Dynamic Range Across Music Genres and the Perception of Dynamic Compression in Hearing-Impaired Listeners
Identifieur interne : 000042 ( Main/Exploration ); précédent : 000041; suivant : 000043Dynamic Range Across Music Genres and the Perception of Dynamic Compression in Hearing-Impaired Listeners
Auteurs : Martin Kirchberger [Suisse] ; Frank A. Russo [Canada]Source :
- Trends in Hearing ; 2016.
Abstract
Dynamic range compression serves different purposes in the music and hearing-aid industries. In the music industry, it is used to make music louder and more attractive to normal-hearing listeners. In the hearing-aid industry, it is used to map the variable dynamic range of acoustic signals to the reduced dynamic range of hearing-impaired listeners. Hence, hearing-aided listeners will typically receive a dual dose of compression when listening to recorded music. The present study involved an acoustic analysis of dynamic range across a cross section of recorded music as well as a perceptual study comparing the efficacy of different compression schemes. The acoustic analysis revealed that the dynamic range of samples from popular genres, such as rock or rap, was generally smaller than the dynamic range of samples from classical genres, such as opera and orchestra. By comparison, the dynamic range of speech, based on recordings of monologues in quiet, was larger than the dynamic range of all music genres tested. The perceptual study compared the effect of the prescription rule NAL-NL2 with a semicompressive and a linear scheme. Music subjected to linear processing had the highest ratings for dynamics and quality, followed by the semicompressive and the NAL-NL2 setting. These findings advise against NAL-NL2 as a prescription rule for recorded music and recommend linear settings.
Url:
DOI: 10.1177/2331216516630549
PubMed: 26868955
PubMed Central: 4753356
Affiliations:
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Russo</name><affiliation wicri:level="1"><nlm:aff id="aff2-2331216516630549">Ryerson University, Toronto, ON, Canada</nlm:aff><country xml:lang="fr">Canada</country><wicri:regionArea>Ryerson University, Toronto, ON</wicri:regionArea><wicri:noRegion>ON</wicri:noRegion></affiliation></author></analytic><series><title level="j">Trends in Hearing</title><idno type="e-ISSN">2331-2165</idno><imprint><date when="2016">2016</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en"><p>Dynamic range compression serves different purposes in the music and hearing-aid industries. In the music industry, it is used to make music louder and more attractive to normal-hearing listeners. In the hearing-aid industry, it is used to map the variable dynamic range of acoustic signals to the reduced dynamic range of hearing-impaired listeners. Hence, hearing-aided listeners will typically receive a dual dose of compression when listening to recorded music. The present study involved an acoustic analysis of dynamic range across a cross section of recorded music as well as a perceptual study comparing the efficacy of different compression schemes. The acoustic analysis revealed that the dynamic range of samples from popular genres, such as rock or rap, was generally smaller than the dynamic range of samples from classical genres, such as opera and orchestra. By comparison, the dynamic range of speech, based on recordings of monologues in quiet, was larger than the dynamic range of all music genres tested. The perceptual study compared the effect of the prescription rule NAL-NL2 with a semicompressive and a linear scheme. Music subjected to linear processing had the highest ratings for dynamics and quality, followed by the semicompressive and the NAL-NL2 setting. These findings advise against NAL-NL2 as a prescription rule for recorded music and recommend linear settings.</p></div></front><back><div1 type="bibliography"><listBibl><biblStruct></biblStruct><biblStruct></biblStruct><biblStruct></biblStruct><biblStruct><analytic><author><name sortKey="Bisgaard, N" uniqKey="Bisgaard N">N. Bisgaard</name></author><author><name sortKey="Vlaming, M S" uniqKey="Vlaming M">M. S. Vlaming</name></author><author><name sortKey="Dahlquist, M" uniqKey="Dahlquist M">M. Dahlquist</name></author></analytic></biblStruct><biblStruct></biblStruct><biblStruct><analytic><author><name sortKey="Bradley, I L" uniqKey="Bradley I">I. L. Bradley</name></author></analytic></biblStruct><biblStruct><analytic><author><name sortKey="Cabot, R C" uniqKey="Cabot R">R. C. Cabot</name></author><author><name sortKey="Genter, I I" uniqKey="Genter I">I. I. Genter</name></author><author><name sortKey="Roy, C" uniqKey="Roy C">C. 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