Tumgik
#lufs and db
fatasfunkmastering · 2 years
Text
What Are LUFS? - The Clearest Explanation of LUFS meaning!
What Are LUFS? – The Clearest Explanation of LUFS meaning!
What Is LUFS? Jargon-busting answer: When artists ask “How loud should my master be”, what they probably mean (technically speaking) is “What LUFS should my master be?”. But understanding the concept behind integrated LUFS vs dB (decibels) is essential, and can be confusing. What are LUFS in audio? = LUFS stands for Loudness Units relative to Full Scale (or just “Loudness Units/LU”). They are a…
Tumblr media
View On WordPress
0 notes
romamurecords · 11 months
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…
Tumblr media
View On WordPress
0 notes
vyl3tpwny · 1 year
Text
loudness in music.
you may be listening to music that is lesser in quality than artists really intend.
Tumblr media
(pictured: a visual guide of FabFilter Pro L2's metering section)
this post is mainly aimed to talk to non-musicians and non-audio engineers, but if you're one of those and also feel for this post, cool. but i want to put this into perspective for people who aren't in music (recording and production in specific). i'm going to attempt to explain a very complicated concept as simply as i can fathom.
there's a lot of stages to the creation of a song or album. there's the writing, recording, production, mixing, and mastering (to simplify). what i'm going to be talking about has to do with "mastering", the final stage a song goes through before it's considered 'final' (in a sense).
mastering, in short, is the process of taking a fully recorded, produced, and mixed song; cleaning it up and preparing it for people to listen to it. a mastering engineer will often add some equalization adjustments to the overall song, adding some compression to bring things together and unify elements, and other stuff like that.
but the duty of establishing the "perceived loudness" is imparted on the mastering engineer.
loudness ≠ amplitude. amplitude is the true measurement of an audio's volume. but "loudness" is a measurement of how loud we actually perceive something. there are technically quiet songs that you perceive as louder than they are, and loud songs that you actually perceive as quiet. this is because loudness ≠ actual technical volume. amplitude is measured in Decibels (db) and perceived loudness is measured in Loudness Units Full Scale (LUFS).
audio processing and transmission always has a limit. for example, if you turn up the volume up too high while listening to music on your headphones, distortion and crackling may occur. this is called "clipping". the threshold for clipping varies from one device to another. cheap earbuds may distort without you even pushing the volume much. other headphones may be really hard to even get audio to clip.
Tumblr media
(image source: MTX)
thus, because of the limitations of how audio works — both in the digital and analog domains — the mastering process of music seeks to finalize a song to be loud enough, but not so loud that it clips in a way artists and listeners don't want.
enter: The Loudness War
in the 90's when digital music studios started to become a thing, people started mastering songs louder and louder because things didn't distort as much when you pushed them in digital spaces. you can get stuff to clip in the digital world, yes, but it was much easier to push things louder than on purely analog equipment. ever since then, songs have been getting mastered louder and louder. we've called this "The Loudness War", because people compete to have the loudest mastered songs.
something you must understand is that the louder you try to master a song (without it clipping above a digital threshold) the more squashed the song gets. the methods for mastering a song really loud often make it lose quality and fidelity. for some people this is fine. stuff like dubstep usually benefits from the squash and the distortion (although it's a personal preference). nonetheless, people have actively chosen to master songs loudly to compete with each other, but at the cost of a song's quality and dynamics.
quick side note: a song's dynamic's is a measurement of how quiet the quiet parts are, how loud the loud parts are, and what the ratio is between these are. so a VERY dynamic song will have very quiet parts and very loud parts. a NOT VERY dynamic song will have mostly everything in the same volume range at all times.
so ok. artists and engineers have been fighting in this loudness war. everyone wants to have loudly mastered songs even though the more you try to push a song to be loud the more it will lose fidelity and the more compressed it will become.
