audio Labs - CardDeluxe A 2-300

 SoundCheck 6.11 - Instruction Manual

Appendix 3: System Verification Using SoundCheck 6.1

This section will enable users of SoundCheck 6.1 to verify their PC-based electroacoustic test system is
working properly.

Verifying Sound Card Performance

1. Choose Gain & RSP sequence located in the Electronics Folder.

Figure 28-1:
2. After clicking Open, this sequence will be loaded and will become the active sequence. The main
SoundCheck screen should like this:

Figure 28-2:
3. Connect sound card input and output channels per the wiring diagram below:

Appendix 3: System Verification Using SoundCheck 6.1 A 3-301

 SoundCheck 6.11 - Instruction Manual

Figure 28-3:
4. Run Gain & RSP sequence by clicking Start.

Figure 28-4:
5. The sequence will then display the frequency response of the sound card's left channel. See Figure
28-5: Properly Working DAL CardDeluxe Sound Card. The phase response is also available. If
the sound card is operating properly, the frequency response will be within 0.2 dB re 1.00 volt.

Figure 28-5: Properly Working DAL CardDeluxe Sound Card

Appendix 3: System Verification Using SoundCheck 6.1 A 3-302

 SoundCheck 6.11 - Instruction Manual

Detailed Frequency Analysis of Sound Card/Electrical Signal Path

Even though the CardDeluxe frequency and phase response may be within spec, ground loops may occur. A
more detailed analysis can be done using the built-in signal generator and FFT functions within SoundCheck
6.1.
1. Open the Signal Generator and FFT virtual instruments by clicking Operate and click on Signal
Generator and Spectrum Analyzer. You can also use the keyboard shortcuts (Crtl + F4 and Ctrl +
F7).

Figure 28-6:
2. Set the Generator Output Level to 1.000V, Frequency to 1000, and Channel to Left.

3. Set FFT controls as shown in figure above except that Input Channel will be set to Left.

4. Click on Mute in Signal Generator so it no longer is blinking red. A 1.000 volt 1 kHz sine wave will be
played from Left Out to Left In. Click Start on the FFT screen and the frequency spectrum will appear.
If the sound card and interconnecting cables are in good working condition, the FFT spectrum should
look like the one above. The sound card noise floor should be -100 to -110 dBV.

To check for any ground loops or electrical line frequency interference (50Hz or 60Hz), reduce the
frequency range of the FFT display from 20 kHz to 1 kHz. To do this, place the mouse cursor over the
20000 number and highlight it by double-clicking using the left mouse button. Enter 1k and the press
then press the Enter key on the computer keyboard. The display will look like Figure 28-7: Sound
Card Noise Floor.

Appendix 3: System Verification Using SoundCheck 6.1 A 3-303

 SoundCheck 6.11 - Instruction Manual

Figure 28-7: Sound Card Noise Floor

If there is any electrical interference, there will be significant spikes at 60 Hz (or 50 Hz) and associated
harmonics. To check the right channel performance, simply change Left to Right on the Generator and FFT
screens.

Appendix 3: System Verification Using SoundCheck 6.1 A 3-304

 SoundCheck 6.11 - Instruction Manual

Appendix 4: Verifying SoundConnect™ Performance

Checking the performance of the SoundConnect™ is similar to checking the sound card performance. The
Gain & RSP sequence will be used as well as the Generator and FFT virtual instruments. The only difference
is the wiring connections.
Connect the sound card to SoundConnect™ as shown in Figure 29-1: SoundConnect Performance Test
Connections.

Figure 29-1: SoundConnect Performance Test Connections

1. Plug 1/4-inch-to-BNC adapter jack into Left Out of sound card.

2. Plug a BNC-to-BNC cable from adapter to the BNC input of front panel of SoundConnect.

3. Plug RCA phono connector to back of SoundConnect

4. Plug 1/4-inch jack into Left In of sound card.

5. Set A1, A2, and A3 switches to 0 dB.

Note: A 1/4-inch male to BNC adapter may be difficult to obtain.

A 1/4 inch-to-RCA cable can be substituted and then a female RCA (phono) to BNC adapter can be used.
Run the Gain & RSP sequence and then run the Generator/FFT in the same manner when checking the
sound card performance. The SoundConnect™ frequency should be very flat (less than 1.0 dB variation) and
the FFT spectrum should only have a 1 kHz signal. If any harmonics are present, they should be at least 60
dB below the 1 kHz level.

Appendix 4: Verifying SoundConnect™ Performance A 4-305

 SoundCheck 6.11 - Instruction Manual

Appendix 4: Verifying SoundConnect™ Performance A 4-306

 SoundCheck 6.11 - Instruction Manual

Appendix 5: Amplifier Calibration Connection Diagram using

the DAL CardDeluxe

Figure: 30-1 Amplifier Calibration Connections

1. Make sure amplifier is OFF.

2. Plug 1/4-inch jack into Left Out of sound card.

3. Plug RCA phone (or other connector type appropriate for your amplifier) to amplifier input channel.

4. Plug 1/4-inch jack into Right In of sound card.

5. Plug Banana connector (or other connector type appropriate for your amplifier) to amplifier output
channel.

Note: The ground of the adapter must be connected to the amplifier minus (-) connection or a "loop"
condition will occur that could result in damage to the amp and sound card.

6. Turn amplifier ON.

7. Click Calibrate in Calibration Editor to calibrate amplifier.

8. After calibration is successful, click Save As to save new amplifier gain settings to disk or close
Calibration Editor and click FileÆSave to save the entire sequence.

Appendix 5: Amplifier Calibration Connection Diagram using the DAL CardDeluxe A 5-307
 SoundCheck 6.11 - Instruction Manual

Appendix 5: Amplifier Calibration Connection Diagram using the DAL CardDeluxe A 5-308
 SoundCheck 6.11 - Instruction Manual

Appendix 6: Amplifier Calibration Connection Diagram using

LynxTwo Multi-channel Sound Card

Figure: 31-1 Amplifier Calibration Connections - Balanced

1. Make sure amplifier is OFF.

2. Plug XLR female into CH1 Out (White XLR Male).

3. Plug RCA phono (or other connector type appropriate for your amplifier) to amplifier input channel.

4. Plug XLR male into CH2 In (Red XLR Female).

5. Plug Banana-to-RCA female connector to amplifier output channel.

Note: The ground of the adapter must be connected to the amplifier minus (-) connection or a loop
condition will occur that could result in damage to the amp and sound card.

6. Turn amplifier ON.

7. Click Calibrate in Calibration Editor to calibrate amplifier.

8. After calibration is successful, click Save As to save new amplifier gain settings to disk or close
Calibration Editor and click FileÆSave to save the entire sequence.

Appendix 6: Amplifier Calibration Connection Diagram using LynxTwo Multi-channel Sound Card A 6-309
 SoundCheck 6.11 - Instruction Manual

Appendix 6: Amplifier Calibration Connection Diagram using LynxTwo Multi-channel Sound Card A 6-310
 Bridged Amp
Calibration Connections

Tip
(TRS Ring
Sleeve
Connector)
Amplifier set to
Bridged Mode. Sound Card Input
Balanced using ONLY Tip
Amplifier and Ring, sleeve is not Computer
(Single-ended
connected
amp input) Amp Output Tip
+ + Sound card
Right Input
- - Amp output must be wired Ring
according to manufacturer’s Sound card
instructions Left Input
SoundCheck 6.11 - Instruction Manual

Sound card
Right Output

Appendix 7: Bridged Amp Calibration Connections

Figure: 32-1 Bridged Amp Calibration Connections
Sound card
Appendix 7: Bridged Amp Calibration Connections

Sound Card Output Left Output

Single ended - Tip and
Sleeve

A 7-311
 SoundCheck 6.11 - Instruction Manual

Appendix 7: Bridged Amp Calibration Connections A 7-312

 SoundCheck 6.11 - Instruction Manual

Appendix 8: Microphone Calibration Connection Diagram with

SoundConnect™ *

Figure: 33-1 Microphone Calibration Connections

1. Plug microphone into front of SoundConnect. Make sure appropriate polarization voltage is selected.

2. Plug RCA phono (or other connector type appropriate for your power supply) to output connector on
back of SoundConnect.

3. Plug 1/4-inch jack into Left In of sound card.

4. Insert microphone into calibrator and turn the calibrator on.

5. Click Calibrate in Input section of Calibration Editor to calibrate microphone. Make sure units are V/
Pa and dB re 20 µ.

6. After calibration is successful, click Save As to save new microphone gain settings to disk or close
Calibration Editor and click FileÆSave to save the entire sequence.

Appendix 8: Microphone Calibration Connection Diagram with SoundConnect™ * A 8-313

 SoundCheck 6.11 - Instruction Manual

Appendix 8: Microphone Calibration Connection Diagram with SoundConnect™ * A 8-314

 SoundCheck 6.11 - Instruction Manual

Appendix 9: Loudspeaker Test Connection Diagram

Figure: 34-1 Loudspeaker Test Connections

1. Make sure amplifier is OFF before connecting any cables.

2. Plug 1/4-inch jack into Left Out of sound card.

3. Plug RCA phone (or other connector type appropriate for your amplifier) to amplifier input channel.

4. Plug the Banana connector (or other connector type appropriate for your amplifier) to amplifier output
channel and then connect to loudspeaker.

5. Plug microphone into front of SoundConnect. Make sure appropriate polarization voltage is selected
and mic has been calibrated.

6. Plug RCA phono (or other connector type appropriate for your power supply) to output connector on
back of SoundConnect.

7. Plug 1/4-inch jack into Left In of sound card. Make sure mic power supply is ON.

8. Turn amplifier ON. You are now ready to run your loudspeaker test sequence. Turn amplifier OFF
before shutting down PC.

Note: If a footswitch has been supplied, plug it into the computer's COM port (DB9 connector on
back of PC). Make sure that the Hardware Step in the sequence(s) you choose to run have
the footswitch enabled. Refer to section on Hardware Editor in SoundCheck manual. Make
sure that Hardware Type External Interface is chosen and the selected interface is
Footswitch. NI VISA must be installed on your PC for the footswitch to operate properly. If

Appendix 9: Loudspeaker Test Connection Diagram A 9-315

 SoundCheck 6.11 - Instruction Manual

Listen has supplied the PC, NI VISA will already be installed. If Listen did not supply the PC,
NI VISA should be installed during the SoundCheck installation process by selecting from the
Install Menu. You can always reinstall NI VISA by inserting the SoundCheck CD-ROM. The
footswitch function is not available in Windows NT.

Appendix 9: Loudspeaker Test Connection Diagram A 9-316

 SoundCheck 6.11 - Instruction Manual

Appendix 10: Loudspeaker Test Connection Diagram with

Impedance Box

Figure: 35-1 Loudspeaker Test Connections with Impedance Box

Note: The Impedance Measurement Interface shown in Fig 35-1 is available from Listen. Part number:
250-0800-100 with 1/4" connector cable and 250-0800-200 with XLR connector cable.

1. Make sure amplifier is OFF before connecting any cables.

Note: Amplifier should be calibrated before making any measurements. Refer to Calibration
Editor in the SoundCheckTM instruction manual for details.

2. Plug 1/4-inch jack into Left Out of sound card.

3. Plug RCA phone (or other connector type appropriate for your amplifier) to amplifier input channel.

4. Plug Impedance Box banana connectors to amplifier output channel and then connect Impedance
Box long leads to loudspeaker.

5. Plug microphone into front of SoundConnect. Make sure appropriate polarization voltage is selected
and mic has been calibrated.

6. Plug RCA phono (or other connector type appropriate for your power supply) to output connector on
back of SoundConnect.

7. Plug 1/4-inch jack into Left In of sound card. Make sure mic power supply is ON.

Appendix 10: Loudspeaker Test Connection Diagram with Impedance Box A 10-317
 SoundCheck 6.11 - Instruction Manual

8. Plug Tip-Ring-Sleeve (TRS) 1/4-inch jack into Impedance Box.

9. Plug TRS 1/4-jack into Right In of sound card.

10. Turn amplifier ON. You are now ready to run your loudspeaker test sequence. Turn amplifier OFF
before shutting down PC to avoid unwanted transients from potentially damaging loudspeaker.

Detailed Drawing of Impedance Box

Figure 35-2: Impedance Box Layout

Appendix 10: Loudspeaker Test Connection Diagram with Impedance Box A 10-318
 SoundCheck 6.11 - Instruction Manual

Appendix 11: Time Selective Measurements with a

Logarithmically Swept Sinewave

A time selective measurement of a frequency response is (directly or indirectly) based on a measurement of

the impulse response, where a well-defined time window is applied to the impulse response. The frequency
response is simply the Fourier transform of the impulse response. Time selective measurements are often
used in electroacoustics to make simulated free-field measurements of transducers. This is to isolate the
directly transmitted, free field sound from reflections due to the surroundings. By using a time window applied
to the impulse response, it is possible to obtain results similar to those obtained in a non-echoic environment.
The accuracy of such measurements depends on several factors. Some basic properties apply generally to all
implementations, while some others relate to the actual algorithm and specific implementation.
The most basic requirement for simulated free-field measurements is that the reflections must not arrive so
early that they overlap the impulse response of the direct sound. If the reflections arrive so early that they
overlap the direct sound, the time window will cut away some of the impulse response of the direct sound, and
the measurement will loose accuracy. This applies to all time selective methods.
If the system is perfectly linear then the impulse response can be obtained by a direct measurement, simply
by applying a short pulse and recording the resulting "impulse response". In practice, however, such
measurements will usually suffer from either a poor S/N ratio due to the low energy in the short pulse or suffer
from overloading if the pulse is increased to improve the S/N ratio. The crest factor of the excitation is simply
too high for practical use.
Various types of noise signals have a much lower crest factor and combined with cross-spectrum or cross-
correlation analysis, the response of the linear behavior can be measured. Most systems, however, are not
perfectly linear. The non-linearity not only sets limits for which test signals can be used, but also introduces
the need for characterizing this non-linearity, i.e. measuring the distortion.
The Time Delay Spectrometry (TDS) introduced by Heyser uses a linear swept sine for time-selective
measurements. Like most other swept sine algorithms, it is based on the assumption that the response at a
certain point in time represents the response to just one particular frequency. That is approximately correct if
the sweep rate is low enough. A delay in the system under test, however, will result in a frequency shift
(proportional to the delay) of the measured response. If the signal follows different paths with different delays
(e.g. direct and reflected sound from a loudspeaker), the signal measured will contain slightly different
frequencies. Tracking the response with a narrow bandpass filter therefore makes it possible to isolate one
path (e.g. just the direct sound from a loudspeaker) from the others. It is proven that such a tracking bandpass
filter is simply equivalent to applying a time window to the impulse response. In addition, a tracking bandpass
filter can also be used to track the harmonics of the swept signal, thereby measure harmonic distortion as well
(and still in a time selective way). However, the sweep rate must be limited in order to measure the
fundamental correctly, measuring harmonics at low frequencies put further constraints on the maximum
sweep rate.
The Time Selective Response (TSR) introduced by Brüel & Kjær also uses a linear swept sine, but removes
the limitation on the sweep rate (by mathematical refinement of the algorithm) so the fundamental response is
measured correctly even with very fast sweeps. For measuring distortion at low frequencies, the same
constraints still applies to the maximum sweep rate for TSR, as for TDS.
Both TDS and TSR, with the tracking bandpass filter approach, are linked to using a linear sweep. The linear
sweep, however, is not very ideal, if the measurements shall cover a broad frequency range:
z Often the S/N ratio at low frequencies is critical, but the linear sweep has relatively little energy at low
frequencies: Half of the time (and thereby half of the energy) is used in the highest octave, only one
fourth of the time (and of the energy) is used in the second highest octave, etc. In order to achieve a
sufficient S/N ratio at low frequencies a very slow sweep has to be used, wasting time (and energy) at
high frequencies.

