Ratio between the largest and smallest values that a certain quantity can assume
Dynamic range
(abbreviated
DR
,
DNR
,
[1]
or
DYR
[2]
) is the
ratio
between the largest and smallest values that a certain quantity can assume. It is often used in the context of
signals
, like
sound
and
light
. It is measured either as a ratio or as a
base-10
(
decibel
) or
base-2
(doublings,
bits
or
stops
)
logarithmic
value of the ratio between the largest and smallest signal values.
[3]
Electronically reproduced audio and video is often processed to fit the original material with a wide dynamic range into a narrower recorded dynamic range that can more easily be stored and reproduced; this processing is called
dynamic range compression
.
Human perception
[
edit
]
Power ratios and their equivalent decibels and stops (integer values in bold)
Factor (power)
|
Decibels
(
10×log
10
power
)
|
Stops
(
log
2
power
)
|
1
|
0
|
0
|
2
|
3.01
|
1
|
3.16
|
5
|
1.66
|
4
|
6.02
|
2
|
5
|
6.99
|
2.32
|
8
|
9.03
|
3
|
10
|
10
|
3.32
|
16
|
12.0
|
4
|
20
|
13.0
|
4.32
|
31.6
|
15
|
4.98
|
32
|
15.1
|
5
|
50
|
17.0
|
5.64
|
100
|
20
|
6.64
|
1,000
|
30
|
9.97
|
1,024
|
30.1
|
10
|
10,000
|
40
|
13.3
|
100,000
|
50
|
16.6
|
1,000,000
|
60
|
19.9
|
1,048,576
|
60.2
|
20
|
100,000,000
|
80
|
26.6
|
1,073,741,824
|
90.3
|
30
|
10,000,000,000
|
100
|
33.2
|
The human senses of
sight
and
hearing
have a relatively high dynamic range. However, a human cannot perform these feats of perception at both extremes of the scale at the same time. The human eye takes time to adjust to different light levels, and its dynamic range in a given scene is actually quite limited due to optical
glare
. The instantaneous dynamic range of human audio perception is similarly subject to
masking
so that, for example, a whisper cannot be heard in loud surroundings.
A human is capable of hearing (and usefully discerning) anything from a quiet murmur in a
soundproofed
room to the loudest heavy metal concert. Such a difference can exceed 100
dB
which represents a factor of 100,000 in
amplitude
and a factor 10,000,000,000 in power.
[4]
[5]
The dynamic range of human hearing is roughly 140 dB,
[6]
[7]
varying with frequency,
[8]
from the
threshold of hearing
(around ?9 dB SPL
[8]
[9]
[10]
at 3 kHz) to the
threshold of pain
(from 120?140 dB SPL
[11]
[12]
[13]
). This wide dynamic range cannot be perceived all at once, however; the
tensor tympani
,
stapedius muscle
, and
outer hair cells
all act as mechanical
dynamic range compressors
to adjust the sensitivity of the ear to different ambient levels.
[14]
A human can see objects in
starlight
[a]
or in bright
sunlight
, even though on a moonless night objects receive one billionth (10
?9
) of the illumination they would on a bright sunny day; a dynamic range of 90 dB. Change of sensitivity is achieved in part through adjustments of the iris and slow chemical changes, which take some time.
In practice, it is difficult for humans to achieve the full dynamic experience using electronic equipment. For example, a good quality
liquid-crystal display
(LCD) has a dynamic range limited to around 1000:1,
[b]
and some of the latest
CMOS
image sensors now
[
when?
]
have measured dynamic ranges of about 23,000:1.
[15]
[c]
Paper reflectance can produce a dynamic range of about 100:1.
[16]
A
professional video camera
such as the Sony Digital Betacam achieves a dynamic range of greater than 90 dB in audio recording.
[17]
Audio
[
edit
]
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 is 5 V (rms) and the noise floor is 10 μV (rms) then the dynamic range is 500000:1, or 114 dB:
In digital audio theory the dynamic range is limited by
quantization error
. The maximum achievable dynamic range for a digital audio system with
Q
-bit uniform quantization is calculated as the ratio of the largest sine-wave rms to rms noise is:
[19]
However, the usable dynamic range may be greater, as a properly
dithered
recording device can record signals well below the noise floor.
The 16-bit
compact disc
has a theoretical undithered dynamic range of about 96 dB;
[20]
[d]
however, the
perceived
dynamic range of 16-bit audio can be 120 dB or more with
noise-shaped
dither
, taking advantage of
the frequency response of the human ear
.
[21]
[22]
Digital audio with undithered 20-bit quantization is theoretically capable of 120 dB dynamic range, while 24-bit digital audio affords 144 dB dynamic range.
