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One way to test a loudspeaker requires an anechoic chamber, with an acoustically transparent floor-grid. The measuring microphone is normally mounted on an unobtrusive boom (to avoid reflections) and positioned 1 metre in front of the drive units on the axis with the high-frequency driver. While this can produce repeatable results, such a 'free ...
A sound with a loudness of 1 sone is judged equally loud as a 1 kHz tone with a sound pressure level of 40 decibels above 20 micropascals. [1] The phon is psychophysically matched to a reference frequency of 1 kHz. [2] In other words, the phon matches the sound pressure level in decibels of a similarly perceived 1 kHz pure tone. [3]
Most audio components are designed to be linear across their entire operating range. Well-designed solid-state amplifiers and CD players may have a frequency response that varies by only 0.2 dB between 20 Hz to 20 kHz. [5] Loudspeakers tend to have considerably less flat frequency responses than this. Total harmonic distortion (THD)
ISO equal-loudness contours with frequency in Hz. An equal-loudness contour is a measure of sound pressure level, over the frequency spectrum, for which a listener perceives a constant loudness when presented with pure steady tones. [1] The unit of measurement for loudness levels is the phon and is arrived at by reference to equal-loudness ...
However, decibels are a logarithimic scale, so that successive 10 dB increments represent greater increases in loudness. For humans, normal hearing is between −10 dB(HL) and 15 dB(HL), [ 2 ] [ 3 ] although 0 dB from 250 Hz to 8 kHz is deemed to be 'average' normal hearing.
Loudness Units referenced to full scale Loudness measurement unit on an absolute scale, K-weighted, [3] relative to a digital scale (the upper limit of which is 0 dBFS). Equivalent with LKFS, used in ITU-R BS.1770. LU Loudness Unit Relative loudness measurement. 1 LU corresponds to the relative measurement of 1 dB on a digital scale. LU can ...
Current work on this standard occurs primarily in the maintenance of IEC 60268, the international standard for sound systems. The CCIR curve differs greatly from A-weighting in the 5 to 8 kHz region where it peaks to +12.2 dB at 6.3 kHz, the region in which we appear to be extremely sensitive to noise.
Microphones, amplifiers and recording systems all add some electronic noise to the signals passing through them, generally described as hum, buzz or hiss. All buildings have low-level magnetic and electrostatic fields in and around them emanating from mains supply wiring, and these can induce hum into signal paths, typically 50 Hz or 60 Hz (depending on the country's electrical supply standard ...