So with that in mind, if you have normal hearing, you are likely to compensate by increasing amplitude to the bass and highest frequencies, while lowering the amplitude between 1k-4k. Which probably doesn't mean much until you apply a limiter or compressor, which doesn't "perceive loudness", it sees the actual amplitude values in db. Which means that what is likely to occur is that the bass and higher frequencies are squashed, and maybe the 1k-4k range isn't or as much. I'm not sure the actual benefit, unless the mixer was also an instrumentalist and had a tendency to mix their instrument louder and on top of everything else??The range of human hearing is generally considered to be 20 Hz to 20 kHz, but it is far more sensitive to sounds between 1 kHz and 4 kHz. For example, listeners can detect sounds as low as 0 dB SPL at 3 kHz, but require 40 dB SPL at 100 hertz (an amplitude increase of 100).
I suppose conventional mixing is mixing by Fletcher-Munson, with the exception of the pink noise. The gentleman in the video commented that the "better sounding records" sounded like the pink noise curve. Is he describing a pink noise curve or a limiter?? A curve is the amplitude envelope. Balance is probably a term left to panning than amplitude, because in amplitude it denotes equal power, and that conjures up static, or lack of dynamics. If everything has the amplitude envelope of an organ, or a "balanced" equal power curve, what's that do to the instruments that rely on transients for their sound?
Drums, piano?? ...
