Customizing Color Palettes in SoundCheck

Have you ever wondered how to customize your display windows on SoundCheck? Change and personalize your graphs and background color palettes? Learn how to make these adjustments  by watching this brief tutorial.

Additional Resources for SoundCheck Customization Capabilities

Detailed explanations of how to customize your display on SoundCheck can be found in the SoundCheck manual.

Video Script: Customizing Color Palettes in SoundCheck

In SC, you can customize your display background and the color palette under Edit > Preferences > Display. You can check the box to display an image and change the background color of the main screen. You may click on the folder icon to upload another image file and have it either centered, tiled, or stretched. In the graph palette section, you can customize the colors of curves and waveforms viewed from the memory list window. If you are a fan of dark mode, you might want to select “black” as your background color. Click “OK” to apply the changes when finished. You can also make quick color changes in the display windows. Click on a specific curve and go to “Color” to change the curve color. You can change the colors of the background, X and Y grid lines by right-clicking on the display window and going to “Preferences”. If you are dealing with multiple curves and the legend is covering a lot of screen space in the display, you might want to switch your position to the right. Click “OK” to apply the changes.

Measuring MEMS Microspeakers

Measuring MEMS microspeakers can be challenging due to their small form-factor, but it is increasingly important as they are now widely available and seeing fast evolution and adoption in true wireless stereo (TWS) earbuds and in-ear monitors (IEM). Accurate measurement is essential to understanding design considerations, as well as ensure product quality. In this article, published in the June 2024 issue of AudioXpress, Steve Temme and Michael Ricci (xMEMS) discuss the challenges of measuring fully piezoelectric MEMS microspeakers and demonstrate how SoundCheck reveals valuable distortion data.

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Introduction to Measuring MEMS Microspeakers Article

Measuring MEMS microspeakers - image of AX articleMEMS microspeakers are driving one of the fastest technological transitions in the miniature speaker market. MEMS transducers first gained widespread attention in the late 2000s with the first commercially available MEMS microphone, and over the course of a decade, they replaced electret microphones in the majority of mobile devices. The MEMS speaker revolution is shaping up for an even faster transition.

Early speakers incorporating MEMS technology were launched in 2014, but it was not until 2021 that the first fully piezoelectric MEMS microspeakers became commercially available. Manufacturers are already rapidly adopting these into TWS and pro-audio IEMs, earning praise from consumers and product reviewers alike, and propelling this technology into the mainstream.

MEMS Speaker Overview
MEMS microspeakers are constructed in an entirely different way from conventional miniature speakers. Rather than using inductive coils and magnets, they rely on a voltage-driven capacitive actuator, and they are entirely manufactured using a monolithic solid-state fabrication process in a semiconductor wafer foundry. This fabrication process delivers much tighter speaker-to-speaker consistency than is possible with a conventional driver made up of an assembly of many moving parts. They offer full-range performance, eliminating crossover networks that introduce complexity and sometimes even phase differences. This is particularly important considering this year’s other big audio trend—spatial audio, where the phase response is critical to accurate reproduction. Piezo-MEMS speakers are also compact in size and low power, making them economical on both space and power consumption. Finally, they are surface-mount technology (SMT) reflowable, offering yield and quality advantages in device manufacturing.

MEMS microspeakers are now commercially available and seeing fast evolution and adoption in true wireless stereo (TWS) earbuds and in-ear monitors (IEM). With the emergence of these small form-factor transducers comes the need to address how to measure its performance and ensure product quality.

While these advantages are leading to rapid adoption in devices such as hearing aids, earbuds, professional in-ear monitors, smart glasses, and more, they are not without their challenges. The
maximum sound pressure level (SPL) in the low frequencies is typically less than is required for a leak-tolerant active noise cancelling (ANC) system compared with conventional headphone drivers, limiting their use for ANC earbuds to a mid/high frequency tweeter in a two-way configuration. However, in recent months, manufacturers have made rapid progress in overcoming these
limitations, thus broadening their applications. For example, xMEMS’ new Cypress Piezo-MEMS speaker, showcased at the recent Consumer Electronics Show (CES), delivers up to 140dB SPL in the low-frequency band—more than sufficient for ANC applications.

The cost of MEMS-driven products is also decreasing as this technology is more widely adopted. While early MEMS earbuds were priced well over $1000, recently launched models such as the Creative Labs Aurvana bring this technology’s high-quality sound to TWS products below a $200 price point. As this technology moves toward becoming the de facto standard, the outlook for this market is positive.

