Dynamic range

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
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 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
Audio engineers use dynamic range to describe the Power ratios and their equivalent decibels and stops
ratio of the amplitude of the loudest possible (integer values in bold)
undistorted signal to the noise floor, say of a
Decibels Stops
microphone or loudspeaker.[18] Dynamic range is Factor (power)
(10×log10 power) (log2 power)
therefore the signal-to-noise ratio (SNR) for the
case where the signal is the loudest possible for the 1 0 0
system. For example, if the ceiling of a device is
2 3.01 1
5 V (rms) and the noise floor is 10 μV (rms) then
the dynamic range is 500000:1, or 114 dB: 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

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.

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
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]
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
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 212 = 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
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

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.

Dynamic ranges of common devices

Device Stops Contrast ratio

Glossy photograph paper 7 (7–72⁄3)[58] 128:1

LCD 9.5 (9-11)[59] 700:1 (500:1 – 2000:1)

Typical cellphone camera ~10[60] varies

Negative film (Kodak VISION3) 13[61] 8000:1

Human eye 10–14[54] 1000:1 – 16 000:1

OLED or quantum dot 13.2-20.9[62] 9500:1 – 2 000 000:1

High-end DSLR camera (Nikon D850) 14.8[63] 28 500:1

Digital cinema camera (Red Weapon 8k) > 16.5[64] 92 000:1

See also
Loudness war
 High dynamic range
High-dynamic-range imaging
High-dynamic-range rendering
High-dynamic-range video
Highlight headroom
Range fractionation
Spurious-free dynamic range

Notes
a. Colour differentiation is reduced at low light levels.
b. Commercially the dynamic range is often called the contrast ratio meaning the full-on to full-
off luminance ratio.
c. Reported as 14.5 stops, or doublings, equivalent to binary digits.
d. The 96 dB figure is for a triangle or sine wave. Dynamic range is 98 dB for sine wave[19]
(see Quantization noise model).

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External list
Audible dynamic range (online test) ([Link]
hp)
 Steven E. Schoenherr (2002). "Dynamic Range" ([Link]
034/[Link] Recording Technology History.
Archived from the original ([Link] on 2006-
09-05.
Vaughan Wesson (October 2004). "TN200410A - Dynamic Range" ([Link]
web/20041221020708/[Link] Archived
from the original ([Link] on 2004-12-
21.

Retrieved from "[Link]