#how are lufs measured | Explore Tumblr Posts and Blogs

libidomechanica · 6 months

Text

“Max, Lois, Joe, Louise, and berde for”

A sonnet sequence

First Stanza

Max, Lois, Joe, Louise, and berde for a kiss, the hung till ioy make, and wild Decembers after þe folk at noon, in all the arrow cell in londe ledande for blys abloy Ful oft hath the maples for the most plain; as thou called in mynde; to soper and all of your conquest quat ȝe demen. He made com þe crabbed lenge in your Bosom she lies, traverse myȝt to acorde, for lo the great spirit that ye do, albe it ten for my heart, wide as he knew all. I have rented thorns and bound where trwe, clanly al same the same change art; they do swell, my inside our face and clattering crowne; who, thou art!

Second Stanza

No want to see, and he grome at thy proud humility; who his caple, and gotz away comlych fere, bot þe launde, on þe sele exellently sways at ease, how fast rennes of stone, and legs refuse: though the hollow kind and roundels fresh, at severed and I ne flaȝe fro fylþe, þat forgot, we rot and hit wharred fever. To joyne wyth no measure, that was, is, at last sleepe and pleasure to aspye wyth hit cleue schulde hard, naked faces, to shift this man’s hand’s heart to make ours, then as double-felde þat me gost lante, and bihinde eke. The young arms, and he ful tayt makes him round, and through blisse.

Third Stanza

To þe grete words, which in that he hade, ful still I may mon do as he sleep in one’s going to make now your boat and heȝly honowred with a word, their here. Is love for a white be named here are shining but for luf at þe trew night not Cinthia, she smile on his prest, and put under that the air of love? And now, And through lift vp sone; and as sadly as he thing heate? When my boast, wreȝande þis tablez, enbaned vnder lyne, þaȝ I had twenty time shoot: but stroke in courtesy. Of the secret from before says as ho stonde schal cach much, to warm? Ship in slomeryng his resound as the cup.

Fourth Stanza

Must go, and honest eyes, now, if thou pity by love that ye should shade. As wild woddes my circles, dancer, singer on their uniform. And holtwodez vnblyþe stones, and derely out þe renk and fragrant, luscious not so gret dyn to schote at hert holly in the man in old they at every rough. Those love your eyes assaid, Gee woe! Me when dead woman who like that modulated cantana of these pretty, to find and a few friendly þo haþel freke, a forwardez non so high, so it will sit besides thunderstand it will, and, green she sat with all my loue why doe his anious uyage.

Fifth Stanza

With the bell struck one, aloof. And stoffed wyth his liddez, and his armed, he com hider, brayden his frumpy home angell she hearted watz to þat stek on his window. Now Ben he watz so fashion of your worchipez quere fyue syþez hatz gered by this islands that to rule, th’other the center pillours rife, and faire faces blow in arayed, the maw-crammed be, according to the hangman with his wast were begot in Ioue with mony aþel is not rise and play in, trust, and hanging steel-mirror make that I charred aboute, clowdes of golde; hade Arþur vpon, þat mayn meruayl bi mount þe were redde.

Sixth Stanza

Composed alofte; and some say, is like smoke from love, but still loue did for drede, traylez þou go myn egge, I haf arered; a menskful þik, þat a scharp of þe wowyng of the devout with mony proud hert ful softe somewhere, whaever has met wi’ my Phillis, has made arabesques made alle þe couenaunt ȝe craueth sleep’s doubled aywhere, with laughing vault. That red Hell thy pity one less travelers they draw men’s days of a cup hast nae mind; and, and þe stabled bi woȝez, waxen torches vche burning the door into thee living forth to karp wyth þe spures vnhardeled þus he cropure, hit arn about her mouthe. With a flattering on untamed we bot neuer with light, and can returning wind began to go on littel daynté þare of water and has soul of his hed cast up from thy horrible hammer-blown rain, where he drank his quart of Morgne la Faye, þat þer mon, for a war?

Seventh Stanza

Meek forgiveness; a lowande wynnez þeroute, swez his bodi sturne, and He who have no fere he stern winding to thee, or a salt-mist orchard, lying of the Regulations busy wits to the scales is foule horror stand busk me no less, will defence: and briars and the fog. Than the sea, to tene; þe stele to row; in tempt her chambre and curls can yet themselves. We turn from your nocturnal skin. And þe wyȝe called in gyves, yet now he þat fayr þat telded by DLXS to commes to herself. Ah Willyes and heav’n drawn thy foe, to let the rivers, children of the sea places may I spende.

Eighth Stanza

That was grassy and smile can warm young and þerfore, bot neked, hit arn aboute, and left their boots. My legs. But could ye would despair for the breeze has been, and wythhaldez ful þik, and heart in þis work-day with his bronde, þe hyȝe kyng of time, I fear the ful stif mon kenne’: he gef hym Godde, ’ quoþ þe segge at þe bakbon to lyke chere, seize to-day bifore you they so formed’st creature she’s going slight giuing laughs at they loved Chick Lorimer in hert, and after wenged out what they Hymen is the grass and if I had two into stiȝtlez in þis ilk wele of any burne, bot þe lece to fonde?

Ninth Stanza

And the flowered Jasmin, and ladis þat yow lykez, felle weppen in hell, in toune. Stole my greefs augment my doole thou’t lover, and plytes ful bryȝt, with other’s shirt yellow locks the steps in their own death of what survives is godmon, now þou for the stopp’d not sink and sees but passed—praysed, and in its lone without breeze has dried me worth: here a boulder even your awen— þe heȝe ouer my Sappho’s breath of loues, like to stay. Not once a wheel of your comlyche hade in lost love’s flash and trumpets wanteth! Hit were, the Chaplayne, and I must go, thro’ the wore, her House; a Road of Right, and swing.

Tenth Stanza

If this, and þe knyȝt halde his gilt helez, and the small lies a wretch my spirit the iron staying, with my green-spread; since her side watching throughout all the whole you back Her, nor light, the golden in words this belde not me, a ghost, walk aboute, þat yow to þat tyde. He is darken’d; like a jackpot its center by trade; and longer we. Those voyce, when he came back wing. Midnight, thereunto doe daunce: my old musicke lende me grant with the harsh, but not be woods them thy husbands, and nedez hit fallen hym chefly, and ladis þat lemed vpon vs plentiously, and oþer men his cortaysy vses.

Eleventh Stanza

And hatz hetterly ho entrez. In crimson staine, and from commit are for my heart a lace honde hym þoȝt. And meled of host to war and his care of dull middle of trecherye and as ye may. Austere, so let this, I want, as language and fair Ellen of this Saints for fight, rhythm in armez, he kysses hym so þikke, a sinful and flowers, once and let thy fading many. To þe male death nor be afraid! A much baret is that the wild girl who say he put our prysoun, and swyerez comen þoȝt. Conversation of his bele cheerefully at the woods did me go to thee.

Twelfth Stanza

He hatz he hym in armez wyth a wistful eye upon your wished edge, sapphire— love evening sad those dear love my Chloris, since where you will lean Hunger and a spirit works did for a burde þe a stroke of eight: a mazer alone within us and impulse: and wonder of thralled on the carped to hys persoun, er God hym in syþes sere, and amber-colour and giueth lawn. No late, þat noȝt for ay fayth, ’ quoþ þe halue, and oft boþe, and the fooles he atled, þer is to make and your dearer name, where ȝe worchyp, ne freke þat swell; only remember may the people I had dout.

Thirteenth Stanza

Now see with his hede at þis fox þat hym swyþe, with þe lyȝten on Nw Ȝere much more vs answer and yow god þoȝt, if this Saints aside, the Ring of praise euen, al one; here in þat on, wyth a corpse! When no more death, my thou some straightway to itself. How long ere thy Bagpypes she before your Eccho ring. A voice, to your awen—þe heȝe kyng wyth in bourdyng þay bikende he watz wythinne, to hunt in þe wyȝe on his lymes so bright, blind, seemed at þe portrait that I leue me go, but who are in the woods did for greedy licorous sences thus so clene, boȝed hider fast, yts time. What!

Fourteenth Stanza

As if it were nonez, and heþe at yow ȝelde hewes, with pride, so we—the form by silence trew night moony, inlet—warm, seabathed, I wene wel, als; bot wylde, hiȝed innogh in bugle here I am becomes its poisoned hit called the young lion plain would wrong register worthiness of a royall her sunshyny face. And though on the same he went to sleepe, that he hade euermore thank heaven did passes whom I love where erst he worlde; at þe fyrst quethe of þe flet, ellez þou þro mon, myn is bihynde, preuély aproched to keep going to raunch þat ilk tyme. To the stemmed, wyth þat is gone.

Fifteenth Stanza

So it can’t feel why time in londe. The whiles should love letters, and colours rife, let the slightlest brace the wild girl keep the mair to serued, her good as Gawayn, ’ quoþ þat bred blent þer bayen hymselue þer wonder bi syþez, for Gode, my wedez, bremly þe chymné in chamber who I am. To meet at lyȝt, so that I followed hym dressing-room, like travel makest wealth, sae love the dull not reject, and lern hym a leper in pure lovers, children under þe flesh helps flesh stays no father red nor shall a glimmering on his winding-sheet he rusched þer stondez armed, he caȝt vp a wyndow, Sweet!

Sixteenth Stanza

But first I mansed the pale lips, our honour, you do breath the tabor, and you see how þat day and watches keeper …. From God than well please, dost the rye, to wastes, þat my heart, and thus it spake: o Elenor: he’s dead so sweet thou hast thou hadst set me, and loud they tripped to pray; while my woe, bende and forth roled; þe blod and day; I kisses raine, with rough, each shalt find out what you in a suit of Kings, I haf hade and a’ my days and fears as the lacquer of our shoes. I biknowez alle þe stone he watz blis and your Eccho ring. That the floating to the sun as Egypt’s peal, that euer in our tymely sleep reciting my tardy name, I schulde. Lest sorrowes þat self prove to the great Iuno, which giue to kiss, go on littel dyn at his melancholy night never, cancel all other lips toward does sad Time drew on, and let this song and patronize, and he struggle having.

Seventeenth Stanza

My fayth, Sir Gawayn, in þis change, time eats the heart. After your kiss. Hit semed, and to clay. So when I feel it in twynne me þerfor þat speches might, doe ye writing with þis world except possible not longer dream, then here be staid with soul to see. And alle goud wylle, and most since first bud? Half etaynez, with a standing and the tins, and þe last should keeps warm wet mouths, that walks by night, garnished it, that the colde. In a cage, puts all agree: what I loue I pyne of scorching her awake; for it not in vale, and, for me are what perfect thy servant once a whole young Lochinvar?

Eighteenth Stanza

Lepe lyȝtly he sayde, Be sayned how pure pentangel nwe he ber in our two in my pocket and fele selly longe; much pypyng þe frekez he inner cost, having spring, and solace by heuen vpon joy, when as those who would have guessed? Because through a light; faint on the day. And am becoming a jet stretched Elenor! When so þou were never stifly strydez alofte, mynned merthe to adorne: who sins fast þe corbeles fee þay wysten þe houndez þay passes between the world is filling the shepheards, til worþez to schwue ne to her; for hit is my body’s maid, you sing.

Nineteenth Stanza

To make sweet break at last, is þis Arthor. For the world with a smiled at þe large postes and holtwodez vnblyþe semblaunt sene. Those who reach other side o’ the quest any day he sayde, Iwysse, bi my face and yet I feel. Kisses again; a Wine of þe lady he sayde soberly your indifferent now to norne ȝe yowrez, al þe worchip walkez, debatande wynne me burde þeraboute þe halme gryped to cheryche ful longe as schalk schyndered if I myȝt. For helps flesh by the tape delays and knyȝtez and bidden usury, when þou wolde burne blusched on the dreary gras, twixt sleep.

Twentieth Stanza

Set in his seruaunt to swing. Now is þe lace, this Childe, how soon she sees most prik for paynefull dreriment did I learns for to dyȝe with a stake it not Thou this? He wolde no hornes; hit were; if in the centre sit, yet, wholly father day! It must since more faylez þou wypped to þe byȝt, voyded her. Wants to Lucy I will flourish. Lest guilty of your heard I none. Her giant loom the ioyous Anthea’s breach, and wroth with him night went hand? On brode paumez; for thy souerayne praye, and alle þe syde, til hit works in the Hand I and a hey nonino, for succeeds door; I try to die.

Twenty-first Stanza

Of love’s dead, the ferde for euermore with worschip þat his helez as wroth as wynde of man? And al I gif yow, so plede hit is large enow to draw men’s days are though she’s priz’d, and he store of delight, ye damsels your more. Even the flattered on þat watz tymed þi trawþe. But this wedez ar barely to-morrow will be. Into which may lurk, what now that alle þe meyny, on þe burne, as therefore I will not seen you come or harde as freke, quen yow in a sword he wende on my fyue joye warme water and hid hit watz haspe; and worthy to bedde to his function fare, how like your eccho ring.

Twenty-second Stanza

’ Gladly I trowe; no meruayle þat his tyrannies. Guarded for a lass wi’ a tocher, there can go together I would Wisdom of a cup, no penance that non euel oryȝt at his dedez, and in them were bounden with their death’—alas! Rushed roses taint, that al þe houndez to dele here, and al godlych greue. Beam had consent, to prauncing in rich rurd þat ȝarkkez quyl hit lyftes lyȝtly me to-day! Nor pause, nor the best gemmez on Gryngolet grayth, is not hit yow for schome þat day tarnished flight inklings of our belles an hundred lies; the bonie lass wi’ a tocher; they pleasure.

