Equal-loudness contour data have been repeatedly revised and corrected

Evidence

The equal-loudness contours describe a characteristic of our hearing systems that is always there and unchanged whether we are at a live musical performance, having a conversation, or listening to music or movies at home. They are part of the human listener, not something that needs to be “corrected” for, as some have mistakenly believed. They are typically measured using pure tones at different frequencies that are compared to a reference tone at 1 kHz and adjusted to be equally loud. It is a simple process using simple sounds, and the real question is the extent to which these curves relate to the complex continuous spectra of music. It is an issue to which there is no definitive answer. — Toole, Floyd E, Sound reproduction- the acoustics and…, 909 (#contradicts, via linked claim)

Categorization

• XREF: connects to: Equal-loudness contours are a fixed property of human hearing — Toole, Floyd E, Sound reproduction- the acoustics and…, 909; Equal-loudness contours vary greatly across individual listeners; NC contours rate noise but do not guarantee satisfactory spectral quality (+1 more)

Related

• Equal-loudness contours are a fixed property of human hearing (similarity 0.93)
• Fletcher and Munson pioneered equal-loudness contours in 1933 via loudness balancing. (similarity 0.89)
• Different equal-loudness contour studies disagree substantially in shape (similarity 0.89)
• Equal-loudness contours vary greatly across individual listeners (similarity 0.87)
• No single equalization target curve can suit all listeners (similarity 0.85)
• Equal-loudness contour measurement evolved from anechoic pure tones to reflective-space noise bands (similarity 0.84)
• NC contours rate noise but do not guarantee satisfactory spectral quality (similarity 0.83)
• Equalizing to a universal target curve cannot reliably improve sound (similarity 0.83)
• Equal-loudness contours were first measured using 1 kHz reference tones and phons (similarity 0.82)
• Equal-loudness contours flatten at low frequencies as level rises (similarity 0.81)
• Equal-loudness contours reflect outer and middle ear amplification characteristics. (similarity 0.81)
• Room curves cannot define perceived sound quality on their own (similarity 0.81)
• Equal-loudness-contour weighting schemes failed as loudness meters (similarity 0.80)
• Matching room curves via EQ does not equalize audible sound quality. (similarity 0.80)
• Fletcher and Munson’s 1933 loudness data remain essentially accurate today. (similarity 0.78)

Broader Connections

• Equal-loudness contours are a fixed property of human hearing #contradicts (0.85) — Toole, Floyd E, Sound reproduction- the acoustics and…, 909
• Equal-loudness contours vary greatly across individual listeners #expands (0.75)