Reducing the peak-to-average ratio of audio increases loudness. If the peak-to-average ration is reduced, the average level can be increased. If this process is over-performed it can cause many side effects such as distortion (Orban, 2001).
There are many types of audio processing. However, most audio processors use the systems of compression, peak limiting, or peak clipping. These are all ways to make a sound wave seem louder or to monitor waves so that they do not exceed the limits that are pre-set (Orban, 2001).
Compression is used in recording studios and broadcasting stations. It tries to make louder sounds softer, or softer sounds louder (Digital Domain, 1995). Compression reduces the difference in level between quiet and loud sounds. The goal of compression is to increase the volume level of quiet sounds and to reduce dynamic range of the program (Orban, 2001).
Peak limiting is an extreme form of compression. Peak limiting usually limits the peaks of a waveform. Limiting reduces the peak: average ratio of audio. The main purpose of peak limiting is to protect the channel from an overload in the system (Orban, 2001).
Audio mechanics use special equipment for these types of audio processing. Peak limiters and peak clippers are used to control the levels of a program (Blackwell, 2001). Compressors and limiters are used in all phases of audio production. They are used to protect equipment such as broadcast transmitters from input that might cause distortion (Professional Audio, 1997-2001).
A peak limiter is a piece of audio equipment that is used in a program to provide a ceiling or upper limit to peak program levels. A peak limiter does this without the risk of bringing distortion into the audio sound of a program. They are employed in motion-picture films, television programs, sound tracks, and anywhere that a peak level needs to maintained (Bluehaze Solutions, 1999).
A compressor is an electrical device that prevents an increase of sound volume beyond a determined level of volume. It controls the dynamics of an electric signal. A compressor is used to control a signal so that it is heard without becoming so loud that it hurts listening ears. It is also used to control a signal of soft sounds so that a sound isn’t so soft that it is hard to distinguish (Professional Audio, 1997-2001).
Television programs and television commercials both use types of attraction to make an attempt to grab the attention of viewers. They both try to get the viewer’s attention to either sell their product or their show. In a way, commercials and programs compete to get the attention of the viewers (Drazin, 2001).
Television programs have many ways to attract the attention of viewers. The programs grab the attention with a good blend of script, special effects, humor, sound effects, background music, and voices (Diltz, 2001).
The volume of television programs rises and falls. The program usually moves up and down the scale of volume. Programs do this because they are not worried about trying to attract the attention of the viewers with sound volume; they have many other ways to attract attention (Hislop, 2001).
A commercial only has between 20 and 50 seconds to tell viewers all about the product they are trying to sell. Therefore, they must use volume techniques as an attention grabber (Blackwell, 2001).
Diltz (2001) found the following:
During a commercial, there is a part that is naturally not as loud as the other parts of a commercial. When they utilize multi-band compression and limiting, commercial producers are able to increase the volume of soft parts to sound about as loud as the accompanying sounds.
In commercials, audio technicians usually try to make their commercial louder than any other commercial and all programs. They want to make their commercial stand out from the rest. They do this by keeping the volume of the commercial at the top of the scale, so both soft and loud sounds seem the same when viewers hear them (Blackwell, 2001).
There are specifications that limit audio levels in television commercials. These are the same specifications for audio levels in a television program. Commercials and programs both cannot exceed standards that are set by the Federal Communication Commission. Even though they are both under the same standards, commercials still sound louder (Hislop, 2001).
Commercials sound louder because producers not only know the physics of sound, but they also understand human hearing. This means that they know that how people perceive sound is just as important as the volume of the sound (Hislop, 2001).
Drazin (2001) found the following:
Commercials actually do sound louder than programming. What really happens is that the people creating the actual commercial use audio processing to accentuate their audio material, making it sound louder than it really is. They do this by selective frequency enhancement- bass, mid- range, treble louder and/or softer. They also use other techniques to make the commercial message easier or clearer to understand.
Commercial audio is constantly at or near the maximum level of the volume of audio set by the FCC. Programs, however, go up and down the scale. This makes the commercial audio seem louder than it actually is (Hislop, 2001).
Since the upper limit of volume cannot be exceeded, commercials are usually compressed more than programs. The entire commercial is raised to the highest possible broadcast level. It makes the audio feel louder even if the sound hasn’t changed (Blackwell, 2001).
In general, Broadcast audio processing is both an engineering and artistic job. The engineering goal is to make an efficient use of raising the level. The artistic goal is to avoid deformity and to make the sound of the program/commercial proportioned (Orban, 2001).
Commercials do sound louder than television programs. Whether it is by using special equipment or by knowing human hearing, many commercials want to make their commercial seem louder than any other commercial being broadcast. Producers know how to bring up the volume to attract attention of viewers to buy their product.