Full Article

How to Check Calibration History

Regular signal path calibration is essential for accurate audio measurements. It’s easy to check your calibration history in SoundCheck. Watch this short video to learn how.

Additional Resources for SoundCheck Calibration

Detailed explanations of how to check your calibration history in SoundCheck can be found in the SoundCheck manual.

Read more about calibration in our knowledge base.

Video Script: How to Check Calibration History

Whether you’re measuring on a production line or in an R&D lab, it’s important that scheduled calibrations take place to ensure accurate measurements. It’s easy to check your calibration history in SoundCheck. Every time we calibrate in SoundCheck, our last Cal date is visible in the calibration editor. This is true for all of our signal paths and calibrated devices whether or not they’re on the input or the output side. But did you know that you can also view your entire calibration history? Let’s take a look at how to do that.

I’ve got my memory list open and over here on the values tab I’ve got my Cal group expanded. If I double click on microphone 1 sens in and drag mic one gain in over here this reflects the calibration I did just a moment ago. Here’s my sensitivity, and this is the current gain value on the signal path.

If I want to see the entire calibration history, I open the mic 1. file into the memory list and now I have access to all of the calibration history with date and time stamps going back a number of years. Now I’ll take these values and drag them over here into my table, so I can take a closer look at them and see how stable my calibration values have been over time.

So there’s a quick look at how to examine your calibration history in SoundCheck. This will work for any calibrated device be it input or output, and in some cases you’re going to have curves available as well, for example, if you’re looking at amplifier or mouth calibrations.

SoundCheck 22 Released: Discounted Upgrades!

For a limited time we are offering deep discounts on a system upgrade to enable you to get up to date with the latest version of SoundCheck. The upgrade offer is a simple flat rate: $4,175 for owners of SoundCheck 16 or 17, $3,402 for owners of version 18, $2,646 for owners of versions 19 and 20, and $1,465 for owners of version 21. All the modules on your present system will be included. Promotional pricing is valid till June 30th, 2024.

When you upgrade to the latest version of SoundCheck, the license is perpetual – in other words, you keep all the new features you have acquired for ever (or until you decide to upgrade to an even newer version).  Please ask us if you have any questions about upgrade licensing!

SoundCheck® 22 offers new features for both R&D and Production, as well as usability upgrades including:

  • Python Custom Step (optional module #2042): The optional Python custom step module (part #2042) enables custom Python functions to be called from a SoundCheck sequence. This makes it easy to pass data and variables between SoundCheck and other devices or programs with no need for LabVIEW programming.
  • Crest Factor Analysis: Distortion options now include crest factor analysis,  a technique that measures peak-to-RMS ratio to evaluate impulsive distortion and analyze the dynamic range of real signals. It complements SoundCheck’s unique enhanced Loose Particle algorithm for transient distortion measurement.
  • Sequence Versioning: Sequence versioning makes it easy to track changes made to a sequence to ensure that colleagues and contract manufacturers are using the correct version.
  • New Statistics Module: SoundCheck’s statistics module is completely overhauled to make it more powerful and intuitive. Changes include a new layout, expanded drag and drop functionality, enhanced searching and filtering, and the ability to reset statistics during a sequence.
  • Other Upgrades: Additional enhancements include new post-processing tools, additional metadata options, an upgraded signal generator and multimeter, and additional flexibility and capabilities for the multi-instrument (RTA/FFT)
  • Apple Silicon Support: SoundCheck displays significant speed and performance benefits on Apple computers with M processors. Step and sequence editing, in particular, are considerably faster.

Upgrade from Version

Upgrade List Price

Promotional Upgrade Price

Discount

16

$9,450

$4,175

56%

17

$7,875

$4,175

47%

18

$6,300

$3,402

46%

19

$4,725

$2,646

44%

20

$3,150

$2,646

16%

21

$1,575

$1,465

7%

If you are using a version prior to version 16, please contact your sales engineer for discounted price information.