below is a video containing three versions of my song "bonnie". the first version is the original master. the second version is being pushed into a mastering limiter hard. and the third version is being pushed into a mastering limiter VERY hard. a mastering limiter is usually the last part of the signal path of a song's master. i've (very roughly) gain matched the examples so that instead of hearing the loudness differences, you will hear the quality differences. they should be roughly the same volume, but the quality differences will be what you hear. pay close attention to the waveforms getting progressively more squashed the more the song is being pushed into the limiter.
youtube
keep in mind, this example is extreme and unscientific, only meant to demonstrate the kind of quality deterioration that occurs when you try to push a song to be potentially too loud. these quality issues often exist at least a tiny bit in songs that are mastered to be really loud.
so we know that trying to master something loud comes with tradeoffs. but people still really like to do it and sometimes it can be pulled off just fine. but not every song handles these treatments equally.
but what i really want to get at here is the fact that mastering things super loudly in the modern day is kind of pointless! the main exception i can think of is club mixes, DJ's really like to have loud stuff to work with because of the complications that come with DJing in venues. but aside from that, there kind of isn't a point to mastering that loudly anymore.
streaming services like spotify and youtube follow broadcasting standards and automatically adjust music to be roughly in the same range. this is so people listening to music on these platforms, especially through playlists, won't be bothered by a discrepancy in REALLY LOUD songs and really quiet songs being in the same space.
i've been thinking about all of this for a long time. i've been learning how to master my own music for maybe 4-5 years now? but recently an audio engineering youtuber, white sea studio, came out with this video:
youtube
i highly recommend you watch it if you have the time and are interested in learning more on this aspect of music. but to divulge upon the points and information they talk about...
...it's unanimously recommended to master your music to be at least ABOVE -14 LUFS. there are two kinds of misconceptions. the first being that you should try to have your song reach EXACTLY -14 LUFS. wytse explains in the video how this is wrong, and that experts instead recommend you master just to be above -14 LUFS, not exactly and certainly not lower. popular and loud music is being delivered at around -5 and -4 LUFS even. this is really loud and you can imagine there are lots of compromises to quality to get songs to be that loud. but as wytse continues to explain, there's clearly not much point in doing this if streaming services are going to be turning loud songs down anyway.
we're in an age where the loudness war really shouldn't exist. not only has it caused lots of songs (including my own) to be finalized and delivered with compromises to quality and dynamics as well as unfavourable distortion, but it's established this misconception that songs need to be mastered super loudly in the first place.
if it were so simple though, i don't think we'd be talking about this at all. to speak from personal experience, i actually feel self conscious if my music isn't as loud as other songs in the same genre that i'm making. i've found myself not even checking if i'm making it above -14 LUFS, often times i'm just trying to get everything to be as loud as possible. and this is a huge problem for me because i make music in every genre. period. my album CUTIEMARKS mixed dubstep, pop, rock, acoustic, ambient, and so many other genres in one place; but i worked so hard to get everything to be consistently the same loudness. the reality is that it's so hard to pull that off and i'm pretty sure the album is lesser in quality because of it. i already have frustrations listening back to things like "nonexistent meet-cute" and "how to kill a monster" from that album because i tried to push them to close enough loudness to a dubstep song lol.
but despite knowing all of these things very transparently, i still feel very self conscious about it. and i feel like this conversation actually needs to extend beyond musicians and engineers. that's why i'm writing this. i want listeners and fans to know that there's this thing going on and it's been going on for a while and it causes a lot of stress and misconceptions. i'm especially self conscious because i'm actually going to try to actively master my next album quieter than all my other ones on purpose. to try and combat all of this. even if it makes me self conscious to listen to some of my favourite albums of this year and know how much louder they've been mastered compared to mine. but i think it's really important we let songs breathe and not try to compromise quality anymore. it would relieve a lot of stress from me personally to be able to know this is all ok.
if you ended up reading this whole thing, thanks so much. this is a thing that's actually been affecting a lot of musicians who do their own engineering a lot. and it's been affecting all audio engineers anyway. this is an extremely complex topic and to anyone who knows as much as i do about it, trust me i KNOW this post is EXTREMELY simplified. but i want to speak to listeners and fans, not musicians and engineers specifically.
