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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.
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 Robinson–Dadson curves are one of many sets of equal-loudness contours for the human ear, determined experimentally by D. W. Robinson and R. S. Dadson. [1]Until recently, it was common to see the term Fletcher–Munson used to refer to equal-loudness contours generally, even though the re-determination carried out by Robinson and Dadson in 1956, became the basis for an ISO standard ISO ...
Audio engineers use dynamic range to describe the ratio of the amplitude of the loudest possible undistorted signal to the noise floor, say of a microphone or loudspeaker. [18] Dynamic range is therefore the signal-to-noise ratio (SNR) for the case where the signal is the loudest possible for the system. For example, if the ceiling of a device ...
Loudness monitoring of programme levels is needed in radio and television broadcasting, as well as in audio post production.Traditional methods of measuring signal levels, such as the peak programme meter and VU meter, do not give the subjectively valid measure of loudness that many would argue is needed to optimise the listening experience when changing channels or swapping disks.
RMS normalization is more accurate but does not take into account psychoacoustic aspects of loudness perception. With dynamic range compression, volume may be altered on the fly on playback producing a variable-gain normalization, as opposed to the constant gain as rendered by ReplayGain. While dynamic range compression is beneficial in keeping ...
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 ...
HRTF filtering effect. A head-related transfer function (HRTF) is a response that characterizes how an ear receives a sound from a point in space. As sound strikes the listener, the size and shape of the head, ears, ear canal, density of the head, size and shape of nasal and oral cavities, all transform the sound and affect how it is perceived, boosting some frequencies and attenuating others.