Appendix 11: Time Selective Measurements with a Logarithmically Swept Sinewave A 11-319
 SoundCheck 6.11 - Instruction Manual

z The linear sweep also becomes very slow, if the sweep rate has to be kept very low in order to
measure distortion at low frequencies - eventually even slower than required for a sufficient S/N ratio
The log TSR implemented in SoundCheck uses a logarithmically swept sine for fast time selective
measurements of both the fundamental response and of distortion. The logarithmically swept sine is much
more suitable for electroacoustic measurements:
z The logarithmic sweep uses the same time (and energy) for every octave, which is much more
suitable achieving a good S/N ration for all frequencies in typical electro acoustical measurements.
z The logarithmic sweep also provides a sweep rate, which is low at low frequencies but increases with
the frequency. That makes it possible to measure distortion also at low frequencies without making
the whole sweep very slow. As a logarithmically swept sine is used the "tracking bandpass filter"
method is not applicable for the analysis. Instead, cross correlation analysis is used. By doing the
cross correlation of the response signal with a special energy weighted version of the excitation
signal, the impulse response is found directly, and from that the frequency response is easily
calculated as well.
It is thereby possible to obtain a unique combination of features:
z Time selectivity.
z The very suitable energy distribution of the logarithmic sweep (increased energy at low frequencies).
z The capability of measuring distortion due to the sine based nature of the signal.
z An effective way measure distortion even at low frequencies due to the sweep rate of the logarithmic
sweep being low only at low frequencies just where it is needed.

Appendix 11: Time Selective Measurements with a Logarithmically Swept Sinewave A 11-320
 SoundCheck 6.11 - Instruction Manual

Appendix 12: Connecting to a Database

Before you can write data in a table, you must establish a connection to a database. Because each database
management system (DBMS) uses different parameters for the connection and different levels of security,
connecting to a database may create errors. The different standards use different methods of connecting to
databases. For example, Open Database Connectivity (ODBC) uses Data Source Name (DSN) for the
connection and Active-X Data Objects (ADO) uses Universal Data Links (UDL) for the connection.
SoundCheck will allow you to use either standard to connect to your database. SoundCheck uses the
LabView Database Connectivity Toolset (http://www.ni.com/pdf/manuals/321525c.pdf) to make this
connection. The information below has been abridged from the user manual of this Toolset.

DSNs and Data Source Types

A DSN is not only the name of the data source, or database, you are connecting to, it also contains
information about the ODBC driver and other connection attributes including paths, security information, and
read-only status of the database. Two main types of DSNs exist, machine data sources and file data sources.
Machine data sources are in the system registry and apply to all users of the computer system or to a single
user, system DSNs and user DSNs respectively. A file DSN is a text file with the extension *.dsn and is
accessible to anyone with access to that file. File DSNs are not restricted to a single user or computer system.
All DSNs are created and configured using the ODBC Administrator.

ODBC Administrator
You use the ODBC Administrator icon in your Control Panel to register and configure drivers to make them
available as data sources for your applications. Your system saves all changes you make within the ODBC
Administrator. When you double-click the ODBC Administrator icon in the Control Panel, Administrative
Tools Data Sources (ODBC) in Windows NT/2000, the ODBC Data Source Administrator dialog box appears
as shown in Figure: 37-1 Data Sources Dialog Box.

Figure: 37-1 Data Sources Dialog Box

The ODBC Data Source Administrator dialog box lists all the registered ODBC data sources. You use the tabs
to specify the type of DSN, User, System, or File. You then can use the Add or Configure buttons to display
a driver-specific dialog box where you can configure a new or an existing data source. The system then saves
the configuration for the data source in the registry or to a file. When you create a new DSN, the Create New

Appendix 12: Connecting to a Database A 12-321

 SoundCheck 6.11 - Instruction Manual

Data Source dialog box contains a list of all the ODBC drivers for your system, as shown in Figure: 37-2
Available ODBC Drivers.

Figure: 37-2 Available ODBC Drivers

The LabView Database Connectivity Toolset does not provide custom ODBC drivers, but installs Microsoft
Data Access Components (MDAC). MDAC installs several data providers you can use to open a connection
to a specific data source such as an Access database. Database system vendors and third-party developers
also offer large selections of ODBC drivers. The LabView Database Connectivity Toolset complies with the
ODBC standard, so you can use it with any ODBC-compliant database drivers. Refer to your vendor
documentation for information about registering your specific database drivers with the ODBC Administrator.
After you select a particular driver, a second dialog box appears that contains specific settings for that driver.
ODBC drivers for databases such as SQL Server and Oracle contain settings and additional dialog boxes for
configuring items such as server information, user identification, and passwords. Figure: 37-3 ODBC Access
Driver Setup Dialog Box shows the ODBC Access Driver Setup dialog box for the system DSN named
SoundCheck.dsn.

Figure: 37-3 ODBC Access Driver Setup Dialog Box

Some DBMS require username and password parameters to be set in order to connect to a database. You
should be familiar with your DBMS and how to specify the connection parameters. The majority of problems in
defining a connection occur when you create the DSN. Some ODBC drivers have an option to test the
connection. Test the connection between the DSN and the database before you try to save data to a database
from SoundCheck.

Appendix 12: Connecting to a Database A 12-322

 SoundCheck 6.11 - Instruction Manual

Figure: 37-4 Test the connection from your UDL

Universal Data Links

Creating a DSN is the way to connect to a database using ODBC. ADO and OLE DB use a method called a
Universal Data Link (UDL).
A UDL is similar to a DSN because it also describes more than just the data source. A UDL contains
information about what OLE DB provider is used (the default is the Microsoft OLE DB provider for ODBC
drivers), server information, user ID and password (if required), default database, and other related
information. You can create a UDL by right-clicking in the Windows environment, the desktop or in any open
directory, and select New Microsoft Data Link from the shortcut menu. You must have the file extensions
displaying in the ToolsÆFolder OptionsÆView tab for this method to work.
The UDL is saved as a file (*.udl) in the location where you originally right-clicked. You can double-click the
UDL file to open the Data Link Properties dialog box to configure the UDL settings.

Configuring a UDL
Creating a UDL invokes the Data Link Properties dialog box. Select a data provider from the Provider tab.
Refer to your database documentation files to determine which provider to use with your database. Figure:
37-5 Selecting the Provider for a UDL shows the default provider Microsoft OLE DB provider for ODBC
Drivers.

Appendix 12: Connecting to a Database A 12-323

 SoundCheck 6.11 - Instruction Manual

Figure: 37-5 Selecting the Provider for a UDL

After you select a data provider from the list on the Provider tab, you then can configure the specifics of the
database connection on the Connection tab. The options shown on the Connection tab are different
depending upon which provider you choose. For example, the Connection tab for the ODBC provider
contains a selection for a DSN or connection string along with user name and password information. Figure:
37-6 Configuring the Connection for a UDL shows the Connection tab options for using the Jet 4.0
provider for Microsoft Access.

Figure: 37-6 Configuring the Connection for a UDL

Click Test Connection to test the database connection after you configure the various properties. Make sure
the connection test passes before you click OK to exit.

Appendix 12: Connecting to a Database A 12-324

 SoundCheck 6.11 - Instruction Manual

Using a UDL or DSN

Although you might have created the DSN or UDL correctly, you still might not be able to connect to a specific
database because of situations beyond your control. For example, the requested server might be down, the
network might be down, all of the server connections might be full and no other users can connect, the
maximum number of user licenses might have been reached, you do not have permission to access the
specified database, the specified DSN does not exist (either you are on a different machine or the specified
DSN was deleted), or the selected data provider is the wrong one for the database. If you are getting errors
from SoundCheck, you can open the UDL file manually and click Test Connection to verify that you have the
correct settings and that you have access to the database. If the Test Connection fails, you cannot connect to
that database with SoundCheck.

Note: Contact a Database Administrator (DBA) or Listen Inc for help.

Information taken from

Database Connectivity Toolset User Manual
May 2001 Edition
Part Number 321525C-01

Example: Create a new DSN

1. If you are using Microsoft Access, or something similar, make sure to create the target database file
(*.mdb) before creating the DSN.

2. Double-click the ODBC Administrator icon in the Control PanelÆAdministrative ToolsÆData

Sources (ODBC) in Windows NT/2000, the ODBC Data Source Administrator dialog box appears as
shown in Figure: 37-1 Data Sources Dialog Box. This opens to the default location for all DSN's:
C:\Program Files\Common Files\ODBC\Data Sources for File DSNs.

3. To create a new DSN, click Add in the ODBC Data Source Administrator dialog. This will open the
Create New Data Source dialog box containing a list of all the ODBC drivers for your system, as
shown in Figure: 37-2 Available ODBC Drivers. Select the appropriate driver for your target
database and click Next. You can also use the Configure to display a driver-specific dialog box
where you can configure an existing data source. The system then saves the configuration for the
data source in the registry or to a file.

4. After you select a particular driver, a second dialog box appears that contains specific settings for that
driver. ODBC drivers for databases such as SQL Server and Oracle contain settings and additional
dialog boxes for configuring items such as server information, user identification, and passwords.
Figure: 37-3 ODBC Access Driver Setup Dialog Box shows the ODBC Microsoft Access Driver
Setup dialog box for the system DSN named SoundCheck.

5. Test the connection between the DSN and the database by saving some trial data before you try to
save to a database in your procedure.

6. In your Autosave Step, browse to this DSN to save to database

Important! DO NOT enter the path of a database in the Autosave Editor.

Appendix 12: Connecting to a Database A 12-325

 SoundCheck 6.11 - Instruction Manual

Example: Create a new UDL

1. If you are using Microsoft Access, or something similar, make sure to create the target database file
(*.mdb) before creating the UDL.

2. You can create a UDL by right-clicking in the Windows environment, the desktop or in any open
directory, and select NewÆMicrosoft Data Link from the shortcut menu. You must have the file
extensions displaying in the ToolsÆFolder OptionsÆView tab for this method to work.

3. The UDL is saved as a file (New Microsoft Data Link.udl) in the location where you originally right-
clicked. You can double-click the UDL file to open the Data Link Properties dialog box to configure the
UDL settings.

4. Select a data provider from the Provider tab. Refer to your database documentation files to
determine which provider to use with your database. Figure: 37-5 Selecting the Provider for a UDL
shows some default providers.

5. After you select a data provider from the list on the Provider tab, you then can configure the specifics
of the database connection on the Connection tab. The options shown on the Connection tab are
different depending upon which provider you choose. For example, the Connection tab for the ODBC
provider contains a selection for a connection string along with user name and password information.
Figure: 37-6 Configuring the Connection for a UDL shows the Connection tab options for using
the Jet 4.0 provider for Microsoft Access.

6. Click the Test Connection to ensure proper linking between the UDL and the target database.

7. In your Autosave step, browse to this UDL to save to database

Important! DO NOT enter the path of a database in the Autosave Editor.

SoundCheck Database Schema

Tables created by SoundCheck 6.1 follow the structure found in Figure: 37-7 Relationships of Tables in
SoundCheck Database. You can build your own queries to mine this database. Here we will describe the
function of each term used in the table structure.
z Datarun_Table - Each time Start is pressed, a datarun has commenced. There can be much data
saved during one datarun. The Datarun_Table contains information about the Test station, the
sequence being run, the operator running the test, the time of the test, and what was under test.
z Station_Table - The Datarun_Table links a Datarun_ID to a Station_ID. This Station_ID can then be
linked to a computer name in this table.
z Item_Table - Each Datarun_ID is saved with an Item_ID, and this table contains the details about the
device under test, including serial number and lot number. An Item_Description can be added directly
to the table using the database application (i.e. Access).
z Curve_Table - When data is saved, each Result, Value, or axis of a Curve gets a unique Curve_ID.
In this table we store channel information, name and units of the information being saved, the Pass/
Fail information for Results, and axis information for Curves.
z Single_Value_Table - All numerical data being saved is kept here. One numerical value is kept for
Results and Values, and arrays of data are kept for curves. The Curve_ID relates the numbers back
to the name or axis information
z Channel_Type- the number or letter with in the brackets of the curve, value, or result name. For
example, in the curve Fundamental [L] Mean the L would be the channel type information and would
be saved only once in this table.

Appendix 12: Connecting to a Database A 12-326

 SoundCheck 6.11 - Instruction Manual

z Axis_ID - Curves and values have axis information, X, Y, or Z. Results are not associated with any
axis, and therefore their Axis_ID will indicate N/A.
z Curve_Type - The word or words used to describe the curve, value or result, before and after the
channel information. For example, if the curve name is Fundamental [L] Mean then the Curve_Type
will be Fundamental Mean.
z Verdict_ID - Results will have a verdict of True for passing tests and False for tests that failed. Curves
and values have no verdict, and so their Verdict_ID will corresponds to a value of N/A.
z Unit_ID - Each unit used for any curve, value or result is saved only once to this table, and given a
unique ID number.

