Finite Element Analyst

Noise Control Engineering, LLC (NCE)

Location: Billerica MA

 

Noise Control Engineering, LLC (NCE) (equal opportunity employer and wholly owned subsidiary of Glosten, Inc.) is an engineering consulting firm that specializes in designing vessels with low noise and vibration. Our engineers perform assessments of vessel designs using advanced modeling and measurement approaches, develop solutions to noise and vibration issues, and carry out compliance and diagnostic testing throughout the United States and abroad. NCE encourages unique solutions to tough problems, identification of new approaches to data collection & processing, and forward thinking.

NCE is looking for an eager and talented candidate to perform finite element modeling and analyses of marine structures. In this position, your primary responsibilities will be to create finite element models of ship structures and predict the structural vibration response that results from machinery and propulsion excitations such as diesel engines and propellers. You will have the opportunity to perform vibration surveys while dockside and at sea for compliance and diagnostic purposes. There will also be opportunities to perform specialized dynamic structural testing such as modal testing, operational deflection characterizations, and modal extraction from operational data. You will be required to write reports, interact with clients, and write proposals that are clear, succinct, and effective.

The position will also require acoustic modeling and analysis to assess and identify noise problems and solutions. On-the-job training will be provided for candidates with an interest in acoustics and vibration and a desire to learn.

The ideal candidate will have following:

  • BS or MS in Mechanical Engineering or Naval Architecture
  • Exposure to marine structures and the ability to read ship drawings is preferred, but not required.
  • 2-5 years of experience in creating and analyzing finite element models. Experience may include static analyses, though vibration analysis capabilities are preferred. An understanding of basic finite element theory is required.
  • Demonstrated interest with structural analysis, vibrations, and/or acoustics.
  • Experience with vibration measurements, modal testing, and related topics is advantageous.
  • Experience or expertise with MATLAB, Python, and/or other computational modeling tools or computer languages is desired.
  • Effective technical communication skills in verbal, written, and graphic formats.
  • Proficient with the standard Microsoft Office Suite.

 

NCE works on ITAR and classified projects. Applicant must be a U.S. citizen in order to comply with the requirements of these projects.

Travel is required throughout the United States and sometimes abroad, and may require a valid driver’s license, current passport, and/or TWIC card.

NCE offers a comprehensive benefits package including medical/dental coverage, paid time off, tuition reimbursement, bonus and profit-sharing plans, and a 401(k) plan.

Interested applicants should submit their cover letter and resume, to our applicant center for review.  Applicants missing any requested documentation will not be considered.

Please visit our website www.noise-control.com to learn more about our company, our projects and clients, and what is happening at NCE.

NCE is proud to provide equal employment opportunity to all employees and applicants for employment.  In order to provide equal employment and advancement opportunities to all individuals, employment decisions will be based on merit, qualifications, and abilities.  NCE does not discriminate in employment opportunities or practices on the basis of race, color, sex, age, religion, national origin, handicap, disability, sexual orientation, or veteran status in accordance with applicable state and federal laws.

We encourage women, minorities, veterans, disabled veterans, and the disabled to apply for this position.

 

 

Marie-Curie Early Stage Researcher position in Virtual Reality Audio

Queen’s University Belfast (QUB)

Location: Belfast IE

Physics-Based Source Modelling with Time-Variant Parameters (ESR12)

GENERAL INFORMATION
Position:
Marie Curie Early Stage Researcher (PhD Position, VRACE ITN), Full-Time
Hosting Institution
School/Department:
Queen’s University Belfast (QUB)
School of Electronics, Electrical Engineering, and Computer Science
Closing Date:
Interview Date:
3 June 2019
14 June 2019
Salary:

Basic salary with pension: £30,424 per annum
Basic salary without pension: £37,081 per annum
Additional payments:
Mobility: £406 per month, Family Allowance (subject to criteria)

Female candidates are particularly encouraged to apply; the VRACE network strives to improve gender balance in research.