PLEASE NOTE:

  • Versions of SoundCheck prior to 17 are no longer supported. We highly recommend that you take advantage of this limited time offer to upgrade your systems to the latest version. Please contact your sales engineer to discuss additional multi-system upgrade discounts.
  • If you have multiple systems with different purchase dates, we are happy to work with you to get them all upgraded to the latest version and onto the same annual support contract cycle.
  • You can also reduce your future upgrade costs by purchasing an annual support contract for an additional $998. With this, you will receive SoundCheck 23 when it is released at no extra charge, as well as priority support service.
  • Discounted upgrade prices are only available to registered owner of software, for their exclusive use.

Please note that these prices are applicable to the US only. Users outside the US should contact Listen or their local representative for pricing information.

Please email your purchase order to sales@listeninc.com. You can also contact us on this email address if you would like to pay by credit card, have any questions, or need additional paperwork to support your order.

Please also see the detailed information on new features.

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How to Export SoundCheck Sequences

This short video, “How to Export SoundCheck Sequences”, is a must-watch for those who need to share their sequences with their colleagues and contract manufacturers around the world.

Exporting a sequence from SoundCheck instead of saving it packages all dependent files with the sequence. This prevents any errors caused by hard-coded file paths for stimulus files or signal paths that might not exist on a different SoundCheck installation.

Additional Resources for Exporting SoundCheck Sequences

Detailed explanations of how to export SoundCheck sequences can be found in the SoundCheck manual.

Read more about SoundCheck test sequences.

Video Script: How to Export SoundCheck Sequences

When you’re sharing sequences with colleagues or contract manufacturers, or even just making your own self contained backup, you should use the sequence export function rather than simply saving it. ‘Save’ or ‘save as’ works well if you want to make a new version based on a sequence you already have, or want to make a local backup, but if your sequence has hard-coded links to other files, you’ll have problems if you send it to a different computer. Exporting instead of saving packages all dependent files with the sequence, and prevents any errors caused by hard-coded file paths for stimulus files or signal paths that might not exist on a different SoundCheck installation. Let me show you how to do that. Before we start, just remember that the person you are sending the sequence to must have the same version of SoundCheck that the sequence was created in or higher – sequences are not backwards compatible!

With the file export option I can point to the sequence I want to share and export it to a new location. I’ll create a new folder called exported sequence and you can see that all dependent files in my sequence are now copied into the same directory. If I’m recalling different dat files, if I have an autosave template for Excel or if I’m using a wave file as a stimulus all of these dependent files are carried along with the export. Even the calibrated input and output signal paths that I’m using will be added into this directory.

Now, I can simply zip up this folder, share it with my colleagues or contract manufacturers in another location, and when they open up this sequence all of the signal paths will automatically use the files in the folder. In addition, all absolute file paths used in the sequence will be changed to relative file paths looking inside of my exported folder. They won’t need to re-link or reconfigure any of the steps.

Remember to use this export feature to make sure everyone is running your sequence exactly as you intended.

Audio Test Stimuli: 8 Audio Test Signals and When to Use Them

Electroacoustic measurements rely on many different audio test stimuli. This brief summary of the various options guides you towards the best stimulus for your measurements.

Stepped Sine Sweep
A stepped sine sweep plays a sine wave, one frequency step at a time with a user-defined frequency range and resolution. SoundCheck’s stepped sine sweep, the ‘Stweep’ is optimized with an integer number of cycles at each frequency step and continuous phase between steps for a smooth transition from frequency to frequency. This minimizes transient ringing in the device under test for faster and more repeatable measurements. Stepped sine waves can be configured with different resolutions and averaging times at high and low frequencies to optimize the trade-off between stimulus duration, background noise and therefore, test time and accuracy. The stepped sine sweep is one of the most widely used audio test stimuli for basic electroacoustic testing because it offers good noise immunity and provides acoustic (e.g. frequency response, phase, THD), perceptual distortion, and electrical (e.g. impedance) measurements with a single sweep.

Graph of Stepped Sine Sweep (Stweep) Audio Test Stimulus

Stepped Sine Sweep (Stweep) Audio Test Stimulus

 

Log Sine Sweep (AKA Frequency Log Sweep, Log Chirp or Farina Sweep)
A continuous log sine sweep from low to high covers every frequency in the chosen range. The same time and energy in each octave achieves a good signal-to-noise ratio at all frequencies. The sweep rate is slow at low frequencies for accurate measurement, but increases with frequency for a fast overall test speed. SoundCheck was the first test system to implement simultaneous simulated free field measurements of harmonics using  the Log chirp stimulus, just months after Angelo Farina’s landmark AES paper on the subject in 2000.