139 notes · View notes
musicmastersash · 6 months
Text
Tumblr media
Absolutely, music production is as much about the fine-tuning by ear as it is about technical specifications. Achieving -13.9 LUFS shows your attention to detail and dedication to crafting the perfect sound for your music. Sometimes, that subtle difference of 0.1 dB can make all the difference in achieving the desired sonic impact and balance. Keep trusting your ears and honing your skills in the pursuit of audio excellence! 🎶🔊👂 #AudioEngineering #MusicProduction #SoundQuality #CreativeAudio #AudioCraftsmanship #TrustYourEars #SonicPrecision #MusicArtistry #AudioMastery #FineTuning #PerfectionByEar #StudioLife #ProducerLife
0 notes
paulngxk · 1 year
Text
Releasing, Publishing, Scheduling
It's the last day of the podcast portion of my internship!
I've been really excited to finally get to schedule my podcast episodes and to see everything in place as it should be.
For uploads, we're using Anchor as our podcast distribution service as it's free-to-use without a membership plan, and because it's easy to upload and sort content. Anchor as a platform is owned of Spotify, which makes streaming to Spotify easy and hassle-free. We're also making use of RSS feeds as a means to distribute our podcast content to other platforms, such as Apple Podcast.
As for the preparation work before uploading, I've also mastered my bounces to -16 LUFS and with a maximum true peak of -1.1 dB, in order to maintain compatibility between the various target streaming platforms (Spotify, Apple Podcast, Google Podcast, Amazon Music).
I'm glad to be able to use the production and mastering skills learnt at LASALLE, and to put it to good use in a real-life work scenario. Working on the mastering process has also reinforced the importance of mastering the bounces properly, in order to create the best possible quality and a comfortable listening experience for our audiences.
-----
Dealing with differing opinions on creative direction:
There was also this one instance when my colleague and I were also tasked to create a short 5-10 second stinger introduction. It's essentially a short theme jingle or sound cliché at the start of each episode, as a form of brand identity.
Personally, my colleague and I oppose to the idea of creating a stinger, as we felt that creating one would limit the creativity of episode introductions, and stingers aren't as appealing in recent trends in content creation.
What our boss has in mind isn't necessarily the best option, but as the employees, we ultimately did as told. It was also a good realisation that we need to deliver what's expected to the client (or in this case, our boss's final call), and that our creativity in the real world is often limited to what's needed to be done, versus the artistic freedom given in school.
At that point, I was wrapping up work on my final episode, but kudos to my colleague for covering me and creating the stinger :)
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
Teaser & introduction stinger
0 notes
tonkizone · 1 year
Text
Mp3 normalizer windows 10 free
Tumblr media
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.
Tumblr media
0 notes
pajamawitch8 · 2 years
Text
Kaodaizm, Czyli Monoteistyczna Religia Wielu Bogów - Etnazja
Pas gór i wyżyn siedzi w południowej części kontynentu europejskiego; - Najwyższy szczyt - Mont Blanc w Alpach - 4807 m n.p.m. Pas nizin rozciąga się od Niziny Francuskiej przez Niemiecką, Polską po Wschodnio - Europejską; - Najniżej położone obszary - depresja, występuje nad Morzem Kaspijskim -28 m p.p.m. Używany w hawajskiej pracy nad ciałem. Mało kto zdecyduje się czyli na osiągnięcie zabawnego obrazu na podstawie „M.A.S.H.”, „Columbo” czy innych serialach powstałych przed 50-60 laty (choć przecież dałoby się to przygotować). Zazwyczaj słowem „mem” określamy jednak tylko obrazek z dodatkiem zabawnego tekstu, w efektywny rodzaj uwarunkowany społecznie tak, żeby użytkownicy internetu bez dylematu potrafili go zrozumieć. Dzięki nim tak możemy swobodnie znieść tę nieprzyjemną sprawę a obok jej powagi, od czasu do momentu się uśmiechnąć. Słuchawki są i dużo z nich potrzebujące (120 Ω / 101 dB), oraz co mimo wszystko warto chorować na wycieczce. Poznamy te zwyczaje zwierząt żyjących na obszarach, w jakich do dzisiaj jest klimat dopuszczony do godziny lodowcowej. Dobrym podłożem dla memów nie są też najnowsze nowości, bo każda praca musi wcześniej przejść próbę czasu oraz zdobyć status w jednym stopniu dzieła kultowego. Pewno to dobrze na przykładach memów popkulturowych, bez względu na ostatnie, czy mówimy o autorskim pomyśle kadry naszych użytkowników łączących klasyczne seriale Polsatu z MCU, czy pomysłach opartych na najczęstszych światowych produkcjach.
