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EBU R 128 is a recommendation for loudness normalisation and maximum level of audio signals. It is primarily followed during audio mixing of television and radio programmes and adopted by broadcasters to measure and control programme loudness. [1]
Audio normalization is the application of a constant amount of gain to an audio recording to bring the amplitude to a target level (the norm). Because the same amount of gain is applied across the entire recording, the signal-to-noise ratio and relative dynamics are unchanged.
Signal-to-noise ratio (SNR), however, is the ratio between the noise floor and an arbitrary reference level or alignment level. In "professional" recording equipment, this reference level is usually +4 dBu (IEC 60268-17), though sometimes 0 dBu (UK and Europe – EBU standard Alignment level).
In modern recording, this range is often limited through dynamic range compression, which allows for louder volume, but can make the recording sound less exciting or live. [ 50 ] The dynamic range of music as normally perceived in a concert hall does not exceed 80 dB, and human speech is normally perceived over a range of about 40 dB.
Microphones, amplifiers and recording systems all add some electronic noise to the signals passing through them, generally described as hum, buzz or hiss. All buildings have low-level magnetic and electrostatic fields in and around them emanating from mains supply wiring, and these can induce hum into signal paths, typically 50 Hz or 60 Hz (depending on the country's electrical supply standard ...
The book Perfecting Sound Forever: An Aural History of Recorded Music, by Greg Milner, presents the loudness war in radio and music production as a central theme. [13] The book Mastering Audio: The Art and the Science , by Bob Katz, includes chapters about the origins of the loudness war and another suggesting methods of combating the war.
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For example, CD audio uses 16 bits per sample, and therefore it will have quantization noise approximately 96 dB below the maximum possible sound pressure level (when summed over the full bandwidth) The amount of space required to store PCM depends on the number of bits per sample, the number of samples per second, and the number of channels.