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Compression is used extensively in broadcasting to boost the perceived volume of sound while reducing the dynamic range of source audio. To avoid overmodulation, broadcasters in most countries have legal limits on instantaneous peak volume they may broadcast. Normally these limits are met by permanently inserted compression hardware in the on ...
For loudness compensation to work correctly the playback system must also accurately assume what volume level was used in mastering. For movie soundtracks this reference volume level is an industry standard [ 4 ] and can be used by manufacturers to provide a loudness feature that works with a reasonable degree of accuracy.
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The practice of focusing on loudness in audio mastering can be traced back to the introduction of the compact disc, [3] but also existed to some extent when the vinyl phonograph record was the primary released recording medium and when 7-inch singles were played on jukebox machines in clubs and bars.
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Before loudness normalization, one song in a playlist might be quieter than the rest, so the listener would have to turn a volume knob up to adjust the playback volume. [ 4 ] Depending on the dynamic range of the content and the target level, loudness normalization can result in peaks that exceed the recording medium's limits, causing clipping.
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