Figure: 37-7 Relationships of Tables in SoundCheck Database

Appendix 12: Connecting to a Database A 12-327

 SoundCheck 6.11 - Instruction Manual

Appendix 12: Connecting to a Database A 12-328

 SoundCheck 6.11 - Instruction Manual

Appendix 13: Equation Editor Functions

+ and - addition and subtraction

* and / multiplication and division

^ Exponentiation

User Equation Syntax

Function Corresponding LabView Function Description

abs(x) Absolute Value Returns the absolute value of x.

acos(x) Inverse Cosine Computes the inverse cosine of x in

radians.

acosh(x) Inverse Hyperbolic Cosine Computes the inverse hyperbolic

cosine of x.

asin(x) Inverse Sine Computes the inverse sine of x in

radians.

asinh(x) Inverse Hyperbolic Sine Computes the inverse hyperbolic sine

of x.

atan(x) Inverse Tangent Computes the inverse tangent of x in

radians.

atanh(x) Inverse Hyperbolic Tangent Computes the inverse hyperbolic tan-

gent of x.

ci(x) Cosine Integral Computes the cosine integral of x

where x is any real number.

cos(x) Cosine Computes the cosine of x, where x is

in radians.

cosh(x) Hyperbolic Cosine Computes the hyperbolic cosine of x.

cot(x) Cotangent Computes the cotangent of x (1/

tan(x)), where x is in radians.

csc(x) Cosecant Computes the cosecant of x (1/

sin(x)), where x is in radians.

exp(x) Exponential Computes the value of e raised to the

x power.

expm1(x) Exponential (Arg) - 1 Computes one less than the value of

e raised to the x power ((e^x) - 1).

floor(x) Round To -Infinity Truncates x to the next lower integer

(largest integer £x).

gamma(x) Gamma Function G (n + 1) = n! for all natural numbers

n.

Appendix 13: Equation Editor Functions A 13-329

 SoundCheck 6.11 - Instruction Manual

int(x) Round To Nearest Rounds x to the nearest integer.

intrz(x) - Rounds x to the nearest integer

between x and zero.

ln(x) Natural Logarithm Computes the natural logarithm of x

(to the base of e).

lnp1(x) Natural Logarithm (Arg +1) Computes the natural logarithm of (x

+ 1).

log(x) Logarithm Base 10 Computes the logarithm of x (to the

base of 10).

log2(x) Logarithm Base 2 Computes the logarithm of x (to the

base of 2).

pi(x) Represents the value = 3.14159... pi(x) = x * ppi(1) = ppi(2.4) = 2.4 * p

rand( ) Random Number (0 - 1) Produces a floating-point number

between 0 and 1 exclusively.

sec(x) Secant Computes the secant of x, where x is

in radians (1/cos(x)).

si(x) Sine Integral Computes the sine integral of x where

x is any real number.

sign(x) Sign Returns 1 if x is greater than 0,

returns 0 if x is equal to 0, and returns
-1 if x is less than 0.

sin(x) Sine Computes the sine of x, where x is in

radians.

sinc(x) Sinc Computes the sine of x divided by x

(sin(x)/x), where x is in radians.

sinh(x) Hyperbolic Sine Computes the hyperbolic sine of x.

spike(x) Spike Function spike(x) returns: 1 if 0£ x £10 for any

other value of x.

sqrt(x) Square Root Computes the square root of x.

square(x) Square Function square (x) returns: 1 if 2n£ x£ (2n +

1)0 if 2n + 1£ x £(2n + 2)where x is
any real number and n is any integer.

step(x) Step Function step(x) returns: 0 if x < 01 if any other

condition obtains.

tan(x) Tangent Computes the tangent of x, where x is

in radians.

tanh(x) Hyperbolic Tangent Computes the hyperbolic tangent of x.

Appendix 13: Equation Editor Functions A 13-330

 Sequence Editor (Ctrl+Q)
Appendix 14: Keyboard Calibration Ctrl+Shift+C HELP Shortcut Edit Step… Ctrl+Shift+E
Shortcuts Messages Ctrl+Shift+M Show Context Help Ctrl+H Configure Step… Ctrl+F1

FILE Shortcut Stimulus Ctrl+Shift+S Online Help None Show Steps Con- None
fig…
New Ctrl+N Acquisition Ctrl+Shift+A Tutorials… None
Memory List Ctrl+Shift+Y
Open Ctrl+O Analysis Ctrl+Shift+N Quick Start Menu… None

Save Ctrl+S Recall Ctrl+Shift+R Check for Updates None

Signal Generator (Ctrl+F4)
Now
Save As None Post-Processing Ctrl+Shift+O
Set Update Interval None Mute F5
Revert Ctrl+R Limits Ctrl+Shift+L
Optional Modules… None Toggle between F8
Rename None Display Ctrl+Shift+D Frequency and Out-
Listen, Inc. Website None put Level
Delete Ctrl+D Serial Number Ctrl+Shift+E
Report a Bug None Increase Page Up
Import Seq Ctrl+I

SoundCheck 6.11 - Instruction Manual

Statistics Ctrl+Shift+T
Appendix 14: Keyboard Shortcuts

Request a New Fea- None Decrease Page Dn

Export Seq Ctrl+E Autosave Ctrl+Shift+U ture
Printer Setup None Printing Ctrl+Shift+P About Sound- None Memory List (Ctrl+Shift+Y)
Check…
Print Preview None Custom Ctrl+Shift+X
FILE Shortcut
Print Ctrl+P Memory List Ctrl+Shift+Y STEP Shortcut
Open Display Ctrl+L
Exit None Sequence Ctrl+Q New… Ctrl+N
Save Display Ctrl+Shift+K
Edit… Ctrl+E
Print to Word Ctrl+W
CONTROLS Shortcut Rename… Ctrl+R
EDIT Shortcut
Start/ Continue/ F2 Delete… Ctrl+D
Login None
YES MEMORY Shortcut
Select All Ctrl+A
Preferences None
Continuous F3 Protect Ctrl+M
Folder Paths None SEQUENCE Shortcut
Redo/ NO F4 Unprotect Ctrl+U
New… Ctrl+Shift+N
OPERATE Shortcut Pause F6 Select All Ctrl+A
Save Ctrl+S
Signal Generator Ctrl+F4 Lot Number F7
Save As None
Multimeter Ctrl+F5 Serial Number F8
Revert… Ctrl+F12
Oscilloscope Ctrl+F6 Sequence Home
A 14-331

Rename… Ctrl+Shift+R
Spectrum Analyzer Ctrl+F7
WINDOWS Shortcut
Delete… Ctrl+Shift+D
RTA Ctrl+F8
Show Clipboard None
Clear… None
SETUP Shortcut Full Size Ctrl+/
Configure Ctrl+F2
Hardware Ctrl+Shift+H Sequence...
SoundCheck 6.0 - Instruction Manual
Listen, Inc. Appendix 14-332
 SoundCheck 6.11 - Instruction Manual

Specifications

Note that SoundCheck software is available in various configurations which are optimized for all applications.
The capabilities described below are for all possible software options and may not be available in all
configurations. Please contact your local sales representative for package descriptions and pricing.

SoundCheck Virtual Audio Test Bench

Manual Signal Generator
z Sine
z Pink and White Noise with user-defined frequency range
z Wav file with RMS and Peak level calibration
z Equalization using calibration measurements or any user-defined curve
z Frequency range limited only by sampling rate (see optional hardware specifications)
z Optional USB knob available for frequency and level control
Multimeter
z Average, Maximum, Minimum (RMS and Peak)
z Level with overload indication
z Linear and Exponential averaging time (Fast, Slow, and user-defined)
z A, B, C and user-defined weightings
z Selectable Max/Min limits with Pass/Fail indication
Oscilloscope
z Triggering
z Waveform peak detection
z Delta cursor
z Selectable zoom
z View spectrum of current waveform
Spectrum Analyzer
z FFT/DFT (Any size, only limited by computer speed and memory)
z Hanning, Hamming, Blackman-Harris, Exact, Blackman, Flat top, 4 Term Blackman-Harris, and 7
Term Blackman-Harris windows
z Triggering
z Complex and power averaging
z Average, Maximum, Minimum level with overload and real time indicators
z Selectable averaging time (Linear & Exponential)
z A, B, C and user-defined weightings
z Pure tone frequency and amplitude extraction
z Delta and Harmonic cursor with THD readout
z Selectable zoom
z View last waveform of current spectrum

Specifications Specs-333
 SoundCheck 6.11 - Instruction Manual

Real-Time Analyzer
z 1/1, 1/3, 1/6, 1/12, 1/24 octave filters with true digital recursive filters (Not compatible with NI DAQ)
z Average, Maximum, Minimum level with overload and real time indicators
z A, B, C and user defined weighting filters
z Complies with ANSI S1.11 and IEC 1260
z Linear and Exponential averaging time (Fast, Slow, and user-defined)
z Digital Recursive nth Octave filters (ANSI & IEC)

SoundCheck Step Editors

Hardware
z Windows Multimedia devices including sound cards (PCI, PCMCIA, USB, Fire wire), BlueTooth, and
VoIP.
z NI DAQmx data acquisition cards including NI 4461
z Calibration and settings including sampling rate, bit depth, analog or digital audio, maximum voltage,
and alias free frequency limit.
z I/O cards for TTL relay control
z Computer interfaces control with RS-232, GPIB, (IEEE-488), footswitch and buzzer.
z DC Connect™ programmable DC power supply and measuring amplifier setup
Calibration
z Measure Input and Output sensitivities for transducers, amplifiers, and signal conditioning devices
using built-in routines
z Calibration with external, absolute source including acoustic, vibration, or voltage.
z User-defined physical units (e.g. Pa, V, G, etc.)
z SoundCheck will correct for amplitude and phase of input and output devices (e.g. microphones and
amplifiers). If the output device is an acoustic source, (e.g. loudspeaker, mouth simulator),
SoundCheck can automatically equalize any test signal including complex signals.
Messages
z Message steps initiated based on Pass/Fail conditions
z Display text message in local language, input numeric values, Yes/No dialog
z Digital I/O
z IEEE-488
z RS-232
Stimulus
z Sine (stepped – any linear or logarithmic resolution, log sweep, and amplitude sweep)
z Two-tone (two sweeping tones for Difference Frequency Distortion or one fixed and one sweeping
tone for IM)
z Multitone with linear or logarithmic spacing
z Noise (pink & white with user-defined bandpass range)
z Arbitrary (any WAV file)
z Equalized

Specifications Specs-334
 SoundCheck 6.11 - Instruction Manual

z DC (requires optional Listen DC Connect or National Instruments hardware)

Acquisition
z Play & Record, or any combination of Signal
z Generator, Multimeter, RTA, and FFT
z Capture response time waveform as a WAV file
Analysis
Time:
z Waveform Analysis
z Impulse Response
z Auto-Correlation, Cross-Correlation
z Time Envelope
z Loose particle detection
z Autodelay to automatically compensate for delay between input and output
Frequency:
z FFT/DFT (any size)
z Windowing: None, Hanning, Blackman-Harris
z Complex and power averaging
z Auto-spectrum, Cross-spectrum
z RMS & Spectral Density
z Frequency response (Magnitude and Phase) for fundamental and harmonics
z Relative or absolute response
z Coherent Output Power
z Coherence & Non-Coherence
z Signal-to-Noise Ratio
z Measurement chain correction
z Measurement confidence and Standard error
z Impedance
Algorithms:
z Broadband RMS to measure unfiltered level of an AC or DC signal
z Time Selective Response to measure free-field and impulse response of fundamental AND
harmonics
z Heterodyne to measure frequency & phase response
z HarmonicTrak™ Algorithm power sums a range of user-selected harmonics including sub-harmonics;
no limit to number of harmonics
z Loose particle detection
z Multitone to measure frequency response and distortion with a Multitone stimulus
z Dual-Channel Analysis for true Output/Input transfer measurement

Specifications Specs-335
 SoundCheck 6.11 - Instruction Manual

Distortion:
z THD and Rub & Buzz
z Normalized THD and Rub & Buzz distortion (harmonics compared to amplitude of fundamental at
measured frequency)
z THD + Noise
z Intermodulation
z Difference Frequency
z Non-Coherent Distortion
Recall
z Automatically recall data or results
Post-processing
z Complex math: Addition, subtraction, multiplication, division, offset by constant (X, Y, or Z
dimensions), change sign, reciprocal, absolute value, square, square root, exponential, and logarithm
z Scalar (Ave, Power, Max, Min, Resonant Frequency, Q, Notch, Loudness)
z Windowing (time and frequency)
z User-defined Equations (e.g. Thiele-Small parameters)
z Change resolution (linear or logarithmic)
z Nth Octave synthesis to get an nth octave spectrum from an FFT spectrum
z Power Summation of any user-defined frequency range
z Group delay
z Unwrapped phase
z Search range to find intersection of two curves (e.g. - 3dB points of crossover network)
z Curve smoothing with 1/3, 1/6, 1/12, and 1/24 octave or user-defined linear or log resolution
z Loudness rating according to IEEE and ITU-T; example sequences for TIA and other industry
standards included
z Attack & Release time calculates the time for the response signal to rise or decay, respectively, by a
user defined amplitude in dB or linear units
z Directivity Index
Statistics
z Average
z Max, Min, Mean
z Standard Deviation with user-defined sigma
z Process Control (Pp & Ppk)
z Best and Worst Fit to Average with Ranking
z Yield
Limits
z Pass/Fail
z Absolute
z Floating (x & y directions)
z Aligned to a pre-defined value (e.g. 0 dB at 1 kHz)

Specifications Specs-336
 SoundCheck 6.11 - Instruction Manual

z Dynamic
z Waveforms, single values, and curves
z Comparison Precision
z Margin, Critical and Failed points
Display
z Multiple displays can be placed on the screen to view curves, single values, and test results with
PASS/FAIL indicators; display layout can be transferred to Word or as HTML document; curves with
different units (e.g. dBSPL and Ohms) can be displayed in one graph with no limit to number of curves
displayed in a single graph; data from any one graph can be exported directly to a new Excel file or
pre-defined template.
z Displays include XY graph, table, results, text, polar plots and embedded images
Printing
z Automatically print display layout to default printer or HTML

Industry Standard Sequences

(Please contact Listen for an up-to-date list)
IEEE, ANSI, TIA, ISO, ALMA, ITU, IEC, TBR, AES

Optional Hardware (Separate data sheets available)

