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Loudness
Psychoacoustics Perception of Normal and Impaired Hearing with Audiology Applications Editor-In-Chief for Audiology Brad A
Loudness Standards in Broadcasting. Case Study of EBU R-128 Implementation at SWR
EBU R 128 – the EBU Loudness Recommendation
Music Is Made up of Many Different Things Called Elements. They Are the “I Feel Like My Kind Building Bricks of Music
Timbre Perception
Lumens and Loudness: Projector Noise in a Nutshell
Psychoacoustics and Its Benefit for the Soundscape
3A Whatissound Part 2
The Human Ear Hearing, Sound Intensity and Loudness Levels
Loudness Range: a Measure to Supplement Loudness Normalisation in Accordance with EBU R 128
Understanding the Loudness Penalty
Do We Need Psychoacoustics Within Soundscape?
Timbre Preferences in the Context of Mixing Music
The Effect of the Thickness of Reeds on the Timbre Produced by Woodwind Instruments
Influence of Fundamental Frequency on Duration 1
Audio Loudness Monitoring How-To Guide
Psychoacoustics: a Brief Historical Overview
Applying the EBU R128 Loudness Standard in Live- Streaming Sound Sculptures
Top View
Dynamic Range Compression and the Semantic Descriptor Aggressive
Technology Review of Dynamic Range Compression
Restoring the Dynamics of Clipped Audio Material by Inversion of Dynamic Range Compression Stanislaw Gorlow, Joshua Reiss, Elodie Duru
1 Influences of Color on the Loudness Judgement
Precise and Full-Range Determination of Two-Dimensional Equal Loudness Contours
Loudness and Dynamic Range in Broadcast Audio
Loudness Level and Frequency Equal Loudness Curves What Equal
Loudness Measurement According to EBU R-128
Comparison of Equal-Loudness-Level Contours Between Otologically Normal Young and Older Adults
Tonal Annoyance Vs. Tonal Loudness and Tonality
Paranormal 101
1 Fundamentals of Acoustics
Audio Levels and Loudness
EBU R128-2020 Audio Loudness Normalisation & Permitted Maximum Level
Pitch and Loudness
Decibel (Loudness) Comparison Chart
3. Human Response to Sound
PHENOMENOLOGICAL THEORY of LOUDNESS by Walton L