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Sound levels as low as 40 dB(A) can generate noise complaints [43] and the lower threshold for noise producing sleep disturbance is 45 dB(A) or lower. [ 44 ] Other factors that affect the annoyance level of sound include beliefs about noise prevention and the importance of the noise source, and annoyance at the cause (i.e., non-noise related ...
NIHL occurs when too much sound intensity is transmitted into and through the auditory system. An acoustic signal from a sound source, such as a radio, enters into the external auditory canal (ear canal), and is funneled through to the tympanic membrane (eardrum), causing it to vibrate.
Hyperacusis is an increased sensitivity to sound and a low tolerance for environmental noise. Definitions of hyperacusis can vary significantly; it often revolves around damage to or dysfunction of the stapes bone, stapedius muscle or tensor tympani ().
Advertisers use attention-grabbing colours, words, sounds, textures, designs and much more. [33] This can influence the consumer, as they will be drawn to a product that is more attention grabbing. [33] However, policy makers and advertisers must be aware that too much information or attention-grabbing products can cause sensory overload.
In an audio system containing both microphones and loudspeakers, the total amount of gain in the system can exceed 100 dB. This is usually broken up into a number of smaller steps, called gain stages, where the signal is amplified or attenuated as needed before reaching the loudspeaker.
In a hardware effects unit or a software plugin, a crossover filter is set at a low frequency above which the sound system is capable of safely reproducing tones. Musical signal content above the high-pass part of the crossover filter is sent to the main output which is amplified by the sound system.
Also large bass boosts by sound system EQ can severely reduce the headroom in the sound system itself. Some vendors are currently providing elaborate room tuning equipment which requires precision microphones, extensive data collection, and uses computerised electronic filtering to implement the necessary compensation for the rooms modes.
In digital and analog audio, headroom refers to the amount by which the signal-handling capabilities of an audio system can exceed a designated nominal level. [1] Headroom can be thought of as a safety zone allowing transient audio peaks to exceed the nominal level without damaging the system or the audio signal, e.g., via clipping.