A New Method for Transient Distortion Detection
Transient distortion, or ‘loose particle’ measurement, is an important loudspeaker production line quality control metric that identifies and facilitates troubleshooting of manufacturing issues.
This paper introduces a new enhanced loose particle measurement technique that discriminates more accurately and reliably than current methods. This new method introduces ‘prominence’ after envelope detection, a new metric for audio measurements, that effectively isolates transient distortion in the presence of periodic distortion. This technique also offers the unique ability to listen to the isolated transient distortion waveform which makes it easier to set limits based on audibility and has widespread applications.
Authors: Steve Temme, Rahul Shakya and Jayant Datta, Listen, Inc.
Presented at 155th AES Conference (October 2023) New York, NY
Paper Introduction
Transient distortion, or ‘loose particle’ measurement, is a valuable quality control metric because it identifies non-periodic distortion, for example, rattling parts, separately from periodic distortion such as rubbing or buzzing parts. This facilitates troubleshooting of manufacturing issues. This paper introduces a new transient distortion measurement technique that is more accurate and reliable than current methods. In addition to improved performance, this new algorithm also aids understanding of the correlation between measurement results and audibility, since it is possible to isolate and listen to just the transient distortion artifacts. Although this analysis method was developed for measuring loose particles in loudspeaker drivers, it is also valuable for measuring rattling parts such as buttons, fasteners, and loose wires on various audio devices, and measuring impulsive distortion or Buzz, Squeak and Rattle (BSR) in automotive audio applications [1].
What is Transient Distortion? Why does it matter?
Transient distortion is caused by random clicking, popping, and other noises in the time domain. In a speaker or headphone driver, this might be caused by foreign particles such as glue or magnet fragments trapped in the gap behind the diaphragm or dust cap. In a device such as a smart speaker, transient distortion might come from a loose volume control button on the device that rattles when sound is played. In an automotive application, it could be characterized as buzz, squeak and rattle from loose wires, screws or fasteners in a car door that the loudspeaker is mounted in. In all cases, the sound is undesirable, so devices that exhibit such faults should be identified and rejected.
In the recorded time waveform, transient distortion faults appear as impulsive noises added on the stimulus wave. These impulses are not related to the frequency of the stimulus, but rather to the vibration caused by the displacement amplitude of the diaphragm. The transient distortion is more frequent and significant when the speaker is driven near or below its resonant frequency, where the displacement of the diaphragm is the greatest.
Although the sound – a random clicking, buzzing or popping noise – can sometimes sound similar to higher order harmonic distortion (Rub & Buzz), such defects are not clearly reflected in the frequency spectrum of the waveform. Figure 1 shows a waveform with transient distortion, and the corresponding frequency spectrum. The vertical black line represents the stimulus frequency and the orange broadband noise spectrum indicates the transient distortion. Transient distortion is best identified at the time the transients occur, unlike Rub & Buzz distortion which is best identified by the frequency at which it occurs [3].
The entire paper also covers:
Prior Measurement Methods
The new algorithm – comparison and results
Conclusions
In addition to this paper, please also check out the Enhanced Loose Particles Webpage and our detailed video explanation of how this algorithm works.



In this paper, a mathematical definition of Total Harmonic Distortion + Noise suitable for testing high-resolution digital audio systems is presented. This formal definition of the “distortion analyzer” mentioned in AES17 defines THD+N as the RMS error of fitting a sinusoid to a noisy and distorted sequence of measurements. We present the key theoretical result that under realistic conditions a modern THD+N analyzer is well-described by a Normal probability distribution with a simple relationship between relative error and analysis dwell time. These findings are illustrated by comparing the output of a commercial distortion analyzer to our proposed method using Monte Carlo simulations of noisy signal channels. We will demonstrate that the bias of a well-designed distortion analyzer is negligible.
Impedance measurement is often the sole electrical measurement in a battery of QC tests on loudspeakers and headphones. Two test methods are commonly used, single channel and dual channel. Dual Channel measurement offers greater accuracy as both the voltage across the speaker (or headphone) and the reference resistor are measured to calculate the impedance. Single Channel measurement methods are more commonly used on the production line because they only require one channel of a stereo soundcard, which leaves the other free for simultaneous acoustic
A perceptual method is proposed for measuring harmonic distortion audibility. This method is similar to the CLEAR (Cepstral Loudness Enhanced Algorithm for Rub & buzz) algorithm previously proposed by the authors as a means of detecting audible Rub & Buzz which is an extreme type of distortion[1,2]. Both methods are based on the Perceptual Evaluation of Audio Quality (PEAQ) standard[3]. In the present work, in order to estimate the audibility of regular harmonic distortion, additional psychoacoustic variables are added to the CLEAR algorithm. These variables are then combined using an artificial neural network approach to derive a metric that is indicative of the overall audible harmonic distortion. Experimental results on headphones are presented to justify the accuracy of the model.
In a previous paper [1], we demonstrated how an auditory perceptual model based on an ITU standard can be used to detect audible Rub & Buzz in loudspeakers using a single tone stimulus. In this paper, we discuss a practical implementation using a stepped sine sweep stimulus and present detailed experimental results on loudspeakers including comparison to human listeners and other perceptual methods.
Manufacturing defects in loudspeaker production can often be identified by an increase in Rub & Buzz distortion. This type of distortion is quite noticeable because it contributes an edgy sound to the reproduction and is annoying because it often sounds separate or disembodied from the fundamental signal. The annoyance of Rub & Buzz distortion is tied intimately to human perception of sound and psychoacoustics. To properly implement automated production-line testing of loudspeaker Rub & Buzz defects, one has to model or imitate the hearing process using a sufficiently accurate perceptual model. This paper describes the results of a Rub & Buzz detection system using a simplified perceptual model based on human masking thresholds that yields excellent results.
Time-Frequency analysis has been in use for more than 20 years and many different Time-Frequency distributions have been developed. Four in particular, Short Time Fourier Transform, Cumulative Spectral Decay, Wavelet and Wigner-Ville have gained popularity and firmly established themselves as useful measurement tools. This paper compares these four popular transforms, explains their trade-offs and discusses how to apply them to analyzing audio devices. Practical examples of loudspeaker impulse responses, loose particles, and Rub & Buzz defects are given as well as a demonstration of their application to common problems with digital/analog audio devices such as Bluetooth headsets, MP3 players and VoIP telephones.
A new approach for measuring distortion based on dual-channel analysis of non-coherence between a stimulus and response is presented. This method is easy to implement, provides a continuous distortion curve against frequency, and can be used with a multitone stimulus, noise, or even music. Multitone is a desirable test signal for fast frequency response measurements and also for assessing system nonlinearities. However, conventional single-channel multitone measurements are challenging because the number of intermodulation tones grows rapidly with the number of stimulus tones and makes it extremely difficult to separate harmonics from intermodulation products. By using dual-channel measurement techniques, only well-known, standard signal processing techniques are used, resulting in simplicity, accuracy and repeatability.