JOB PURPOSE:
The Early Stage Researcher (ESR) will undertake research in the framework of the project “VRACE: Virtual Reality Audio for Cyber Environments”, and will be funded for 36 months through the prestigious Marie Skłodowska-Curie Actions (MSCA) Innovative Training Network (ITN) programme. VRACE will establish a multidisciplinary training and research programme focusing on the analysis, modelling and rendering of dynamic 3-dimensional soundscapes for applications in Virtual Reality (VR) and Augmented Reality (AR), delivered by nine cooperating European Universities and their industrial partners, including Siemens, Mueller BBM, Sennheiser and Facebook Reality Labs (former Oculus). The ESR will be an active member of the research project team at Queen’s University Belfast (QUB) assisting in the delivery of research and training activities of the VRACE Network and required to work towards the expected results of the QUB-led project entitled “Physics-Based Source Modelling with Time-Variant Parameters”. In addition to their individual scientific projects, all ESRs will benefit from further continuing education through a dedicated training program in the various fields of expertise of the consortium partners, which includes active participation in workshops, conferences and outreach activities.

MAJOR DUTIES:
1. Conduct research in physics-based source modelling with time-variant parameters, as set out in the additional information below.
2. Carry out the research and training activities specified by a personal career development plan (PCDP) and contribute to the PCDP development.
3. Study and follow the technical literature including academic papers, journals and textbooks to keep abreast with the state-of-the-art in the project topical area.
4. Record, analyse and write up results of research work and contribute to the production of research reports and publications.
5. Prepare regular progress reports on the performed research and training activities and present the research outcomes at meetings, project workshops, and to external audiences to disseminate and publicise research findings.
6. Work closely with researchers of other consortium members and facilitate knowledge transfer within the VRACE consortium and in accordance with the consortium agreement.
7. Undertake mandatory training programs and secondment as required at the facilities of other consortium members in Europe and the US.
8. Actively participate in training activities and submit reports in fulfilment of the project requirements.
9. Participate in outreach, dissemination, and administrative activities promoting the VRACE Network project including contributing to the consortium webpages and to organisation of VRACE project training workshops and events.
10. Carry out undergraduate supervision & demonstrating duties under supervisor direction and according to university regulations.

ESSENTIAL CRITERIA:
1. Have or about to obtain a 1st class or 2.1 Honour Degree or equivalent in a discipline relevant to the research project in the realm of engineering (e.g. mechanics, electronics) and science (e.g. physic, mathematics).
2. Relevant experience in computer programming, including the ability to develop computational models in Matlab.
3. Demonstrable awareness of, and willingness to participate in, highly interdisciplinary research spanning across acoustics, numerical methods, virtual reality, and music.
4. Strong analytical and problem solving skills.
5. Ability to logically conceptualise and summarise the research findings.
6. Excellent verbal and writing communication skills.
7. Ability to interact with colleagues and staff.
8. Ability to organise resources, manage time and meet deadlines.
9. Willingness to assist in undergraduate supervision.
10. Be willing and able to participate in training programs at the facilities of other consortium members across Europe and in the US.
11. At the time of recruitment by the host organisation, be in the first four years (full-time equivalent) of their research careers and not yet have been awarded a doctorate. This four-year period is measured from the date of obtaining the degree that would formally entitle to embark on a doctorate.
12. Must not have resided or carried out their main activity in the UK for more than 12 months in the 3 years immediately prior to their selection for this post.

DESIRABLE CRITERIA:
1. Masters Qualification in a relevant subject.
2. Specialist knowledge in numerical methods, musical acoustics, or digital signal processing.
3. Proficiency in in C/C++ .
4. Experience in working with audio/music software.
5. Experience in developing audio plugins.
6. Academic or industry experience in participating in engineering or science research projects.
7. Academic or industry experience in working with virtual/augmented reality systems
8. Familiarity with website maintenance and the use of social media tools.

ADDITIONAL INFORMATION
General information about VRACE can be found on the consortium website: https://vrace-etn.eu/

ESR12 Project Title: Physics-Based Source Modelling with Time-Variant Parameters
This project will belong to the work stream of Work Package 1, which focuses on modelling and simulation of sources and their near field characteristics. Research in this project will be conducted in collaboration with the University of Performing Arts Vienna (MDW), and will be further informed through industrial engagement by ARTIM.