The log sine sweep is a good alternative to a stepped sine sweep for production line loudspeaker measurements, and is also common for fast time-selective measurements of fundamental response and distortion. Used with a Time Selective Response algorithm it provides simulated free-field measurements for free-field analysis of a loudspeaker without an anechoic chamber.

Graph of Log Sine Sweep (AKA Frequency Log Sweep, Log Chirp or Farina Sweep)Audio Test Stimulus

Log Sine Sweep (AKA Frequency Log Sweep, Log Chirp or Farina Sweep)Audio Test Stimulus

 

Log Amplitude Sweep
A Log amplitude sweep is similar to a stepped sine sweep except a single frequency is chosen and swept logarithmically through various levels.

It is useful for evaluating how a device performs at different stimulus levels (linearity tests) and for testing devices with compressors, limiters or automatic gain control (AGC). It can also be used with advanced analysis algorithms to evaluate characteristics like THD vs. stimulus level.

 

Graph of Log Amplitude Sweep Audio Test Stimulus

Log Amplitude Sweep Audio Test Stimulus

 

Noise
Both pink and white noise can be used for audio testing. Pink noise has a continuous frequency spectrum and equal power per constant percentage bandwidth, e.g. equal power in any one-third octave band. It is used with constant percentage bandwidth filters such as the RTA. White noise has a continuous frequency spectrum and with equal power per unit bandwidth, for example, equal power in any band of 100-Hz width. It is generally used with FFT analysis.

Noise test stimuli are often used where sine waves cannot be used, such as devices with on-board signal processing e.g. codecs.

Graph of Pink Noise Audio Test Stimulus

Pink Noise Audio Test Stimulus

Graph Of White Noise Audio Test Stimulus

White Noise Audio Test Stimulus

 

Multitone
A multitone stimulus consists of multiple sine tones at discrete frequencies played simultaneously with equal amplitudes and random phase. All the frequencies are present at the same time, in contrast to the stepped sine sweep where the frequencies are present sequentially. All frequencies are covered in a very short stimulus, providing very fast measurements. Multitone is good for measuring frequency response, but the number of simultaneous frequencies in the stimulus makes it impractical for measuring other characteristics such as harmonic distortion, limiting its use.

Multitone test signals have applications in simple, rapid production line tests, for example measuring the frequency response of microphones.

 

Two Tone Stimulus

A two tone stimulus plays two simultaneous tones. In a non-linear system, these generate intermodulation distortion, output frequencies that are not part of the stimulus and have no harmonic relationship to the original signal. There are two commonly-used types of two-tone stimulus. An intermodulation (IM) two-tone stimulus is a stepped sine sweep superimposed on top of a fixed frequency tone. The fixed tone is usually at a low frequency, and the sweeping frequency is generally  five times greater than the fixed tone frequency. A difference frequency (DF) two tone stimulus is composed of two simultaneous sweeping tones separated by a specified frequency interval which may be a fixed difference or a fixed ratio.

Measuring distortion using a two-tone stimulus presents an alternative to harmonic distortion measurement in which the distortion products are kept close to the stimulus frequency and typically fall outside of the masking curve. This makes artifacts more clearly audible and avoids the under/over estimation that can sometimes occur with higher order harmonic distortion methods. IM distortion is generally used for broadband devices such as full range drivers and microphones. DF distortion is used for measuring band-limited devices such as hearing aids.

 

Graph of Two Tone Intermodulation Audio Test Stimulus

Two Tone Intermodulation Audio Test Stimulus

Graph of Two Tone Difference Frequency Audio Test Stimulus

Two Tone Difference Frequency Audio Test Stimulus

 

Speech and Music Based Signals
Speech and music based stimuli enable devices to be tested with real-world test signals. This is particularly important for audio devices with built-in non-linear signal processing. In SoundCheck, any WAV file can be used as the stimulus, making it simple to use music, real speech, or artificial speech. Additional software features such as active speech level control enable these signals to be used for a variety of different purposes including communications testing to industry standards.

Applications include phones, codecs, hearing aid compressors and more. Additionally, these test signals are valuable for creating calibrated background noise for testing smart devices, headphones and wearables.