Professional Audio Sound Card
z For measurements up to 40 kHz - PCI, 96 kHz sampling rate, 24 bit, balanced 2 in/2 out, 110dB
dynamic range and Digital I/O
z For measurements up to 100 kHz - PCI, 215 kHz sampling rate, 24 bit, balanced 4 in/4 out or 2 in/6
out or 6 in/2 out, 117dB dynamic range and Digital I/O
z For laptop measurements - PCMCIA, 48 kHz sampling rate, 24 bit, balanced 2 in/2 out or 4 in/4 out,
94dB dynamic range, Digital I/O, and headphone output

Note: * Ask Listen for details on latest available sound cards, specifications and drivers

SCM Measurement Microphones

z Cartridge Type: Prepolarized condenser element, vertical diaphragm
z Directional characteristics: Omni-directional
z Frequency Response: 20 Hz - 20 kHz ± 2 dB
z Nominal Sensitivity: 6 mV/Pa (SCM-1) and 20 mV/Pa (SCM-2)
z Equivalent Noise Level: 26 dBA (SCM-1) and 23 dBA (SCM-2)
z Max SPL: 144 dB (SCM-1) and 134 dB (SCM-2)
z Distortion: 123 dB SPL peak (<1% THD)
z Operating Temperature range: -30 to +70°C (-22 to 158 °F)
z Operating Humidity range: 0 to 100 % RH (without condensation)
z Output impedance: 30 - 40 Ohms (built- in preamplifier)

Specifications Specs-337
 SoundCheck 6.11 - Instruction Manual

z Operates on 14 VDC supplied by SoundConnect

z Cable drive capability: Up to 300m(-0.2V at 20 kHz with 114 dB SPL) using ICP®
z Dimensions: Length: 9.3 cm (3.6 in) Diameter: 5.4 mm (0.21 in)
z Cable: 1.75 m (5.75 ft)
z Connector: 7-pin Lemo
z Weight: ~ 14 grams (0.5 ounces)
z Accessories: Wind screen, calibrator, microphone holder, extension cable
SoundConnect Microphone Power Supply
z Input connectors: BNC in parallel with B&K 7-pin preamplifier or optional Lemo
z Output connectors: BNC on front panel in parallel with RCA phono on rear panel
z Frequency range: 20 to 100 kHz ± 0.1 dB (-3 dB at 5 Hz and 200 kHz)
z Gain: -20 to 60 ± 0.2 dB in steps of 20 ± 0.1 dB
z Preamplifier supply: 120V @ 2mA single or ± 14V dual
z Input noise: <1.8µVRMS (A-weighted),<3.0µVRMS (20 - 20 kHz), @ 20 to 60 dB
z Total Harmonic Distortion: < 0.003%
z Microphone polarization voltage: 0, 28, 200 V ± 1%, stability better than 0.5% for ±10% variations in
mains-voltage
z Input impedance: 1 M Ohm
z Output impedance: 600 Ohm
z Output attenuator: 0 dB (7.07 VPeak), -8 dB (2.82 VP), -14 dB (1.41 VP) ± 0.1 dB
z Peak level meter: Indication at -20, -10, 0 dB, and overload relative to selected output range ± 0.5 dB.
z Power requirements: 115/230 V AC ±10% switchable, 50 to 60 Hz,
z detachable IEC power cord
z Dimensions: 5.5" (139.7 mm) H, 2.5" (63.5 mm )W, 7.5" D (190.5 mm)
z Weight: 2 lbs. (910 g)
DC Connect – DC Power Supply and Monitor
z Connected in place of a battery, measure the current drawn from the battery
z Test a device over the voltage descent of a battery's lifetime
z Measure resistance, typically using the current source mode
z Apply a voltage or current ramp
z Acquire the I-V characteristic curve of a device
z Measure current draw synchronized with an audio stimulus
z Acquire a current draw vs. audio level curve
z Measure the dynamic response of current draw to a step in audio level
z Monitor test point voltages
z USB or sound card control
z Current limiting
z ±10V with 1mV resolution
z 3 to 300mA with 0.1mA resolution

Specifications Specs-338
 SoundCheck 6.11 - Instruction Manual

Optional Accessories
z Remote footswitch & buzzer (includes RS-232 serial interface)
z Bar code reader
z Measurement microphones
z Preamplifiers
z Calibrators
z Artificial ears
z Artificial mouths
z Test heads and anechoic test boxes

Specifications Specs-339
SoundCheck 6.11 - Instruction Manual

Specifications Specs-340
 SoundCheck 6.11 - Instruction Manual

Glossary

Term Definition
Absolute Standard Deviation The standard deviation calculated at each point of the curve. See Statistics chapter for formula.

algorithm A procedure for solving a mathematical problem in a finite number of steps that frequently involves
repetition of an operation. Algorithm here refers specifically to a procedure that encodes audio
information (so that it can be sent at high speed across data lines) and decodes the transmitted
information into audio at the receiving end.

Amplitude The instantaneous magnitude of an oscillating quantity such as sound pressure. The peak
amplitude is the maximum value.

Anechoic Without echo

Area of Audibility The area within which a specific sound or sounds are audible.

Best/Worst Fit to Average Determines which of the selected curves is the closest/furthest from the average of the curves. See
Statistics chapter for formula.

Center Frequency See IEEE 269 and/or B&k Frequency Analysis Text Book definition

Conditional Branching Used in a sequence to Jump over steps in a sequence according to the Pass/Fail criteria of a step.

CPB Constant Percentage Bandwidth.

dB See decibel

dB (A) or dBA A sound-level meter reading with an A-weighting network simulating the human-ear response at a
loudness level of 40 phons.

dB (B) A sound-level meter reading with a B-weighting network simulating the human-ear response at a
loudness level of 70 phons.C34

dBSPL A sound-level meter reading with no weighting network in the circuit, i.e., flat. The reference level is
20 uPa.

Decade Ten times any quantity or frequency range. The range of the human ear is about 3 decades.

Decibel A logarithmic form of any measured physical quantity and commonly used in the measurement of
sound. The decibel provides the possibility of representing a large span of signal levels in a simple
manner as opposed to using the basic unit Pascal. The difference between the sound pressure for
silence versus a loud sound is a factor of 1,000,000:1 or more, and it is not practical to use these
large numbers. Doubling of Sound Pressure = 6 dB Doubling of Sound Power = 3 dB Doubling of
Perceived Sound Level = 10 dB (approximately)

Decibel dB---the term used to identify ten times the common logarithm of the ratio of two like quantities
proportional to power or energy. (See level, sound transmission loss.) Thus, one decibel
corresponds to a power ratio of 100.1.

Directivity index (DI) The difference between sound pressure level in any given direction in the acoustic far field and the
average sound pressure level in that field.

DUT Device Under Test

Equal loudness contour A contour representing a constant loudness for all audible frequencies. The contour having a sound
pressure level of 40 dB at 1,000Hz is arbitrarily defined as the 40-phon contour.

Equalization The process of adjusting the frequency response of a device or system to achieve a flat or other
desired response.

Far field That part of the sound field in which sound pressure decreases inversely with distance from the
source. This corresponds to a reduction of approximately 6 dB in level for each doubling distance.

Feedback, acoustic Unwanted interaction between the output and input of an acoustical system, e.g., between the
loudspeaker and the microphone of a system.

Glossary Glossary-341
 SoundCheck 6.11 - Instruction Manual

FFT Efficient algorithm to calculate the Fourier Transform.

Filter, band pass A filter that passes all frequencies between a low-frequency cutoff point or a high-frequency cutoff
point.C55

Filter, high pass A filter that passes all frequencies above a cutoff frequency.

Filter, low pass A filter that passes all frequencies below a certain cutoff frequency.

Fletcher-Munson Curve Our sensitivity to sound depends on its frequency and volume. Human ears are most sensitive to
sounds in the midrange. At lower volume levels humans are less sensitive to sounds away from the
midrange, bass and treble sounds "seem" reduced in intensity at lower listening levels.

Fourier analysis Application of the Fourier transform to a signal to determine its spectrum.

Free field An environment in which a sound wave may propagate in all directions without obstructions or
reflections. Anechoic rooms can produce such an environment under controlled conditions.

Frequency The number of times per second that the sine wave of sound repeats itself. It can be expressed in
cycles per second, or Hertz (Hz). Frequency equals Speed of Sound / Wavelength.

Frequency Masking Principle where louder sounds render soft sounds inaudible in nearby frequency bands. This is the
principle behind perceptual encoding.

Frequency response The changes in the sensitivity of a circuit ,device, or room with frequency.

FSD Full Scale Deflection

full duplex Telco communication that is bi-directional. ISDN is full duplex, so each end of the connection can
simultaneously transmit to the other.

Fundamental The lowest frequency of a note in a complex wave form or chord.

G.711 Refers to the transmission of audio via a POTS (Plain Old Telephone) circuit. Frequency response
is limited to about 3.5kHz.

Gain To increase in level. The function of a volume control.

GUI Graphical User Interface

Handshaking Protocols usually implemented in hardware that let one data device tell another that conditions are
right (or wrong) for communications. A simple example: a printer telling a computer that it is OK to
print.

Harmonics Also called overtones, these are vibrations at frequencies that are multiples of the fundamentals.
Harmonics extend without limit beyond the audible range. They are characterized as even-order
and odd-order harmonics. A second-order harmonic is two times the frequency of the fundamental;
a third order is three times the fundamental; a fourth order is four times the fundamental; and so
forth. Each even-order harmonic second, fourth, sixth, etc.-is one octave or multiples of one octave
higher than the fundamental; these even-order overtones are therefore musically related to the
fundamental. Odd-order harmonics, on the other hand third, fifth, seventh, and up-create a series of
notes that are not related to any octave overtones and therefore may have an unpleasant sound.
Audio systems that emphasize odd-order harmonics tend to have a harsh, hard quality.

Hearing Range (human) A healthy young person generally can hear frequencies from approximately 20 Hz to 20000 Hz, and
sound pressure levels from 0 dB to 130 dB or more (threshold of pain). The smallest perceptible
change is 1 dB.

Hearing sensitivity The human ear is less sensitive at low frequencies than in the midrange. Turn your volume knob
down and notice how the bass seems to "disappear". To hear low bass requires an adequate SPL
level. To hear 25Hz requires a much higher SPL level than to hear 250Hz.

Hertz The unit of frequency, abbreviated Hz. The same as cycles per second.

High-pass filter See filter, high pass.

Impedance The opposition to the flow of electric or acoustic energy measured in ohms.

Impulse A very short, transient, electric or acoustic signal.

Glossary Glossary-342
 SoundCheck 6.11 - Instruction Manual

Impulse response Sound pressure versus time measurement showing how a device or room responds to an impulse.

In phase Two periodic waves reaching peaks and going through zero at the same instant are said to be "in
phase."

Infrasound Frequencies below 20 Hz. Humans perceive frequencies below about 20 Hz as pressure rather
than sound.

Inverse-square law Under far field/free field conditions, sound intensity varies inversely with the square of the distance
from the source. In pure spherical divergence of sound from a point source in free space, the sound
pressure level decreases 6 dB for each doubling of the distance.

Loudness The subjective judgment of intensity of a sound by humans. Loudness depends upon the sound
pressure and frequency of the stimulus. Loudness was defined by Fletcher and Munson (1933) as a
physiological description of the magnitude of an auditory sensation. The definition of loudness was
later refined as a definition of the attribute of auditory sensation corresponding most closely to the
physical measurement of sound intensity, but is not always accurate. Loudness is a subjective
quantity and all measurement techniques are based on assumptions and interpretation.

Masking The process by which the threshold of audibility for a sound is raised by the presence of another
(masking) sound. A masking noise is one that is intense enough to render inaudible or unintelligible
another sound that is also present.

Max (statistics) The maximum value at each point of the curves being compared.

Mean (statistics) The average value at each point of the curves being compared

Microphone An acoustical-to-electrical transducer by which sound waves in air are converted to electrical
signals.

Min (statistics) The minimum value at each point of the curves being compared.

NaN Not a Number

Near field Locations close to the sound source between the source and the far field. The near field is typically
characterized by large sound pressure level variations with small changes in measurement position
from the source. This is a physical region in space where the inverse square law does not apply.

Noise Traditionally, noise has been defined as unwanted, undesired, or unpleasant sound. This makes
noise a subjective term. Sounds that may be unwanted and undesired by some may be wanted and
desirable by others. Noise is sound, as defined in this document: a pressure variation, etc. In order
to keep terms used in soundscape management as non-subjective as possible, sounds should be
classified as either appropriate or inappropriate, rather than as "noise." or "sound." The
appropriateness of any sound in a given area of a park will depend on a variety of factors, including
the management objectives of that area.

Noise Free Interval (natural The length of the continuous period of time during which only natural sounds are audible. Though
sounds only) little research has been conducted to relate how this measure correlates with visitor judgments or
with common experiences in park settings, it should provide a reasonable measure of the existence
and availability of periods with only natural sounds. It is also a metric that requires no acoustics
knowledge to be meaningful. Over the coming years of soundscape data collection, the NPS will
acquire such data and develop an understanding of how this metric can best be used to aid in
assessing and managing park soundscapes.

Octave An octave is a doubling or halving of frequency. 20Hz-40Hz is often considered the bottom octave.
For each octave lower in frequency that a speaker tries to reproduce, the speaker needs to move
four times as much air!

Octave Band The segment of the frequency spectrum separated by an octave.

Octave bands Frequency ranges in which the upper limit of each band is twice the lower limit. Octave bands are
identified by their geometric mean frequency, or center frequency.

One-third octave bands Frequency ranges where each octave is divided into one-third octaves with the upper frequency
limit being 2* (1.26) times the lower frequency. Identified by the geometric mean frequency of each
band.

Glossary Glossary-343
 SoundCheck 6.11 - Instruction Manual

Peak sound pressure level LPK[nd] ----ten times the common logarithm of the square of the ratio of the largest absolute value
of the instantaneous sound pressure in a stated frequency band during a specified time interval to
the reference sound pressure of 20 micro pascals.

Percent Time Above Natural The amount of time that sound levels from human-caused sound(s) are greater than sound levels of
Ambient natural ambient sounds in a given area. This measure is not specific to the hearing ability of a given
animal, but a measure of when and how long human-caused sound levels exceed natural ambient
sound levels.

