Doo-Heon Kyon

The Characteristics of the Vocalization of the Female News Anchors

This paper covers the studies on common voice parameters through the voice analysis of female main news anchors on weekday evening by the station, and differences of relative voices and sounds among stations. To examine voice characteristics, 6 voice parameters were analyzed and it showed anchors of each station had distinctive characteristics of voices and phonations over all fields except the speech rate, and there were also differences in sound systems. As major analysis parameters, basic pitch, tone of the 1st formant and pitch ratio, level of closeness by pitch bandwidth, type of sentence closing through average pitch position within pitch bandwidth, average speech rate, and acoustic tone analysis by energy distribution by frequency band were used. Analyzed values and results could be referred to and utilized in the criteria of phonation characteristics for domestic female news anchors.

An analysis of the acoustic characteristics of forest sounds

The purpose of this study is to define the general acoustic characteristics of forest sounds. Thus, large-scale measurements and analyses were conducted throughout four seasons for three main mountainous areas in Korea. The results showed there were clear differences in the acoustic characteristics, depending on environments and seasons. As acoustic elements of a forest, there are sounds of water from waterfalls and streams and sounds from birds and insects, and even sounds caused by stepping on snow in winter or fallen leaves in autumn also have effect on the seasonal acoustic characteristics. The frequency of forest sounds was about 20dB(A) smaller than typical sounds occurring in a downtown area, and forest sounds showed flat frequency characteristics in general. Especially, it was investigated that the energy ratio of their ultra-high tone sound domains was only 0.1% of that of a downtown area, while the rate of forest sounds was about 50 times more than that of a downtown area, and there were large d...

Evaluating the absolute volume of digital sound source measurement and standard measuring unit

Listeners do not know the actual volume of sound before playing a sound source, so they have to adjust the volume through trials and errors. Moreover, they have to change the volume repetitively because each sound source has different volume. If we can identify the absolute volume of a sound source at the perspective of listener, the volume of all sound sources can be effectively standardized. This study evaluated a method to measure the absolute volume of a digital sound source and suggested the dB(N) as a measuring unit. The pink noise was used as a reference sound source, to be used for measuring the absolute volume. The pink noise was set as 60 dB(N), which is equal to sound output of 60 dB(A). The volume was adjusted until the pink noise and the target sound matches into a recognizable volume by reducing the pink noise or target sound source under the given environment. Subsequently, the difference is reflected to 60 dB(N) to determine the absolute volume. The accuracy of measured results was confirmed through a music listening test and suggested how to develop the volume system using the absolute volume.

The Standardization of Categorizing Voice Tones by V7B

Human voice tones are produced at various fundamental frequencies according to the gender and age of the speaker as well as the production environment. Even the voice tones with the same pitch are recognized differently depending on whether people are speaking or singing. Yet the standardized system categorizing voice tones into certain objective types is currently not available. It is undeniable that voice tones are still expressed in rather confusing terms and unsystematic ways, and thus invokes an urgent need for the standardization of categorizing voice tones. This thesis proposes V7B (for Voice 7 Bandwidth), the standardized system for categorizing any human voice tones produced within the maximum range of frequencies. V7B can be utilized in 2 different bands, narrow and wide, depending on the voice production environment, speaking or singing. V7B categorizes voice tones into 7 levels with equal ranges of frequencies, such as ’extremely low tone,’ ’low tone,’ ’mid-low tone,’ ’mid tone,’ ’mid-high tone,’ ’high tone,’ and ’extremely high tone.’ V7B provides an objective and systematic way to describe human voice tones properly based on human intuitions.

The Standardization of Partitioning Audible Sound by A7B

Scholars and analysts of sound hope to have a standard system that is self-explanatory in assigning different tones including low, mid, and high, to any given sound with certain pitch. Yet, such system has not been developed, or recognized in the field. The absence of the system may bring about different results in analyzing sounds due to the lack of standardized vocabulary and objectivity. This paper suggests a way to improve the current situation using 7 bandwidths of sound in order to standardize the process of partitioning tones and thus proposes the implementation of the Acoustic 7 Bandwidths (A7B) system as a portioning system of audible sound, an indicator of sound tone in other words. The proposed system is based on the proper partitioning of sounds in audible range to humans and has an advantage of relatively easy implementation. The following 7 bandwidths of sound contain same cents range of frequency for each category: ultra-low tone, low tone, mid-low tone, mid-tone, mid-high tone, and ultra-high tone. The use of the standardized system of partitioning sound through A7B will provide objective analysis and fair comparison of sounds with respect to tone and frequency.

Concepts of Sound Control System Using Absolute Sound Level

The purpose of this study is to suggest a new concept of the absolute sound level system in order to basically solve all the irrational aspects from the mastering stage to the output stage during the process of producing a sound source. Through this absolute sound level system, all the input absolute sound levels of sound sources become standardized based on 60 dB(S), and then sound source producers can implement a sound level they intend by using the differential sound level tag. Besides, by matching the output absolute sound level with the input absolute sound level, a target sound level can be implemented as a listener intends. With this system introduced, sound source producers are able to focus on the completion of a sound source itself without an unnecessary competition for sound levels, and only by inputting the differential reduction tag, they can implement a sound level balance as intended. At the same time, listeners are able to appreciate all kinds of sound sources fit for the standard of absolute s ound levels they want to listen to, without a process of trial and error, no matter what kinds of listening environments and sound systems they have.

Sound level trend analysis of digital source via the "absolute level" index

This paper proposes a method to analyze the absolute level of a digital sound source and its unit of measurement dB(S). The level of a sound source is analyzed by setting the largest section that can be heard as the standard; the same standard used by mastering engineers. This research verifies that an absolute value can represent the level of a sound source on the basis of music dictation experiments and defined it as the absolute level. Pink noise was used as the sound source to measure the absolute level and a 60dB(A) output of level was set equal to 60dB(S). The sound source was played under the above settings and reduced the level of pink noise or sound source until an equivalently recognizable level was achieved. The difference of value was reflected to 60dB(S) resulting in the absolute level. The absolute level scale was achieved through vast amounts of experimental data and a trend of sound level change as well as problems with current source levels are presented.