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Quality and loudness judgments for music subjected to compression limiting
Naomi B H Croghan1, Kathryn H Arehart, James M Kates
1Department of Speech, Language, and Hearing Sciences, University of Colorado, Boulder, Colorado 80309, USA. naomi.croghan@colorado.edu
The Journal of the Acoustical Society of America
|August 17, 2012
Summary
Dynamic-range compression (DRC) in music can decrease sound quality, even when loudness is equalized. While a little compression may be preferred, excessive use negatively impacts perceived quality, challenging the "louder is better" industry trend.
Area of Science:
- Audio Engineering
- Psychoacoustics
- Music Production
Background:
- Dynamic-range compression (DRC) is widely used in music production to increase perceived loudness.
- The trend towards louder recordings is driven by the belief that louder music is preferred by consumers.
- There is limited empirical evidence to support claims regarding the positive or negative effects of extensive DRC on music quality.
Purpose of the Study:
- To investigate the impact of varying amounts of dynamic-range compression on the perceived loudness and sound quality of recorded music.
- To compare listener preferences for music processed with different levels of DRC under varied loudness conditions.
Main Methods:
- Rock and classical music samples were processed with different levels of DRC after peak-normalization.
- Normal-hearing listeners evaluated processed and unprocessed music samples on loudness, dynamic range, pleasantness, and preference.
- Two listening conditions were used: un-equalized (varying loudness) and loudness-equalized (minimized loudness differences).
Main Results:
- A small amount of DRC was preferred in the un-equalized listening condition.
- High levels of DRC were found to be detrimental to perceived sound quality, regardless of loudness equalization.
- Listener preference and perceived quality decreased with increased application of dynamic-range compression.
Conclusions:
- The findings challenge the prevailing
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