Objectives: One of the key tasks in accomplishing further step changes in aural immersion involves replacing sample-based strategies with interactive, procedural source models based on realistic simulation of vibrating structures. Using a rigorous physical modelling framework, these will render physically consistent changes in the source signal in response to a human actor interacting with the embedded vibrating objects. Progress on this topic can partly build on a steadily advancing body of numerical techniques for simulation of musical instruments, which have become increasingly viable for real-time application, and are now seeing direct application in the design of new virtual-acoustic instruments.

From an engineering perspective, such interactions can be framed in terms of continuous human-driven adjustment (i.e. time-variance) of physical model parameters. This project seeks to introduce extended parameter time-variance in physics-based simulations of musical instruments and other sound-emitting mechano-acoustic vibrating systems for the following two complementary purposes:

• Exploration: discovery and design through fine-tuning global system parameters (e.g. dynamically adjusting the tension of a virtual-acoustic string or the mass density of a virtual-acoustic plate).

• Articulation: local parameter changes associated with physical human actions (e.g. sounding a virtual-acoustic membrane through repeated mallet striking with varying force and excitation position while dynamically exerting local hand damping control on a specific region of the membrane surface).

The principal research challenge that the project will address is enabling such control and interaction introducing minimal artefacts (which would degrade the sense of immersion) for both elementary and complex systems consisting for linearly and nonlinear coupled vibrational subsystems, with specific focus on avoidance of undesirable or unphysical energy changes that typically arise with existing discretisation approaches. Addressing this challenge will involve deriving numerical models that allow the specification of precise trade-offs between desired energetic behaviour, parameter adjustability and computational efficiency; both finite difference and modal expansion forms will be explored in this context.

Expected Results
1. New numerical methods and models for simulation of vibration and sound produced by virtual-acoustic source systems (including musical instruments) under time-variance of system parameters. 2. New methods for analysis of stability and energy behaviour for such systems. 3. Off-line and real-time realisations for demonstrating the models in the contexts of virtual reality, music performance, and audio processing.

Research Environment
The successful applicant will be part of and contribute to the Systems & Sensors research theme within the School of Electronics, Electrical Engineering and Computer Science, and will be based in the Sonic Arts Research Centre (SARC). SARC (http://www.sarc.qub.ac.uk) brings together researchers in composition, performance, musicology, electrical engineering, computing, acoustics, perception, sound recording, interaction design, broadcast, critical improvisation studies, sound art, aesthetics and media theory, forming an interdisciplinary research environment with over 60 academics and postgraduate students.

The purpose designed SARC building features a state-of-the-art Sonic Laboratory, several multichannel studios, an Interaction Lab, and a VR/AR Lab. The ESR will interact regularly with other researchers in the network, and will conduct part of the research in collaboration with the team based in the Department of Music Acoustics – Wiener Klangstil (IWK, https://iwk.mdw.ac.at/) at the University of Performing Arts Vienna (MDW).

Supervision: Dr Maarten van Walstijn (QUB), Dr. Vasileios Chatziioannou (MDW)

Informal Inquiries: Dr Maarten van Walstijn ([email protected])
If available, applicants are strongly encouraged to send a copy of a research report they have written (e.g. Master’s Dissertation, Final-Year-Project Dissertation, scientific publication) to the above email.

Application: through the QUB portal https://www.qub.ac.uk/sites/QUBJobVacancies/ResearchJobs/
(see Marie Curie Early Stage Researcher, Job Reference: 19/107438)

Job Starting Date: between 1 August 2019 and 1 September 2019.

Applicant Data Protection: Please be aware that – in accordance with the VRACE Grant Agreement and EU General Data Protection Regulation (GDPR) – your CV may be shared with the named beneficiaries within the consortium, as part of the application review process.

