i was talking about a single dialog track not a mix

The same goes, lots of dialog only segments in the post projects I get. If a particular pre-set works for you, use it.

Well Fletcher and Munson developed a set of curves, not a single curve, because the frequency sensitivity of the ear is dependent on the level. At high levels, the curve is a bit wiggly but relatively flat while at low levels the overall trend is more curved, such that at low frequencies the ear has much less sensitivity.

The A-weighted sound level meter curve is an approximation to this. The A-weighting curve is used to make an otherwise flat responding meter respond to low level sounds or noise more like the human ear. The sound level meter also has B and C curves for medium and high levels of noise.

I don't see why you would use a F-M curve to equalise a sound for human listening, because the ear already has it built in. I would use it as a crude way of setting sound levels to be equally loud, but not used in the final output.

PS
The original ISO standard on hearing sensitivity was based on the more recent work of Robinson and Dadson, which showed less dramatic fall off of sensitivity at low frequencies and low levels.

See here for latest situation:
http://en.wikipedia.org/wiki/Equal-loudness_contour

"I don't see why you would use a F-M curve to equalise a sound for human listening, because the ear already has it built in."

It is used in the "loudness" control found a some "HiFi" gear. The problem I think is the set of curves relate to absolute SPL and the "HiFi" itself has no way of knowing what that'll be as speaker sensitivity etc depends on what it's connected to.

Still that's no a reason not to use such a curve or anything else for that matter. All that matters is how something sounds based on listening, all that matters in the destination not the road taken.

Bob.

Should be called a 'Clarity EQ Curve' or something, because it can't be a FM curve as the absolute listening level cannot be known.

geoff

I always thought the loudness control on old Hi-Fi equipment didn't turn the bass down as much as the middles and highs, to simulate the crowding of the equal loudness contours at the low frequency end.

EDIT
Ah, yes, it comes back to me now.

A loudness control is similar to a conventional potentiometer volume control, except that it has a tap towards the bottom of the pot range and has a bypass capacitor from it to ground.

For medium to high frequencies, the bypass cap makes this the zero output point on the pot's range, but for low frequencies you have to go all the way to the bottom to get zero output. Thus the bass will appear to get progressively boosted as you turn the pot down towards this point.

At high output settings of the pot (slider towards the top end of the range), this fiddle is masked by the resistance in the pot between the tap and the slider, so no boost is apparent.

It's a very crude device and far from scientifically accurate.

maybe since i am dealing with variable levels and characters of the same voice (different sessions and rooms) ...might be why the preset seemed to make it sound "better" (more cohesive between variable takes) in some instances..

@rraud

yes i can relate on the monitor system too though...too bad I am temp in a room i cant treat....its driving me nuts.