all know that the volume in excess hurts our ears,
but there are many more aspects of the volume that we know.
seems that the volume (in terms of audio) is a term too simple, everyday, but really define it can be difficult and deep, because there psychoacoustic and even psychological factors to be taken into account .
"Volume" is the word most used to describe the perceived intensity of sound. If a sound is weak, say it has little volume, and if it is strong, we say that has too much volume.
Do not confuse volume with sound pressure level (measured in dB SPL) for sound, or wave amplitude for audio. The latter are expressed in quantifiable terms that can be measured accurately, and although they are directly related are not synonymous.
Do not confuse volume with sound pressure level (measured in dB SPL) for sound, or wave amplitude for audio. The latter are expressed in quantifiable terms that can be measured accurately, and although they are directly related are not synonymous.
The volume is a subjective term. It has to do with the perception of the listener, and is not intrinsic to a sound source itself. For example if we measure the volume generated by a guitar amp, the perceived volume of the enclosure would depend on where you are the amplifier and the listener. Depend on the size, the material surfaces, and other objects that share space. Also depend on the distance between the amplifier and the hearing person. More surprising still, would also depend on the person himself, as two people may have different perception of the volume of a single sound, even playing field.
volume also depends on the frequency. A sine wave to 8 kHz, shall not be heard with an equal volume of 80 Hz Our ears are more sensitive to the frequencies corresponding to the human voice (talking, not singing), approximately 1.000 to 5.000 Hertz. This makes sense from an evolutionary standpoint, since the dynamic range and frequency spectrum of the human voice is very limited, and we need to filter it out of all the sounds to be able to communicate with others.
The volume measurement units are Phon and Sone .
10 is the magic number
use the number 10 in the definition of the decibel and decibel , is for the purpose of creating a unit that is about The JND sound. The human ear is not sensitive to variations in sound intensity too small. Because the volume is in essence the way it is perceived intensity sound, it takes about 1 dB of variation in sound intensity to have any perceptible change in volume.
In fact the sound intensity should increase by a factor of 10 for the volume to be perceived as double. You could say it takes 10 violins produce a sound that is perceived with twice the volume of a violin.
As in every subject, the JND also depends on the frequency and loudness level. A levels and low frequencies the ear is less sensitive and requires larger variations in the loudness to perceive a change in volume.
Other whims hearing ...
Our ear has other idiosyncrasies in their perception of the volume that might seem "wants hearing," but really they all have a role. Here are a few of them:
- Sounds with the same sound pressure, but different band width, are seen with different volume. The wider the range of frequencies that make up the sound, more volume is perceived. For example if we have two sounds, both with center frequency to 1.000 Hz and 60 dB SPL. The former has a bandwidth of 100 Hz, from 950 to 1050 Hz the second a bandwidth of 200 Hz, 900 to 1.100 Hz
- The sounds of short duration are not perceived with the same volume of the long term, even if they have the same sound pressure. For example at 1000 Hz, a sound with a duration of 3 milliseconds should be 15 dB louder to be heard with a volume equal to a sound that lasts 500 milliseconds.
- Music at highest volume is perceived as more pleasant than at lower volume (obviously to a certain limit), but nothing but the volume has changed. This is partly due to higher volumes the frequency response of our hearing becomes more flat and balanced.
- In the last two principles are "justified" over-compression of music. By compressing and severely limit the audio material is "flattened" Transient Initial notes making each syllable or note is a more even sound intensity throughout its duration. This makes the music to be felt with greater volume, and deceiving our ears, more enjoyable. The problem is that the effect only lasts while listening fatigue comes, and it happens in a couple of minutes. Then he loses sensitivity at high frequencies, and distortion of compression is more evident, he just wants the listener to this point is rest their ears. It is impossible to hear a full album when it was over compressed. Application
Understanding the nature of the volume is not an idle task for producing and mix music. When mixing and mastering for example, we have seen that over-compression can cause adverse effects in the listener. We know that
1.000 to 5.000 Hz (approximately) the ear is more sensitive. If you want some element of your music on out in the mix, usually equalize so that you do an enhancement of 3 dB or more in this frequency range make it.
We also know that the broader the bandwidth, our ear is more sensitive to the change in intensity. It is also why equalization using wider band widths (Q largest in parametric equalizers) are more noticeable. Of course it all depends application. Sometimes we do not want EQ is perceptible, as when using an equalizer to filter some annoying feature of a sound (like wheezing of the voices). Equalization with an extremely wide band width is noticeable, but in a very natural without affecting too much the overall sound balance.
