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To correct for the non-linear response of our ears at different listening levels I assume we would need to have a level-calibrated playback system and some digital circuit applying the normalised ratio of the loudness curves at playback level vs reference recording level. At least for movies, where the reference level is usually known, this sounds doable.
To correct for the non-linear response of our ears at different listening levels I assume we would need to have a level-calibrated playback system and some digital circuit applying the normalised ratio of the loudness curves at playback level vs reference recording level. At least for movies, where the reference level is usually known, this sounds doable.
Audyssey provides this with its 'dynamic EQ' .
It will make an approximation of the Fletcher–Munson curves depending on the volume setting.
Playback levels are level calibrated by Audyssey but you will always have the level calibration problem of the recording....
There is an offset of the reference level possible to correct for that to some extend.
RME FS Dacs. They allow you to choose the DB point below maximum volume that the loudness curve starts as well as the amount of maximum boost in the bass and treble. It implements over a 20 db range from start point. For example, I have my system calibrated to 80 db per channel (83db) at -20dbfs (per Bob Katz recommended studio monitor levels, see: https://www.soundonsound.com/techniques/establishing-project-studio-reference-monitoring-levels), which is -10db on my RME (I use volume leveling in Roon at -20dbfs to get my levels calibrated). I have my loudness set to start at -15db on the RME.
Audyssey provides this with its 'dynamic EQ' .
It will make an approximation of the Fletcher–Munson curves depending on the volume setting.
Playback levels are level calibrated by Audyssey but you will always have the level calibration problem of the recording....
There is an offset of the reference level possible to correct for that to some extend.
And you can of course set the input level. However, I find that Audyssey increases the high frequencies way too much. It would sound a lot better if it would only increase the bass level (a bit).
And you can of course set the input level. However, I find that Audyssey increases the high frequencies way too much. It would sound a lot better if it would only increase the bass level (a bit).
That might be because Fletcher-munson is for pure tones. Multiple tones in the same critical band (as with music) give the impression of higher loudness. Hence Fletcher-munson underestimates our sensitivity to high frequencies (where the critical bands are larger).
I know Toole favors providing user with a bass control - he thinks increasing treble is not needed at all.
This is correct. There are just some tracks or albums that don’t fit the mould well — where you have to disable loudness correction and make your own manual adjustment(s).
And you can of course set the input level. However, I find that Audyssey increases the high frequencies way too much. It would sound a lot better if it would only increase the bass level (a bit).
For the reference: "“Loudness” controls have been in audio equipment for decades. The attractive premise is that as the volume is reduced, automatic adjustments to frequency response compensate for the disproportionately reduced bass. For no obvious reason, some of them also boost the treble. This is wrong”
For the reference: "“Loudness” controls have been in audio equipment for decades. The attractive premise is that as the volume is reduced, automatic adjustments to frequency response compensate for the disproportionately reduced bass. For no obvious reason, some of them also boost the treble. This is wrong”
And you can of course set the input level. However, I find that Audyssey increases the high frequencies way too much. It would sound a lot better if it would only increase the bass level (a bit).
Well, here's another quote related to loudness control: "It is important to note that no great changes are required at high frequencies. Many loudness compensation devices over the years have significantly boosted both bass and treble as sound level was reduced. In the author’s experience with such controls, sound quality was diminished—a result of misinterpreting the equal-loudness contours. With 10 or 20 phon reductions, essentially no high-frequency compensation is needed"
But there might be other reasons to use simple treble control and even full band auto eq solutions
What’s improved since the 70’s is that RME and others offer a calibrated level from where the loudness eq should apply.
Takes away half of the randomness of it . If looking forward to try in the future
For movies we can actually do it almost correct ? Afaik they mix movies at a reference level so audiences at cinema or a good ht should get a similar experience, it translates reallly well.
Sadly no reference level is used for music , we can’t know at which spl the engineers and artist had their desired result ?
Please continue to give more examples of products or software that do this .
What’s improved since the 70’s is that RME and others offer a calibrated level from where the loudness eq should apply.
Takes away half of the randomness of it . If looking forward to try in the future
For movies we can actually do it almost correct ? Afaik they mix movies at a reference level so audiences at cinema or a good ht should get a similar experience, it translates reallly well.
Sadly no reference level is used for music , we can’t know at which spl the engineers and artist had their desired result ?
Please continue to give more examples of products or software that do this .
For the reference: "“Loudness” controls have been in audio equipment for decades. The attractive premise is that as the volume is reduced, automatic adjustments to frequency response compensate for the disproportionately reduced bass. For no obvious reason, some of them also boost the treble. This is wrong”
Does Toole ever articulate why he thinks treble loudness adjustment is "wrong"? Unless I'm misreading it, in Figure 4.6, a few paragraphs after that quotation, he presents empirical evidence that listeners also seem to prefer a treble adjustment.