Results of the ASA 2019 Election

The following ASA members were elected Offices and Members of the Executive Council in the 2019 Society election

Diane Kewley-Port, President-Elect

Diane Kewley-Port, President-Elect

Indiana University, Bloomington, IN

Stan E. Dosso, Vice President-Elect

Stan E. Dosso, Vice President-Elect

University of Victoria, Canada

Bennett M. Brooks, Member of the Executive Council

Bennett M. Brooks, Member of the Executive Council

Brooks Acoustics Corporation, Pompano Beach, FL

 Andrew C.H. Morrison, Member of the Executive Council

Andrew C.H. Morrison, Member of the Executive Council

Joliet Junior College, Joliet, IL

Judy R. Dubno, Treasurer

Judy R. Dubno, Treasurer

Medical University of South Carolina

Reconstructing the Acoustics of Notre Dame

Reconstructing the Acoustics of Notre Dame

Expert Brian FG Katz from the Lutheries-Acoustique-Musique Group at the Institute d’Alembert, Sorbonne Université, CNRS, in Paris is available to answer questions about reconstructing the complex acoustics of Notre Dame.

FOR IMMEDIATE RELEASE

 

Brian FG Katz and colleagues set up an artificial head to take acoustical measurements at Notre Dame in 2013.
Credit: Image by Brian FG Katz/CNRS

For More Information:
Wendy Beatty
[email protected]
301-209-3090

WASHINGTON, D.C., May 3, 2019 — The April 15 fire that devastated the roof of the 850-year-old Notre Dame de Paris Cathedral left many people around the globe wondering whether it’s possible to rebuild it in a way that can recreate the cultural icon’s complex signature acoustics.

Other cathedrals may seem to have similar acoustics, but no two are the same in the way sound soars and reverberates inside. Myriad nuances and details are unique — many of which are likely to change during the course of centuries as furnishings and renovations evolve.

Six years ago, on April 24, 2013, Brian FG Katz, a Fellow of the Acoustical Society of America and CNRS research director at Sorbonne Université, and colleagues obtained detailed measurements of the acoustics of the main space within Notre Dame.

Those measurements and the methods his team used to obtained them were detailed in several publications in the ASA’s flagship publication, the Journal of the Acoustical Society of America, and one of Katz’s students is presenting some of the work later this month at the 177th Meeting of Acoustical Society of America in Louisville, Kentucky.

These measurements hold new significance now, Katz said. They document the acoustic conditions of the cathedral before the fire and can be used during its restoration. He is available to answer questions from reporters about the work and reconstructing the complex acoustics of Notre Dame.

“The acoustics of worship spaces has long been a topic of interest and is an active area of study right now,” said Katz. “Acoustics within churches and places of worship, in general, vary greatly with the associated religious practices. Some emphasize the intelligibility of the spoken word, while others focus on the ritual aspects and musical nature. A grand church organ, for example, played within a dry room suited to speech can sound more like an accordion — without the reverberation mixing effect of the acoustics.”

How they captured the acoustics of Notre Dame

“The basic practice of measuring the acoustics of rooms is common across spaces,” Katz said. “We don’t use any special cathedral protocols. But for the long reverberation time and the considerable volume, we had to work to get our signal-to-noise level to an adequate level.”

Measurements were made using a collection of omnidirectional, 3D (first order ambisonic), and dummy head (binaural) microphones. Several dodecahedron loudspeakers were situated at key positions inside the cathedral, representing either typical source positions or those measurement positions of a series of measurements carried out by the same lab in 1987.

“We also included several balloon bursts as a safeguard, well aware of their acoustic limitations,” Katz said. That work was published in 2011 in JASA (see https://asa.scitation.org/doi/10.1121/1.3518780).

The researchers use mostly pro-audio hardware because it often provides a better signal-to-noise ratio and the installation is easier than laboratory measurement equipment.

“Technically speaking, we used a 20-second exponential sweep-sine signal, or chip, and deconvolution to obtain the room impulse response. This response, or the acoustic signature, for each source/receiver pair in effect characterizes how the room transforms the sound from source to receiver,” Katz said. “Once set up, the measurements took a little more than one hour and mostly involved moving microphones around.”

