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Vinyl microgroove phonograph records typically yield 55-65 dB, though the first play of the higher-fidelity outer rings can achieve a dynamic range of 70 dB. [25] German magnetic tape in 1941 was reported to have had a dynamic range of 60 dB, [26] though modern-day restoration experts of such tapes note 45-50 dB as the observed dynamic range. [27]
There is a similar metric called day-evening-night average sound level (Lden or DENL) commonly used in other countries, or community noise exposure level (CNEL) used in California legislation; that is, the DNL with the addition of an evening period from 19:00 to 22:00 when noise level measurements are boosted 5 dB (or 4.77 dB in the case of ...
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]
The symbol dBrn or dB(rn) is an abbreviation for decibels above reference noise.. Weighted noise power in dB is referred to 1.0 picowatt.Thus, 0 dBrn = -90 dBm.Use of 144 line, 144-receiver, or C-message weighting, or flat weighting, can be indicated in parentheses.
Equal-loudness contours. The phon is a logarithmic unit of loudness level for tones and complex sounds. Loudness is measured in sones, a linear unit.Human sensitivity to sound is variable across different frequencies; therefore, although two different tones may present an identical sound pressure to a human ear, they may be psychoacoustically perceived as differing in loudness.
Substituting the definitions of SNR, signal, and noise in decibels into the above equation results in an important formula for calculating the signal to noise ratio in decibels, when the signal and noise are also in decibels: =,,.
A frequency ratio expressed in octaves is the base-2 logarithm (binary logarithm) of the ratio: = An amplifier or filter may be stated to have a frequency response of ±6 dB per octave over a particular frequency range, which signifies that the power gain changes by ±6 decibels (a factor of 4 in power), when the frequency changes by a factor of 2.
The commonly given measurement of PMPO (peak music power out) is largely meaningless and often used in marketing literature; in the late 1960s there was much controversy over this point and the US Government (FTA) required that RMS figures be quoted for all high fidelity equipment. Music power has been making a comeback in recent years.