Przy czym WIĘC, jest zrobieniem własnych celów, zyskiem i popularną historią. Asortyment był znaczny, od amunicji wszystkiego typu, broń rakietowa i artyleryjska do strzeleckiej, po miny przeciwpancerne i jako szybko wyżej nadmieniłem, ubrania, mundury itd. Atrakcją dla mnie jest więc, że kiedy okoliczni mieszkańcy są w posiadaniu luf czołgowych, to magazyny musiały pamiętać też znaczenie dla większości do czołgów czy innego sprzętu ciężkiego. Pomijam już fakt, że gwiazdy gatunku, które poznałem przy okazji praktyki w DDTVN (więc wsadźmy między bajki kłamstewka Jacka Kurskiego, jak toż disco polo przed PiS było dyskryminowane), oprócz wspomnianego Millera, choćby Zenek Martyniuk czy Radek Liszewski, wtedy byli równi, fajni goście, bez fochów, które odbywała co trzecia pojawiająca się w porządku gwiazdka o 50-krotnie mniejszej od nich pozycji. Za ciekawostkę należy uznać fakt, że mem prawdopodobnie być widziany jako przedmiot badań memetyki, czyli wiedzy o zmian kulturowej, która poszukuje proces powtarzania się różnych rzeczy wśród członków danej społeczności.
2. Wyposażenie/doposażenie pracowni lub warsztatów szkolnych w nowoczesny mebel i materiały dydaktyczne umożliwiające realizację podstawy programowej kształcenia w stresach w warunkach zbliżonych do właściwego środowiska karierze zawodowej (jest wyłącznie jako element projektu potrzebnego w pkt. Zamiast szkolenia w punkcie zrozumienia istoty zrównoważonego rozwoju i zasad działania przyrody, zmieniono tak mentalność sporej ilości społeczeństwa, że zakaz wycinania drzew, zakaz zabijania zwierząt, zaczął urastać do rangi najczystszej i łatwo jedynej formy ochrony przyrody. Aby społeczeństwa, w których rozwój demokracji oraz obywatelska świadomość swoich praw przybyły do największego szczebla, mogły jeszcze stać się siłą roboczą Imperium Amerykańskiego, jak życzy sobie tego nawet wspomniany już przeze mnie generał Spalding, potrzeba permanentnej dyscypliny. Jak człowiek na ostatnim stylu naukowej wiedzy, jak ów rektor, zaczyna badać i deprecjonować dokonania klasyka nauki, deprecjonuje tym jedynym pełnych tych, na jakich ten klasyk opierał swoje badania i odkrycia. Przede wszystkim, skuteczność konsultacji za pośrednictwem internetu jest jednakowo tak kiedy w sukcesie wizyt face-to-face w poradniach.
