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.
22.
An "'equal-loudness contour "'is a measure of sound pressure ( SPL ), over the frequency spectrum, for which a listener perceives a constant loudness when presented with pure steady tones.
23.
The large peak in the D-weighting curve is not a feature of the equal-loudness contours, but reflects the fact that humans hear random noise differently from pure tones, an effect that is particularly pronounced around 6 kHz.
24.
They are not the same as equal-loudness contours, which are a set of curves representing equal loudness at different levels, as well as at the threshold of hearing, in absolute terms measured in dB SPL ( sound pressure level ).
25.
At frequencies other than 1 kHz, the loudness level in phons is calibrated according to the frequency response of human hearing, via a set of equal-loudness contours, and then the loudness level in phons is mapped to loudness in sones via the same power law.
26.
This is not the best threshold found for all subjects, under ideal test conditions, which is represented by around 0 phon or the threshold of hearing on the equal-loudness contours, but is standardised in an ANSI standard to a level somewhat higher at 1 kHz.
27.
Until recently, it was common to see the term'Fletcher Munson'used to refer to equal-loudness contours generally, even though the re-determination carried out by Robinson and Dadson in 1956, became the basis for an ISO standard ISO 226 which was only revised recently.
28.
The A-frequency curve was based on the historical equal-loudness contours and while arguably A-frequency-weighting is no longer the ideal frequency weighting on purely scientific grounds, it is nonetheless the legally required standard for almost all such measurements and has the huge practical advantage that old data can be compared with new measurements.
29.
The equal-loudness contours on which the phon is based apply only to the perception of pure steady tones : tests using octave or third-octave bands of noise reveal a different set of curves, owing to the way in which the critical bands of our hearing integrate power over varying bandwidths and our brain sums the various critical bands
30.
The "'Robinson Dadson curves "'are one of many sets of equal-loudness contours for the human ear, determined experimentally by D . W . Robinson and R . S . Dadson, and reported in a paper entitled " A re-determination of the equal-loudness relations for pure tones " in Br.
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