[6]
Most
Digital audio workstations
process audio with 32-bit
floating-point
representation which affords even higher dynamic range and so loss of dynamic range is no longer a concern in terms of
digital audio processing
. Dynamic range limitations typically result from improper
gain staging
, recording technique including
ambient noise
and intentional application of
dynamic range compression
.
Dynamic range in analog audio is the difference between low-level thermal noise in the electronic circuitry and high-level signal saturation resulting in increased distortion and, if pushed higher,
clipping
.
[23]
Multiple noise processes determine the noise floor of a system. Noise can be picked up from microphone self-noise, preamp noise, wiring and interconnection noise, media noise, etc.
Early 78 rpm phonograph discs had a dynamic range of up to 40 dB,
[24]
soon reduced to 30 dB and worse due to wear from repeated play. Vinyl microgroove phonograph records typically yield 55-65 dB, though the first play of the higher-fidelity outer rings can achieve a dynamic range of 70 dB.
[25]
German magnetic tape in 1941 was reported to have had a dynamic range of 60 dB,
[26]
though modern day restoration experts of such tapes note 45-50 dB as the observed dynamic range.
[27]
Ampex
tape recorders in the 1950s achieved 60 dB in practical usage,
[26]
In the 1960s, improvements in tape formulation processes resulted in 7 dB greater range,
[28]
: 158
and Ray Dolby developed the
Dolby A-Type noise reduction system
that increased low- and mid-frequency dynamic range on magnetic tape by 10 dB, and high-frequency by 15 dB, using
companding
(compression and expansion) of four frequency bands.
[28]
: 169
The peak of professional analog magnetic recording tape technology reached 90 dB dynamic range in the midband frequencies at 3% distortion, or about 80 dB in practical broadband applications.
[28]
: 158
The
Dolby SR noise reduction system
gave a 20 dB further increased range resulting in 110 dB in the midband frequencies at 3% distortion.
[28]
: 172
Compact Cassette
tape performance ranges from 50 to 56 dB depending on tape formulation, with
type IV tape
tapes giving the greatest dynamic range, and systems such as
XDR
,
dbx
and
Dolby noise reduction system
increasing it further. Specialized bias and record head improvements by Nakamichi and Tandberg combined with Dolby C noise reduction yielded 72 dB dynamic range for the cassette.
[
citation needed
]
A
dynamic microphone
is able to withstand high sound intensity and can have a dynamic range of up to 140 dB. Condenser microphones are also rugged but their dynamic range may be limited by the overloading of their associated electronic circuitry.
[29]
Practical considerations of acceptable distortion levels in microphones combined with typical practices in a recording studio result in a useful dynamic range of 125 dB.
[28]
: 75
In 1981, researchers at Ampex determined that a dynamic range of 118 dB on a dithered digital audio stream was necessary for subjective noise-free playback of music in quiet listening environments.
[30]
Since the early 1990s, it has been recommended by several authorities, including the
Audio Engineering Society
, that measurements of dynamic range be made with an audio signal present, which is then filtered out in the noise floor measurement used in determining dynamic range.
[31]
This avoids questionable measurements based on the use of blank media, or muting circuits.
The term
dynamic range
may be confusing in audio production because it has two conflicting definitions, particularly in the understanding of the
loudness war
phenomenon.
[32]
[33]
Dynamic range
may refer to micro-dynamics,
[34]
[35]
[36]
related to
crest factor
,
[37]
[38]
whereas the
European Broadcasting Union
, in EBU3342 Loudness Range, defines
dynamic range
as the difference between the quietest and loudest volume, a matter of macro-dynamics.
[32]
[33]
[39]
[40]
[41]
[42]
Electronics
[
edit
]
In
electronics
dynamic range is used in the following contexts:
- Specifies the ratio of a maximum level of a
parameter
, such as
power
,
current
,
voltage
[43]
or
frequency
, to the minimum detectable value of that parameter. (See
Audio system measurements
.)
- In a
transmission system
, the ratio of the overload level (the maximum
signal
power that the system can tolerate without
distortion
of the signal) to the
noise level
of the system.
- In
digital
systems or devices, the ratio of maximum and minimum signal levels required to maintain a specified
bit error ratio
.
- Optimization of bit width of digital data path (according to the dynamic ranges of signal) can reduce the area, cost, and power consumption of digital circuits and systems while improving their performance. Optimal bit width for a digital data path is the smallest bit width that can satisfy the required signal-to-noise ratio and also avoid overflow.
[44]
[45]
[46]
[47]
[48]
[
verification needed
]
In audio and electronics applications, the ratio involved is often large enough that it is converted to a
logarithm
and specified in
decibels
.