Percent Time Audible The amount of time that various sound sources are audible to animals, including humans, with
normal hearing (hearing ability varies among animals). A sound may be above natural ambient
sound pressure levels, but still not audible to some animals. This information is essential for
measuring and monitoring human-caused noise in national parks. These data can be collected by
either a trained observer (attended logging) or by making high-quality digital recordings (for later
playback). Percent Time Audible is useful because it is a measure that is understandable without
any acoustics knowledge. It is a measure that can be specific to a given animal, and it is a metric
that correlates well with park visitor judgments of annoyance and with visitor reports of interference
from certain noise sources with natural quiet and the sounds of nature.

Phase Phase is the measure of progression of a periodic wave. Phase identifies the position at any instant
which a periodic wave occupies in its cycle. It can also be discribed as the time relationship
between two signals.

Phase shift The time or angular difference between two signals.

Phon The loudess level in phons of any sound is defined as being numercailly equal to the dBSPL of a
1000 Hz tone that is judged by the average observer to be equally loud.

Pink noise Noise with a continuous frequency spectrum and with equal power per constant percentage
bandwidth. For example, equal power is any one-third octave band.

Pitch A subjective term for the perceived frequency of a tone.

Polarity The positive or negative direction of an electrical, acoustical, or magnetic force. Two identical
signals in opposite polarity are 180 degrees apart at all frequencies. Polarity is not frequency
dependent.

POTS Plain Old Telephone Service. Standard analog phone lines used for voice and computer modem
operation.

Power Sum Calculates the square root of the sum of the squares of each Y value in a spectrum. See Power
Sum in Post-processing chapter.

Pp (statistics) A measure of process performance. The relationship of the +/- 6? value to the user specified limits.
See Statistics chapter for formula.

Ppk (statistics) The same as Pp except that it takes into consideration how centered the data is with respect to the
limits. See Statistics chapter for formula.

Pressure zone As sound waves strike a solid surface, the particle velocity is zero at the surface and the pressure is
high, thus creating a high-pressure layer near the surface.

Pure tone A tone with no harmonics. All energy is concentrated at a single frequency.

Random noise A noise signal, commonly used in measurements, which has constantly shifting amplitude, phase,
and a uniform spectral distribution of energy.

Reflection For large surfaces compared to the wavelength of impinging sound, sound is reflected much as
light is reflected, with the angle of incidence equaling the angle of reflection.

Refraction The bending of sound waves traveling through layered media with different sound velocities.

Resistance The quality of electrical or acoustical circuits that results in dissipation of energy through heat.

Resonance A natural periodicity, or the reinforcement associated with this periodicity.

Glossary Glossary-344
 SoundCheck 6.11 - Instruction Manual

Resonant frequency Any system has a resonance at some particular frequency. At that frequency, even a slight amount
of energy can cause the system to vibrate. A stretched piano string, when plucked, will vibrate for a
while at a certain fundamental frequency. Plucked again, it will again vibrate at that same
frequency. This is its natural or resonant frequency. While this is the basis of musical instruments, it
is undesirable in music-reproducing instruments like audio equipment.

Response See frequency response.

Reverberant sound field The sound in an enclosed or partially enclosed space that has been reflected repeatedly or
continuously from the boundaries.

Reverberation The persistence of sound in an enclosed or partially enclosed space after the source of sound has
stopped; by extension, in some contexts, the sound that so persists.

Reverberation room A room so designed that the reverberant sound field closely approximates a diffuse sound field,
both in the steady state when the sound source is on, and during the decay after the source of
sound has stopped.C125

Reverberation time The tailing off of a sound in an enclosure because of multiple reflections from the boundaries.

Root Mean Square (RMS) Square root of the average of the squares of the signal. Measures the power of a signal.

RS-232 electronic specification for serial data connections between digital terminal equipment (DTE) and
data communications equipment. (DCE) Signal is unbalanced. May be either synchronous or
asynchronous. Can reside on multiple connector sizes, but most commonly appear on DB9/ DB25
connectors. 50' transmission limit.

S/PDIF Sony/Philips Digital InterFace. Standard 2-channel digital audio interface found on many consumer-
oriented products.

sample rate The rate at which an analog signal is sampled, or digitized. For instance, when digitizing audio for a
CD, the audio is captured at a sample rate of 44.1KHz, or 44,100 times per second, creating a very
close, but not perfect, digital representation of the analog waveform.

SC SoundCheck

Self-noise, n Extraneous non-acoustical signals, generated or induced in a measurement system.

Signal-to-noise (SN) ratio The range or distance between the noise floor (the noise level of the equipment itself) and the test
signal or program material.

Sine wave A periodic wave related to simple harmonic motion.

Sone The unit of measurement for subjective loudness.

Sound A wave motion in air, water, or other media. It is the rapid oscillatory compressional changes in a
medium that propagate to distant points. It is characterized by changes in density, pressure,
motion, and temperature as well as other physical properties. Not all rapid changes in the medium
are sound (e.g. wind distortion on a microphone diaphragm).

Sound attenuation The reduction of the intensity of sound as it travels from the source to a receiving location. Sound
absorption is often involved as, for instance, in a lined duct. Spherical spreading and scattering are
other attenuation mechanisms.

Sound energy, E [ML2T-2]; J-energy added to an elastic medium by the presence of sound, consisting of potential
energy in the form of deviations from static pressure and of kinetic energy in the form of particle
velocity.

Sound insulation The capacity of a structure to prevent sound from reaching a receiving location. Sound energy is
not necessarily absorbed; impedance mismatch, or reflection back toward the source, is often the
principal mechanism.

Sound intensity, I [MT-3]; W/m2 the quotient obtained when the average rate of energy flow in a specified direction
and sense is divided by the area, perpendicular to that direction, through or toward which it flows.
The intensity at a point is the limit of that quotient as the area that includes the point approaches
zero.

Sound isolation The degree of acoustical separation between two locations, especially adjacent rooms.

Glossary Glossary-345
 SoundCheck 6.11 - Instruction Manual

Sound level Of airborne sound, a sound pressure level obtained using a signal to which a standard frequency-
weighting has been applied.

Sound Level The weighted sound pressure level obtained by frequency weighting, generally A- or C-weighted.
The weighting used must be clearly stated: For L Aeq, "A" denotes that A-weighting was used, and
"eq" indicates that an equivalent level has been calculated. Hence, L Aeq is the A-weighted,
energy-equivalent sound level.

Sound Level Floor The lowest amplitude measurable by sound monitoring equipment. Most commercially available
sound level meters and microphones can detect sound levels down to about 15 to 20 dBA;
however, there are microphones capable of measuring sound levels below 0 dBA.

Sound power level, Lp Of airborne sound, ten times the common logarithm of the ratio of the sound power under
consideration of the standard reference power of 1 pW. The quantity so obtained is expressed in
decibels.

Sound power, W [ML2T-3]; W---in a specified frequency band, the rate at which acoustic energy is radiated from a
source. In general, the rate of flow of sound energy, whether from a source, through an area, or into
an absorber.

Sound Pressure Fluctuations in air pressure caused by the presence of sound waves. Sound pressure is the
instantaneous difference between the actual pressure produced by a sound wave and the average
barometric pressure at a given point in space. Not all pressure fluctuations detected by a
microphone are sound (e.g., wind over the microphone). Sound pressure is measured in Pascals
(Pa), Newtons per square meter, which is the metric equivalent of pounds per square inch.

Sound Pressure Level (LP or The logarithmic form of sound pressure. In air, 20 times the logarithm (to the base 10) of the ratio of
SPL) the actual sound pressure to a reference sound pressure (which is 20 micropascals, and by
convention has been selected to be equal to the assumed threshold of human hearing). It is also
expressed by attachment of the word decibel to the number. A 10 dB increase in SPL represents a
perceived doubling in loudness sensation and a 3dB increase is typically a "just noticeable
difference" to an average listener.

Sound Speed The speed of sound in air is about 344 m/sec (1,130 ft/sec or 770 mph) at 70° F at sea level.

Sound waves Sound waves can be thought of like the waves in water. Frequency determines the length of the
waves; amplitude or volume determines the height of the waves. At 20Hz, the wavelength is 56 feet
long! These long waves give bass its penetrating ability, (why you can hear car boomers blocks
away).

Spectrum the distribution of the energy of a signal versus frequency.

Spectrum (Frequency The amplitude of sound at various frequencies. It is given by a set of numbers that describe the
Spectrum) amplitude at each frequency or band of frequencies.

Spectrum analyzer An instrument for measuring, and usually recording, the spectrum of a signal.

Speech intelligibility A measure of sound clarity that indicates the ease of understanding speech. It is a complex function
of psychoacoustics, signal-to-noise ratio of the sound source, and direct-to-reverberant energy
within the listening environment.

Standard Deviation (statistics) The plus/minus sigma values evaluated on each point of the curves. See Statistics chapter for
formula.

STFT Short Term Fourier Transform

Stweep Stepped Sine Sweep stimulus signal

Timbre The quality of a sound that distinguishes it from other sounds of the same pitch and volume. The
distinctive tone of an instrument or a singing voice.

Glossary Glossary-346
 SoundCheck 6.11 - Instruction Manual

Time Weighting The response speed of the detector in a sound level meter. For Slow response, the response speed
is 1 second. Slow time weighting is frequently used in environmental sound measurements. Fast
response time is 1/8 second (0.125). This is less frequently used, but will detect changes in sound
levels more rapidly. Fast and Slow time weightings were developed, in part, to slow needle
movement (called a "decay" factor) in analog meters so investigators could read and record sound
levels. New digital sound level meters, while changing numbers rapidly on the screen, store sound
level data in memory for later analysis, thus, the ability to read numbers on the screen is less
important. Hence, the most accurate "weighting" is none. Generally, 1-second Leq data are
appropriate; however, when measuring sudden onset sound events such as sonic booms, more
frequent data (many readings per second) may be appropriate.

Tone burst A short signal used in acoustical measurements to make possible differentiating desired signals
from spurious reflections.

Total harmonic distortion (THD) Refers to a device adding harmonics that were not in the original signal. For example: a device that
is fed a 20Hz sine wave that is also putting out 40Hz, 80Hz, etc. Not usually a factor in most modern
electronics, but still a significant design problem in loudspeakers.

Transient response The ability of a component to respond quickly and accurately to transients. Transient response
affects reproduction of the attack and decay characteristics of a sound.

Transients Instantaneous changes in dynamics, producing steep wave fronts.

Ultrasound Sounds or a frequency higher than 20,000 Hz.

Watt The unit of electrical or acoustical power. 1 watt = 1 joule per second

Wattage Is the unit of power used to rate the output of audio amplifiers. For a wattage number to have
meaning the distortion level and impedance must also be specified.

Wave A particular type of disturbance that travels through a medium by virture of the elastic properties of
that medium.

Wavelength Wavelength is the distance a wave travels in the time it takes to complete one cycle. A wavelength
can be measured between successive peaks or between any two corresponding points on the
cycle. Wavelength (ft) = Speed of Sound (ft) / Frequency (Hz). (speed of sound at sea level is 331.4
meters/second or 1087.42 feet/second).

Weighting Adjustment of the unweighted frequency response to account for a given human psychoacoustic

White noise (ANS) Noise with a continuous frequency spectrum and with equal power per unit bandwidth. For
example, equal power in any band of 100-Hz width.

These definitions were derived from several sources, including:

Listen, Inc.
Acoustic Alliance. 2001. Glossary of Terms, Acoustic Alliance Products and Services Catalog. Provo, UT.
American National Standards Institute. 1976. Standard Acoustical Terminology, S1.1. American National Standards Institute, NY, NY.
Bruel & Kjaer. 2002. Environmental Noise. Bruel & Kjaer Sound and Vibration Measurement. Naerum, Denmark.
Everest, F. A. 2001. Master Handbook of Acoustics. McGraw-Hill, New York, NY.
Hirschorn, M. 2002. Noise Control Reference Handbook. Sound & Vibration, Bay Village, OH.
Kelso, D. and A. Perez. 1983. Noise Control Terms Made Somewhat Easier. Minnesota Pollution Control Agency, St. Paul, MN.
U. S. Environmental Protection Agency. 1976. About Sound. Environmental Protection Agency, Washington, D. C.