Każdy widz seriali a zarazem użytkownik internetu musiał przynajmniej raz natknąć się na znajome obrazy i kwestie wprowadzone w całkiem nowym, memicznym kontekście. Memy wykorzystują skonwencjonalizowane elementy, które uzależnione są z sztuką i historią internetu. Przeważnie jest zjednoczony z historią sieci. Twórcom że jest przewidzieć, czyli ich mem zrobi karierę, czy zniknie w czeluściach sieci. Temat : Siatki brył, rysowanie siatek różnych brył. Wsparcie dla ucznia: Zapisz punkt w zeszycie. Zadanie 5 i 9 z e-podręcznika zapisz w zeszycie. Dziecko jest za zadanie znaleźć niedżwiadka wśród morza pozostałych momentów na obrazku. Umowna granica lądowa między Europą a Azją wyznaczona istnieje z wysp Nowej Ziemi wzdłuż wschodniego podnóża Uralu, rzeką Embą - wzdłuż północnego wybrzeża Morza Kaspijskiego do ujścia kolejnej rzeki - Obniżeniem rzek Kumy i Manycza dołącza do Morza Azowskiego, a wtedy - do Morza Czarnego - cieśniny Bosfor i Dardanele, i bardzo - przez Morze Egejskie wzdłuż zachodnich wybrzeży Turcji. Rzeki europejskie mają zasilanie głównie mieszane śnieżno - deszczowe, rzadko lodowcowe np. Rodan we Francji.
Tumblr media
Organizator studiów zastrzega sobie możliwość wprowadzenia nowości w układzie studiów. Na ostatnie pytanie należy odpowiedzieć sobie po lekturze tej książki. Wcześniej z wyzwaniem ustalenia tożsamości śladów nie poradził sobie nawet słynny brytyjski Scotland Yard. Ich bunt, który zawsze wykorzystywali komunistyczni agitatorzy, nieuchronnie szedł do rewolucji socjalistycznej, gdyby europejskie elity nie zamieniły tożsamości klasowej, podkreślanej przez rękę na tożsamość narodową, podkreślaną przez powojenne europejskie rządy autorytarne i quasi-autorytarne. Siedząc tak i myśląc krzywizny można między perfekcją kształtów dostrzec nieśmiało mijającego się Boga, jaki nie zwracając niczyjej wycieczki po nisku jest. J.Polski GIM 3/2 Między Nami ćw. Określenia Europa Środkowo-Wschodnia przyjmuje się dla grupy państw dawnego bloku socjalistycznego (Polski, Węgier, Rumunii, Bułgarii i Albanii) oraz państw powstałych po rozpadzie Związku Radzieckiego, Jugosławii i Czechosłowacji. O tym, co je nowi i gdy a w czyich oczach. sprawdzian rodziny Grylaków, oprócz dziadków, mała Mania przebywała co dzień w środowisku stryjka Jana i stryjenki Heleny również ich małej córeczki Mani, a ponadto stryjka Konstantego. Jesteśmy tu parafrazę cytatu z powieści/serialu, nawiązanie do plagi spoilerów pojawiających się przy okazji premiery nowego odcinka oraz przywołanie powszechnie znanej memiczności aktora grającego głowę rodu Starków, czyli Seana Beana. Dlatego dzisiaj przywołanie niegdyś bliskich memiczności popularnych cytatów takich jak „Zamieniłem się w ogóra, Morty!
1 note · View note
audiohut · 4 years
Text
Thoughts for Engineers
Here is something for the engineers. I have been working as an engineer for almost a decade and have come to find a few elements the new found engineer can implement to get them started!
When you first have your mix, it might be hard to grasp but finding balance is key. Start your mix by simply adjusting the volume faders and panning knobs to 1. Create your stereo image and 2. Keep away from any un needed processing that might over saturate or damage your mix in the long run. When you do this, imagine that this is all you have to mix with and keep an eye on your master bus to see what is peaking above -6 dB and note it down as the first things you will approach along with anything else you see fit with dynamics, frequency or busing.
Once you have a balance go ahead and briefly solo out certain elements that you prefer to start with. For me, i solo my kick and snare and sweep for clashing frequencies within each. I always start with subtractive EQ before my compression to only compress the frequencies i see as needed or as “the good ones”. Once i have removed frequencies i do not like, i will throw them back into the mix and make minor adjustments without making arbitrary changes that suck up time and that could lead to a foggy direction for the mix eventually ruining it. I repeat this process with very minor removals until i feel i have a good foundation setup.