Graph of Speech (wav file) Audio Test Stimulus

Speech (wav file) Audio Test Stimulus

 

Composite Stimulus Signal
Composite stimuli allow a conditioning signal to warm up the device or open up an activity detector before playing the stimulus signal. They are essential for testing smart devices, where it can be necessary to create a stimulus that consists of a wake word plus a command, or to prepend a stimulus with a trigger tone to enable precise alignment of stimulus and response. SoundCheck offers total flexibility to create customized composite stimuli, and also permits the user to precisely select which sections of the stimulus should be analyzed.

Graph of Compound Audio Test Stimulus consisting of voice activation followed by a test tone

Compound Audio Test Stimulus consisting of voice activation followed by a test tone

All these stimuli are available in SoundCheck. Learn more about SoundCheck’s features and functionality.

Standardizing the Immersive Audio Playback Chain

Immersive Audio Listening Room at Genelec: Customized room for listening to spatial audio

Immersive Audio Listening Room at Genelec

If you follow my posts, you’ll know that spatial audio measurement is a big research area for us right now. As immersive audio takes off, it’s important that designers of spatial audio systems have the tools they need to accurately measure spatial sound characteristics such as localization and envelopment. This will enable consistency in playback so that artists and mixers know that the effects that they are creating sound as they intended, no matter what the consumer’s playback equipment.

To complicate the issue, having designed the playback system, manufacturers also need to take into account the myriad ways in which their customer may configure their speakers to ensure consistent reproduction. This is no simple task when room acoustics also comes into it and few consumers have a perfect listening space.

While we are some way from having universal measurement techniques and standards, I witnessed an interesting insight into how Genelec is addressing the issue of customer configuration at the AES/ASA/BAS Boston chapter meeting at their facility in Natick earlier this week.

First we received a demonstration in their newly-configured immersive room where they demonstrated several soundtracks. This included correlated and uncorrelated pink noise at low frequencies to illustrate bass reproduction. They also played a couple of musical pieces including the musical score from a video game (which was surprisingly impressive) and a piece of Indian music. These were both very immersive, with sound coming from multiple directions. What I found interesting about this was that in the 9-seater listening room, there was really only one sweet spot or seat where you received the full impact of the immersive experience. The effect in the other seats was not uniform and depended on the seat’s position relative to the center spot. This will certainly present challenges to sound designers!

In a separate room, we saw how Genelec helps their customers ensure that their equipment is correctly configured. This was impressive too! Their bespoke software uses a microphone and network adaptor to make measurements in the room and upload them to a server. The speaker-room interactions are diagnosed, and their software returns a comprehensive report including frequency response, time response and time-frequency analysis including wavelet analysis. It also provides an electronic file that equalizes and time-aligns the speakers to compensate for the room characteristics and exact speaker placement. This ensures that Genelec’s customers are hearing the sound as they intended, regardless of their room configuration.

This is a great start, and it’s encouraging to see spatial audio playback system vendors following through to ensure the end user’s experience is as intended. However, this is only one part of the puzzle. There is still a need for the industry to agree on useful metrics that allow manufacturers to design and evaluate their systems to Dolby Atmos and other spatial audio specifications. This will allow the creative effects of spatial audio to transcend individual manufacturers and allow consumers hear exactly what the recording engineer intended, regardless of their chosen brand of playback equipment. If you make spatial audio playback equipment, what metrics do you think show the most potential for evaluating spatial sound effects? We’d love to hear from you.

AudioConnect 2 Audio Measurement Interface Demonstration

What makes an audio measurement interface different from any other audio interface? This is a good question. As you probably know, SoundCheck works with most audio interfaces – this is advantageous as our customers can use hardware they already own, keeping the overall system cost down.

However, if you don’t have an audio interface and need to get one at the same time as your test system, there are many advantages to purchasing dedicated test hardware such as the AudioConnect 2, or for multi-channel applications, the AmpConnect 621. They include many features specifically designed for audio test, such as microphone power and internal switching. This saves money on other components. They are designed for production and field measurements so they are ruggedly constructed, and unnecessary features such as front panel controls are eliminated to avoid accidental adjustment. Perhaps more importantly, Listen’s audio interfaces are configured for full plug’n’play automated setup that hugely simplifies the setup process and virtually eliminates the possibility of incorrect configuration.

Watch this short 5 minute video to learn more.

 AudioConnect 2 Audio Measurement Interface Demonstration Video

Learn more about the AudioConnect 2 Interface

Check out our product information page, and another short video that we made explaining the philosophy around offering our latest generation audio interfaces.

More Information?