Twenty-third Stanza

There ar ȝep mony: if any freke þat oþer gome in the Past! Nay, as his mind; the main account upon a thing loan; that won syttes, swengen to thine earnest eyes like accountable of a coronall, and, the tears, and schadde, and even your face; but, lovingkindness’ sake grieved his song of þe Rounde ston, stod he show where is a certain or that loseth of the Curse of Rosalend who knows how? In the bare two doomed to uphold and be dear. Ne will get a riche watz innoghe on botounz vpon a gryndelly watz acordez þat neuer heart: wild honest eyes were never said to itself?

Twenty-fourth Stanza

The whole; should rather kill me, thought, and dryȝe. From the woods may answer, and standing in its gullies: we grow mad, naked lyppez smal laȝande quen yow in arms to oars and thus with my rest. Oh Shah, who in earthly clods: in dreadfully thought, and one of this day in assur’d, long sythen fro his couþe avyse; such would have him as he couch’s perfumes he distant caught in plaid, mine own bright, after a pleasure to meet in her ear in many a moment cuts they are your beds and all mindes drawn, a blue eye until as true sight think to þe chemné þay mette When my beauties, they in their glint of love?

Twenty-fifth Stanza

To þe knyȝt, and helde þe brymme tole to whom Fame wonderly ȝaule and he hit to flyȝe ful longer hovering merci, sir, for rurde rapely a notion that gave back to life which he schulde: hit watz teldet hym vp and didden mixtures and she only he might night is the hart did greued watz sesed at you are alle þese fyue were hard, nor a closets to mi, say she passed in presed hym non durst for woþe; he lyȝtes als, inter-sections doe there vnseene, to find; affections to help of my own. A skylark wounded in armes, þe stele of the bloody clothes, while the ioyous man, with knyȝtez.

Twenty-sixth Stanza

Around the middle telluric light lies in suck’d away with his desire? ’ Where in tech of tall glass that mayn meruayle, þat noble though of thee so farre meny, boþe his lips for euer bot lyte þat watz stoken of all its rose or whether is’, he sayde hider; for woþe þat lyf beres wytte of burning. Ne bere þe chef þat soȝt hym þonkked þroly, and his way he kiss Anthea, when the guerdon of tale to see how þou craueth sleepe: she oftentimes but not geten bot þaȝ my heart in the will not be moves slim shadow-land, when mists thirsts for him to do, till he was but things … and is hert.

Twenty-seventh Stanza

Of one terrible hammer-blows. And pyne of her woe: therefore sad, more and þik, þat euening traveler, long thou art did change. Gladly be broken by teeth of Gold: therefore, and syþen rytte þay calde hit hym anelede of my face and wonder that the pure loved by my second time spins fast þurȝ a roȝe bonk at his magic whisks and deadly pale. As al were bare needful at theyr laies and layde on her for to fill wind wener þen hornet in two. The while I warm wet mouth— rather, as just as embryonic chickens grow mad, and mone will go by. And syþen rendez. Give him passion, that say or sing.

Twenty-eighth Stanza

But as I have a carven silver jets onto thy body at its dew-drop o’ diamond here is even to þe burne blusched oþer munt for they burne, whose which my speech, the day dropped him lest he called art of bird of gently went on hyȝe, and stel hondeselle, he had hym þat alle þese were enbrauded semly hym resteyed, and I schal gif yow, so pleasure the sweet a sleped in war, or the mouth with the best can too with glad man came back. But let housefyres, nor our Eyes; a lace lyȝtly, laches rewardez nouþe; and þat watz cummen, þer as theyr charyté cheryche fest among.

Twenty-ninth Stanza

If empty place þat siþen ho, an auncian wyf hit semed welneȝe of þis hes healèd me, if I were to lyȝt, and, Loue, I though its worthy beauty born of praise be Thine! With many a straw. For I’m as freezing. So you go? Top powered ne fel in arms out of fruits and wlonk þe knyȝt of life with waking, and haylsed here dies and the mornyng, his launch. Hit is þe lyre and þik, hir bryȝt, watz neuer ber bugle to his owne: and the into his Heart to the sun, and see the her he watz þe knyȝt with swerez: here is vnþryuandely þat oþer blyþe, me schapen to perfect, every hail anamayld was lying and discontented by all lead; which with the vulgar masse, lays vp þe yȝe-lyddez, ful gayly atyred, silent among prynces of his belied, bear to make ful hyȝe, and life its tip gum, pungent, clear spring. With a star with Ruby and my lips when right euening close; but to grace.

Thirtieth Stanza

Learn, nor Mars; mine eyes to addorne herde, with pleasure, let þe hedez on his gold: and ofte reled in four o’clock we cleaned the slays the strong, be soothing, whose stars drink one could never came down, the tall glass not all that it may slyde his knez knaged wyth hert hollye be the painter’s cot, from Beauty in clusteres, of oþer oþer on fote fyrst, foldez more be some maydens meeter that we abase her modesty, the meadow-larks will not dare. But to his cortaysye, bi þe lyȝten on þe golde hors with greme þenne, more bitter to have of Lust must sentence passed, and syþen garytez ful oft he before.

Thirty-first Stanza

Two roads diversely framed, sleep’s double, as firme in erdez he took the blossom press sprig there watz wyth cortaysye, as þe comlokest to breed so wistfully at the light or Morning with defence, as þe wonder if April tell the worde vpon þat lofden, in early exposure to telle, and of stonez, and so dauntless may answer and try to select, what hath the best anguish, dare not befall, thought, and full of Life is over bank, bush, and soul and fiery arrows more is exacted; for the thou art or else may entertain the Hand I will be. When I the javelin such thine to hide there his cost of þe Rounde Table, and round, why blush to hear how thereto approaches—Ellen of his hous on fyrst, as water; þe world’s blame. And a ho, and myre, mon at þe hall-door, and watch the ben seuen wynter wyndez quen Zeferus syflez hym bisoȝt of þe profered.

Thirty-second Stanza

And in our own Ellis Island, when birds rejoice is before thanks one by nightly payed þe hersum euensong of more, replete the Hunter’s way: but let them brings help me God Bacchantes and with wylez fro þe houndez, wyȝez, waxen torches bayed þe habbe her Ears will not after; bot þe lorde, and yongmen cease your blod ouer þe schal sitte, com to know. To you, a mild reproof darts, now soone her mouth to the gory blot of gallant like a jackpot its center is a work nothing. And syþen þou wolde he ouer þe forlorn, my brave gassed the thing low, that frights vnchearefull heed, that Sunne, that she might see.

Thirty-third Stanza

All the naked lyppe and ladis þat self chapel; and al watz wyth a wrast noyce; þe leude, schal yow sum rewardez nouþer, bot þat day, in clear weather. So were. And shelter, to sleep who not indulge in þat segge, in fourme þat euer in their wings wi’ a tocher; then Natures for me, such high to filled; kerchofes of your speche, þat ilke: þat I stood before the lost, as I haf fongen bi hoȝez of special animals, varnisht lyke to sete on hys ax, and now to þat watz þe fayre eyes are does never would opened each hour, as burne now wontez, vch hillez; þat myȝt; braches here þer stondes, now, sir, for that waits for pure fyue syþez gawan and stemed a fulfillment is not reserved. Have fleeting shuts, a family of her within my madness might has no opening unattend your jeering on the sun hath presse, your kissed he foule euill have to payred to aery things are out silver by.

Thirty-fourth Stanza

For þaȝ my heau’nly ioyes, they ding a ding, didst rehearsal a single red cloþe þat watz runnen to þe schelde, I myȝt loke! On coolde; and some where never prayed, we grow cold. As the fingers on earthen worþyest of Terror crept behind the snare. Al þat segge þat þou schal sitte, compasses darken’d; like the incessantly forth to-night—the Champak odours fail like cleaned thornes; so mony tre mo þen two myle henne. To þe brydall bonds do sing, hey ding a ding, dying something among þe byhoues, shall song of Faith Sulayman and of absence sad worn the tremble innoghe to a marble of the dared. And often calls the red dressez on þe belt and con scho fongen bi his stand up and find shivering round, since left a fulfillment is the mon þer watz cumen wyth þe arsounz were not shines so mony aþel songs were so much joye to add yet truly, and yet turning, and praise.

Thirty-fifth Stanza

’ My Phillis, has met wi’ the boy’s palms were to þe wakkest, ȝif he neuer Kryst I kennes of Mulla which we cannot wear it on the sough as fear! As knyȝt þe dale alone, quiet once more shore shall ready for some palate in hitself. If any burde he hungry craving me the world so hyȝly þe titleres at thick and from Sin? I could not part it beside a Warders with ten-thousand patronize, and euermore. Best gemmes þat much of old golde. Bi God, ’ quoþ þe tulk þe table forth three-plank bed, and biddest me tened up mine in renoun of þe quen yow lakked of joy.

Thirty-sixth Stanza

You are more be in loȝe, bi riȝt. I have choses he did not think me better, þer he whole desires and given him off, deare. It did it did, and þat much solace of sleped in grayn al of green: and yet my woes I wrate; since more if euer glent with a broun. Be heart so much baret þat wolde I was white, there fixed are. Weeps the sea. Ho watz don abode, bot mourne vpon lyue. The bag of dryftes vp homes, and only with the double dich he lies in sunder Ful still for victory I burn. For mon mynez þay dronken and þe ȝonder me þink me burde bryȝter. Bid me steuen and conuersation.

Thirty-seventh Stanza

Than that feel it darken’d; like a single cord, but faire loues pain; once made it has blest the painter sleepe doe closes he þe luf- laȝyng of the Way of telle me here, yet let this steuen mony burne bode nae want, I wot neuer no semblaunt, and cancelled for an oþer folk fonge and wener þen Wenore, and that in grene chapel. But let in his aþel is now awake; for him Pity’s long thou thinke of eight: each into her and all you back or stained, and kneled doun as dreȝ droupyng of þe Rounde of my Life! Toward þe dece þat we spedly strydez, knit vpon þe morn, and bounden; þe alder and your wit.

Thirty-eighth Stanza

In ȝonge; I haf arered; a rach mouþe, hende knyȝt at home the snare, and at þe last look piercest at Goddez sun, þen leue hem a þonke for his mouths, that she hath the hands do say, spite the screendoors of care þat leȝ in his face flushed to decked in his gold sporez spende. In haste; use please, his Soul was wonder bi syþez hatz hit to the heart will be the spoke as when hey, for him to dance and orpedly he rasez, hurtez on nyȝtez þen any one my Door-way but ioyed in her chast of clay,—thou, or bowre awen seluen, be soothing which, shining is solace of þat lyf vpon fyrst quethe of þe bede me with hym maȝtyly as he heuenryche of hym had cross, how me which vse to schawe, þat bradde to flute, subject finding the mind the Snow, whirrs suddenly ablaze, her House without the widow …. And sayde, þe stif on þis Nwe Ȝer, his schyre okez; þe goud chepe no charg, ’ quoþ Gawayn watz much berd as all.

Thirty-ninth Stanza

The Virgin bosom of the poor dead man who hasn’t done that fate I could look like my great and meant; but all that conueyed, bikende hym stryþe to expoun of drurye þat I was a man and to masseprest, a thing but former, it were þat raþeled in mine, that well away? And dit with help of my own sins faster two so dyngne dame, and þoled hir bodyes on honde, and he short live, than onely by far, then to my gross body than the littel dyn at his fetures specially after Crystemas gomen bygan, or yet have a tip to its mitt, a closed. Make sudden alle his pipe, and caught your heads with Barsabe, þat sale al about they began to do þe day by day; who watch their grave! Of Rosalend who knows what waite on Nw Ȝere boþe wyth ful clene: at þis teuelyng of your bedde, þat neuer ber bugle he behest, and þe dede þat folȝed alle þe meyny made all aboute.

Fortieth Stanza

It year all my days and fractured ladyez, þat hopes I may not wring his venysoun of þe bryge ende bemez as hard by, made aware. This is a curse, and legs protesting eyes of the prison cup, in the chain another Sun nor Mars; mine own with lel layk and supply, till to spread out in the sand! I am pushing the strictly he was alle his eyebrows, once, and praise is due, onelie through to shew his schulde schene wyth her eye: areede: for each foot, wrapt in a fields and plaintiue pleasant Quyre of Faith the eyes did see the temple of all over; the sound ys signe of which thanks that metaphor!

Forty-first Stanza

Then disappeare of dull tattoo: I want our will live and patrounes crawling with bugle blowe your make out þe slot, sesed þat hym fayre great gold limbs: said he, I would wrong register two into God’s Son died instep too: and to sate its cold and fest ful þinges as when he rose tufts, in the mocking, forgotten the old along, with cherish! For soþe, sir, þis enquest is yet closets to ponder bi syþez hatz out as I have a noose about thirty minutes crawling with Barnaby thee watch whose Christ’s snow she saw me. Ne non wolde, þat were not walks by night should shade a window peepes?

Forty-second Stanza

And Sleep with their presently, and þus he could not from his nek, and þe hoge haþelez about the day, it eats the very praunce. I schal hyȝ me how the bloom, honeycombed with gay girland my fayre furled. I’ll dance with our round else he for best þat mayn meruayl as the flowers in hert, bot in no more that euer lyke, wel cresped and send it has met wi’ bonie green-spread her and yes I shall bloom the lovely, thy soul intently even lizard, crawled the moonlighted elms, sick mard by an Angels Sophistrie, that sweet upbraiding, that presence, O Joy, no long thee, his gilt hear; if hit me þynkes.

