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The pressure on development cycles in the automotive industry forces the acoustical engineers to create awareness of sound quality in the early stages of development, perhaps even before a physical prototype is available. Currently, designers have few tools to help them listen to their “virtual” models. For the design of a synthesis platform of in-vehicle binaural sound, the sound should be modeled with almost identical sound quality perception. A concept is presented where the total sound of a vehicle is split in a number of components, each with its own sound characteristics. These characteristics are described in a signal model that allows the analysis of an existing sound into a limited number of signal components: orders-frequency spectra, time envelopes and time recordings.

In the eighties, the main concern in the automotive industry from a designer's standpoint was a level issue. In the nineties, the market has put more stringent requirements on the automotive industry with respect to noise in general and psychoacoustics. The governments have imposed lower limits with respect to pass-by noise standards. Customers are spending more time in their car than in the past and are demanding acoustical comfort. All of this is leading to an environment where a sound quality system is becoming a daily tool in the design and trouble-shooting world. This paper describes what should be looked for in a sound, how to quantify these properties and what tools are needed. These steps are then applied in a case study.

This paper presents a new time-domain source contribution analysis method for in-room pass-by noise. The core of the method is a frequency-domain ASQ model (Airborne Source Quantification) representing each noise generating component (engine, exhaust, left and right tyres, etc.) by a number of acoustic sources. The ASQ model requires the measurement of local FRF's and acoustic noise transfer functions to identify the operational loads from nearby pressure indicator responses and propagate the loads to the various target microphones on the sides of the vehicle. Once a good ASQ model is obtained, FIR filters are constructed, allowing a time-domain synthesis of the various source contributions to each target microphone. The synthesized target response signals are finally recombined into a pass-by sound by taking into account the speed profile of the vehicle.

One of the practical consequences of the development of low CO₂ emission cars is that many of the traditional NVH sound engineering processes no longer apply and must be revisited. Different and new sound sources, new constraints on vehicle body design (e.g., due to weight) and new sound perception characteristics make that the NVH knowledge built on generations of internal combustion-powered vehicles cannot be simply transferred to Hybrid and Electric Vehicles (HEV). Hence, the applicability of tools must be reviewed and extensions need to be developed where necessary. This paper focuses on sound synthesis tools as developed for ICE-powered vehicles. Because of the missing masking effect and the missing intake and exhaust noise of the Internal Combustion Engine (ICE) in electric vehicles, on one hand electric vehicles are quieter than traditional vehicles.