So far I could estimate signal volume from FFT using amplitude information, then adding all amplitudes together and divide this number by the number of frequencies. But I think this method does not apply for estimation of subjective perceptual volume.


If you equate perceptual volume to loudness, there are international standards.

if you look at https://www.mathworks.com/matlabcentral/fileexchange/46819-a-weighting-filter-with-matlab-implementation

This is an A-weighted Matlab FFT based implementation.

%                  A-weighting Filter                  %
%              with MATLAB Implementation              %
%                                                      %
% Author: M.Sc. Eng. Hristo Zhivomirov        06/01/14 %

function xA = filterA(x, fs)

% function: xA = filterA(x, fs)
% x - signal in the time domain
% fs - sampling frequency, Hz
% xA - filtered signal in the time domain

% determine the signal size
sz = size(x);

% represent x as column-vector
x = x(:);

% signal length
xlen = length(x);

% number of unique points
NumUniquePts = ceil((xlen+1)/2);

X = fft(x);

% fft is symmetric, throw away second half
X = X(1:NumUniquePts);

% frequency vector with NumUniquePts points
f = (0:NumUniquePts-1)*fs/xlen;

% A-weighting filter coefficients
c1 = 3.5041384e16;
c2 = 20.598997^2;
c3 = 107.65265^2;
c4 = 737.86223^2;
c5 = 12194.217^2;

% evaluate the A-weighting filter in the frequency domain
f = f.^2;
num = c1*f.^4;
den = ((c2+f).^2) .* (c3+f) .* (c4+f) .* ((c5+f).^2);
A = num./den;
A = A(:);

% filtering in the frequency domain
XA = X.*A;

% reconstruct the whole spectrum
if rem(xlen, 2)                     % odd xlen excludes the Nyquist point
    XA = [XA; conj(XA(end:-1:2))];
else                                % even xlen includes the Nyquist point
    XA = [XA; conj(XA(end-1:-1:2))];

xA = real(ifft(XA));

% represent the filtered signal in the form of the original one
xA = reshape(xA, sz);


The Mathwork will also sell you their Audio toolbox that has many types of weightings.

I find these standards a bit confusing because you don't know if they correct for the effective noise bandwidth of proportional bandwidth filters and if an FFT implementation should take that into account.

I don't vouch for the Matlab code above. It seems reasonable.

The Wikipedia article:


also gives the analog transfer functions, which can be converted to digital filters, but actual digital filters seem harder to find.

If your ultimate purpose is to use a standard where a professional signature is required, or one is exposed to liability, I would be inclined to use the Mathwork's product.

  • 1
    $\begingroup$ i think the current ISO standard supports E-weighting over the anachronistic A-weighting. i have MATLAB code for it. i think it has something like 64 poles and zeros. $\endgroup$ – robert bristow-johnson Jun 26 '18 at 1:53
  • $\begingroup$ @robertbristow-johnson so that's a filter followed by a squaring operation? $\endgroup$ – Marcus Müller Jun 26 '18 at 10:28
  • $\begingroup$ yes, filter the audio first, then square that filtered output, then low-pass filter the squared output to get the "DC" value (that can change a little, so it's not exactly DC). then, since this is a squared value, apply $10 \log_{10}(\cdot)$ to that to get dB. $\endgroup$ – robert bristow-johnson Jun 26 '18 at 18:49

Your method is bad, because it does

signal -> FFT -> |·|² -> sum

which is, per Parseval's theorem, 100 % identical in information to

signal -> |·|² -> sum

What you can do is apply weights to different frequency bin magnitude squares of the DFT to represent how "important" they'd be for perception.

If you did a weighted thing, you'd be closer to perceptional volume than if you just added up with no (or constant) weighting (which you could do, as said above without the FFT). You'd still not be very exact. The fact that frequency component can mask other frequencies without influence of the overall perceived volume is one of the psychoacoustic reasons audio compressors (such as the well-known MP3) work so well: you simply don't have to take the sound content at some frequencies into account, if specific others are there.

So, psychoacoustic loudness models are rather complex, and have a frequency-crossdependent aspect, as well as probably a strong temporal one.


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