Forty-third Stanza

Such worch schulde loked ful clere, cortynes of feathers through all song o’ the door is a pond where such high poems stink like a Jugler come ancient hand, found strive, that thus with mony cler burde in god fayth, ’ quoþ Gawayn ful comlych quen þat schewez hym with his was he, the prime, when þe segge, I woled wythhaldez þou neuer payred. Of woll, which infinite clods, untrouble free as an old taint, it dies and of so fyne with spice and a tear, and his lyf and lyȝt, here, but you know, than for such a wistful eye upon the heart-strings boldlier sweet divinest and let alone, and left pulses.

Forty-fourth Stanza

Which things into a narrow passande vche a word. At vche wyȝe in you must you at last, the roof! ’Ve only words, along with swere þe couenauntez kest vp þe yȝe-lyddez vnder fete, þat none can I yow knowe! Heart. Not that, amassing on earth still the wife he saue—and Hope, earth’s smooth to karp wyth no rof-sore, which it could light the poor babes they made it has a pall, the children oute— and outward shows but obviously loked, wyth leue at þe lady hir call her love. The secret dark how theyr eccho ring. When holly her horne, and for joy in the dawn was resoun ful tame—ho wayned with Absence sad affrights are better, there vertical your knyȝt bidez ful softly say not be slayne. You did not mere, ȝe kest ho sytten, loude þerafter bi bonkkez þenne! He be a pitteous hasten down the midway slope of yonder heuen, and at eve voyage on gentlest bride’s favorite aggies.

Forty-fifth Stanza

For stops your ful stif mon hit prayses sink and ring words this your awen—and þat ientyle watz þe flesch wyth a strayte cote-armure, his golde ryngez, as clear the rechated; mony wylsum way home? Of sweet balmy lip when you must curse so darkly on groundels fresh fortune of this this day in assurance raynes yow lausen ne lyst þay token faste, ful clene: a better happed þerto ȝe trayst’: al laȝande loutes þer sparke is even Despair for to glaunce. And, to what does it was melt, and a shrine, and tyme twelmonyth þou trysteres, as þe harme, bor alþer-grattest in his cher meaning.

Forty-sixth Stanza

Back to life which in the britned þat watz þe lorde in fayth, is not wring here schal lenge in his arsounz al after supper, therein tis to thy be to sech to the supermarket using your seruaunt spring. And Good and the bag of drifted honest eyes, feed’st thou hadst set a lock upon her his cote wyth mony siker knyȝtes lufly hers, will not beares, sir Boos, and the song neuer. Much solace at þis tyme. To erase a moon-white seal. Now, lege lord comaunded in a fylor, fowre fraunch draws it freely gives and giueth law and scaur; then he fence. Bi þat wyth her face of heauen all was I forst thing else he mad Past, oercharg’d, to whom thou of lope, with young to let us now, yet each to tell in what dawn to each side a Warder is a desperate heart should instrument. Witness in order happier that theyr eccho ring. And in her heard the woe that I dared not sit with hay!

Forty-seventh Stanza

Least part: how high hyll, that wastes seluen, so simple seed this I will live as the centre. We tore than for the musick to light in fact only to clyme, and all the padded door for to haue. For boþe, wyth lotez þay stoken in stori stif þat holden, and I mot nedes, a sellyly of my words, til he schulderez here-biforne for to plese, þat ȝe precious notes, the same fruit presence dead of horsemen. Can it kissed unto her celestial through a little roof these flowing on his same way, christall grace their guided steps incessantly for me. With insomnia, perfect noonday.

Forty-eighth Stanza

Now far can compasses whom he love I rise in your form to sum wone. Midnight he learned in your boat a boat I haf herde telle! And I am hyȝly bihalden; þe apparayl of þe cloyster with hor knyȝt, here one; take it not stalked bylyue. More deaths than is no haþel and þe naked to þe swyre, clad all my soule from thy dear lovers love, and selly hym weue. Wy! And red with giserne in gay bed lygez, lurkkez quyl we may answer and his held, and I schal teche yow be chere. Placed wild and shameful darkness. In Gold an infant’s loss, and harder is a pleasures ful gode.

Forty-ninth Stanza

Be your daughter, mony bore hit for blame. Ladies for the empty world’s blame, in burning. Well agreeable, and she fingers of this at all their earnest word that wanteth! And alle his gamnez, to holdely, quen þis luflyly hit wel semez. He her prayse to waits for you see. The more is need off, dear! The deed the bitter look at the only pretty maid half his lyf and gave back to like, ever tongue doth my greefs augment. And cold and white! Thou art much it could not presence of þe stele to such a burde bryȝt golde for theyr eccho Nectar of þe belt he springs renew?

Fiftieth Stanza

Something sound-like some fresh Cuddie, freke, and weak, and he statuary it is not swerve aside, which meets all aboute; hunteres loken, while deeper knowe your gordel, myn owen now rydez. Before wit in the summe soþe—bot I am dead; he well hath drunkard. Which doe tender countenaunce apert, þe hert ful lowe, þe dore, and Gawayn goande ryȝt fyr better, I schalk wyth ful clene with this your make, and binds one’s foaming flare unders! Rudest bride hade broȝt hym ryȝt, redly I wolde I warm in my legs in Badajos’s breathes of þe weder of the Way of by resound: ye care of þis tyme þrowe.

Fifty-first Stanza

What did best! And wait forty-odd befell; they my pain I could not know this Saynt with frisked curtains and shall deuow’r with beauty in the riuers fete þay wyste from her so dere, till in which withdraws his lost hade vpon lyue þat his heavy eyelids. Thou maun flee, yet let it is soþ knawen, þer passed, as his due, onelie throat and be sauered with girland my Spectre folk on þe worch as few men the silently even yet, ah, my thou be at his devours, while she doth excell and yet, writing of enter’d cowslips that both it and sorrowes fast recall; earth bricks of the nunnery of the way.

Fifty-second Stanza

Now I mean to myself against my chere. By this: I never look, some sell, and London rain peryl and white-flower enjoys the crabbed, how þat, and al þat self find no part which do sublime the day by day, til þe sturne, bot þe burne now my pensive Sara! Curl unto the memory of some thing to the woods shall poor tear in her left their shoes. What is ridiculous. Before I embraced and ofte al niȝt; þe lorde sayde hym to rydde, and lyȝt wakned lote, þat fellow’s got the woods may answer&theyr carroll sing, that we spedly han spoke as when men love, give you, a swoghe sylence that wanteth!

Fifty-third Stanza

Men reckon what comlych panez of þe best habit together side o’ the fair are trances and gruchyng he love letters are ours, nor friendly þo haþelez þat cheualrous knyȝt, by cort ryche rynk of honey that Love slight is calm kiss those white shot. So sayde ful fyne with a step all song areede vprights; ne let their silver by far to have in me, till to his lif like in hands, as yow lakked oþer such and are blind, seems to enioy nectar drinking to do thee. Now al is yowrez, al þe wesaunt, and her prayses singer, a hoge haþel, in þis wyse to give up their life doth parch theyr eccho ring.

Fifty-fourth Stanza

When wilt thou dare to starve thee yesterday? He swung, so loue. On which passez alle þe skylle þat here mantle hand that Love bade me go to the bed al samen þe bryge watz gered of death. Became like powers the hym þe rydyng, with a state with ache? For of mine are wonder. That crowded you sing. Composed thorough the eye hath him slayne. ’ With mourn; your sound, and layke, lest I deuayed with a gorger water at the different seizure—as with a rynkande bryng me thine earnest words, am I simple truth suppress’d. Nay, bi God and elm have plague, Vertues store, sipping out upon her milk-white seal.

Fifty-fifth Stanza

Break the marigold at the woods shall be dear lord was what it is symple in þat þe goddess Isis can be anything, and so hatz þi helme ne hawbergh nauþer to hear that I may man make the while. And eu’ry part of bird of brave gassed in the color line, and alle prys, and bryng hym bryng he low-tide roche biȝonde þat schape his subject finde þat he has sometimes in. The Infernal Grove; the night and did. This hede, and I gif þe, lordings, and dalten, and what suffer to the heauen in fourme we oure for gode knyȝt. To many finger on hym to dryȝe, and sees but he died, that all that her bed.

Fifty-sixth Stanza

And she bell, tripping flowry gras, twixt sleeping eyes, ay seek the street, crying, ne any kyng yow ȝeldez neuer knyȝt with ryȝt þore, and thus! And all our vows, and cachez þe way then what Loues pain; once adieu; nor debarres myne thought there be not blue eye of scorching Time his blonk ful brode, þe knyȝt comlokest þat hit yow sette as love; fleshly eye, as is the heardest though I fly. Which it could heaped the scarce could not like in þat serued in fourme of his song neuer heart so he haylses, he has a mote, aboutte hym to his bugle here þe best þenk on þe last word may wel wrastelez wyse.

Fifty-seventh Stanza

All in which with mop and dernly and how insane the star-and paynes and with alle hit had return and swing. Souls of watercolor. Ten, whose force in thy lips when meeting on Cannobie Lee, but thus surprise. Thou that gives and grey, and all my pretty folly is harmes, ne let them my hede bot God worch schulde to be self I would brings boldlier that shook the bourde at þis tyme to me your pypes rennes of Kryst ayþer oþer ȝe mowe. And the children are two souls in pain, who never a hundreth. With staue, Ful wel þat hostel, ’ coþe þe lordez also living? Ridiculous. At þe letted off.

Fifty-eighth Stanza

When no moaning this maske to spekez ofte; his browe; gawayn he watz spyed and forgiveness; a lowande wynne goldenrod glowing, ever praysed hit about? It must on the Sheriff sterner stress? In þis blame. Into my tomb; or, like a strenkþe, ȝif ȝe haf þe, heterly þe myry mon, my dere, þe worthyly wondering airs they of ioy and feasting that so well in the Snow, whirrs sudden shock the grantez at hys lef home, for to see, and beauty’s treasure the sought, herre þenne he þerat, so loyal in desire my sleeve, or they’ll have; and in true playnez þat wroȝt watz boun, blyþely watz hasped in blod in Man that I loue. And wordes, with having soul its Difficulties? ’Mong Graemes of Yazd; and hearken to you, to you, all lay in them wide that all, several thing delightsome let house the hand, now ar ȝe no scream from out the pousse her praye, and þe þryd as þro þoȝten.

Fifty-ninth Stanza

He fixed becomes quiet smile can warm earth’s poorest her modesty, that every thine. To when men love; who, coward, in the cold, calm and quiet smile, a wide bot þay brag we hae a large, encline, and the Moonelights of Both formal pace and oþer, and gotz to þat prynce now what is hands, rose who looked closed from a sepulchre, and in their game of your face that rarest goddesse, shee slewe me with ache? His fiery head was lost, trust God: see all, the bird and grayþe, þat so wel wrast alway to his bedde, gawayn glyȝt of your mirror of houndez, hit were oþer burnez telle to haf a lemman, and things.

Sixtieth Stanza

The floors, and other the lacquer of host to war and bryng, among þe byȝt, voydez out that the winds are priuie to the sighing parts in other forferde hade goude laȝed vchon oþer wyth my wyf, þat merk at my head beauties which no eyes of þe quelled derely vndo as he slow-picked, halting that tomb already to his arsounez; and say it Cuddie, as þe lyfte vp his hors fethered: his seruyce þat ferlyly longe; as he staid with þat were rich happen, welcum to my very large enow to dryȝe, at last, to catch hints of blue whilst the morning skull is spurting joys to tell my Julia, and he honde. And I to take at dawed bot þay same. Forgot forsake ȝe þis gode Gawayn lis and gay, and heart. And derely vndo as he atled, þen brek þay þer expoun of druryes greme he gryed with eyes shall unarm’d, and round, since left a ful hardener of the worlde watz runnen to the sky?

Sixty-first Stanza

It I must we passed anguish. Never been the commen; gayn schulde loutes þere my trembling Croud, that sweet and luflych lokkez hem bitwene, we schyr goulez wyth no more—’ such wages as ȝe may buye gold to an ende. Love make know she’s priz’d, and mynstralsye, with a roȝe greue, hey ho graces daunce: my old man walkez ayquere, to him who’s smooth the great the hostel Arthour I haf fonge bitwene, wyth menskful, me þynk hit noȝt forȝate, com to hallez for the flowers to escape write, when he came up the lips, our Cot, and all help the sand! With adder tenor of burning with tryfles þe sunne, and closer?

Sixty-second Stanza

Her grown, and twist of us, and the woods no more that blenked ful clere þe hyȝ and brave at a curse so dark, and heardest thou hast nae mair to ask: for it is enchased man, and teldes bigynnes, langaberde for bloodless vigil kept, and al þat he wolde. Finally, you grasp in your eyes and wythhylde hit wele of the bels, ye yong men torturingly family sort of hellish Ielousie! That thus much joye to aspye wyth in a flowers the bedde to ful pore for his masse, Ande sayde, I schulde makes beneath his won, hit watz cummen, þe bores he atled, þen notez ofte al þe stones he dieth!

Sixty-third Stanza

So, take broȝt to þe dere. Which make it were, and at þe avanters, if thou height the passion which deaths be no sign, we saw the warp, Wher is too I know, and lende, and of all heart has light in his sparþe to explore, she rough-bearded bytwene: a better, I schal byden þerwyth of life was a good ber and the watz on þe mone ryse. He scents thy shape of life its tender-ship, cried; and fres er hit is my wedez. Where þy pay. Her side watching head. And þe knyȝtyly, as hit ful sone of hardened with Arþer he myȝt totes. Into worthy transport ȝelde hit holds a dying to the pollen couþe.

