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Sound development at Audi: The symphony of the four rings

Ingolstadt (ots)

- Targeted implementation of sounds captures the essence 
     of the brand
   - Audi S4, Audi A8 and the Audi TT 3.2 quattro are current
     examples of active sound design
Being music to one's ears - even the cars from Audi have to be
this to a certain degree. Sound design has become an additional
important component in vehicle development at the car manufacturer
based in Ingolstadt. It is the acoustic calling card of the brand
with the four rings, so to speak. The Audi S4, Audi A8 and Audi TT
3.2 quattro are current examples of the active sound design of Audi
sounds. About 45 engineers work on the analysis and design of vehicle
sound. Sound design has been intensively pursued at Audi for roughly
two vehicle generations.
Someone who has made a major contribution towards this is Thomas
Kriegel, Head of Acoustics for the Audi A4 model series. The engineer
uses sound sequences unusual for his profession when speaking and
talks about "orchestrated car", "the art of composing and
conducting", "good musicians" or "wrong notes" and the "symphony of
the four rings".
The sound of a car must meet the expectations which its design and
model positioning aroused in the customer. This means that vehicles
such as the Audi S4 or the Audi TT 3.2 quattro must also have a
sporty-raspy sound - they must "sound fast". In these cases,
acoustical restraint would only disappoint the customers. The A8, in
contrast, has a sound that reflects comfort with a sporty undertone.
Apropos expectations: this is an additional challenge for sound
developers. After all, everyone perceives sounds differently. Sound
design must 'objectify' subjective impressions. The goal being that
the Audi sound only meets with positive response. And that taking
legal acoustic requirements into account, as well.
Incidentally, subjective noise perception is evaluated according
to psychoacoustic criteria, whose parameters have been in existence
since the 1950s. The evaluation of noises reaches from 'stimulating'
or 'soothing' to 'objectionable'. Kriegel: "You can say as a rule
that the higher the tone, the more unpleasantly it will be perceived
by the vehicle's occupants. Such tones can get on your nerves, and
even evoke aggression. And this should not happen when driving. Bass
tones, on the other hand, are more likely to be perceived as
pleasant."
The sound of an Audi depends on the model. How should the engine,
air intake or exhaust system sound? What acoustic response should be
heard when pressing the accelerator, how strongly should road noise
be perceived in the interior? Which sounds should electric windows or
indicators make? Or how resoundingly should a door lock? - Audi
acoustic engineers determine all these noises.
Kriegel differentiates between "good musicians" and "wrong notes"
in the orchestrated car. Naturally, the latter should be played
properly. "In the past, the work of an acoustic engineer was
primarily targeted at the suppression of sound. We call this sound
cleaning," Kriegel explains. Work has been changed by the demand for
"good musicians" in a car. This includes the body, the exhaust
system, the engine, air intake and aggregate mountings. Unloved
"wrong notes" are created by the tyres, driveline, transmission,
ancillaries and wind noises. The repertoire is varied: tyres can
sing, transmissions rattle, body panels rumble, drive shafts roar,
generators wail and fans hiss.
To compose the symphony of the four rings from all of that, Audi
acoustic engineers 'play' numerous design possibilities on a
keyboard. Apart from the air intake, the engine and exhaust system in
particular are suited to composing sound. This is the reason why
pneumatically switchable flaps can be found in the new S4 and TT 3.2
quattro. This component ensures a small cross-section of the pipe
geometry within the exhaust system at low engine speeds and a
correspondingly larger cross-section at high engine speeds. Thus, an
evenly sonorous richness of tone is achieved across the complete
speed range. At the end of the day, the main concern is having a
balance between comfort and sports character even for the very sporty
S4.
The result of this overall development is not a uniform Audi
sound, but a made-to-measure acoustic concept for each model.
However, the standard quality features of the Audi sound are the
balanced allotment of frequencies, load-sensitivity and spontaneity
of a sound, a subtle degree of rawness, natural frequency and an
acoustically homogenous revving-up of the engine. And the optimal
sound character of every Audi in the model range will continue to be
honed in the future. And that is something more than just music of
the future.
Note: A photo of the Audi sound development is available via obs
(dpa).
This text as well as a long version (five pages) and photos can be
called up at http://www.audi-press.com under "Company", "Topics,
Features, Stories". Accreditation - valid until 9th February - with
user name: aupr0306; password: njp678
Communication: Corporate and Finance
Joachim Cordshagen, Tel: ++49 (0)841 89 36340, 
e-mail:  joachim.cordshagen@audi.de
Jürgen De Graeve, Tel: ++49 (0)841 89 34084,
Mobile: ++49 (0)172 9142908
e-mail: jürgen.degraeve@audi.de

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