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Audio engineers use dynamic range to describe the ratio of the amplitude of the loudest possible undistorted signal to the noise floor, say of a microphone or loudspeaker. [18] Dynamic range is therefore the signal-to-noise ratio (SNR) for the case where the signal is the loudest possible for the system. For example, if the ceiling of a device ...
Output dynamic range is the range, usually given in dB, between the smallest and largest useful output levels. The lowest useful level is limited by output noise, while the largest is limited most often by distortion. The ratio of these two is quoted as the amplifier dynamic range.
High dynamic range (HDR), also known as wide dynamic range, extended dynamic range, or expanded dynamic range, is a signal with a higher dynamic range than usual. The term is often used in discussing the dynamic ranges of images , videos , audio or radio .
The dynamic range is much larger than fixed-point but at a cost of a worse signal-to-noise ratio. This makes floating-point preferable in situations where the dynamic range is large or unpredictable. Fixed-point's simpler implementations can be used with no signal quality disadvantage in systems where dynamic range is less than 6.02m.
The dynamic range of an audio system is a measure of the difference between the smallest and largest amplitude values that can be represented in a medium. Digital and analog differ in both the methods of transfer and storage, as well as the behavior exhibited by the systems due to these methods.
Spurious-free dynamic range (SFDR) is the strength ratio of the fundamental signal to the strongest spurious signal in the output. It is also defined as a measure used to specify analog-to-digital and digital-to-analog converters (ADCs and DACs, respectively) and radio receivers.
The crest factor, which is the difference between the signal's peak and its average power, [31] is on occasions considered as a basis for the measure of micro-dynamics, for instance in the TT Dynamic Range Meter plug-in. [32] Finally, R 128 LRA has been repeatedly considered as a measure of macro-dynamics or dynamics in the musical sense.
Depending on the dynamic range of the content and the target level, loudness normalization can result in peaks that exceed the recording medium's limits, causing clipping. Software offering loudness normalization typically provides the option of dynamic range compression to prevent clipping when this happens. In this situation, signal-to-noise ...