Sixty-fourth Stanza

For Man, since my lip when them down. Vault. Then longynge þay blw prys, bayed þe halme gryped to þe half, Gawayn watz more ioye. That men can claims of other do departed þe were a graves, the man had such a debt to pay her for one; þe knygez burȝ and þe last arayed, schon þurȝ forse of praise is darke place of þat broken, in earth—and the yard the Damzels, daughter loud that blazed with mery man ever take. I thanks one dead. And glent vpon þe same night makes the sun. No one’s through it bee that maken fiers makes you, to you, all in white till these they glided past, pay to adorne herde sayde: wy!

Sixty-fifth Stanza

Stay but reality distracts her. At peace at last gasp of living. I love lettrure, þe chaunge, whaever has made of þe wylde swyn segh he ne lutte hym laft, and pleasant Orange-tree; how Vlster light, we have thou’t lovers love or to frayned with the peoples show where do you hee’l flattering on the thin scream from God and coundue hym to spekez— neuer wyȝe schulde I hope is notes we sing, there’s a voice, to all dispers breed another’s soul, they more lykkerwys on to wayst, fynde, went hand, heavens you for twenty- five years to a twilight inklings of shame to pay her full day, and love Frankenstein!

Sixty-sixth Stanza

That flowers gather’d’ as subject Lute, places, by what come, and wyȝt watz spyed and brave man who live your hed held no Warder dare I chide the time an experiment dividing belly. Oh lift vp so hyȝe on his be heuy haf lenger þe foure luflych adoun and twist of þe dok lasted tread we knyt, syþen fonge. You will be dear love the voyce, which meets all thee alone can live in his little green leave thou hast thou send, less for the only pretty ring the best. From the gallows’ need: so with gret prys þat lyf vpon schape his mother ye virgin’s bloom, and now fancies shall iudge by the pond’s surface.

Sixty-seventh Stanza

Who like, like the song that if I should have been, and why he look upon the dew and farez ouer þe hendely, þen any one measure, drinks all—tis my father watz broȝt blysse in thee thy soule was racing all the incessant water þe loȝe þat I þe best register with goodly dost wake elsewhere, and crede telles, hir brest and cancel all of sunset through it bent þat deserved up my hede, and so dauntless in and talk þat þe an oþer, and will tell thee broun stel honde, þat wende. She cried; and therein on her beddyng watz mete, þe trewest on the heart for thyself chapel, for chaunged his gilt hear, and I to my staff the day þis aune nome, þen britned to do, slim shadows of the day; now an aghlich may leng in the least she may not for to spekez—neuer þe lettrure an example, fire partake, and comfort and fresche, as care: we knew they never be? And loud hearken to you.

Sixty-eighth Stanza

Ask me now þe hyde, þer alle hit acordez and bower, was it must, and all my lord Lochinvar. Hopped a ful hyȝe, and generative errors down with a blow! And wynter wyth guod wyl me wyth a scharp knyf, and glent al of air, and he ȝarrande fulsun hom, þe fayrest in a madman on rayled þore, and to chose, þe hyȝe honour, your steel-mirror of her dryȝe he lapped about, aboute, with girland groan ran their weak woman, came to fech hym maȝtyly as help a broun bleeaunt, by Angel mild: witless soul, but there made lovingkindness’ sake grieved be, and I schal gruch þe gilt helez.

Sixty-ninth Stanza

She hath, by Nature link the arrows castel, þe chymné bysyde, rocher vnrydely watz his fayrest Planet to ever looks familiar. Try thee mid thither, or shall guided steed was ne’er let it too deepe; griefe, with mony bonkkez, wyth þe blode blenked ful quaynt derf mon, myn is lent innocence: and ho soré to sete, þe froþe femed as no opening that I hate thee; those holy priests, lovers love, a tender-ship, you grasp in yowrez, al þe segge, and purer herkkened hit fallen hym lykes þat vnsparent, arȝez in oþer mon, grant innocence and schrank to þe grene stone-still, and vche gromez vp euen, hit half a year, and swear I did strive, the capriciously i’m fascinated. Be idle flickering daies labour bedde to him: Friend. ’St from the fresh garments are what he soȝt hym, for so ioyfull diets boast, and sere pyne, hey ho pinching your seruaunt be, at last! I never more?

Seventieth Stanza

Youth before, but health my rage of all of tuly and marching paynefull birds do not gete. Both of my face. Is its way, who never more shore shall sting eyes did ye still. ’St thou did not remove nor red nor sweet thereby; leave and on þat I schal bayþen in his wings in a mery mantyle, mete and plume; and ye this yeere on my eyes … ally, inevitably ridiculous. Which he to come. I wouldst fain know who lookest kyng as stiffen’d to Truth, unsullied by joy … the lands, and water has curved alone. So never lose a day or two. Then I knew it. Might should transgressions fit.

Seventy-first Stanza

As if it were; a balȝ and bitter gall. Is it to flying; give lies, that ye for to lasse hit yow tydez, trawe ȝe me that in your ideograms, how only remember me word: and tree or three leather ring, with the prisoner had ben seuen wynter nas wors, when shall fly and strive, the river or not agree to give, if thou like the cloud, and on felde þerafter, as if she ’d said, oh Shah, he baldly hym þe behouez nede’: and thing through acts uncouth, toward does all the pale chereless as neuer oure love lette þe same, but all the screen, or the Storke be here thou dost thou that blows, and bowers.

#poetry #automatically generated text #Patrick Mooney #Markov chains #Markov chain length: 6 #153 texts #sonnet sequence

0 notes

romamurecords · 1 year

Text

What are LUFS and why they are important for your music productions

Loudness is a crucial factor in music and audio production, as it can greatly impact the overall listening experience. While dB (decibels) have been the traditional measure of loudness, the introduction of LUFS (Loudness Units relative to Full Scale) has become the new standard in recent years. In this article, we will explain what LUFS are and how they are used to measure loudness, as well as…

View On WordPress

#broadcasting #dB #levels #loudness #lufs #measurements #new technologies #plugins #production

0 notes

veneratechnologies · 1 year

Text

Dialog-gated Audio loudness and why it is important

Being a fan of watching video content on a variety of devices, I sometimes get into situations where I can’t make out what is being spoken even though the overall audio levels are fine. Have you experienced these issues? I am sure they are annoying enough and make us think how this content was approved for publishing with such obvious issues.

Many of you would be surprised that such content can pass the Loudness criteria that are commonly used for typical audio QC testing, and if not manually reviewed, the content can indeed pass and be made available to consumers. This is because a more sophisticated level of Loudness testing, called ‘dialog-gated loudness’ criteria must be used in order to verify that the portion of the content with dialog has the proper loudness levels. Not performing the dialog-gated loudness verification could result in content that while passing general Loudness criteria, may still not have audible dialogs for the viewer. This can negatively impact content providers who are continuously vying to gain & retain consumers by maintaining the high quality of their content – both technically and editorially. Now a days OTT service providers like Netflix and others require the dialog-gated loudness compliance.

In this article, we will discuss how such issues can be detected by using Dialog-gating and how our QC products can help content providers achieve this in a fully automated manner.

Dialog Gating

Gating is the process that only pass audio signal satisfying the criteria while removing the unwanted audio signals from loudness measurement. The gating criteria may be absolute audio level, relative audio level or audio type such as speech or non-speech.

Dialog-gating is a process that only allows the audio signal which has speech content. All other non-speech audio segments are rejected and not passed through for the loudness measurement.

Level-gating is a process that only allows the audio signal higher than particular audio level to pass through. There are two common level gating techniques:

Absolute Gate. All the audio segments below a particular audio level (mostly -70 LKFS/LUFS) are rejected.

Relative Gate. All the audio segments that are lower than particular value (mostly 10 LU) below the average absolute loudness are rejected.

Let’s consider the case of a 5.1 audio stream. The list of channels in such audio stream are L, R, C, Ls, Rs, Lfe. Normally the speech content is carried in the Center (C) channel but sometimes it may be carried in Left (L) and Right (R) channels also. For this reason, only L, R and C are considered for calculating the Dialog-gated loudness and all other channels are ignored.

In real workflows requiring dialog-gated loudness measurement, an adaptive gating approach is taken. It means that Dialog-gated measurement should be performed if there is sufficient speech content in audio. If the speech content is not sufficient, then level gating is used to perform the loudness measurement.

The diagram below shows such a workflow for a 5.1 audio stream:

The upper half of this diagram takes the audio content from L, R and C channels for dialog-gated loudness measurement. The content is passed through “Dialogue Intelligence” to determine if the audio contains speech. If the audio has speech, it is assigned a gain of one, else zero. The resultant channels with gain are fed to the dialog gating process. In this case, only the audio segments containing speech will pass through along with corresponding loudness level and amount of speech content. Non-speech audio segments will be dropped. Adaptive gate selection decides whether to use dialog gated loudness or level gated loudness depending on the overall amount of speech content.

This measurement provides a true picture of actual speech levels in audio and content providers can be sure that the audio experience of their audience is preserved.

Venera’s Automated QC tools – Pulsar™ & Quasar® allows automated measurement of dialog-gated loudness measurement. Following options – shown for the EBU mode (popular standard in Europe) – are available in both the solutions:

These options are available for ATSC (popular standard in North America), OP-59 (popular standard in Australia), and ARIB TR-B32 (popular standard in Japan) modes as well.

In addition to measuring the dialog-gated loudness, users can also measure the difference of loudness level using dialog-gated measurement and level-gated measurement. This gives them a practical perspective of audio composition in the content they provide to their consumers.

Pulsar™ also allows users to automatically normalize the audio levels eliminating manual intervention in making the content compliant.

In addition to Loudness measurement, Venera’s QC tools – Quasar® & Pulsar™, offer a wide range of Audio and Video measurements that help users automate the otherwise tedious content QC operations.

Quasar® is a Native Cloud Content QC service, allowing auto scaling with ability to process hundreds of files simultaneously with wide range of content security capabilities so that our users can process their content with peace of mind. Quasar® can be integrated using REST API for highly automated workflows. Visit www.veneratech.com/quasar to read more about Quasar® and request a free trial.

Pulsar™ is an on-premise Automated File QC systems, allowing scaling with clustering of multiple Verification Units in user’s datacenter or office location. Pulsar™ is the fastest QC system in the market allowing up to 6x faster than real-time speed for HD content. Pulsar™ can be integrated using XML/SOAP API for highly automated workflows. Visit www.veneratech.com/pulsar to read more about Pulsar™ and request a free trial.

Get in touch with us today and we would be happy to discuss with you how we can help solve your content QC challenges efficiently!

This content first appeared here on: https://www.veneratech.com/dialog-gated-audio-loudness-and-why-it-is-important/

0 notes

undersmusic · 1 year

Text

What LUFS Should I Master to An Whats Too Loud

When mastering music, it's important to be aware of loudness levels and how they can affect the audio quality and listening experience. LUFS (Loudness Units relative to Full Scale) is a measurement used to quantify loudness in audio, and it is used to ensure that audio is at a consistent loudness level across different platforms and devices.

The recommended loudness level for music is around -14 LUFS, which is considered the industry standard. This level allows for a good balance of loudness and dynamic range, and ensures that the audio is loud enough to be heard but not so loud that it becomes distorted or fatiguing to listen to.

However, it's important to note that some music genres, such as electronic dance music (EDM) or heavy metal, may have louder average loudness levels.

It's also important to note that loudness levels can vary across different streaming platforms and devices. For example, streaming platforms like Spotify and Apple Music have different loudness targets for their music, so it's important to check the recommended loudness levels for the platform you're delivering the final master to.

Overall, it's important to be aware of loudness levels when mastering music and to use LUFS measurements as a guide, but it's also important to consider the genre and the final destination of the music. A good rule of thumb is to keep loudness levels around -14 LUFS, but to also take into account the specific requirements of the platform you are delivering the master to.

youtube

The recommended LUFS target for EDM music can vary depending on the specific style of EDM and the intended listening environment. However, a good starting point for EDM music is around -8 LUFS to -6 LUFS. This loudness level allows for a good balance of loudness and dynamic range, while also providing a loud and energetic sound that is well-suited to the genre.

It's important to note that EDM music often has a higher average loudness level compared to other genres, and that loudness can be an important aspect of the genre's aesthetic. EDM music is often played in loud environments such as clubs, festivals, or on loud sound systems, so it's essential that the music can maintain its energy and impact.

It's also important to note that some platforms such as Spotify, Tidal and Soundcloud have a limit of -9 LUFS in their loudness standard, that's why it's important to take this into account when mastering for streaming services.

It's also important to consider the overall dynamic range of the audio and avoid overcompressing or limiting the audio. A good mastering engineer will be able to balance the loudness of the audio while maintaining its dynamic range and preserving its musicality.

Overall, while a good LUFS target for EDM music is around -8 LUFS to -6 LUFS, it's important to consider the specific requirements of the platform you're delivering the master to, and to also take into account the dynamic range and the intended listening environment.

When mastering EDM music for streaming services, it's important to consider the loudness standards of the specific platforms you're delivering the master to. Some platforms, such as Spotify and Tidal, have loudness standards of -9 LUFS, which is a bit lower than the typical loudness level of -6 LUFS for EDM music.

That being said, it's also important to consider the overall dynamic range of the audio and avoid overcompressing or limiting the audio. A good mastering engineer will be able to balance the loudness of the audio while maintaining its dynamic range and preserving its musicality.

It's important to remember that mastering for streaming services is a compromise between loudness and dynamic range. You want to make sure your music sounds great, but also it should comply with the loudness standard of the platform you're delivering the master to.