Glossary Glossary-347
SoundCheck 6.11 - Instruction Manual

Glossary Glossary-348
Index
INDEX Add names to the Memory List ................................... 232
Add notes ...................................................................... 225
Add or remove curves .................................................. 185
Symbols
Add other discrete cursors at other frequencies ........ 186
% ..................................................................................... 85 Add step to sequence .................................................. 240
Individual Limits Yield .................................................. 214 Add stimulus table .......................................................... 82
%FS ................................................................................ 85 Add the 1/Nth Octave RTA .......................................... 102
* ..................................................................................... 224 Add the FFT Spectrum and Summable Spectrum ..... 102
*.dat ............................................................................... 227 Add the Oscilloscope time record ............................... 102
*.res ............................................................................... 227 Add to the filename template ....................................... 223
*.txt ................................................................................ 227 Add… and Clear buttons ............................................. 129
*.WAV ....................................................217, 220, 224, 227 Adding Statistics Steps to the Sequence .................... 214
*.wfm .............................................217, 218, 222, 241, 248 Additional Software folder ................................................ 4
. ...................................................................................... 296 A-law ............................................................................... 58
“Command” Input ......................................................... 272 Algorithms ....................................................... 62, 107, 124
Alias free freq limit .......................................................... 35
Numerics Aligned Limits ............................................... 159, 165, 167
Aligned Limits ............................................................... 159
1/3 octave center frequency steps ................................ 77
All Curves ..................................................................... 129
1/3 octave steps ............................................................. 81
Amplifier Calibration .......................................6, 7, 52, 309
64-BYTE HEADER ...................................................... 277
Amplifier Calibration Connection Diagram using LynxTwo
Multi-channel Sound Card ................................... 282, 309
A Amplifier Calibration Connection Diagram using the DAL
CardDeluxe ................................................................... 281
Absolute 43, 44, 61, 62, 85, 124, 136, 161, 162, 164, 167, 168, amplitude ........................................................................ 81
262
Amplitude Sweep ..................................................... 81, 82
absolute .......................................................................... 85
Amplitude Sweep Excitation .......................................... 80
Absolute Comparison Precision .................................. 148
Analog and Digital settings .......................................... 290
Absolute Limits ............................................................. 162
Analog/Digital Radio Buttons ......................................... 35
Absolute Limits, Upper and Lower .............................. 168
Analysis 57, 62, 95, 105, 106, 126, 207, 208, 219, 223, 239,
Absolute Limits, Upper Only ................................ 168, 169 241, 247, 248, 255, 260, 264, 266, 303, 319, 320
Absolute Response ...................................................... 107 Analysis algorithm .................................................. 62, 105
Absolute SPL level ....................................................... 259 Analysis Editor ................. 45, 47, 61, 62, 63, 85, 105, 115
Absolute Value ............................................................. 329 Analysis Setting .................................................... 105, 112
Access database .......................................................... 322 Analysis setup ...................................................... 105, 168
Access Level .................................................................. 29 Analysis Step ........... 62, 95, 106, 115, 126, 128, 168, 169
Acquisition ............... 57, 93, 124, 126, 207, 239, 241, 263 Analysis Step Distortion tab ..........................................115
Acquisition Editor .........................................33, 39, 85, 95 Analysis-Response Measurement ................................ 62
Acquisition modes .......................................................... 95 Appendix 33, 289, 295, 301, 305, 307, 309, 311, 313, 315, 321
Acquisition settings ........................................................ 93 Appropriate limits .............................................. 51, 54, 168
Acquisition Step 95, 98, 99, 100, 101, 102, 103, 126, 200, 244 Arrow buttons ............................................................... 184
Active Cursor buttons ................................................... 181 ASCII ......................................................................... 72, 73
Active Display ............................................................... 172 Attack and Release ...................................................... 137
Active display window .................................................. 173 Audio interface card ..................................................... 240
Active-X Data Objects .................................................. 321 Auto Correlation of Response ......................................110
ActiveX Interface .......................................................... 271 Auto Correlation of Stimulus .........................................110
Add .............40, 57, 67, 113, 129, 199, 200, 223, 321, 325 Auto Delay .................................................................... 125
Add a dummy display or message step ..................... 247 Auto Increment ............................................. 144, 185, 205
Add a long series of curves to a XY Graph or Polar Plot 194 Autodelay ...................................................................... 168
Add a Loose Particle Count single value .....................112 Autoprotect ................................................................... 192
Add a Message Step ...................................................... 70 Autoprotect data ........................................................... 192
Add a single harmonic ..................................................113 Autoprotect function ..................................................... 192
Add all results to a results display ............................... 194 Autoprotected curves/values/results ........................... 195
Add an XY graph .......................................................... 184 Autosave .......................................217, 222, 223, 239, 241
Add Comment .............................................................. 194 Autosave Demo ............................................................ 223
Add curves and single values ......................................112 Autosave Editor ........... 200, 217, 218, 222, 223, 325, 326

Index Index-1
Index
Autosave sequence ..................................................... 224 Column delimiter .......................................................... 196
Autosave Step 95, 192, 205, 206, 217, 218, 221, 222, 223, Command line options ................................................. 274
224, 233, 325, 326 Comment ...................................................................... 194
Autoscale buttons ......................................................... 179 Communication Interface ............................................... 38
Axes ..................................... 133, 152, 174, 181, 200, 220 Comparison curve ........................................................ 168
Axis response curves ................................................... 144 Complex data curve ..................................................... 136
Axis Scaling, Zoom and Style Controls ....................... 261 Complex Stweeps .......................................................... 81
Computer Interface .................................................. 38, 70
B Computer Setup ............................................................... 2
Confidence and Noise ..................................................119
Background .................................................................. 184
Confidence limits ...........................................................119
Background noise ................... 78, 93, 100, 107, 108, 122
Configure Sequence dialog ......................................... 192
Backup .............................................................................. 1
Configure Steps ............................................................ 245
Balanced Sound Card Calibration Connections ........ 286
Connection tab ............................................................. 324
Band limits ................................................................ 75, 91
Constant ........................... 53, 56, 134, 135, 136, 140, 181
BEGINNING OF FIRST CURVE STRUCTURE ......... 277
Constant-Percentage Bandwidth ........................ 100, 269
BlueTooth .................................................................58, 111
Context Help ................................................................. 141
Bring to Center ............................................................. 180
Context-sensitive help ............................................. 12, 21
Broadband or Spectrum Algorithms .............................. 85
Controlling SoundCheck .............................................. 271
Buttons ..................................................16, 18, 19, 40, 179
Controls ......................12, 87, 96, 261, 263, 265, 268, 269
Buzz curves .................................................................. 168
Controls for the Oscilloscope ...................................... 268
Buzzer ...................................................289, 290, 291, 292
ControlSC.vi ................................................................. 271
Buzzer On/Off Message .............................................. 289
Convert linear units ........................................................ 44
Correction curve ..................................................... 47, 264
C Create a new DSN ....................................................... 325
Calculate Spectrum ...................................................... 268 Create DSN .................................................................. 325
Calibrate ..................... 46, 49, 53, 281, 282, 307, 309, 313 Create UDL ................................................... 221, 323, 326
Calibrating SoundCheck ................................................ 45 Create UDL or DSN ..................................................... 221
Calibration 5, 6, 21, 29, 35, 36, 43, 44, 45, 46, 48, 49, 51, 52, CreateObject ................................................................ 275
53, 56, 57, 76, 121, 124, 257, 266, 281, 282, 283, 311, 313 Creating ........................................................................ 271
Calibration - Output folder ......................................... 6, 57 Creating a Custom Setup ............................................ 231
Calibration chart ....................................................... 46, 47 Creating a Custom VI ................................................... 231
Calibration curve ............................................................ 47 Creating a sequence .................................................... 171
Calibration Editor 36, 43, 45, 46, 47, 52, 57, 281, 282, 283, Creating an Equalized WAV File ................................. 258
307, 309, 313
Creating and/or printing an HTML file ......................... 200
Calibration folder ...................................................... 45, 47
Creating Complex Stweeps in the Stimulus Editor ....... 81
Calibration procedure ..................................................... 53
Creating New Sequence .............................................. 247
Calibration Sequence ............... 44, 45, 46, 47, 50, 57, 58
Creating or editing very large equations ..................... 142
Calibration setup .......................................................... 256
Creating separate files ................................................. 218
Calibration Setup menu ................................................. 45
Creating your Hardware Step ........................................ 35
Calibration Step ......................... 5, 43, 45, 47, 57, 62, 247
Cross Correlation of Stimulus and Response .............110
Call ControlSC.vi .......................................................... 275
Cursor 15, 17, 18, 19, 21, 80, 82, 180, 181, 186, 188, 261,
Call method of the VI object ........................................ 271 265, 303
CardDeluxe sound card .......................281, 295, 296, 303 Cursor 1 ........................................................................ 261
Category pull down menu ............................................ 241 Cursor 1 legend ............................................................ 261
Change the output level ................................................. 15 Cursor 1/2 ..................................................................... 261
Changing curve names ................................................ 128 Cursor buttons .............................................................. 181
Channel 36, 40, 79, 85, 94, 120, 121, 126, 255, 257, 259, 262, Cursor Direction Control .............................................. 181
263, 264
Cursor Palette ............................................................... 181
Channel assignment ............................36, 57, 85, 86, 103
Cursors ......................................................................... 185
Channel List .................................................................... 36
Curve 16, 18, 19, 20, 31, 47, 57, 61, 62, 63, 64, 94, 96, 98,
Channel Out ................................................................... 79 112, 119, 126, 128, 129, 130, 131, 133, 134, 135, 136, 138,
Channel Rename ........................................................... 36 139, 140, 142, 143, 144, 147, 149, 150, 158, 159, 162, 163,
Choose the interface type .............................................. 70 165, 167, 168, 171, 172, 174, 175, 179, 180, 181, 185, 186,
191, 192, 193, 199, 209, 210, 214, 219, 222, 229, 232, 260,
Close opened Display at start of sequence ................ 244 264, 273, 326, 327, 338
Colapse All .................................................................... 246

Index Index-2
Index
Curve Attributes ............................................................ 261 Defining the Input and Output Signals .......................... 43
Curve Average .............................................................. 153 Defining the Units ........................................................... 44
Curve menu .................................................................. 229 Delay ............................34, 35, 78, 93, 101, 125, 168, 319
Curve Name .............................................94, 96, 101, 128 Delimiter ................................................196, 197, 220, 221
Curve Names tab ......................................................... 128 Delta ..................................................98, 99, 180, 261, 265
Curve Names to be Recalled ...................................... 129 demo mode ....................................................................... 3
Curve shape ................................................................. 168 Desired Result Name ................................................... 143
Curve statistics ............................................................. 139 Difference Frequency Distortion ............................ 87, 117
Curve Value .................................................................... 20 Difference frequency stimulus ....................................... 87
Curve, Value, or Result name ..................................... 189 Digital I/O ............................................37, 67, 69, 240, 337
Curve, value, or result name ....................................... 326 Directivity Index ............................................................ 144
Curve_ID ....................................................................... 326 Display 17, 32, 63, 82, 100, 127, 171, 172, 173, 177, 179, 181,
Curve_Table ................................................................. 326 183, 187, 194, 195, 220, 227, 239, 241, 248, 261, 290
Curve_Type .................................................................. 327 Display A ....................................................................... 227
Curves ............................................................................. 57 Display attributes .......................................................... 199
Curves and Values ................ 57, 140, 199, 207, 209, 327 Display B ....................................................................... 227
Curves Generated ........................................................ 232 Display curves .............................................................. 175
Curves tab ............................................................ 102, 128 Display data .................................................................. 171
Curves, Values, Results and WFM 171, 172, 188, 191, 193, Display decibel values ................................................... 47
194 Display Editor ...........................................61, 63, 135, 171
Custom calibration sequence ........................................ 45 Display instructions when opened .............................. 244
Custom Curve Names ................................................. 128 Display layout ............................................................... 189
Custom header ............................................................. 174 Display Menu ................................................................ 172
Custom header fields ................................................... 220 Display menu 172, 173, 181, 183, 187, 188, 189, 190, 192,
Custom Stimulus ............................................................ 76 209, 227
Custom VI ....................................................... 33, 231, 232 Display menu of the Polar Plot window ...................... 183
Cycles per step ..................................................... 115, 126 Display on the XY Graph ............................................. 128
Display options ............................................................. 171
Display or save the DUT time signal ............................. 95
D Display parameters ...................................................... 171
DAQmx ..................................................................... 33, 40 Display Property ........................................................... 176
DAT Binary Data File Format .............................. 276, 277 Display pull-down menu ............................................... 181
Data acquisition card ..................................... 10, 107, 126 Display Step 128, 140, 171, 187, 195, 199, 200, 209, 214, 223,
Data curve .................................................................... 271 225, 228, 232, 243, 244, 248
Data folder .................................................................... 130 Display Step on FAIL ............................................ 244, 246
Data Import Wizard ...................................................... 196 Display step when run ................................. 246, 248, 290
Data or Results ............................................................. 223 Display steps on FAIL for x seconds ........................... 244
Data Source Name (DSN) ........................................... 219 Display steps when run for x seconds ........................ 244
Database 217, 219, 221, 224, 321, 322, 323, 324, 325, 326 Display text box ............................................................ 201
Database Connection .................................................. 321 Display text information and pictures .......................... 171
Database management system .................................. 321 Display the measurement .............................................. 61
Datarun_Table .............................................................. 326 Display the Memory List window ................................. 171
dB level ........................................................................... 51 Display the Pass/Fail indicator .................................... 168
dB or linear units ............................................................ 76 Display the Stweep ................................................... 79, 81
dBm0 ............................................................................... 58 Display the XY Plot ...................................................... 186
DC ................................................................................. 103 Display type .................................................................. 262
DC Connect ...... 39, 75, 76, 86, 87, 103, 126, 240, 338, 1 Display Units box .......................................................... 189
DC Connect measurement .......................................... 126 Display when Run ........................................................ 232
DC Connect tab .............................................................. 39 Display will cease to display fundamental .................. 128
DC Current Waveform ................................................. 126 Display window ..................................................... 173, 187
DC voltage ........................................................ 39, 75, 126 Display window choices ............................................... 195
DC Voltage Waveform curve ....................................... 126 Distortion 75, 87, 88, 89, 95, 108, 112, 113, 114, 115, 117,
118, 119, 149, 168, 319, 320, 337, 338
Decimal ASCII code ....................................................... 73
Distortion Formulae .......................................................118
Deconvolved Response ............................................... 108
DSN .............................. 219, 221, 321, 322, 323, 324, 325
Default calibration sequence ......................................... 45
DSNs and Data Source Types .................................... 321
Default curve names .................................................... 142