Getting access to iconic sites like Notre Dame is always difficult, and the time inside to record measurements always goes by fast. “One advantage of such a space is the relatively flat floor, which allowed us to have the majority of our equipment on a cart that can be rolled down the aisle,” Katz said. “This is in stark contrast to when we do measurements within concert halls with different levels and balconies.”

“Reverberant energy” — Notre Dame’s full sound

With a 6-second reverberation time at mid-frequencies, Katz describes Notre Dame’s sound as being “as full as you can imagine, with the reverberant energy coming from all around. As you move within the space, the acoustics varies due to changes in ceiling height, for example. This is very noticeable and can be heard on our online simulation example as you travel around the cathedral.”

From the measurements and other documentation they were able to obtain at Notre Dame, Katz and colleagues created a geometrical acoustic room model and calibrated it to the measured responses’ acoustic parameters using CATT-Acoustics (http://www.catt.se), a numerical simulation software used by acoustic consultants. That work was published in JASA in 2016 (see https://asa.scitation.org/doi/10.1121/1.4971422).

“Using this model, we simulated new room impulse responses that correspond to an orchestra configuration of a close-mic recording session made within the cathedral by the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP), a college of music and dance,” Katz explained. “By feeding these recordings to the appropriate source positions in the model, we were able to recreate the acoustic performance of this concert — allowing the listener to move within the cathedral to explore and experience the complex acoustics of this large and historic space.” They described this work in JASA in 2017 (see https://asa.scitation.org/doi/abs/10.1121/1.4987161).

For these simulations, “the sheer size and long reverberation time of the cathedral means longer calculation times, longer impulse responses, longer processing times, and more computational requirements,” Katz added. “These demands were far beyond what we experienced with other sites, and small fluctuations in air temperature resulted in misalignment of impulse responses. This, in turn, resulted in artificially reduced reverberation times for averaged measurements, so we developed a method to correct for it that can also be used as a way to measure small changes in mean temperature” — work published in 2016 (see https://asa.scitation.org/doi/10.1121/1.4955006).

Play it forward: The reconstruction of Notre Dame

How can Katz’s acoustic measurements help with the reconstruction of Notre Dame Cathedral? First, the existence of acoustic documentation of the cathedral is a huge benefit.

“It can help during renovation works when considering how the impact of any choices might change the acoustics, such as choice of materials,” Katz said. “It’s not clear yet what state the interior finishes are in, but the wooden panels and paintings within the cathedral are not at all insignificant when it comes to acoustics. Compared to the raw stone structure, these small elements act as possible acoustic absorption and diffusion and can have significant impacts on the resulting acoustics.”

The second benefit is virtual reconstruction — essentially providing a way for people to listen to performances within the “lost” acoustics. “This could be via working with the CNSMDP to process the full recording of the concert we presented an excerpt of on YouTube, or to process other recordings made using the same procedure. This approach can also be used to listen to ‘new’ performances within the cathedral that never occurred there — enabling even live performances to be broadcast as a concert within the virtual Notre Dame. These could be of interest during the reconstruction, while the building is inaccessible to the public.”

#####

Video links:
https://youtu.be/zk1us0NYfug (360°) & https://youtu.be/-dPiAJyEonA (don’t forget to listen over headphones)

Project website:
Ghost Orchestra: A virtual concert in Notre Dame.
https://groupeaa.limsi.fr/projets:ghostorch

Program of 177th Meeting of the Acoustical Society of AmericaLouisville, Kentucky

Program of 177th Meeting

of the Acoustical Society of America

Louisville, Kentucky

13-17 May 2019


Calendar

Committee Meetings and Other Events

Meeting Information

Author Index

Monday to Friday, 13–17 May 2019

Program – Cover to cover

Monday, 13 May 2019

1a, 1p, 1e (pages 1651–1694)

 

Tuesday, 14 May 2019

2a, 2p (pages 1695–1773)

 

Wednesday, 15 May 2019

3a, 3p (pages 1774–1852)

 

Thursday, 16 May 1029

4a, 4p (pages 1853–1916)

 

Friday, 17 May 2019

5a (pages 1917–1937)

Pin It on Pinterest