It's worth to mention that some platforms like YouTube, Soundcloud and Bandcamp are more flexible in terms of loudness and some others like Spotify and Tidal have more strict loudness standards, so it's important to understand the requirements of the different platforms you're delivering your music to.

In summary, it's recommended to master to a loudness level of around -9 LUFS for streaming services, but it's also important to consider the overall dynamic range of the audio and the platform you're delivering the master to. A mastering engineer will be able to balance the loudness and dynamic range to achieve a great final master.

The loudness level of an audio track can have an impact on the listening experience, especially when listening over long periods of time. A lower LUFS level, such as -14 LUFS, can provide a more comfortable listening experience over long periods of time because it allows for a greater dynamic range, which can reduce listener fatigue.

A dynamic range is the difference between the loudest and softest parts of a track. A greater dynamic range allows for more contrast and variation in the audio, which can make it more engaging and interesting to listen to. A higher LUFS level like -6 LUFS can result in a more compressed and less dynamic audio, which can become fatiguing to the ears over time.

Additionally, a lower LUFS level like -14 LUFS can also provide a more natural-sounding audio, as it allows for more of the original dynamic range of the audio to be preserved. This allows for more of the nuances and subtleties of the audio to be heard, which can enhance the listening experience.

However, it's also important to note that loudness levels are a matter of personal preference and taste. Some listeners might prefer a louder audio, even if it's less dynamic and more fatiguing over time, depending on the genre and listening environment.

Overall, a lower LUFS level like -14 LUFS can provide a more comfortable listening experience over long periods of time, because it allows for a greater dynamic range and a more natural-sounding audio. However, it's also important to consider the intended listening environment and personal preferences when mastering.

In summary, when mastering music, it's important to consider the loudness level and how it can affect the listening experience. LUFS (Loudness Units relative to Full Scale) is a measurement used to quantify loudness in audio, and it is used to ensure that audio is at a consistent loudness level across different platforms and devices.

The recommended loudness level for music is around -14 LUFS, which is considered the industry standard and provides a good balance of loudness and dynamic range. However, some music genres, such as EDM, may have louder average loudness levels.

It's also important to note that loudness levels can vary across different streaming platforms and devices, and to check the recommended loudness levels for the platform you're delivering the final master to.

A lower LUFS level, such as -14 LUFS, can provide a more comfortable listening experience over long periods of time because it allows for a greater dynamic range which can reduce listener fatigue, and a more natural-sounding audio. However, it's also important to consider the intended listening environment and personal preferences when mastering.

🧠 Learn mastering with Ozone, Hidden 50% Off for Youtube Subs - https://www.warriorsound.courses/mastering-music

----- FREE STUFF----

✅ FREE SAMPLE PACK - https://www.warriorsound.courses/soulful-dnb-pack

👀 FREE MUSIC STREAMING GUIDE - https://www.warriorsound.courses/pl/230316

—My Studio Set Up—

🔈 Favourite Budget Monitors - http://bit.ly/MTMiLoud

🎚️ ADAT Interface Set Up - https://thmn.to/thocf/lv3lsv64u3

🖥️ Only Place to Get My Desk - https://bit.ly/UndersStudioSetup

🎤 Microphone - http://bit.ly/IKMicstduio

—My Favourite Music Production Software—

🌊 Extra 10% Off at Waves Audio - http://bit.ly/WavesBonus

🎛️ My Most Used Mix Plugin - http://bit.ly/Neutron3

🌎 Ozone 10 - https://shrsl.com/3sah7

🔊 ProQ 3 - https://goo.gl/3tpTBD

🌭 NI Komplete - https://shrsl.com/3qcm0

📼 Tape Plugins - http://bit.ly/IKTAPES

🔍 ADT - https://waves.alzt.net/ReelADT

🖖 Split Up Any Audio - https://www.lalal.ai/?fp_ref=scott38

—My Favourite Business Tools—

📌 Courses and Membership (Kajabi) - https://app.kajabi.com/r/sfcFEMhd

📩 Grow Your Own Email List (Kajabi) - https://app.kajabi.com/r/sfcFEMhd

🌐 Website (Squarespace) https://squarespace.syuh.net/xgEZy

🕸️ Domains (Namecheap) https://namecheap.pxf.io/jYGg6

💸 Unlimited Music Distribution - https://distrokid.com/vip/unders 🎥 Stock Footage (Envato) https://1.envato.market/15AEnB

🏦 Freelancer Banking - https://revolut.ngih.net/JrErGE

▶️ How I Grew Youtube - https://www.tubebuddy.com/unders

—Warrior Sound Courses—

📚 On Warrior Sound - https://www.warriorsound.courses/

📚 On Skillshare - https://bit.ly/WSCOURSE

📚 On Udemy - https://bit.ly/WSUdemy

0 notes

tonkizone · 2 years

Text

Mp3 normalizer windows 10 free

Mp3 normalizer windows 10 free how to#

Mp3 normalizer windows 10 free movie#

Mp3 normalizer windows 10 free full#

Mp3 normalizer windows 10 free series#

Moreover, this value leaves some room for other effects you might want to apply. 1.0 dB is optimal because going beyond this value may distort your audio and make it hard to listen to. The second option given by Audacity is to Normalize peak amplitude to any value you like (as you’ve already adjusted the DC offset, you can proceed to normalize the amplitude between peaks). Just check this box to avoid offset before you edit the track (the DC offset can block some other editing options, so it’s best to do it before you apply any of the effects). The DC offset can distort the audio, so it’s essential to make sure that the waveform is on the 0.0 line. This might look complicated, but it isn’t. The first option is to Remove DC offset (center on 0.0 vertically).

Mp3 normalizer windows 10 free movie#

The first allows you to edit the sound in a movie and not just a stand-alone audio track, and the latter offers a large number of effects.

Mp3 normalizer windows 10 free how to#

Using the Normalize option is really no different from turning up the volume control.īelow, we’ll describe how to handle the two best MP3 normalizers, Movavi Video Editor Plus and Audacity. Because the same amount of gain is applied throughout the whole audio track, the signal-to-noise ratio and relative dynamics rest unchanged. Applying the Peak Normalization effect increases the dB level across an entire audio track by a constant amount. Peak Normalization, on the other hand, is the process of making sure that the loudest parts of an audio track don’t exceed a specific dB value. 14 LUFS is also the standard normalization level for many other streaming platforms. Here are the loudness normalization levels that music producers usually stick to. Loudness Normalization helps ensure that the average volume of your audio is the same from track to track. So Loudness Normalization simply refers to the process of attaining an average value. LUFS are used to measure the loudness over the entire length of an audio track (average value).

Mp3 normalizer windows 10 free full#

The first is Loudness Normalization (more accurately, LUFS, Loudness Units relative to Full Scale), and the second is Peak Normalization. Sometimes you can edit an MP3’s volume using automation, clip gain, or a plug-in.īut what does it mean to normalize audio? Precisely what does Normalize do? In fact, there exist two kinds of normalization. There are situations where it’s best to abstain from using it simply because there are better ways to get the same result. Of course, the Normalize effect should be used wisely. In fact, this used to be the problem about three decades ago, due to the processing algorithms. Some of them claim that normalization can degrade/change dramatically the way the audio sounds. There’s a myth about audio normalization that beginners bring up when they come across this topic.

Mp3 normalizer windows 10 free series#

Another purpose is matching volumes in a series of audio tracks recorded at different volumes (often the problem with podcasts episodes). But why and when would you need to normalize your audio?įirst of all, to get the maximum volume for a quiet audio file without changing the dynamic range (for example, tweak the audio in a movie with a low sound level). One team claims that normalizing your audio can degrade it the other group says sound normalization can be a handy tool. No signup required.The Audio Normalization effect has been around since the beginning of digital audio, but opinions in the music society are still contradictory. The free audio converter does not expire and includes most common audio file formats. A free version of Switch is available for non-commercial use.

#Mp3 normalizer windows 10 free

0 notes

oriigami · 4 years

Text

we slept on the ocean last night

(My gift for @cozza for the @setsailexchange! Strawhat feel-good fluff, feat. nightmares, love, and platonic intimacy. Also on ao3 here!)

It starts like this: Luffy can’t sleep alone.

Zoro discovers this about six hours after they set out to sea from Shells Town, just the two of them in Luffy’s little dinghy and no destination to speak of. The sun has sunk past the horizon, and the water all around their tiny boat is pitch black, scattered with the shimmering reflections of stars.

Luffy yawns, stretching his jaw open wider than a human’s should rightly be able to go (and maybe the rubber thing still freaks Zoro out just a little bit, okay, he’s working on it) and then, without a word of warning, crawls over to where Zoro’s sitting and drops bonelessly into his lap, sprawling against his chest with his head pillowed over Zoro’s heart.

Zoro goes tense immediately, only barely resisting the instinct to shove him away immediately; in a boat this size, that would definitely send Luffy over the edge, and his new dumbshit captain can’t swim. “What. Are you doing.”

Luffy yawns again, and snuggles closer. “Mm. Sleepin’.”

“Okay,” Zoro says, with what he decides is a truly admirable degree of forced calm. “Why on me.”

“Comfy,” Luffy mumbles into his shirt. “‘nd warm.”

“Well, get off,” Zoro says, and then, when there’s absolutely no response, “Luffy? Hey-”

He looks down at Luffy’s face, already slack with sleep and dead to the world, and the rest of the sentence dissolves into a sigh. “...Nevermind.”

Because- see, Zoro’s not a touchy kind of person. It’s probably been more than a year since he was last hugged, and even that was just because Johnny tended to get kind of over-affectionate when he was drunk. Sometimes he shakes hands when handing over a captured pirate for the bounty, and that’s about it. And that’s fine.

Luffy’s whole weight is on top of him, warm and heavy and snoring softly against his chest, and Zoro’s pretty sure he can’t even remember the last time he was in this much contact with another person for this long. Luffy’s hair is unwashed and salt-encrusted, and it tickles his chin.

But. Well. It’s not bad. It’s definitely weird, and something about it makes Zoro feel oddly warm, but it’s not bad. So he just sighs again, and leans back to look up at the stars, and absently reaches up to rest an arm around Luffy’s shoulders.

He falls asleep a lot faster than usual, that night.

It goes like this: Nami has nightmares.

She’s good at hiding them. Her sobs are nearly silent, muffled into her pillow and rendered all but inaudible by the doors between her room and the boys’. But Usopp is nothing if not observant- and besides, he doesn’t sleep all that well either. When he closes his eyes he’ll see his mother’s face, too still and too pale with a cloth draped over her kind, sightless eyes. More recently, there have been fresher terrors filling up the inside of his head when he tries to sleep; chief among them Kaya, carved to pieces by Kuro’s claws.

The point is this- when Nami slips out of her room in the middle of the night, her breaths uneven and stuttery from crying, and pads almost soundlessly up to the deck on unsteady feet, Usopp is already awake. He lies still for a minute or two, worrying his lower lip and deliberating on whether to follow her. It’s obvious she’s trying to keep to herself. If it’s something secret, he doesn’t want to bother her. It’s not like he knows that much about her, or about any of them, really.

But at the same time- they’re crew now, right? Even if they’re only been sailing together for a few days. And crew look after each other. Usopp might not have much experience with being a pirate yet, but he has spent years crying into his pillow, so that makes him qualified to deal with this, maybe. He cautiously maneuvers his way out from under Luffy’s arm and tiptoes to the door, careful not to wake his other two crewmates up.

He finds her at the bow, sitting with her back against the railing and her head resting on her knees, shoulders shaking. She startles a little when he steps up onto the deck, jerking her head up and glaring over at him, but her shoulders slump again after a moment.

After another moment of indecision, he sits down next to her. He’s never been good at staying quiet- his mouth has a tendency to open up on its own whenever he’s nervous- but he manages it this time, and just sits there with his arm pressed against hers as she cries.

Once she’s worked herself down to what seems like relative calm again, he offers, “Do you, um. Wanna… talk about it?”

“No,” she says immediately, and then, quieter, “I… no. It’s fine. There’s nothing to talk about.”

It’s one of the most blatant lies he’s ever heard, and he’s been responsible for some real whoppers, but he’d be a hypocrite to point it out. Instead, he says, “Okay, um… do you wanna hear about the time a giant eagle carried me away to its nest, and I had to climb all the way down a tree that was so tall it touched the clouds?”

Nami chokes on a laugh, and it’s an ugly, wet sound, half a sob, but she leans her head against his shoulder, all the remaining tension running out of her body. “Y’know what? Sure. Tell me.”

Usopp’s just reached the part of the story where he finds a whole village of people living in the tree’s roots when he realizes she’s fallen asleep, and he trails off. The ends of her short orange hair poke at his skin, and her cheek is pillowed against his shoulder.

He guesses he’s not moving for the rest of the night, so he carefully wraps an arm around her narrow shoulders and lets his head tip against hers, and closes his eyes.

For once, he doesn’t have any nightmares.

It goes like this: Sanji doesn’t sleep.

“Oi, dumbass,” Zoro says, leaning against the kitchen doorframe and folding his arms across his chest. “Why are you still awake?”

It’s well into the dead silent hours of night, and even varying as bedtime tends to be on the Going Merry, everyone else is already long since asleep, aside from Usopp, on the lookout in the crow’s nest. It had been a long and tiring day, and most of them had hit the sack immediately after dinner- except for Sanji, who’s still mindlessly moving around the kitchen, like he’s killing time until daybreak.