Index Index-3
Index
Dual-Channel ................................................................ 109 Floating Limits .............................................. 163, 167, 168
DUT and the input of a sound card ............................... 49 Floating-point ................................................................ 221
Floating-point notation ......................................... 174, 221
Floating-point number .......................................... 277, 330
E
Folder .................................................................... 238, 239
Editing Sequence ......................................................... 238 Folder field .................................................................... 240
Editing steps ................................................................. 240 Folder paths .................................................................. 218
Editing the Display ....................................................... 195 Footswitch ................1, 4, 21, 38, 284, 289, 293, 315, 316
Empty curve .................................................................. 129 Footswitch and Buzzer control .................................... 289
Energy Time Curve ...................................................... 127 Fourier transform .......................................................... 319
Engineer .......................................................................... 29 Free field ....................................................................... 319
Engineer level ................................................................. 29 Free, Snap to point, and Lock to plot cursor ................ 18
Enter the Measured Delay ............................................. 67 Frequency Analysis .............................................. 269, 303
EQ curve ....................................................................... 257 Frequency and Output Level ......................................... 95
Equalization and Correction Curve ............................... 47 Frequency curve ...................................124, 135, 137, 139
Equalization curve .................................................. 47, 257 Frequency or time analysis .......................................... 261
Equalize a WAV file ...................................................... 257 Frequency or time headers .......................................... 218
Equation Editor Functions ........................................... 329 Frequency response curve .................................. 149, 158
Equivalent Noise Level ................................................ 337 Frequency response limits ............................................. 56
Est. Level ...................................................................... 261 Frequency Stepped Sweep ........................................... 76
Excel ............................................................................. 221 Frequency stepped-sine sweep (Stweep™) ................ 75
Excel file ...............173, 174, 187, 217, 219, 220, 221, 222 Frequency sweep ......................................................... 126
Excel format .................................................................. 173 Frequency Window ...................................................... 143
Excel spreadsheet ........................................................ 174 FS .................................................................................... 85
Excel Template ............................................................. 221 Fundamental curve ...................................................... 219
Excel workbook .................................................... 174, 219
Expand All ..................................................................... 246
Export ........................... 130, 173, 174, 187, 248, 249, 250 G
Export menu ................................................................. 173 Generator & Multimeter ............................................... 101
Export Seq .................................................................... 248 Generator & Oscilloscope ............................................ 102
Export sequence ............................................................ 12 Generator & Real Time Analyzer ................................ 102
Exported folder ............................................................. 130 Generator Output Level ............................................... 303
Exported Sequence Folder .......................................... 130 Global settings .............................................................. 249
Exporting a Sequence ................................................. 248 Go to Cursor ................................................................. 180
Exporting to Excel ........................................................ 174 Graph properties .......................................................... 175
Exporting/Importing Sequence .................................... 248 Graphs and Cursors ....................................................... 16
External footswitch or external buzzer ............................ 4
External Interface .....................................67, 70, 284, 315
H
Hardware .......... 3, 5, 10, 21, 33, 207, 239, 242, 247, 255
F Hardware and Calibration Steps ......................... 242, 250
Fail verdict .................................................................... 157 Hardware channel .......................................................... 48
Failed Points ................................................................. 161 Hardware delay ............................................................ 125
FFT analysis ................................................................. 265 Hardware Editor ...................................33, 40, 46, 48, 293
FFT Controls ......................................................... 261, 303 Hardware folder ................................................................ 5
FFT display ................................................................... 303 Hardware Key ................................................................... 3
File Menu 95, 191, 192, 195, 196, 199, 200, 227, 231, 248 hardware key .................................................................... 3
File path ........................................................................ 130 Hardware Key Installation ................................................ 3
Filename .......................................217, 218, 222, 223, 225 Hardware settings .......................................................... 33
Filename template ................................................ 222, 223 Hardware setup .................................................. 5, 39, 290
Filepath to Recall ......................................................... 129 Hardware Step 5, 35, 36, 38, 46, 75, 84, 94, 125, 129, 247,
Fill Base Line ................................................................ 176 262, 284, 290, 293, 315
Filter ....................................... 10, 100, 102, 107, 218, 269 Hardware Type ..................................................... 284, 315
Fitted curve ................................................................... 137 Harmonic Cursor .......................................................... 260
Floating ......................................................................... 174 Harmonic Distortion .......87, 113, 115, 117, 168, 319, 338
Floating Data ........................................................ 164, 167 Harmonic N shifted curves ...........................................116

Index Index-4
Index
HarmonicTrak and Time Selective Response algorithms 105 L
Header ........................... 72, 174, 197, 200, 220, 225, 277
LabVIEW ..............33, 38, 231, 271, 274, 275, 277, 329, 1
Header row of frequency values ................................. 196
LabView ........................................................................ 322
Header Separator ........................................................... 72
LabVIEW ActiveX objects ............................................ 271
Help .............................................................12, 21, 32, 141
LabVIEW Database Connectivity Toolset ........... 321, 322
Heterodyne ................................................................... 108
Last Curve Only .................................................... 129, 130
HTML format tools ........................................................ 202
Latency ........................................................................... 35
HTML formatting of Text Boxes ................................... 201
Layout .................................. 172, 195, 200, 219, 221, 225
HTML mode .................................................................. 225
Level 6, 7, 15, 16, 20, 49, 50, 76, 78, 80, 81, 85, 86, 95, 103,
Hysteresis level ............................................................ 122 107, 108, 114, 115, 119, 122, 153, 161, 167, 180, 186, 256,
257, 259, 261, 262, 265, 266, 295, 338
Level knob ................................................................ 86, 87
I
Level of distortion ..........................................................115
IEEE interface card ........................................................ 38 Level of noise ................................................................119
IM and Difference distortion .......................................... 75 Level of the measurement ............................................119
IM Distortion ................................................... 88, 118, 119 Level recorder ................................................................. 10
Impedance .49, 52, 67, 119, 120, 121, 168, 285, 317, 318 Limit curve .................................................... 149, 150, 151
Impedance Measurement Interface Box .... 121, 285, 317 Limit Result ................................................................... 214
Impedance of device under test .................................. 121 Limit Steps ............................................................ 155, 224
Impedance response ................................................... 120 Limits 20, 51, 54, 55, 98, 119, 122, 147, 150, 155, 159, 161,
Importing a Sequence .................................................. 249 163, 165, 166, 167, 168, 187, 214, 232, 239, 241, 259, 319
Indicators ........................................................................ 20 Limits Editor ............................................98, 149, 167, 168
Individual data point values on a curve ........................ 16 Limits Editor Summary Table ....................................... 167
Input (Vp) and Output (Vp) ............................................ 35 Limits for Loudspeakers ............................................... 168
Input and output channels ............................................. 35 Limits On ....................................................................... 259
Input and Output settings for the audio hardware ....... 33 Limits Step ....................... 54, 98, 214, 229, 233, 259, 271
Input Calibration ............................................................. 49 Limits Table ................................................................... 150
Input Channel .........................................95, 263, 265, 269 Line Style .............................................................. 171, 176
Input impedance ........................................................... 338 Line Width ..................................................... 171, 175, 176
Input level ......................................................................... 6 Line Width, Line Style .................................................. 175
Input level jumpers ....................................................... 295 Linear averaging mode ................................................ 265
Input noise .................................................................... 338 Linear Interpolation ...................................................... 160
Input range of the sound card ....................................... 49 Linear or dB units ........................................................... 80
Input sequence ............................................................... 57 Linear or log units ........................................................... 46
Insert and Remove buttons ......................................... 242 Linear units ............................................................. 44, 137
Interface ............ 9, 38, 67, 70, 71, 72, 290, 291, 292, 293 Load Settings ................................................................ 199
Interface Message .......................................................... 72 Lock to Plot ................................................................... 180
Interface Number ........................................... 38, 290, 293 Log Amplitude Sweep .............................................. 75, 81
Interface settings .......................................................... 290 Log Amplitude Sweep Stimulus Type ........................... 87
Intermodulation distortion ...................................... 87, 117 Log frequency scale ..................................................... 100
Intermodulation stimulus ................................................ 87 Log Interpolation ........................................................... 160
Interpolation .................................................................. 160 Logarithmic units ............................................................ 44
Intersection ................................................................... 140 Login ......................................................................... 29, 30
Inverse Fourier Transform ........................................... 127 Login prompt ................................................................... 29
ISO frequency steps ...................................................... 77 Login screen ................................................................... 29
Item_Table .................................................................... 326 Login Setup ..................................................................... 30
Loose Particle Analysis ................................................ 123
Loudspeaker folder ...................................................... 130
J
Loudspeaker Test .........................284, 285, 315, 317, 318
Jump to the Measure Impedance Step ....................... 246 Lower Limit curves ....................................................... 150
LynxTwo Multi-channel Sound Card ................... 282, 309
K
keyboard shortcuts ................................................. 16, 303 M
Knobs .............................................................................. 16 Margin Standard Deviation .......................................... 214
Mass Add Steps ........................................................... 235

Index Index-5
Index
Mathematical operator ................................................. 133 O
Max Stimulus Frequency ............................................. 121
Octave .......................... 100, 102, 138, 139, 143, 255, 269
Maximum and Minimum frequency limits ................... 159
Octave Band ................................................................. 269
Maximum curve Y value .............................................. 137
ODBC-compliant database drivers ............................. 322
Measurement curve ....................................... 16, 149, 168
Off Axis curves ............................................................. 144
Memory List 47, 57, 62, 63, 94, 95, 96, 102, 105, 106, 112,
125, 128, 134, 135, 136, 138, 140, 141, 142, 147, 150, 168, ONCE AT BEGINNING OF FILE ................................. 277
171, 172, 173, 183, 184, 185, 187, 188, 191, 192, 193, 194, Open Data .................................................................... 194
195, 196, 199, 200, 209, 210, 217, 219, 228, 229 Open Database Connectivity ....................................... 321
Memory List contents ............................................. 63, 171 Open Layout and Data… ............................................. 195
Memory List window .................................................... 171 Open Layout... .............................................................. 195
Memory Menu .............................................. 191, 193, 194 Open Results ................................................................ 194
Messages ................67, 68, 70, 71, 72, 73, 239, 240, 289 Open Table ..................................................................... 48
Messages Editor ............................. 61, 65, 67, 69, 71, 73 Opening the Display ..................................................... 195
Microphone Calibration .................................. 50, 283, 313 Operating Principles ....................................................... 10
Microphone gain settings ............................................. 283 Operation Control Buttons ........................................... 264
Microphone manufacturer’s specifications ................... 50 Operator .... 29, 65, 67, 205, 206, 214, 221, 222, 290, 326
Min Cycles per Step ......................................................112 Operator level ................................................................. 29
Min/Max Duration levels .............................................. 122 Operator name .......................................29, 174, 200, 221
Minimum curve Y value ............................................... 137 Optimized stweep ........................................................... 84
Minimum duration ..................................................... 78, 79 Optional Hardware ....................................................... 337
Mode .................................. 35, 64, 95, 225, 261, 265, 269 Optional Modules ............................................... 4, 12, 137
Mode dropdownlist ....................................................... 103 Oscilloscope ..............94, 95, 98, 102, 127, 255, 261, 268
Mode field ....................................................................... 94 Oscilloscope displays ................................................... 102
Mode Select and Cursor Readout Controls ............... 261 Output Calibration .............................................. 47, 52, 62
Modules .......................................................... 12, 137, 218 Output calibration sensitivity .......................................... 76
Mouth Calibration ........................................................... 56 Output Channel .............................................................. 95
Mouth Calibration and Correction ................................. 53 Output correction curve ................................................. 47
Mouth Calibration sequence .......................................... 54 Output impedance ................................................ 337, 338
Move buttons .................................................................. 40 Output Level .......................................6, 95, 255, 257, 258
Move Up - Move Down buttons ........................... 239, 240 Output level jumpers .................................................... 295
MP3 player .....................................................................111 Output of sound card ..................................................... 52
mu-law ............................................................................ 58 Output or input levels ................................................... 101
Multimeter 6, 49, 61, 94, 95, 96, 97, 98, 99, 100, 101, 102, Output sequence ............................................................ 57
155, 167, 255, 259
Output Units .................................................................... 62
Multiple Graphs Display ................................................. 18
Overall Pass/Fail verdict .............................................. 194
Multitone ................................................................. 75, 110
Overall weighted level .................................................. 100
Overload button ............................................................ 255
N Overwrite ....................................................................... 193
National Instruments data acquisition card .................. 33
New amplifier gain settings ................................. 307, 309 P
New hardware .................................................................. 3
Parallel Port Hardware Key ............................................. 3
New microphone gain settings .................................... 313
Pass or Fail verdict ................................................. 67, 187
Nexus output level .......................................................... 51
Pass verdict .................................................................. 157
NI 4461 Analog Data Acquisition Card ......................... 40
Pass/Fail limits .............................................................. 151
NI DAQmx ....................................................................... 40
PASS/FAIL result .......................................................... 246
Noise 8, 75, 78, 91, 93, 99, 115, 118, 119, 121, 122, 255, 257,
337 Pass/Fail Tolerance .............................................. 152, 161
Noise curve ....................................................................119 Pass/Fail verdict ........................................................... 219
Noise signals ................................................................ 319 Password ......................... 29, 30, 322, 323, 324, 325, 326
Notation ......................................................... 174, 188, 221 Peak in a curve ............................................................. 137
Nth ................................................................................. 145 Peak level meter ........................................................... 338
nth octave analysis ....................................................... 255 Phase curve .................................................................. 136
Nth Octave Synthesis .................................................. 145 Phase response curve ................................................. 168
Number of steps ............................................................. 78 Physical Units ................44, 46, 62, 85, 96, 256, 257, 262
Numeric Fields ............................................................... 15 Picture ...................................................171, 179, 190, 191

Index Index-6
Index
Picture Display window ........................................ 190, 191 Record Padding .............................................................. 93
Picture files ................................................................... 248 Reference Codec ........................................................... 58
Pink and White Noise ............................................... 75, 91 Reference Curve .......................................................... 144
Pink noise ............................................................. 102, 269 Reference level .............................................................. 44
Play & Record mode ...................................................... 94 Reference Standard calibration ................................... 130
Polar Plot ............................. 172, 173, 183, 184, 185, 186 Release ......................................................................... 137
Polar Plot display ......................................... 183, 184, 185 Remote Control Switch ........................................ 292, 293
Polar Plot Options ........................................................ 184 Remote footswitch & buzzer ........................................ 339
Polar Plot Settings window .......................................... 184 Rename a curve ........................................................... 199
Post-Processing .............. 62, 64, 129, 133, 239, 241, 257 Resolution ................77, 78, 143, 157, 167, 261, 262, 265
Post-Processing Editor ............................................ 61, 64 Response curve ........................................................... 150
Post-Processing Step .................................... 97, 133, 153 Response limits ............................................................ 149
Power Sum ................................................................... 137 Result 64, 82, 105, 106, 129, 133, 134, 141, 142, 143, 174,
Preferences 14, 30, 113, 173, 174, 181, 183, 186, 187, 188, 191, 192, 193, 214, 222, 229, 246, 263, 327
220, 227 Result margins ............................................................. 214
Preferences dialog ............................................... 186, 187 Result margins and verdicts ........................................ 228
Preload Steps ....................................................... 244, 248 Result name ................ 133, 173, 189, 192, 214, 232, 326
Print .................................................29, 195, 201, 225, 227 Results 16, 61, 64, 75, 103, 106, 129, 140, 141, 142, 171, 172,
Print an HTML file ........................................................ 190 187, 188, 191, 192, 193, 194, 195, 196, 199, 200, 207, 209,
214, 217, 218, 219, 220, 221, 222, 223, 224, 225, 227, 229,
Print command ............................................................. 227 232, 233, 241, 248, 261, 265, 319, 326, 327
Print Editor .................................................................... 225 Results and Values ...................................................... 326
Print Preview ................................................................ 227 Results Display .....................................187, 194, 214, 228
Print styles and effects ................................................. 201 Results Folder ...................................................... 217, 218
Printing ............................... 3, 48, 200, 225, 227, 239, 241 Results menu ................................................................ 194
Printing an HTML file ................................................... 200 Results tab ............................................................ 173, 187
Printing Display ............................................................ 200 Return to Cursor button ............................................... 265
Printing Editor .......................................225, 227, 228, 229 Ring-down curve .......................................................... 127
Printing Step ................................................. 205, 225, 228 RMS Level .............................................. 91, 119, 255, 259
Professional Audio Sound Card .................................. 337 RMS Multimeter .............................................................. 10
Prompt Operator .................................................. 206, 222 Row header .................................................................. 189
PROMPT TO OVERWRITE FILE ............................... 222 RS-232 Interface Actions ............................................... 71
Protect .....................................................31, 191, 192, 193 RTA ................................................................................. 40
Protect Data .................................................................. 191 Rub & Buzz ................................... 108, 114, 115, 116, 168
Protect Measured ........................................................... 31 Rub & Buzz limits ......................................................... 168
Protected and Autoprotected ....................................... 194 Rub & Buzz Max curve ................................................ 168
Protected curves .......................................................... 191
Protected Sequences ...................................................... 4
Pull down list ......................................................... 140, 247
S
Pull down menu ............................................................ 231 Save As ................231, 247, 281, 282, 283, 307, 309, 313
Save Data ..................................................................... 199
Save Data As… ............................................................ 200
Q
Save directly to database ............................................ 219
Q .................................................................................... 137 Save Display and Data ................................................ 199
Quick Launch Menu ....................................................... 32 Save Layout and Data… .............................................. 199
Save Results ................................................................ 199
R Save Results As… ....................................................... 200
Save Settings ............................................................... 199
Read from DC Connect ............................................... 103
Save Waveform As… WAV ........................................... 95
Real Time Analyzer (RTA) .... 94, 100, 102, 241, 255, 269
Saved as text ................................................................ 196
Rec/Play Delay ............................................................... 34
Saving Display .............................................................. 199
Recall ................................... 129, 147, 196, 199, 239, 241
SC5 Sequence ................................................................. 2
Recall Editor ......................................................... 129, 130
SC5 Steps ......................................................................... 2
Recall Step .................................................... 129, 130, 248
SC5 Steps and Sequence folder ..................................... 2
Recent display setting .................................................. 179
Scalar ............................................................................ 137
Record Delay .................................................. 93, 101, 125
Scientific notation ......................................................... 221
Record mode .................................................................. 93