One of the most effective mixing techniques is the use of filters. Frequencies that are filtered contribute nothing to the mix, or in the context of the piece to be mixed, they provide useful elements to a particular track. For example, a flute, below 200 Hz or so there is nothing to make a substantial difference in the timbre of his sound, but impairs other important sounds in that frequency range. However, when filtering a track (especially the bass filter) are reducing the volume received, so we have to reconsider the level of the clue to the total mixture. A good tip is to start filtering out the bass on all tracks other than bass and drum, approximately 85 Hz, and then balance levels. As the mix progresses you can begin to filter above, but start with the serious balance levels below 85 Hz filtered, gives us a better idea of \u200b\u200bhow much we need to enhance or reduce each track and the type of EQ you will need.
volume also depends on the frequency. A sine wave to 8 kHz, shall not be heard with an equal volume of 80 Hz Our ears are more sensitive to the frequencies corresponding to the human voice (talking, not singing), approximately 1.000 to 5.000 Hertz. This makes sense from an evolutionary standpoint, since the dynamic range and frequency spectrum of the human voice is very limited, and we need to filter it out of all the sounds to be able to communicate with others.
The volume measurement units are Phon and Sone .
10 is the magic number
use the number 10 in the definition of the decibel and decibel , is for the purpose of creating a unit that is about The JND sound. The human ear is not sensitive to variations in sound intensity too small. Because the volume is in essence the way it is perceived intensity sound, it takes about 1 dB of variation in sound intensity to have any perceptible change in volume.
In fact the sound intensity should increase by a factor of 10 for the volume to be perceived as double. You could say it takes 10 violins produce a sound that is perceived with twice the volume of a violin.
As in every subject, the JND also depends on the frequency and loudness level. A levels and low frequencies the ear is less sensitive and requires larger variations in the loudness to perceive a change in volume.
Other whims hearing ...
Our ear has other idiosyncrasies in their perception of the volume that might seem "wants hearing," but really they all have a role. Here are a few of them:
- Sounds with the same sound pressure, but different band width, are seen with different volume. The wider the range of frequencies that make up the sound, more volume is perceived. For example if we have two sounds, both with center frequency to 1.000 Hz and 60 dB SPL. The former has a bandwidth of 100 Hz, from 950 to 1050 Hz the second a bandwidth of 200 Hz, 900 to 1.100 Hz
- The sounds of short duration are not perceived with the same volume of the long term, even if they have the same sound pressure. For example at 1000 Hz, a sound with a duration of 3 milliseconds should be 15 dB louder to be heard with a volume equal to a sound that lasts 500 milliseconds.
- Music at highest volume is perceived as more pleasant than at lower volume (obviously to a certain limit), but nothing but the volume has changed. This is partly due to higher volumes the frequency response of our hearing becomes more flat and balanced.
- In the last two principles are "justified" over-compression of music. By compressing and severely limit the audio material is "flattened" Transient Initial notes making each syllable or note is a more even sound intensity throughout its duration. This makes the music to be felt with greater volume, and deceiving our ears, more enjoyable. The problem is that the effect only lasts while listening fatigue comes, and it happens in a couple of minutes. Then he loses sensitivity at high frequencies, and distortion of compression is more evident, he just wants the listener to this point is rest their ears. It is impossible to hear a full album when it was over compressed. Application
Understanding the nature of the volume is not an idle task for producing and mix music. When mixing and mastering for example, we have seen that over-compression can cause adverse effects in the listener. We know that
1.000 to 5.000 Hz (approximately) the ear is more sensitive. If you want some element of your music on out in the mix, usually equalize so that you do an enhancement of 3 dB or more in this frequency range make it.
We also know that the broader the bandwidth, our ear is more sensitive to the change in intensity. It is also why equalization using wider band widths (Q largest in parametric equalizers) are more noticeable. Of course it all depends application. Sometimes we do not want EQ is perceptible, as when using an equalizer to filter some annoying feature of a sound (like wheezing of the voices). Equalization with an extremely wide band width is noticeable, but in a very natural without affecting too much the overall sound balance.
One of the most effective mixing techniques is the use of filters. Frequencies that are filtered contribute nothing to the mix, or in the context of the piece to be mixed, they provide useful elements to a particular track. For example, a flute, below 200 Hz or so there is nothing to make a substantial difference in the timbre of his sound, but impairs other important sounds in that frequency range. However, when filtering a track (especially the bass filter) are reducing the volume received, so we have to reconsider the level of the clue to the total mixture. A good tip is to start filtering out the bass on all tracks other than bass and drum, approximately 85 Hz, and then balance levels. As the mix progresses you can begin to filter above, but start with the serious balance levels below 85 Hz filtered, gives us a better idea of \u200b\u200bhow much we need to enhance or reduce each track and the type of EQ you will need.
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