[43]
Metrology
[
edit
]
In
metrology
, such as when performed in support of science, engineering or manufacturing objectives, dynamic range refers to the range of values that can be measured by a sensor or metrology instrument. Often this dynamic range of measurement is limited at one end of the range by saturation of a sensing signal sensor or by physical limits that exist on the motion or other response capability of a mechanical indicator. The other end of the dynamic range of measurement is often limited by one or more sources of random
noise
or uncertainty in signal levels that may be described as defining the
sensitivity
of the sensor or metrology device. When digital sensors or sensor signal converters are a component of the sensor or metrology device, the dynamic range of measurement will be also related to the number of binary digits (bits) used in a digital numeric representation in which the measured value is linearly related to the digital number.
[43]
For example, a 12-bit digital sensor or converter can provide a dynamic range in which the ratio of the maximum measured value to the minimum measured value is up to 2
12
= 4096.
Metrology systems and devices may use several basic methods to increase their basic dynamic range. These methods include averaging and other forms of filtering, correction of receivers characteristics,
[43]
repetition of measurements, nonlinear transformations to avoid saturation, etc. In more advance forms of metrology, such as multiwavelength
digital holography
,
interferometry
measurements made at different scales (different wavelengths) can be combined to retain the same low-end resolution while extending the upper end of the dynamic range of measurement by orders of magnitude.
Music
[
edit
]
In
music
, dynamic range describes the difference between the quietest and loudest volume of an
instrument
,
part
or piece of music.
[49]
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.
[28]
: 4
Photography
[
edit
]
A scene demanding high dynamic range, taken with the
Nikon D7000
digital camera, capable of 13.9 stops of dynamic range per
DxOMark
.
[51]
The unedited version of the digital photo is to the left, while the shadows have been
pushed
heavily in
Photoshop
to produce the final image on the right. The better the dynamic range of the camera, the more an exposure can be pushed without significantly increasing
noise
.
Photographers
use
dynamic range
to describe the
luminance
range of a scene being photographed, or the limits of luminance range that a given
digital camera
or
film
can capture,
[52]
or the
opacity
range of developed film images, or the
reflectance
range of images on photographic papers.
The dynamic range of
digital photography
is comparable to the capabilities of
photographic film
[53]
and both are comparable to the capabilities of the human eye.
[54]
There are photographic techniques that support even higher dynamic range.
- Graduated neutral density filters
are used to decrease the dynamic range of scene luminance that can be captured on
photographic film
(or on the
image sensor
of a
digital camera
): The filter is positioned in front of the lens at the time the exposure is made; the top half is dark and the bottom half is clear. The dark area is placed over a scene's high-intensity region, such as the sky. The result is more even exposure in the focal plane, with increased detail in the shadows and low-light areas. Though this does not increase the fixed dynamic range available at the film or sensor, it stretches usable dynamic range in practice.
[55]
- High-dynamic-range imaging
overcomes the limited dynamic range of the sensor by selectively combining multiple exposures of the same scene in order to retain detail in light and dark areas.
Tone mapping
maps the image differently in shadow and highlights in order to better distribute the lighting range across the image. The same approach has been used in chemical photography to capture an extremely wide dynamic range: A three-layer film with each underlying layer at one hundredth (10
?2
) the sensitivity of the next higher one has, for example, been used to record nuclear-weapons tests.
[56]
Consumer-grade
image file formats
sometimes restrict dynamic range.
[57]
The most severe dynamic-range limitation in photography may not involve encoding, but rather reproduction to, say, a paper print or computer screen. In that case, not only local tone mapping but also
dynamic range adjustment
can be effective in revealing detail throughout light and dark areas: The principle is the same as that of
dodging and burning
(using different lengths of exposures in different areas when making a photographic print) in the chemical darkroom. The principle is also similar to gain riding or automatic level control in audio work, which serves to keep a signal audible in a noisy listening environment and to avoid peak levels that overload the reproducing equipment, or which are unnaturally or uncomfortably loud.
If a camera sensor is incapable of recording the full dynamic range of a scene,
high-dynamic-range
(HDR) techniques may be used in postprocessing, which generally involve combining multiple exposures using software.
See also
[
edit
]
Notes
[
edit
]
References
[
edit
]
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The practical dynamic range could be said to be from the threshold of hearing to the threshold of pain [130 dB]
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The peak sensitivities shown in this figure are equivalent to a sound pressure amplitude in the sound wave of 10 μPa or: about -6 dB (SPL). Note that this is for monaural listening to a sound presented at the front of the listener. For sounds presented on the listening side of the head there is a rise in peak sensitivity of about 6 dB [?12 dB SPL] due to the increase in pressure caused by reflection from the head.
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The upper limit for a tolerable intensity of sound rises substantially with increasing habituation. Moreover, a variety of subjective effects are reported, such as discomfort, tickle, pressure, and pain, each at a slightly different level. As a simple engineering estimate it can be said that naive listeners reach a limit at about 125 dB SPL and experienced listeners at 135 to 140 dB.
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right
sort of random noise to add, and that when the right dither is used, the resolution of the digital system becomes
infinite
.
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]