Curious? Contact our sales team for more information and pricing.

Audio Measurement Troubleshooting: 10 Time-Saving Tips

Audio Measurement TroubleshootingAudio measurement troubleshooting can be challenging. All too often we plug and unplug things, tweak settings and re-test, often changing several variables at once. A consistent and logical approach greatly accelerates the process.  Here, we share the process that our experienced team of support engineers has developed to assist customers. Follow these 10 audio measurement troubleshooting tips to quickly get to the root of your problems.

  1. Check your cables. Cables are the single biggest cause of setup problems! Make sure all your cables are properly connected and in the right place. Next substitute alternate cables one at a time – cables often get broken inside or damaged, even though they pass visual inspection. Make sure you understand the different types of cables and when you should use each – particularly where they look similar, e.g. single-ended and balanced cables. It’s a good idea to label your cables to make it quick and easy for anyone to replicate your measurement setup and quickly fix things if anything becomes unplugged.
  2. Check everything is plugged in! It sounds obvious, but if there is no output signal or not what you expect (e.g. it just looks like noise), check that everything is plugged in and turned on – not just the computer, but all audio interfaces, amplifiers, hardware, microphone power supplies etc.
  3. Run a self-test. Always run a self-test before making measurements to confirm that your measurement system and cables are working correctly. This facility is usually built into your measurement system and confirms that all components are working as expected.
  4. Make one change at a time and document everything. Don’t move cables, tweak the sequence and change the microphone position all at once – you won’t know what the cause of the problem was! Change one thing at a time, and keep a checklist of what you have done (this will be useful if you need to call customer support).
  5. Check your audio interface configuration. If your audio interface is incorrectly configured, nothing else will work. Ensure sound monitoring is switched off to prevent feedback, and make sure you are using the full dynamic range. Try making a loopback (output to input) measurement on the audio interface using the appropriate SoundCheck self-test. It should have a flat frequency response.  If your frequency response looks noisy it is likely that you have insufficient gain. You should have unity (0dB) gain when looped back on itself and very low THD. Latency should be consistent and repeatable and must be ≥ 0 Record Delay. There are many places where audio interface settings can be incorrectly configured  – check your hardware setup, ASIO control panel and mixer (if applicable), device front panel (if applicable) and Windows audio device settings.
  6. Calibrate your signal paths. Calibrating your signal paths is critical to accurate measurements and you should always have a multimeter and an acoustic calibrator handy! Calibration should be carried out at regular intervals as well as when you first run the test, particularly if there is a change in atmospheric conditions. Good measurement microphones and electronics are typically very stable but loudspeakers e.g. mouth simulators are generally very non-linear and their performance changes with temperature. It’s  always a good idea to warm up a loudspeaker before testing it by playing pink noise for example at a reasonable level. Factories should re-calibrate every day or at the beginning of every shift.
  7. Measure twice. Always measure something at least twice on the first measurement to make sure that you get the same result. This helps identify problems with the setup or background noise. It’s far better to discover this on the first measurement than at the end of a day of data collection! A golden unit, e.g. a demo speaker that you have measured many times, is a good sanity-check if measurements appear unexpected. A golden unit is advantageous over calibration as it also takes into account the fixturing and test environment.
  8. Check your units and your resolution. Make sure you are measuring in your intended units. For example the difference between dB Pa and db SPL is 94dB. If you are not careful you could blow something up. It’s also important to check your resolution. Lower resolutions provide faster measurements, but it’s important to ensure that you are using enough. If you keep increasing the resolution until the curve doesn’t change, you can easily identify the lowest acceptable resolution to test at.
  9. When in doubt, look at your recorded time waveform. Use your software’s oscilloscope function to see if your recorded waveform looks noisy, has drop outs, or gets cut-off too soon.  Look at the peaks of the recorded waveform and Max FSD in the memory list to see if it looks unexpectedly flat – it may be overloaded and clipping. These problems are very difficult to see in the frequency domain.
  10. Minimize background noise. Background noise is the biggest cause of unrepeatable measurements, so minimizing this improves your test environment. Easy ways to minimize background noise impact include positioning the microphone closer to the source, increasing the test level, increasing the duration of the test signal, and using repeated averages of the test signal. Doubling the averages or signal duration should increase the signal to noise ratio by 3 dB.

We hope you found these audio measurement troubleshooting tips useful. Follow our blog for more handy hints for audio measurement.