It’s a measure of how exhausted Sanji must be that he barely even bristles at the insult, only blinks a little and glances over at Zoro. Even with his stupid bangs hiding his face, the sleeplessness is still plain to see in his visible eye. “Hm?” He blinks again, then says, “Oh. It’s you.”

“Why are you still awake?” Zoro asks again, because he still hasn’t got an answer.

“Couldn’t sleep,” Sanji says, and it’s not a lie, but it’s not the whole truth, either. “So I came up here to…” he trails off, makes a vague gesture at the pot bubbling on the stove. “It’s fine. I’m not even tired. I’m used to waking up early, for the breakfast crowd, so.”

There’s a lot of retorts hovering on Zoro’s tongue, but he bites them all back and just says, “Fuck that,” and reaches out and grabs Sanji by the wrist and drags him out of the kitchen without a backwards glance.

“Jackass, what are you- let go of me- what the fuck, I said I’m fine- at least let me turn off the stove-” (Zoro does grant that one. Wouldn’t do for the kitchen to burn down.)

He’s probably lucky Sanji is so out of it, he muses as he hauls the cook belowdecks to the sleeping quarters- if not, he probably would have taken at least one bone-shattering kick to the skull by now. But then again, if Sanji wasn’t dead on his feet (and wasn’t a fucking idiot), Zoro wouldn’t be having to do this in the first place. They’ve just entered the most dangerous sea in the world. They need to get their sleep when they can get it so they’ll be ready for trouble when it comes.

As usual, the shared bedroom is piled with pillows and slightly ragged blankets, transforming it into a comfortable little nest. Luffy is sleeping half-propped up against one of the walls, Nami napping with her head on his lap, and Sanji’s cursing goes quiet so as to not wake her up as soon as Zoro tows him inside, which Zoro is grateful for. It was starting to get kind of repetitive.

He drops Sanji down directly next to Luffy, half on top of him, and nods to himself when a rubber arm almost immediately tightens around the cook’s chest, gently but firmly trapping him in place, and the captain snuggles up against Sanji’s side in his sleep.

Sanji glares up at him and hisses, “I hate you,” or tries to, but he interrupts himself in the middle of the sentence with a yawn, which diminishes the impact considerably.

“Yeah, yeah.” Zoro rolls his eyes and then drops down on Sanji’s other side, letting his head flop onto Sanji’s shoulder and letting his eyes slide shut. “Just go to sleep.”

It goes like this: Robin doesn’t touch people.

It takes a couple days for Chopper to notice, because she does tickle his sides and ruffle his ears, but… she only ever does that with the false hands she creates with her devil fruit, the ones that dissolve into cherry blossoms that tickle his nose. She keeps her real hands close, only touches out of necessity, never when she doesn’t need to, and even then it’s always fleeting.

And she sleeps apart from everyone else, too.

Theoretically, Chopper knows, there’s a boys’ room and a girls’ room. In practice, though, there’s really one room for everybody, and another room where Robin sleeps and Nami changes and keeps her things.

(He asks Zoro, one of the first nights, why Nami often doesn’t sleep in the girls’ room, why the crew instead sleeps all piled up and tangled together when he hasn’t ever heard of humans doing that before. Zoro just shrugs in response. “It’s a comfort,” he says simply. “Won’t air out secrets that aren’t mine, but people don’t become pirates just for fun. Most of us have trouble sleeping.”)

Chopper finds Zoro is right. He likes sleeping together with the others. It’s just easier, when he’s got Luffy’s fingers tangled in his fur and Usopp’s head pillowed on his side, to stop the Doctor’s last words from echoing in his head.

(Luffy also declares him the second-best pillow on the crew, after only Zoro, which absolutely doesn’t make him happy at all.)

It happens just after Skypiea, when they’re all still just beginning to recover, sheltered in the sky while they heal from the battle against the mad god. Robin easily concedes when Chopper asks her to come to the sickbay so he can check for lasting damage from the lightning bolt, and lies down on the cot to let him check her ears, her eyes, her heartbeat.

He’s finished his checkup (no apparent lasting problems, miraculously) and is noting down her baselines in his notebook for future reference when he glances up and realizes she’s slipped into slumber, her eyes closed and her breaths slow. It’s not a surprise; they’re all exhausted.

But… maybe it’s because Chopper still doesn’t have that much real experience with humans, but he can’t help but think the way Robin is sleeping doesn’t look all that restful. She’s kind of curled up, her arms folded up against her chest, fingers digging into her forearms tight enough to bruise.

Zoro’s voice rings in his ears. It’s a comfort. People don’t become pirates just for fun.

He slips down from his stool and shifts into his full reindeer form, and carefully climbs up onto the narrow cot beside her, folding his legs up underneath him and letting his side press against her back. He can feel the miniscule trembles running through her body, tight with tension.

He rests his head on the pillow next to hers and closes his eyes, and slowly, slowly, she stills, relaxing into his side, her tremors calming little by little.

He thinks he hears her murmur something that might be, “Thank you, Doctor-san,” just before he drifts off to sleep, too.

It goes like this: It’s a comfort.

They’re all hurting after Enies Lobby, all aching and grieving and above all tired, a bone-deep weariness borne of running and fighting and crying and nearly dying over and over again. They can barely stay on their feet for the boat ride back to Water Seven. Robin can’t seem to stop smiling, even through the painful abrasions around her wrists and the tear tracks drying on her cheeks and the ache that digs down to her bones.

Iceberg gives them a whole suite of rooms to use in Galley-La’s temporary headquarters, all comfortable, all with their own big soft beds to sleep in. He means well, she’s certain, but he just doesn’t know how the Strawhat Pirates do things. But, then, there’s nobody else who does things quite like them.

Iceberg is barely out the door before Robin is folding her arms across her chest, ferrying mattresses and bedding and pillows and comforters into the main lounge, gathering them into a piled-up nest of comfort. The shared bedroom on the Going Merry had been outfitted much the same, she remembers, and the warmth of familiarity is the least she can offer them after all they’ve given her.

(Later, Franky will see this, and make a bed big enough to hold all of them, soft and comfortable and warm; but for now, they’re all safe and all alive, and so pillows on the floor are plenty.)

They don’t lie down so much as they all fall together at once in a tangle of limbs and pillows, now that the adrenaline has long since faded away, leaving only exhaustion in its wake. Robin finds herself with her head on Nami’s chest and one of Luffy’s arms slung across her shoulders, and Chopper cuddled against her stomach.

It shouldn’t be as easy as it is to melt into the embrace, to let go of the constant vigilant caution that’s kept her alive for so long, but she trusts these people, like she’s never trusted anyone in her life. She was ready to die for them, and they responded by telling her to live for them instead, and remembering that fills her heart with such soft fondness it nearly hurts.

But they’re not quite all together. Not yet.

She shifts to cross her arms again, careful not to disturb any of the crewmates already fast asleep around and on top of her, and lets an arm blossom from a doorframe in the hall outside to catch Usopp by the collar before he can slip away. She hears his yelp of surprise from just outside the door, quickly muffled, and smiles to herself.

A moment later, he peers inside, hiding behind the mostly-closed door. She meets his eyes and smiles with all the gratitude she can’t begin to put into words, and nods towards an unused mattress and pillow at her side. He hesitates for a moment, clearly uncertain, caught between anxiety and hope, so she takes his hand in a succession of hers and tugs him over. He stumbles, but doesn’t resist, and she can see the exhaustion in him when he practically topples over onto the mattress.

Within minutes, he’s asleep too, face buried in the pillow, snoring softly, one warm hand still clasped in Robin’s. She knows he still has things to work out with Luffy, with the rest of the crew, and there’ll be time for that later. Right now, though, they’re alive, and she’s free, and it’s time to rest.

She falls asleep smiling for the first time in years.

It goes like this: Luffy can’t sleep alone.

So Rusukaina is… it’s hard. He’s not alone, Rayleigh’s there, and sometimes Hancock and the others visit and let him hug them as long as he wants, and that’s nice, but it’s not the same, not really. He misses his crew, misses Zoro’s solid warmth and the fluffy cushion of Usopp’s hair and the fleecy softness of Chopper’s fur and Robin’s low, rhythmic breathing.

(He’s never slept better than when he was seven, piled together with Ace and Sabo and some ratty stolen blankets on the rough-hewn floor of their treehouse, with the crickets singing outside and the stars shining bright through the window.)

(But now there’s no Ace and Sabo, not ever again, and no crew to keep him warm and chase away the nightmares in their absence, and so he doesn’t sleep well.)

He fights through it, because that’s what he always does, what he’s always done- press through. He has to get stronger for the people he has left.

Going back to the Sunny is nothing less than going home.

When night comes, they’re deep underwater, en route to Fishman Island, the sunlit waters of the surface long since gone. Past the railings of the Sunny, the world is nearly pitch black, lit only by the occasional bioluminescent creature wriggling past.

Luffy couldn’t care less, because right here and right now, the Sunny is the world, and nothing past their bubble of light and warmth and safety matters at all. He grins, and throws his arms out to drag his whole crew together into a messy pile in the middle of the deck- Sanji swears and Chopper shrieks and so does Nami, but not one of them tries to dodge- before flopping into the midst of the chaos himself.

He winds up sprawled half on Brook and half on Sanji, who complains but doesn’t kick him off, his head on Robin’s thigh and his arms tangled through all of them, holding on tight to every member of his crew, the most important treasures in the world, the touch promising him they’re there, really there.

He’s not letting go of any of them, not again, not ever.

He’s reaching the crown with all of them or not at all.

Someone runs a hand through his hair, and it feels nice. Someone says, “Get some sleep, captain. We’ll be here when you wake up.”

He knows they will be.

#opfic #my writing #one piece #opfanfic #luffy #roronoa zoro #sanji #nami #usopp #nico robin #chopper #strawhat pirates

340 notes · View notes

anonymousanomieness · 3 years

Text

Cheat the Church of Integrity — Strip the Sanctuary of Truth — Compromise the Cult of Society — Life is YOUR Game

Introducing The Games (Continued):

vi. The Time and Space Game What better way to control the masses than to contain them within a limited number of perceivable dimensions and parameters by perpetuating a fictitious narrative? The nature of Time has been pontificated since antiquity; yet, there’s not much to grasp. Time is only an intangible concept — a product of the imagination that somehow became so pervasive, that the vast majority took for granted that it is merely a creative idea. When does the ego become aware of the idea of Time? When one is a baby, or even a toddler, one is unaware of anything called “Time.” Even when a child is becoming “potty trained,” it is debatable as to whether or not Time needs to be grappled with. One may claim that a toddler has a sense of how much time there is to safely reach a toilet before having an “accident” — however, truthfully, the toddler is not thinking in terms of time, but rather, urgency. If the toddler delays going to the toilet, then due to its body’s digestive system, the toddler will experience a biological sensation, which will then trigger a psychological feeling of urgency, which will grow more intense the more the toddler delays. The mental sensation of urgency is a predictable outcome of the biological sensation within the digestive system — but either way, it is independent of Time. After all, the toddler will experience these sensations regardless of whether or not it believes in Time. If the toddler has an accident, the toddler will not likely believe that it “ran out of time”; rather, it will simply accept — perhaps after some emotional trauma — that its body gave into the biological urgency of the situation, regardless of Time. Contrary to popular belief, urgency does not relate to Time; it only relates to a sense of importance and high priority stemming from strong convictions, or pressure. Time is an extra imaginative factor that we subconsciously plug into life equations, usually to denote urgency. If you eliminate Time from an equation, urgency still remains, until you eliminate what seems to be directly causing the sense of urgency. The toddler’s sense of urgency will disappear when it finally releases its waste through the digestive system. Likewise, the sense of urgency that a person feels when they are holding their breath will disappear once their body insists on exhaling and inhaling deeply to relieve the tension. Time does not contribute as a risk factor at all; the person holding their breath risks losing consciousness not due to prolonged “time” without oxygen, but simply due to a quantitative lack of necessary oxygen — regardless of time. Yet, we insist on thinking of Time as some independent force that “moves things along” on its own, like some phantom glacier. My least favorite cliché is, “All things change with time.” Time does not change a thing; rather, objects, including living beings — and perhaps forces of nature — make any and all changes. (It can be said that objects and living beings are, in a sense, forces of nature themselves.) Any change that is made to your reality is either caused by your actions, the actions of some other object, or natural forces — all falling within your consciousness. Time is not a force, but an idea. Regardless of whether or not you believe in Free Will, all changes that occur within your awareness — for certain — are not initiated by anything with the name “Time.” Similar statements like, “Times have changed,” only serve to make you feel powerless and useless. Sure, it would be wise to accept that you cannot control everything, as you may not be able to stand up to a hurricane…but are you seriously going to base your life decisions on “the times you’re living in,” rather than allow your imperatives to determine and influence this timeless present moment of your creation? One would be wiser to consider that Time does not perpetuate us; rather, we foolishly perpetuate Time as a fixed idea. The Operators within the Church of Integrity, or the Sanctuary of Truth, use the concept of Time to their advantage in order to control masses of people without them even realizing it. To be fair, most commoners enjoy utilizing the idea of Time to their benefit as well. This is tempting, especially when you want to instill a sense of urgency within your followers so they will prioritize your intentions and act according to your desires more readily. Hesitation and procrastination do not actually demonstrate an augmentation of “down time,” but rather a diminution of personal desire and the will to act. However, you can trick people into fearing you, and therefore cooperating with you, if you introduce them to Time, and explain that they will experience an undesired sensation if “time runs out” due to a “deadline.” We tend to fear potential consequences. However, these are only spooks — contrived ideas based on the concept of “after.” Etymology shows “after” to be derived from “off,” as in “farther off” or “further” — beyond the present moment. When we start to worry about what may happen after, farther off, further down the line, beyond the present, etc., we are less capable of enjoying what is right in front of us. “After” is only part of our imagination, since it has not occurred yet! Likewise, “before” is only a dream, because it is not happening anymore! Only the present is occurring now.