Index Index-7
Index
Search ................................................................... 137, 140 Sound Card Input ............................................................. 6
Search Down ................................................................ 140 Sound card input and output channels ....................... 301
Search Range .............................................. 139, 140, 142 Sound card noise floor ................................................. 303
Search Up ..................................................................... 140 Sound Card Output .......................................................... 6
Select Print Type .......................................................... 225 Sound card performance ..................................... 301, 305
Select Units ................................................................... 142 Sound card sampling frequency .................................. 262
Sensitivity and Response Margin Limit Steps ................ 7 Sound card sampling rate .................................... 100, 269
Sequence 1, 2, 12, 21, 30, 31, 32, 45, 46, 57, 128, 191, 233, Sound Card/Electrical Signal Path .............................. 303
238, 239, 240, 241, 243, 246, 248, 249, 250, 271, 272, 290, Sound pressure level ............................................... 49, 50
291, 293
SoundCheck 6.0 sequence ............................................. 2
Sequence Editor 12, 21, 192, 195, 217, 223, 224, 231, 233,
238, 239, 240, 242, 244, 245, 246, 247, 291, 293 SoundCheck Standard header format ........................ 197
Sequence Menu ...................................243, 244, 245, 246 SoundCheck Steps folder ............................................ 249
Sequence Status Window .............................................. 21 SoundCheck.dsn .......................................................... 322
Serial Number 12, 39, 40, 174, 205, 206, 222, 223, 224, 239, SoundCheck’s ControlSC.vi ........................................ 271
241, 272, 273, 275, 326 SoundConnect 23, 24, 25, 26, 27, 49, 283, 284, 285, 305, 313,
Serial Number Auto-increment Step ........................... 222 315, 317, 338, 1
Serial Number category ............................................... 206 Specifications ........................... 50, 51, 151, 243, 333, 337
Serial Number Editor .................................................... 205 Specified curve or waveform ....................................... 137
Serial Number Step .............................................. 206, 224 Spectrum Analyzer ...... 102, 260, 261, 264, 268, 269, 303
Serial port ..................................................... 289, 290, 292 Standard Deviation .............. 119, 207, 208, 210, 214, 215
Setting the Message steps in the Sequence .............. 291 Standard Header .................................................. 174, 197
Settings 29, 30, 31, 33, 46, 50, 67, 76, 86, 87, 105, 106, 112, Standard Listen Amp/Sound Card combination ............. 6
133, 174, 178, 183, 184, 196, 198, 199, 205, 217, 221, 240, Standard Print report .................................................... 228
243, 264, 268, 281, 282, 291, 293, 295, 297 Standard Print type ....................................................... 225
Settling ..................................................69, 75, 77, 78, 125 Start and Stop levels ...................................................... 87
Shift the curve ............................................................... 159 Start Level ................................................................. 80, 81
Show Curve Name on Graph ........................................ 18 Station_Table ................................................................ 326
Show Display when sequence opened ....................... 244 Statistics ....................... 137, 139, 207, 208, 209, 239, 241
Show Limits .................................................................. 187 Statistics boxes ............................................................. 209
Show Limits box ........................................................... 229 Statistics calculations ................................................... 207
Show Limits displays .................................................... 229 Statistics curves ............................................................ 207
Show Name .................................................................. 180 Statistics Editor ............................................. 168, 209, 214
SI Units .................................................14, 47, 61, 93, 120 Statistics for Curves and Values .................................. 209
SI Units Table ................................................................. 14 Statistics for Results ..................................................... 216
Signal Generator 10, 47, 49, 61, 95, 96, 101, 102, 255, 303 Statistics Step ............................................... 187, 207, 214
Signal Generator and Multimeter ................................ 101 Statistics values ............................................................ 207
Signal level ............................................................... 45, 96 Steady state background noise ................................... 122
Signal-to-noise ratio ............................................... 49, 263 Step ..................... 15, 21, 51, 54, 76, 79, 80, 84, 128, 171
Single value 63, 112, 129, 136, 140, 153, 161, 169, 209, 229 Step attribute .................................................................. 21
Six types of Display windows ................................ 63, 172 Step FFT analysis .................................................112, 117
Slow time constant ....................................................... 269 Step Menu ..................................................... 231, 242, 243
Smoothing ............................................................. 133, 139 Step Size ......................................................................... 80
SN auto increment ....................................................... 222 Steps 5, 7, 206, 207, 224, 232, 233, 238, 239, 240, 242, 243,
SN auto increment step ............................................... 223 244, 245, 246, 247, 248, 249, 272, 338
Snap to Point ................................................................ 180 Steps # ............................................................................ 80
Software .................... 2, 3, 4, 5, 10, 39, 99, 221, 289, 333 Steps directory .............................................................. 240
Software installation ..................................................... 1, 2 Steps field ....................................................................... 80
Software-based instruments .......................................... 10 Steps folder ................................................................... 240
Sound card 5, 6, 23, 24, 25, 26, 27, 33, 34, 35, 45, 46, 49, 52, Steps Value ............................................................... 80, 82
97, 98, 100, 120, 125, 265, 269, 281, 282, 283, 284, 285, 295, Stimulus 6, 7, 33, 47, 55, 57, 76, 79, 81, 84, 87, 88, 91, 94, 95,
302, 303, 305, 309, 313, 315, 317 106, 107, 121, 124, 126, 200, 239, 240, 244, 247, 338
Sound Card Calibration Sequence ......................... 35, 36 Stimulus Editor ..................39, 47, 75, 76, 79, 81, 85, 239
Sound Card Channel analog input .............................. 262 Stimulus folder .................................................................. 7
Sound card control ....................................................... 338 Stimulus frequency ........................................................119
Sound card delay ......................................................... 125 Stimulus level ...................................................... 6, 76, 107
Sound card driver ............................................................. 5 Stimulus output ............................................................. 247

Index Index-8
Index
Stimulus settings ............................................................ 76 Trigger Level ......................................................... 262, 265
Stimulus signal ............................................................... 79 Triggering ...................................................................... 268
Stimulus Step ..................... 79, 85, 86, 103, 108, 126, 248 TSR ....................................................................... 319, 320
Stimulus table ................................................................. 82 Two Tone ........................................................... 75, 88, 108
Stimulus Type ........................................................... 81, 85 Two Tone Stimulus ......................................................... 87
Stimulus waveforms ......................................................... 1
Stop Level ................................................................. 80, 81
U
Store calibration settings ............................................... 46
Stweep ................................... 77, 78, 79, 81, 82, 108, 121 UDL or DSN .......................................................... 221, 325
summable spectrum .............................102, 137, 145, 264 UDL settings ......................................................... 323, 326
Summary Table ............................................................ 167 Unary ............................................................................. 136
Swept sine algorithms .................................................. 319 Undo Autoprotect ......................................................... 192
System Requirements ...................................................... 1 Units 43, 44, 45, 46, 61, 62, 63, 64, 65, 76, 87, 96, 103, 115,
119, 126, 127, 134, 136, 140, 142, 152, 173, 177, 178, 181,
System Setup ................................................................... 5 188, 193, 199, 200, 215, 220, 229, 256, 259, 261, 262, 265,
System Sounds ............................................................ 7, 8 268, 273, 283, 326
Units box ......................................................................... 63
Units button ...................................................62, 64, 65, 68
T
Units dialog box .............................................................. 68
Table 14, 39, 40, 48, 140, 149, 151, 179, 188, 189, 199, 209, Units Overview ............................................................... 61
214, 219, 228, 229, 271, 272, 273, 326
Units Setup window ............................................ 63, 64, 65
Table display window ................................................... 188
Units tab .................................................................. 62, 127
Table Editor ..................................................................... 84
Units… .......................................................................... 142
Table of abbreviations .................................................... 14
Universal Data Link (UDL) ........................................... 219
Technician ....................................................................... 29
Unprotect .............................................................. 191, 192
Technician level .............................................................. 29
Unprotect Curves, Values, Results and WFM ............ 192
Telephone ......................................................... 44, 47, 167
Unprotect data .............................................................. 192
telephone ........................................................................ 47
Update Display during sequence ................................ 244
Telephone headset ....................................................... 149
Update Display Steps at sequence completion .......... 192
Telephone measurements ............................................. 47
Upgrading From an Earlier Version ................................ 1
Test information ........... 125, 129, 174, 217, 221, 222, 223
Upper and lower limits .........................149, 155, 162, 163
Test level ......................................................................... 81
Upper and Lower Limits table ...................................... 150
Text 21, 67, 174, 189, 190, 196, 199, 201, 218, 220, 222, 223,
240 Upper Limit and/or Lower Limit curves ....................... 150
Text Box ........................................................ 172, 189, 201 USB devices ............................................................. 34, 59
Text display window ............................................. 189, 190 USB Interface ............................................................... 103
Text file ................................. 200, 217, 218, 219, 222, 321 Use Custom Units .................................................... 62, 64
Text import from saved file ........................................... 196 Use Memory List .......................................................... 125
Text information ............................................................ 171 User Defined Constants ................................................. 64
Text note ....................................................................... 222 User Defined Step .......................................................... 78
Text string ............................................................. 222, 223 User Equation ...........................................62, 64, 133, 141
Text window .................................................................. 190 User Equation mode ...................................................... 64
THD plus Noise .............................................................115 User Equation Parameters window ............................ 140
Threshold level ............................................................. 122 User Equation Syntax .......................................... 141, 329
Time Delay Spectrometry ............................................ 319 User name ...................................................... 29, 324, 326
Time Envelope ......................................121, 124, 126, 127 User-defined units .......................................................... 64
Time Envelope curve ................................................... 126 Using a UDL or DSN .................................................... 325
Time selective measurements ..................... 108, 319, 320 Using the Graph Cursors ............................................. 265
Time Selective Response ............................................ 108
Tolerance curves .......................................................... 152 V
Tolerance limits .......................................20, 159, 163, 165
Values ........................................................................... 140
Total Distortion .......................................................115, 116
Verdict ........................................................... 187, 214, 327
Total Harmonic Distortion .................................... 115, 338
Verdict of the Statistics Step ........................................ 214
Total noise power ..........................................................115
Verdict_ID ..................................................................... 327
Transient background noise ........................................ 122
VI object ........................................................................ 271
Trigger Channel ............................................................ 262
View Comment ............................................................. 194
Trigger controls ..................................................... 262, 263

Index Index-9
Index
View Table .......................................................... 81, 83, 87
Virtual Channel .......................... 36, 93, 94, 259, 263, 269
Virtual device channels .................................................. 79
Virtual instruments 10, 32, 43, 49, 61, 94, 95, 100, 255, 303,
305
Virtual Volt ....................................................................... 59
Voltage level ..................................................................119
VP .................................................................................. 338
VPeak ............................................................................ 338

W
WAV 1, 33, 75, 84, 85, 95, 102, 129, 195, 200, 220, 240, 241,
248, 249, 257, 258
WAV file .................................... 95, 96, 200, 255, 257, 258
WAV File Excitation ........................................................ 84
WAV file format ............................................................... 95
WAV file playback ......................................................... 257
WAV format ..................................................................... 85
WAV Info ................................................................. 85, 257
Waveform 76, 87, 94, 95, 98, 106, 107, 124, 126, 136, 137,
139, 140, 171, 198, 217, 218, 220, 255, 262, 268
Waveform In ................................................................. 106
Waveforms Folder ........................................................ 217
Weighting Controls ....................................................... 264
Weighting curve .................................................... 139, 144
WFM ..................................... 171, 188, 191, 192, 194, 218
WFM File Format ......................................................... 279
WFM tab ............................................................... 102, 172
White Noise ..............................................75, 91, 102, 267
Windowing .................................................................... 265
Windows Print Setup .................................................... 200
Word mode ................................................................... 225
Work in mode ............................................................... 136

X
X and Y-axes ................................................................ 197
X, Y, and Z axes ........................................................... 218
XY Graph 114, 128, 135, 171, 172, 173, 175, 178, 180, 183,
184, 185, 186, 194, 209, 210, 228
XY Graph display window ............................................ 181

Y
Y-axes ........................................................................... 175

Index Index-10
 SoundCheck 6.11 - Instruction Manual

060627

© Listen, Inc 2006. All rights reserved.

SoundCheck™, NoiseCheck™, STWEEP, SoundConnect™, DC Connect™ and HarmonicTrak are
trademarks of Listen Inc.

® Microsoft, Windows, Windows NT and Active X are registered trademarks of Microsoft Corporation.
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