Hallo Thomas
EBU hat da Testfiles und genaue Anleitung wie zu kalibirieren ist.
EBU hat neu einen Abhörpegel 73dB SPL (C) angegeben, Mono am Hörort.
Die 73dB SPL kannst je nach Geschmack ändern, messen aber mit dem Testfile. z.B. 80dB SPL.
Ich würde das Rauschfile nehmen und messen und den gewünschten Hörpegel einstellen.
Damit du einen Verlgeich mit Musik hast musst du die Musik mit EBU R128 analysieren. Entweder in einem Player dann automatisch den Pegel einstellen lassen oder sonst von Hand am Volumenregler.
Die meiste Musik ist arg komprimiert und die Aussteuerung sogar über 0dBfs.
JRiver z.B. analysiert und stellt den Pegel automatisch ein (sofern man das angeklickt hat).
z.B.
Fleetwood Mac, Rumours, Second Hand News: absenken: 13.2dB, dann ist es auf -23dBLUFS
Fleetwood Mac, Rumours, Dreams: absenken: 10.7dB, dann ist es auf -23dBLUFS
Kannst das Testignal nehmen und auf den gewünschten Pegel stellen. Das Signal hat -23dBLUFS nach Norm
Hier ein Auszug aus EBU Tech 3343. Paragraph 8.2 sagt wie zu kalibirieren ist. Die Standards sind gratis herunterladbar wie auch die Testfiles.
Das ist das Testfile (gratis herunterzuladen bei EBU):
EBU-reference_listening_signal_pinknoise_500Hz_2kHz_R128.wav
Links dazu: EBU R128
https://tech.ebu.ch/loudness
https://tech.ebu.ch/publications/r128
Loudness test set
https://tech.ebu.ch/publications/ebu_loudness_test_set
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Sound Pressure Level per loudspeaker is achieved. The measurements should be made at the reference listening position at ear height using a C-weighted slow response sound pressure level meter (RMS, slow) compliant with IEC 61672 [17].
The deviation between the levels of any two channels should not exceed 1 dB SPL. For any form of stereophony the close matching of the front speakers is especially important. They should be adjusted, so that the difference between any two of them is less than 0.5 dB SPL.
In a 5.1 surround sound system, the subwoofer and the LFE (Low Frequency Effects channel) need a separate calibration. Subwoofer alignment is a delicate matter and outside the scope of this document. A future revision of the relevant document EBU Tech 3276 will include this procedure.
If a surround sound signal contains an LFE-signal, it should be reproduced with +10 dB gain relative
Guidelines for Production of Programmes in accordance with R 128 Tech 3343-2016
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to the same limited frequency band in a main channel (“In-band” gain). To test this, two different signals should be chosen (one for the LFE, one for a main channel) that can faithfully be reproduced by the subwoofer and by a main loudspeaker respectively. The bandwidth should be at least one octave and the energy should be the same for both signals. An example is pink noise from 60 to 120 Hz for the LFE and pink noise from 200 to 400 Hz for a main channel. The LFE channel gain (NOT the subwoofer gain! It is assumed that the subwoofer has already been calibrated.) should then be adjusted so that the Sound Pressure Level of the respective test signal is 10 dB higher than the respective signal on the main loudspeaker.
To summarize:
LLISTref = 73 dBC SPL per main loudspeaker
(Using a 500-2000 Hz monophonic noise of equal energy per octave at a Programme Loudness Level of −23 LUFS)
This Reference Listening Level should be used for an average-size audio mixing room between 125 m3 and 250 m3. The testing signal 500-2000 Hz pink noise is available for download at the EBU Technical website (
https://tech.ebu.ch/loudness).
The average level of sound programmes according to EBU R 128 is typically lower (approximately 3 LU on average for TV programmes) than programmes levelled in the “old” QPPM-world. The above-mentioned procedure ensures a high signal to noise ratio and pleasant monitoring level even for high dynamic audio signals. Nevertheless, raising the monitor gain further to compensate for extremely dynamic audio signals like, for example, classical music is an appropriate step to ensure familiar listening levels. A potential deviation from the reference listening level depends on the room size as well as the main purpose of the room. For example, in a master control room, the listening level is anticipated to be considerably lower than in a production studio where often low-level details of a mix must be qualified. In any case, it is important to consistently keep the listening level to establish an “inner loudness reference”.
No satisfactory method for measuring sound pressure levels produced by headphones can be recommended. The level should be adjusted in such a way that a perceived loudness equal to a reference sound field produced by loudspeakers is achieved.
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Gruss
Peter
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