Side Note: Always focus on your subtractive EQ. You are more likely to find good results in removing bad frequencies which allow the positive ones to show themselves and breathe especially after compression. Boosting to much low, mid or high can result in a muddy, boxy and airy end point in your mix. While boosting is beneficial in many ways you want to boost with closure and know exactly what you want to bring out with said boost. A good example is with bass. I will dual process the bass which entails one low end track and one high end track containing the grit or clank. To really grasp the clank, i will either use a saturation plugin (Fab Filter Saturn) and boost the 2khz-3khz range or simply boost this region with a multi band EQ like Fab Filter Pro Q or SSL’s Channel. If i did not know what i had been looking for i would not have boosted to begin with but considering this range is the attack and grit and i want it brought out, i chose to boost it.
Once i have gotten a foundation, i will then apply Waves L2 on my master bus with a dB and LUFS level that is fitting for the time being. As i achieve certain milestones i will adjust my limiter to a commercial volume level to sort of guide the mix as i go. This helps me focus on sounds that need relief rather than crushing my mix with a limiter after my mix which could result in thinned out sounds especially when clipping elements like snares, kicks and vocals.
Side Note: With every single move i make and more specifically EQ i implement the LDFC method. Listen, Diagnose, Fix and Compare. This will keep you grounded to your moves and make them happen with the reassurance that they are there for a reason. When i first started mixing, i found myself making moves without knowing what i was doing. This is obviously a n00b move, but without starting and actually applying these tools like EQ, Compression etc i would not have gotten better.
After i have gotten my EQ some what out of the way, i move to compression. This is usually done by instrument for me but it never hurts to change up your work flow. If you have a good dB balance paired with a good frequency balance you will be able to hear which areas need tamed dynamics and or punch and attack. Depending on your instrument and what you want to pull from it, you will want to approach your compressor a little differently.
Side Note: I want you to know that a great place to start is to find a signal chain of your own that you are comfortable with tool wise and that is logical to your work flow and use this over and over again starting from scratch every time. You do not want to simply copy and paste the same chain on every vocal as every performance is different and every recording is as well. Doing this will help you grasp the tools and how they work together and become familiar with where they should be used and how heavily they should be worked next time. Remember this: There is no magic button, signal chain or piece of gear/plugins that just make it great. It requires time and effort and real work to learn how to get a colorful and punchy mix.
These two elements (EQ and Compression) once mastered will absolutely bring out what you want from your recordings. There is no simple way to achieve a good mix other than by starting and repeating a process that hones in the skills you desire to get a colorful and bright vocal, guitar or drum track.
If this helped you in anyway i am glad! I hope you the best in your mixing journey as i know it has been fun learning and advancing every mix for myself. If you are looking to produce, write or compose songs please follow and look back at my thoughts for song writers! These posts are all first hand from my experience and i love sharing the information with you and hope you learn from it!
-Andrew Giordanengo
-Audiohut
4 notes · View notes
thetapelessworld · 6 years
Text
Kazrog Release Kclip 3
Kazrog Release Kclip 3
Tumblr media
About KClip 3
Mastering Clipper, Loudness Meter, Multiband Saturator
The ultimate mastering loudness tool and track saturator just got even better.
KClip 3 – New Features
Multiband Processing – Use up to 4 different clipping modes (or none) split between 4 assignable bandwidth regions.
EBU metering (LUFS) – Target loudness optimization to the desired level and quickly make sure your mix is ready for streaming.
Resizable Window – Enhanced visualiser and metering expand to fit the desired window size.
New clipping modes – In addition to expanded controls for Smooth, Crisp, Tube and Tape from version 2, add extra saturation and bite with Germanium, Silicon, Broken Speaker, and Guitar Amp.
Threshold – A top user request for 48 dB of additional headroom and/or gain capability.
Mid/Side processing – Clip your mid and side signals separately for extra stereo imaging control.
Settings A/B comparison – And other workflow enhancements, such as expanded oversampling options, window settings recall, wet/dry on front panel, and more!
