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Dynamic Range Across Music Genres and the Perception of Dynamic Compression in Hearing-Impaired Listeners.

Identifieur interne : 000015 ( PubMed/Curation ); précédent : 000014; suivant : 000016

Dynamic 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.

RBID : pubmed:26868955

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.

DOI: 10.1177/2331216516630549
PubMed: 26868955

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<front><div type="abstract" xml:lang="en">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.</div>
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<CommentsCorrectionsList><CommentsCorrections RefType="Cites"><RefSource>J Am Acad Audiol. 2007 Sep;18(8):688-99</RefSource>
<PMID Version="1">18326155</PMID>
</CommentsCorrections>
<CommentsCorrections RefType="Cites"><RefSource>Int J Audiol. 2010 Mar;49(3):216-27</RefSource>
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<CommentsCorrections RefType="Cites"><RefSource>Int J Audiol. 2010 Jun;49(6):395-409</RefSource>
<PMID Version="1">20225931</PMID>
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<CommentsCorrections RefType="Cites"><RefSource>Trends Amplif. 2010 Jun;14(2):113-20</RefSource>
<PMID Version="1">20724358</PMID>
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<CommentsCorrections RefType="Cites"><RefSource>Int J Audiol. 2011 Mar;50(3):177-90</RefSource>
<PMID Version="1">21319935</PMID>
</CommentsCorrections>
<CommentsCorrections RefType="Cites"><RefSource>Ear Hear. 2011 Sep-Oct;32(5):556-68</RefSource>
<PMID Version="1">21285878</PMID>
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<CommentsCorrections RefType="Cites"><RefSource>J Am Acad Audiol. 2011 Jul-Aug;22(7):441-59</RefSource>
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<CommentsCorrections RefType="Cites"><RefSource>Am J Audiol. 2012 Jun;21(1):13-21</RefSource>
<PMID Version="1">22361320</PMID>
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<CommentsCorrections RefType="Cites"><RefSource>J Acoust Soc Am. 2012 Aug;132(2):1177-88</RefSource>
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<CommentsCorrections RefType="Cites"><RefSource>Trends Amplif. 2012 Sep;16(3):146-58</RefSource>
<PMID Version="1">23258618</PMID>
</CommentsCorrections>
<CommentsCorrections RefType="Cites"><RefSource>Ear Hear. 2013 Jan-Feb;34(1):83-95</RefSource>
<PMID Version="1">22878351</PMID>
</CommentsCorrections>
<CommentsCorrections RefType="Cites"><RefSource>Ear Hear. 2014 Sep-Oct;35(5):e170-84</RefSource>
<PMID Version="1">25010635</PMID>
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<CommentsCorrections RefType="Cites"><RefSource>Trends Hear. 2014;18. pii: 2331216514550620. doi: 10.1177/2331216514550620</RefSource>
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<CommentsCorrections RefType="Cites"><RefSource>Trends Hear. 2014;18. pii: 2331216514558271. doi: 10.1177/2331216514558271</RefSource>
<PMID Version="1">25361601</PMID>
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<CommentsCorrections RefType="Cites"><RefSource>Ear Hear. 2015 Mar-Apr;36(2):217-28</RefSource>
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<CommentsCorrections RefType="Cites"><RefSource>Ear Hear. 2002 Aug;23(4):369-80</RefSource>
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<CommentsCorrections RefType="Cites"><RefSource>Hear Res. 2004 Feb;188(1-2):70-88</RefSource>
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<CommentsCorrections RefType="Cites"><RefSource>J Exp Psychol Learn Mem Cogn. 2004 Mar;30(2):370-81</RefSource>
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<CommentsCorrections RefType="Cites"><RefSource>Trends Amplif. 2004;8(2):35-47</RefSource>
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<CommentsCorrections RefType="Cites"><RefSource>J Acoust Soc Am. 1974 Nov;56(5):1601-11</RefSource>
<PMID Version="1">4372261</PMID>
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<CommentsCorrections RefType="Cites"><RefSource>Ear Hear. 1982 Jan-Feb;3(1):12-7</RefSource>
<PMID Version="1">7060839</PMID>
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<CommentsCorrections RefType="Cites"><RefSource>Ear Hear. 1985 Jan-Feb;6(1):48-53</RefSource>
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<CommentsCorrections RefType="Cites"><RefSource>J Acoust Soc Am. 1999 May;105(5):2903-13</RefSource>
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<CommentsCorrections RefType="Cites"><RefSource>Trends Amplif. 2005;9(4):159-97</RefSource>
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<CommentsCorrections RefType="Cites"><RefSource>Ear Hear. 2007 Dec;28(6):793-811</RefSource>
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Dynamic Range Across Music Genres and the Perception of Dynamic Compression in Hearing-Impaired Listeners.

Dynamic Range Across Music Genres and the Perception of Dynamic Compression in Hearing-Impaired Listeners.

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Abstract

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