equal-loudness contour

Sensitivity also varies with frequency, as shown by equal-loudness contours.

Equal-loudness contours may also be used to weight the perceptual importance of different components.

These facts have to be borne in mind when comparing results of various attempts to measure equal-loudness contours.

Headphone, loudspeaker, sound pressure gauge, for measuring an equal-loudness contour of a human ear.

Equal-loudness contours were first measured by Fletcher and Munson using headphones (1933).

Sound level meter calibrated to an equal-loudness contour of the human auditory system behind the human ear.

This describes an equal-loudness contour circuit.

The ATH is the lowest of the equal-loudness contours.

He also developed the concepts of, equal-loudness contours, loudness scaling and summation, and the critical band.

The unit of measurement for loudness levels is the phon, and is arrived at by reference to equal-loudness contours.

The lowest equal-loudness contour represents the quietest audible tone and is also known as the absolute threshold of hearing.

Equal-loudness contours indicate the sound pressure level (dB), over the range of audible frequencies, which are perceived as being of equal loudness.

Humans do not perceive low- and high-frequency sounds as well as sounds near 2,000 Hz, as shown in the equal-loudness contour.

Equal-loudness contours are often referred to as "Fletcher-Munson"' curves, after the earliest researchers, but those studies have been superseded and incorporated into newer standards.

A-weighting is only really valid for relatively quiet sounds and for pure tones as it is based on the 40-phon Fletcher-Munson equal-loudness contour.

The threshold of hearing is set at around 0 phon on the equal-loudness contours, but is standardised in an ANSI standard to 1 kHz.

The equal-loudness contours are a way of mapping the dBSPL of a pure tone to the perceived loudness level (L) in phons.

Meters have been introduced that aim to measure the human perceived loudness by taking account of the equal-loudness contours and other factors, such as audio spectrum, duration, compression and intensity.

Frontal presentation is now regarded as preferable when deriving equal-loudness contours, and the latest ISO standard is specifically based on frontal and central presentation.

A good system should be capable of generating higher sound levels below 100 Hz before clipping, as the human ear is less sensitive to low frequencies, as indicated by Equal-loudness contours.

An equal-loudness contour is a measure of sound pressure (dB SPL), over the frequency spectrum, for which a listener perceives a constant loudness when presented with pure steady tones.

In the fields of acoustics and audio engineering, it is common to use a standard curve referred to as A-weighting, one of a set that are said to be derived from equal-loudness contours.

This is in contrast to standard white noise which has equal strength over a linear scale of frequencies but is not perceived as being equally loud due to biases in the human equal-loudness contour.

Equal-loudness contours were first measured by Fletcher and Munson at Bell Labs in 1933 using pure tones reproduced via headphones, and the data they collected are called Fletcher-Munson curves.

The sound level meter is useless for properly assessing noise levels, since the commonly used A-weighting is based on equal-loudness contours for pure tones, and is not valid for the random noise.