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Personal safe listening strategies include: [22] [69] [70] Listening to PLSs at safe levels, such as 60% of the volume range. Noise-cancelling headphones and sound-isolating earphones can help one avoid turning the volume up to overcome loud background noise. Sound measurement apps can help one find out how loud sounds are.
Loudness compensation, or simply loudness, is a setting found on some hi-fi equipment that increases the level of the high and low frequencies. [1] This is intended to be used while listening at low-volume levels, to compensate for the fact that as the loudness of audio decreases, the ear's lower sensitivity to extreme high and low frequencies ...
An automatic volume limiter system (AVLS) is an option that limits the maximum volume level and is enabled through software or hardware in stationary or portable media player devices used with headphones such as the Walkman or Sony PSP. [1]
Higher impedance headphones are more tolerant of amplifier limitations, but produce less volume for a given output level. Historically, many headphones had relatively high impedance, often over 500 ohms so they could operate well with high-impedance tube amplifiers. In contrast, modern transistor amplifiers can have very low output impedance ...
Noise-cancelling headphones alongside a carry case. Noise-cancelling headphones are headphones that suppress unwanted ambient sounds using active noise control (ANC).. Active noise cancellation makes it possible to listen to audio content without raising the volume excessively.
ReplayGain-capable audio players use the replay gain metadata to automatically attenuate or amplify the signal on a per-track or per-album basis such that tracks or albums play at a similar loudness level. The peak level metadata can be used to prevent gain adjustments from inducing clipping in the playback device. [2]
The first research on the topic of how the ear hears different frequencies at different levels was conducted by Fletcher and Munson in 1933. Until recently, it was common to see the term Fletcher–Munson used to refer to equal-loudness contours generally, even though a re-determination was carried out by Robinson and Dadson in 1956, which became the basis for an ISO 226 standard.
EBU R 128 is a recommendation for loudness normalisation and maximum level of audio signals. It is primarily followed during audio mixing of television and radio programmes and adopted by broadcasters to measure and control programme loudness. [1]