• • •

Another obstacle to contend with is space — that is, the concept of space as a measurable entity within our immediate perceivable environment. The vast majority has trouble questioning the validity and significance of space, due to being so caught up in the five main senses, and the physicality of surroundings; in other words, we are so convinced by our perception that all objects surrounding us are undeniably “real” and external from the self, rather than entirely mental and internal — within the self. That being said, it truly does not matter whether you think your surroundings exist externally or internally. You can believe that your surroundings exist as independent materials outside of your perception, yet still agree that the concept of space is nothing more than just that — a contrived concept. Space, let alone time, is not a phenomenon that stands in its own right; rather, space and time are tools of our imagination that we utilize in order to make sense of our awareness, and how objects within our consciousness seem to behave. A widely accepted system that is easy to debunk is that of “orientation” or “direction.” Terms such as “North,” “South,” “East,” and “West” were completely contrived by human minds. They each simply seem to describe a general path that progresses toward or away from a given point of reference. For example, “East” is the general label given to a path that progresses toward the rising sun. It comes from Proto-Germanic “aust-,” meaning “toward the sunrise.” “North” is the general label given to a path that progresses “left” of the sunrise, as the term descends from the Proto-Indo-European root “ner-,” meaning “left” or “below.” The word “left” is thought to derive from the Kentish or northern Old English term lyft, meaning “weak; foolish”; or from the East Frisian term luf, or from the Dutch dialectical loof, meaning “weak, worthless.” Of course, these would be referring to the arms or hands. Usually, the “left” arm tends to be the weaker arm. So, humans conjured up a metaphor comparing a contrived direction traveling away from the sunrise to a weak arm that seems to be pointing in that same direction, when one faces the sun at “dawn.” The “tangible” objects involved here — if you will — are the sun and the weak human arm, based on the temporary perspective of a human looking towards the location where the sun was said to rise. From observing these tangibles, humans have invented the intangible concepts of “North,” “South,” “East,” “West,” “Left,” and “Right” to assist with navigating awareness. It is clear how significant of a role the Language Game plays here. It is worth mentioning that languages borrow from one another, which means that concepts and terms across all languages — even if they refer to something global, such as “the ground” — do not originate simultaneously. The vernacular spreads through globalization, imitation, and repetition, and continually evolves. It becomes clear how most humans instinctively tend to imitate what they observe, rather than constantly innovate. This makes sense, considering when we are babies we must imitate our caregivers to survive. Language and communication certainly assist with surviving and thriving; but this does not mean that it is necessary to build a world in your mind that gives life to intangible, invisible concepts — and then impose your imaginary world upon the awareness of others, let alone your own consciousness. Within the Legal Game, lawyers, judges, and jurors use the Time and Space Game in tandem with the reasoning process. The word “reason” is part of the definition of the Latin word causa, and the Old French word cause. When someone tries to determine the “cause” that led to some “consequence,” they are merely reasoning. It might as well be said that they are seasoning, since all they are managing to do is sprinkle your awareness with arbitrarily imposed suggestions as to why you experienced something. “Where were you on the evening of April 4th, 1995, at 6:32 PM, when the sun and the moon were at this or that position in the sky?” “Why, I was standing at such and such coordinates, facing just Northeast of the Eastern border of the territory formerly known as Yugoslavia!” What nonsense! This is nothing more than a sly game — a manipulative tactic. Yet, we willingly choose to play this game every day, never stopping to question it. There are no hours, days, months, years, borders, countries, provinces, coordinates, or cardinal directions! There is only one “time” and “space,” and that is this moment! Awareness does not need a map, nor a compass to thrive. Consciousness is not a chronological web of events, all pointing the blame at one another. The winds will continue to blow, whether or not we measure their speed, or where they go. The sun will continue to rise and fall, whether or not we trace its journey, or keep watch at all. To be continued...

#egoism #egoist #egoist anarchism #anarcho-egoism #individualism #individualist #individualist anarchism #anarcho-pessimism #autonomy #autonomist #autonomism #anticiv #society #anarchy

6 notes · View notes

365daysoftododeku · 5 years

Text

3rd April 2019

Author: Misa

________________________________________________________________

A well-known fact is that Izuku’s fiancé is not a morning person. A lesser-known fact is that said fiancé can barely form a single coherent thought in the morning before he has his morning coffee.

Waking up to the gentle streaming of light through the thin curtains of their window, the freckled boy takes a moment to enjoy the peaceful sleeping face of his lover before planting a chaste kiss on the top of the other’s head. A grumble erupts from the lump of red and white fluff and Izuku giggles.

“G’morning, Shou-chan.”

“Nnnnngggh.”

The green-haired boy ruffles the other’s hair playfully. Leaning in again, he gives a butterfly kiss to the other’s temple before whispering to Shouto.

“I love you.”

Shouto lets out a breath of air as he smiles sleepily at the other.

“Mmm luf you...coffee…”

Izuku chuckles at his fiancé’s muddled reply.

“Do you love me? Or do you just love my coffee?” He teases before he feels the weight of an arm wrap around his waist. Pulled closer by the other’s warm embrace, he feels his stomach flutter as the other boy buries his face into his chest comfortably.

“...you.” The green-haired boy hears the reply muffled through his shirt as he tousles the other’s hair.

“I know, I know. I’m just teasing.” He feels the other pull tighter, another muffled whine.

“So mean…”

“Yes, yes. I’m a giant bully. If I make you some coffee will I be on your good side again?”

“Maybe, but...want to warm…”

“I see.” Izuku blushes at how affectionate his fiancé can be in the early hours of the morning. “What about if I make you some coffee and then we cuddle afterward?” Shouto hums in approval at the proposal but does not budge, his arms still firmly wrapped around the other’s waist.

“Shou, you know I can’t make the coffee if you don’t let go, right?”

“Noooo...make it from here...”

“My arms can’t reach that far. Unlike my mom, I didn’t gain minor telekinesis.”

“Fiiinneee.” The arms loosen just enough for Izuku to pull himself out of the warm bed and the other’s embrace.

“I’ll be right back, gosh.” With another light chuckle, the freckled boy pads his way towards the kitchen. It’s become a habit, but he can’t help but smile happily to himself as he measures out the ground coffee and pulls out the other’s favorite mug.

Humming to himself, he pours the freshly brewed coffee. Reaching into the fridge, he pulls out the half-and-half, filling the mug the rest of the way to the top before stirring and carefully walking back to the room, the pleasant aroma tickling his nose as he holds the mug in both hands to keep it steady as he makes his way to Shouto’s side of the bed.

Shouto, already sitting up on the edge of the bed, legs swung over haphazardly at the sight of coffee, holds his hand out to take the cup, leaning in to graze a peck on Izuku’s cheek during the exchange. The bed dips slightly as Izuku sits next to him to watch the sunrise in their daily routine.

Finishing the last chug of coffee, Shouto plants a much firmer kiss on his fiancé’s cheek. Setting the empty mug down on the bedside table, he looks over at the other before finally speaking clearer.

“G’Morning, ‘Zuku.”

“Come on, sleepyhead. We gotta get ready soon.” Izuku gets up from the bed but is stopped by a warm hand gently grabbing his wrist. Looking over, he sees Shouto pouting.

“You promised cuddles, liar.”

“We can do that after we get home from patrol but we need to get ready.” The freckled boy grabs the blue costume draped over the chair and throws it towards the other.

After a long day of hero work and patrol, the two finally arrive home. Tearing off his costume, the green-haired boy immediately throws himself into a hot shower before curling up into the comfort of their bed. The other soon follows suit, both freshly clean and exhausted, they fall asleep quickly in the other’s embrace. Late morning arrives and one opens his eyes groggily at the bright light streaming through the thin curtains of their window.

Looking over at the other boy sleeping soundly beside him, he lets a tired smile slip from his lips as he quietly sneaks out of the bed. Carefully shifting his weight so as to not make the frame creak, he hisses quietly to himself as the freezing cold tiles of the floor make contact with his feet as he pads his way down to the kitchen.

Reaching for the container of ground coffee, he pulls out two mugs. Setting a kettle of water to boil, he scoops the grounds into the filter before he begins to brew coffee for one as he rummages through the pantry.

He pulls out a variety of ingredients, messily arranging them on the counter before he stops to pour a cup of coffee into one mug. Reaching into the fridge, he grabs the half-and-half. Taking a sip from the mug, he winces slightly before adding more of the cream and sipping once more. Perfect.

He flinches as he pulls out a mixing bowl, the sound much louder than he anticipated. Measuring out the ingredients, he dumps them all into the bowl, whisking carefully before he pours out the mixture bit by bit onto the griddle, a tall stack of fluffy pancakes slowly starting to form as he goes through the batter. Satisfied with his work, he nods to himself.

The whistle of the kettle pulls his attention away from the delicious looking tower of breakfast. Sticking a tea bag inside the other mug, he gently pours hot water over it. As he lets the tea steep, he grabs a tray and a plate, loading it with pancakes and topping them all with plenty of syrup. Taking the teabag out of the mug, he pours some honey into the cup, stirring it quickly to help it dissolve. He sets both mugs onto the tray before carefully gripping it from both sides as he makes his way back to the bedroom. His fiancé is still sound asleep when he reaches the foot of the bed and calls out to him.

“G’Morning, ‘Zuku.”

“Nnnn…” The green-haired boy stirs awake at the sound of the other’s voice, stretching and yawning before he looks at the empty space on Shouto’s side of the bed. His eyes trail from the spot the usual mess of red and white fluff is towards the sound of the voice and his eyes light up.

“Shou-chan, Good Mor-- Are those pancakes?”

“So it would seem.”

“Did you make those yourself?”

“I did.”

“What’s the occasion?”

“It’s because I love you.” Shouto smiles with certainty as he brings the tray to the other boy, taking his mug of coffee. Blushing brightly, Izuku grabs the tray, swinging his feet over the edge of the bed as he sits up. Sitting next to Izuku, the other takes a sip from his mug, watching as the freckled boy digs into the fresh stack of pancakes.

He hears the frame creak as the bed dips slightly at the shift of the weight and Shouto feels a firm kiss against his cheek.

“I love you, too. Thank you, Shou-chan.”

________________________________________________________________

Would you like your work to be featured in the 365 Days of TodoDeku Project? Apply here! (≧∇≦)/

#Story #indidere #TodoDeku #365DaysofTodoDeku #TodoDeku365 #365 Days of TodoDeku #tddk #Shouto Todoroki #Todoroki Shouto #Izuku Midoriya #Midoriya Izuku #Boku no Hero Academia #BNHA #My Hero Academia #MHA #Todoroki x Midoriya #Shouto x Izuku #TodoIzu #long post

68 notes · View notes

blankvirtue · 4 years

Text

April 12, 2020

- 4:03pm -

I did manage to do something yesterday, even if it didn’t manage to get it written on yesterday’s entry lol. Mostly a lot of studying really, which I will be doing a lot more of. I see now just how much I don’t know, and knowledge is power. After learning about creating a stereo send bus and reverb sidechaining, I began watching some youtube videos that I got clickbaited into with a video called something along the lines of “Top 5 Mixing Tips” or whatever. Anyways, it glossed over the idea of gainstaging and dynamics, which made me want to research the topic further. I digged up some good info and tools ultimately. Here’s what I learned. Dynamics is not what I expected it to be. I’ve been using the wrong unit of measurement to determine how loud my song is this whole time. I’ve been measuring my songs loudness by RMS, or rather what the db Meters show on FL. Which is not how loudness is measured. Loudness is measured by a unit called LUFS (Loudness Meter Full Scale), a unit of measurement that was heavily implemented from 2010 - 2015 when the loudness war was in full throttle. Now a days artists aim for -14 to -9 LUFS when mixing due to the music streaming platforms demand to keep music at the same volume. -14 is the standard among other regulations that are put into place to keep it a leveled dynamic playing field. I learned about tonal balance, the distribution of your frequencies for the duration of your song. When you balance your frequencies you're essentially shaping the waveform. My first time seeing this was watching old school Evoke youtube videos of him explaining some of his process. I saw him constantly checking the waveform of the sound he was working on and making changes to it to make it a balanced waveform. After he made changes and noticed that if the waveform would spike anywhere he would EQ/Compress to manipulate the frequencies, ensuring it was balanced across the spectrum. To sum things up, overall I’ve been learning a lot about mastering, dynamics, and how much I’ve neglected to consider in all of my previous work at this point. As always though, I HAVE to put this stuff into practice and apply this new knowledge to see any results. I have a lot of experimentation to do with compressors and saturators! So I can begin to analyze and understand what the effects that these tools have with different instruments. I'm particularly interested in experimenting with compressing drums with reverb effects along side mild saturation and distortion to create glitchy drum effects. That ought to be a fun start.

0 notes

streamsspotify-blog · 5 years

Text

Why Spotify Lowered the Volume of Songs and Ended Hegemonic Loudness

In the end of May, Spotify made an alteration to its own music documents that went undetected by virtually all the agency's listeners. What was obvious, but to sound engineers and studio wizards was that the volume was reduced on each Spotify-hosted track.

Using software called Dynameter, this assortment of audiophiles took dimensions of favorite playlists such as the Global Top 50 and records of genres which range from soul to alloy, also found the Spotify catalogue had become more silent.

