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<blockquote data-quote="Agaton Sax" data-source="post: 96525" data-attributes="member: 2475"><p>How on earth does one design at transducer to comply to the Fletcher Munson curve? It is a series of curves that try( somewhat incorrectly) to explain the ear's nonlinearities at different volumes-thus the louder the sound the flatter the curve. Can a passive transducer really mimic that and why would it want to ?</p><p></p><p>I once did a thesis on hearing damage sustained in Cape Town clubs in the 80's. I'll never forget the disgusted look on my promoter's face as I slipped the FM word into a formal discussion.Like most 1950s research the concept is somewhat one dimensional and like most audiology for audio engineers it ignores the endless adaptability of the billion gigabyte ,million Hz sampling rate equalizer the microphones on the side of one's ears are connected to.</p></blockquote><p></p>
[QUOTE="Agaton Sax, post: 96525, member: 2475"] How on earth does one design at transducer to comply to the Fletcher Munson curve? It is a series of curves that try( somewhat incorrectly) to explain the ear's nonlinearities at different volumes-thus the louder the sound the flatter the curve. Can a passive transducer really mimic that and why would it want to ? I once did a thesis on hearing damage sustained in Cape Town clubs in the 80's. I'll never forget the disgusted look on my promoter's face as I slipped the FM word into a formal discussion.Like most 1950s research the concept is somewhat one dimensional and like most audiology for audio engineers it ignores the endless adaptability of the billion gigabyte ,million Hz sampling rate equalizer the microphones on the side of one's ears are connected to. [/QUOTE]
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Audio and Video Talk
Headphones
Headphones for recording monitoring
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