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

被引:19
作者
Kirchberger, Martin [1 ]
Russo, Frank A. [2 ]
机构
[1] ETH, Zurich, Switzerland
[2] Ryerson Univ, 350 Victoria St, Toronto, ON M5B 2K3, Canada
基金
加拿大自然科学与工程研究理事会;
关键词
dynamic range; music genre; compression; hearing loss; hearing aids; DERIVING INITIAL FITTINGS; QUALITY RATINGS; LOUDNESS MODEL; SPEECH; NOISE; AIDS; PREFERENCES; SETTINGS; ADULTS;
D O I
10.1177/2331216516630549
中图分类号
R36 [病理学]; R76 [耳鼻咽喉科学];
学科分类号
100104 ; 100213 ;
摘要
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.
引用
收藏
页数:16
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