We believe"loudness" to explain the individual perception of a sound that is rich. When you hear something, so, what really counts is your understanding of the noise, not the values which are enrolled on a decibel meter.

It was just in 2011 the European Broadcasting Union, one of the chief broadcasting associations in the world, based that a dimension unit of loudness using all the EBU-R128 benchmark , known as LUFS (acronym for Loudness Units comparative to Full Scale). It's, in actuality, a smarter component of measure compared to decibels for understanding human comprehension of quantity.

Contrary to RMS, yet another measure used to find out the typical quantity of audiovisual productions, LUFS dismisses low frequencies, rather focusing on high and average steps over 2 kHz--the most sensitive area to our ears. A shout, as an instance, conveys more quantity feeling than the usual double bass may, though RMS suggests higher amounts for the device (and basses weigh heavily with all the older measure). That is because the human voice is at the center area.

LUFS was made to approximate our hearing functions.

What engineers have started to see is that Spotify has decreased the LUFS indicator of everything on its own stage from -11 LUFS into -14 LUFS, some in accord with that of rival musical platforms such as YouTube (- 13 LUFS), Tidal (-14 LUFS), along with Apple Music (-16 LUFS). In practice, the quantity for human ears will probably be controlled, and you might not even see the change.

We achieved to Spotify for remark about the LUFS decrease:"Spotify is always testing new features to benefit its users. Recent changes in the playback experience are part of the aspects we are evaluating."

So why is this significant?

A much better audio

At first, the acceptance of this EBU-R128 standard wasn't aimed at streaming programs as well as the audio world. The aim was to normalize the audio patterns of content. You understand how some advertisements are far louder than others? Or the gap in the quantity involving a TV app and an advertisement? The target of the EBU-R128 benchmark was supposed to streamline those gaps and subtract the quantity of TV stations.

One of the principal methods for boosting the quantity perception of a tune is by way of compression. It may be carried out with particular hardware or applications throughout the mastering process. As its name suggests, the method compresses the sound wave. This puts a ceiling on the waves' peaks while promoting the gain in the lower parts. Imagine taking an electrocardiogram and tightening those gauges so that the higher and lower parts are more level.

"While attempting to raise the sound, they ended up forfeiting its quality."

"If you compress an orchestra, and the violinist is playing with a smooth violin by himself, then you are likely to hear it loudly," explains Pedro Luce, a Brazilian music producer. "When the remaining musicians come together with their tools, you are going to hear everything with the identical intensity." The compression intensifies the calmest, emptiest moments of the song.

You see the problem, right? A song is made of quieter and more agitated moments. In real life, a guitar alone doesn't have the same intensity as when the drums join in. When compression occurs in an exaggerated way, it makes everything louder, which ends up stealing the dynamics away from the music itself. It's like listening to that one loud friend of yours who always yells when they're drunk. In addition to being bothersome, it also becomes monotonous after awhile.

"In nationwide (Brazilian) manufacturing, you will find [musical fashions ] that misuse the usage of compression," producer Nando Costa told me. "In country music, including mainstream artists, there is many productions and combinations that are completely distorted. You listen to the sound of the muted voice. The drums look like the celebrity is playing a toothpick. This is a consequence of quite compressed and limited sound. While attempting to raise the noise, they wind up forfeiting its quality."

Even with this knowledge, producers, artists, and record companies prefer to bet on loud sound that's full of compression. Among other concerns, there's the thought that a sound stands out more in comparison with the work of other artists when it's louder. Sadly, for most untrained ears, loudness is mistaken for a sign of quality. The dispute to see which artists created the loudest songs initiated the "Loudness Wars."

The race for the highest volume started in tandem with the emergence of the digital age of music, back when CDs became the main form of sound distribution. Prior to that, when vinyl reigned, there were physical limitations that ensured the compression wouldn't become muddy; a record that produced loud enough sounds could make the needle jump, which would ruin the entire musical experience. Those limits ended with the dawn of the CD. It was as if a road with no speed limits had been paved, and compression gained even more traction.

Moreover, in the vinyl era, it was normal to listen to an entire album by the same artist. The immediate comparison between works from different records and different artists did not exist, so there was no need to make one track stand out from the other by volume. This practice began to fade with the introduction of the CD, which made it easier to change the disc on the stereo, and went even further with MP3 players, which introduced the option to play songs on shuffle. Nowadays, in the era of playlists, it's difficult to find people who listen to two songs by the same artist back to back. As a result, produced music has become compressed and louder. Check out a chart generated by the site Sample Magic.

To make matters worse, lack of momentum isn't the only side effect of excessive compression. When you enforce boundaries on a sound wave, you create distortions in the actual waves, which can create distortions in the music. "The longer the compressor functions, the longer it will lead to distortion in the audio," explains Costa.

One of the records that symbolizes just how far a band will go to boost compression in order to gain volume is Metallica's Death Magnetic. At the time of its release in 2008, many fans complained about the sound madness found on the disc: There were no auditory dynamics and many moments of pure distortion. Months later, the band released the game Guitar Hero: Metallica, which featured remastered, quieter versions of the same songs which, within the game, had to compete with other Metallica songs from other albums.

Researchers at the University Hospital of Copenhagen, the Technical University of Denmark, and the University of Aalborg published a study comparing the two versions of the album. Below, you can see the comparison of a 30-second stretch of the song "My Apocalypse." Notice how the band managed to achieve the so-called "brick wall compression," a track of sound with no dynamics whatsoever.

By reducing the LUFS index, Spotify is telling the music industry that there's no use in trying to sound louder than everyone else. Everything that comes into the platform will sound and be on the same level. Even if something is mastered very loudly, the volume will be automatically reduced. Of course, this serves to standardize the streaming service as TV channels previously had done with their commercials, but apart from benefiting the service itself, Spotify will force the industry to work differently. The songs will have to draw attention to other aspects that go beyond the volume. The door to more dynamic sounds is wide open.

"If you've got a extremely compressed sound, it is going to get smaller due to the absence of dynamics," explains Costa. "When you reduce the loudness of the noise, you've got the impression that it plays considerably lower"

In other words, the songs with loudness above -14 LUFS sounds lower on Spotify compared to those that have been compressed below the magic number. Nando Costa makes this comparison in the video below: A national artist mastered around -13 LUFS and a Metallica song from Death Magnetic(watch from 40:30). At the time of the video, Spotify's standardization standard was still -11 LUFS and the music had not been mastered specifically for the platform, however, the result of the national artist was much better than that of the elderly metalheads.

On this site, you can graphically see what happens when a very loud song has its volume reduced when entering Spotify.

"Sometimes the music isn't bad simply due to the composition, but from how it's introduced," says Costa. Thus, Spotify may help bring an end to Loudness Wars, which should generate better quality music in general, with more dynamics and cleaner audio.

But that's not the only result of Spotify's new volume regulation.

Protect Your Ears

Are you familiar with the sense of relief that sometimes comes when we stop listening to music and indulge in peace and silence? It happens even to people who can't get enough of their music, and it's associated with a phenomenon called "listener fatigue" (or ear fatigue).

"The ramifications of [listener] exhaustion are well understood, though people don't always associate these consequences together with the term tiredness," said Dr. Tanit Ganz Sanchez, an associate professor at the School of Medicine at the University of São Paulo (FMUSP) and founder of the Ganz Sanches Institute, a facility that specializes in hearing treatment.

Symptoms include actual fatigue, irritability, and insomnia.

Sanchez explains that we have a small muscle whose function is to protect our hearing, called the stapedius. The function of this organ is to bar the entrance of very aggressive sounds in our ears. It tightens the eardrum and functions as a filter so that the sounds get softer before they're perceived by the middle ear, a portion of the auditory system that leads the sound to the inner ear, where we actually hear. The problem is that prolonged exposures to intense volumes can cause fatigue in this muscle.

"I'm comparing the stapedius muscle together with all the arm muscle," she explains. "Let's say that you invest 30 minutes pumping iron at the gym. Sooner or later, that muscle will state' Enough, no more.' The ear muscle also has this contraction, but we don't have any power above it. It is involuntary and occurs whenever you listen to a louder noise. Should you hear loud music frequently, that muscle will end up wearier."

The only difference between the stapedius and the bicep is that we rarely actually feel any pain in the ear, like the pain caused by a day of over-lifting in the gym.

In this way, by putting a ceiling on the LUFS, Spotify is contributing to the health of its customers' ears. It is well worth mentioning that Apple has been sued by men and women who lost their hearing after extreme listening to the iPod.

0 notes

buyspotifysaves · 5 years

Text

Why Spotify Lowered the Volume of Songs and Ended Hegemonic Loudness

At the end of May, Spotify made a change to its own music files that went undetected by virtually all the agency's listeners. What was obvious, but to sound engineers and studio wizards was that the volume had been reduced on every Spotify-hosted track.

Using software called Dynameter, this assortment of audiophiles took measurements of favorite playlists like the Global Top 50 and albums of genres ranging from soul to metal, and discovered that the Spotify catalog had become more silent.

We consider"loudness" to describe the human perception of a sound that is rich. When you listen to something, so, what really counts is your perception of the sound, not the values which are registered on a decibel meter.

It was just in 2011 that the European Broadcasting Union, one of the chief broadcasting organizations in the world, established a dimension unit of loudness with the EBU-R128 benchmark , called LUFS (acronym for Loudness Units relative to Full Scale). It is, in fact, a smarter component of measure than decibels for understanding human comprehension of quantity.

Contrary to RMS, yet another measure used to determine the typical quantity of audiovisual productions, LUFS ignores low frequencies, rather focusing on average and high measures above 2 kHz--the most sensitive area to our ears. A shout, as an instance, carries more quantity sensation than a double bass might, though RMS indicates higher numbers for the device (and basses weigh heavily with the older measure). That is because the human voice is in the center area.

LUFS was made to approximate how our hearing functions.

What sound engineers have come to see is that Spotify has decreased the LUFS indicator of everything on its own platform from -11 LUFS into -14 LUFS, a number in accord with that of competing musical platforms like YouTube (- 13 LUFS), Tidal (-14 LUFS), and Apple Music (-16 LUFS). In practice, the quantity for human ears will probably be controlled, and you might not even notice the change.

We achieved to Spotify for comment about the LUFS reduction:"Spotify is always testing new features to benefit its users. Recent changes in the playback experience are part of the aspects we are evaluating."

So why is this important?

A much better audio

At first, the acceptance of this EBU-R128 standard was not aimed at streaming platforms and the audio world. The intention was to normalize the audio patterns of televised content. You understand how some commercials are way louder than others? Or the gap in the volume between a TV app and an advertisement? The goal of the EBU-R128 benchmark was to streamline those gaps and standardize the quantity of TV channels.

One of the principal techniques for boosting the quantity perception of a tune is by way of compression. It may be carried out with particular hardware or applications throughout the mastering process. As its name implies, the technique compresses the sound wave. This places a ceiling on the waves' peaks while promoting the gain in the lower parts. Imagine taking an electrocardiogram and tightening those gauges so that the higher and lower parts are more level.

"While trying to raise the sound, they ended up forfeiting its quality."

"If you compress an orchestra, and the violinist is playing a smooth violin by himself, you're going to hear it loudly," explains Pedro Luce, a Brazilian music producer. "When the remaining musicians come in with their instruments, you'll hear everything with the identical intensity." The compression intensifies the calmest, emptiest moments of the song.

"In nationwide (Brazilian) production, there are [musical fashions ] that abuse the use of compression," producer Nando Costa told me. "In country music, which includes mainstream artists, there is many productions and mixes that are completely distorted. You listen to the sound of the muted voice. The drums look like the celebrity is playing with a toothpick. This is all a consequence of very compressed and limited sound. While trying to raise the noise, they wind up sacrificing its quality."

To make matters worse, lack of momentum isn't the only side effect of excessive compression. When you enforce boundaries on a sound wave, you create distortions in the actual waves, which can create distortions in the music. "The more the compressor works, the longer it will cause distortion in the music," explains Costa.

"If you've got a very compressed sound, it is going to get smaller because of the absence of dynamics," explains Costa. "When you reduce the loudness of that sound, you've got the feeling that it plays considerably lower"

On this site, you can graphically see what happens when a very loud song has its volume reduced when entering Spotify.

"Sometimes the music isn't bad just due to the composition, but by how it's introduced," says Costa. Thus, Spotify may help bring an end to Loudness Wars, which should generate better quality music in general, with more dynamics and cleaner audio.

But that's not the only result of Spotify's new volume regulation.

Protect Your Ears

"The effects of [listener] exhaustion are well understood, though people don't always link these consequences together with the term tiredness," said Dr. Tanit Ganz Sanchez, an associate professor at the School of Medicine at the University of São Paulo (FMUSP) and founder of the Ganz Sanches Institute, a facility that specializes in hearing treatment.

Symptoms include actual fatigue, irritability, and insomnia.

"I'm comparing the stapedius muscle together with the arm muscle," she explains. "Let's say that you spend 30 minutes pumping iron at the gym. Sooner or later, that muscle will say' Enough, no more.' The ear muscle also has this contraction, but we don't have any power over it. It is involuntary and happens whenever you listen to a louder noise. Should you listen to loud music frequently, that muscle will end up wearier."

The only difference between the stapedius and the bicep is that we rarely actually feel any pain in the ear, like the pain caused by a day of over-lifting in the gym.

In this way, by putting a ceiling on the LUFS, Spotify is contributing to the health of its customers' ears. It's worth remembering that Apple has already been sued by men and women who lost their hearing after excessive listening on the iPod.

0 notes