Is the Fletcher-Munson Curve What I'm Seeing on the Totalyser?

When I’m deep into a mix, riding the faders, tweaking EQs, balancing elements by feel—not by numbers—I’ll often glance over at the meter. More often than not, the Totalyser is showing a curve that looks suspiciously familiar: a lift in the lows, a slight dip in the mids, and a rise up top. Almost like a soft smile.

And every time, I think:

Is that the Fletcher-Munson curve?

Here’s the thing—I’m not aiming for it. I don’t treat it like a target. But when the mix feels right—like really right—that curve just seems to be there. Not because I forced it, but because everything has found its place. The energy is balanced. The track is alive. And there it is on the meter, clear as day.

The Curve I'm Not Aiming For… But Often Land On

The Fletcher-Munson curve—also known as equal-loudness contours—is about perception, not measurement. It shows how our hearing responds to frequency at different volumes. At lower volumes, the ear is far less sensitive to lows and highs. The midrange—especially around 2 to 5 kHz—is where we hear most clearly.

And the wild thing is:

When a mix is balanced and feels right, the visual curve on the Totalyser often echoes that perception. Not because I was chasing it, but because I was trusting my ears.

It’s not science—it’s feel. And maybe that’s the point.

What Is the Fletcher-Munson Curve?

Let’s break it down properly.

The curves were first documented in the 1930s by Harvey Fletcher and Wilden A. Munson at Bell Labs. They set out to understand how we perceive loudness across the frequency spectrum—and what they found was that equal energy doesn’t mean equal loudness.

At low listening levels, bass and treble frequencies are perceived as quieter than mids. You need to crank the low end and the highs to hear them at the same perceived volume as, say, a vocal or snare.

Here’s a visual of the curves to give you the full picture:

Each line represents the relative levels needed across frequencies for sounds to feel equally loud. Notice how the lows and highs dip sharply at lower SPL (Sound Pressure Level)? That’s the “smile.”

As you turn up the volume, these dips flatten out. Your perception evens out.

That’s why a mix can sound dull at low levels and suddenly sparkle when louder. Your ears fill in the bass and top end differently depending on level.

The Meter Reflects the Mix, Not the Other Way Around

I’ve learned to trust my ears first, always. But I’ve also noticed this:

When I reach the point in a mix where everything feels tight, present and alive—the Totalyser often shows a curve with a gentle lift in the lows and a dip through the mids. It’s a familiar shape. But here’s the thing: it’s not the full Fletcher-Munson curve. Not quite.

That top-end lift you see on the classic equal-loudness contour? I don’t see that on my Totalyser. If anything, the highs often taper off. And yet—it still feels balanced. It still feels right.

That’s the clue: I’m not aiming for a curve, Fletcher-Munson or otherwise. I’m aiming for balance, presence and emotional impact. And when I hit that, the visual readout just happens to resemble something close to Fletcher-Munson—up to a point.

So, should you aim for that curve?

No. If you try to force your mix to match a meter shape, you’ll likely end up flattening the personality of your track. But if you mix with your ears—if you trust your instinct—you might see something curve-shaped emerge. Not because you were chasing it, but because balance tends to leave a trace.

That curve isn’t the goal.

It’s the ghost of a good decision.