Buy Now - $59.99
youtube
Upgrade Coupons: For Owners of KClip and KClip 2
Additional savings on KClip 3 for owners of previous versions - just enter the appropriate coupon code at checkout!
KClip 2 Pro users save 50% with coupon code C130ADBA
Complete Collection 1 users save 70% with coupon code 95283158
KClip 2 Standard users save 25% with coupon code A92BCB0F
KClip 1 users save 15% with coupon code DA034BE3
1 note · View note
skateofministry · 3 years
Text
The step-by-step course about mastering engineering. Learn how to improve the audio quality of your music
We can describe mastering as the final process in audio and music production. In this stage, we optimize the track's mix and final volume to get a professional result. Mastering can improve the quality of a music production and get it ready for commercial distribution. This could be done for CD, TV, the Internet, video games, etc.
"A way of maximizing music to make it more effective for the listener as well as maybe maximizing it in a competitive way for the industry." -Bernie Grundman
"Mastering is the last creative step in the music production process, the bride between mixing and replication.. -Bob Katz
Mastering aims to make your audio to sound properly on any kind of audio system, device or application (home system, earphones, club, theaters, etc.). A well-mastered song will have the right volume, avoiding those unpleasant volume changes from song to song. Mastering also brings more clarity and punch to the music, so it can compete with other professional productions.
In this new course, you will learn the most common audio processes for mastering music. The concepts learned in this course can be applied to any kind of audio project. All this knowledge comes from the experience of great mastering engineers, like: Bob Katz, Greg Calbi, Bernie Grundman, Bob Ludwig, Doug Sax, among others.
With practice and patience while following the recommendations, you will get better results each time and your music will sound more professional and well-finished.
A course designed for a step-by-step approach
This course has been designed to be clear and effective. Each lesson explains the most important topics related to music mastering in a clear and direct way. You can study a couple of lessons in just 15 minutes each day! It takes you in a step-by-step process, from file selection to audio bouncing for CD or web platforms (iTunes, Spotify, YouTube, etc.). The lessons include topics like:
Monitoring considerations
Audio file Editing and noise reduction
Equalization techniques
Dynamics processing
Serial, parallel and multiband processing
Compression techniques
Control and balance of stereo image
Stereo L-R vs M-S processing
Use of reverb and harmonic enhancers in mastering
Limiters and levels for CD and streaming platforms
Loudness, LUFS and dBs
Dithering
All these techniques can be applied on any music style: Pop, rock, latin, hip-hop, EDM, urbano, ballad, country, etc. The information in the course is also valuable for other kinds of audio productions, like:
Video game audio
Audio for Video
Podcast production
Audio for mobile or web Apps
Multimedia
At the end of the course, you will get the knowledge and examples to start mastering your own songs and music productions. You will know how to use your available audio plugins (VST, AU, AAX, etc) in a mastering setup.
You only need any DAW (Logic, Pro Tools, Cubase, Ableton Live, etc.) and its native processors (plugins) to get started!*
You will be guided by a certified audio instructor, with more than 15 years of teaching experience at all levels, from seminars to college-level classes and a top instructor on Udemy, so academic quality is guaranteed. Join more than 3,000 students worldwide and learn more about audio!
*The course shows the use of specialized mastering processors, like iZotope Ozone, yet the use of these processors is optional.
**Este curso también está disponible en español.
Who this course is for:
Music producers
Sound engineers
Musicians
Film and video editors
Video game developers
Anyone who works with audio and needs better sound quality
Top rated and best rating #udeny #course! 90% OFF discount deal under $9.99 no !
#Audio #Mastering: the complete guide The step-by-step course about mastering engineering. Learn how to improve the audio quality of your music Couponlink
https://www.udemy.com/course/audio-mastering-the-complete-guide-i/?couponCode=VALENTINES
0 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
bellioss-music · 4 years
Photo
Tumblr media
By the way fam. This level is variable; it is recommended for example to reach "0" db when the audio is for music, advertising, propagandistic things , TV spots, cinema or theatre. The correlation between Peak volume and RMS volume (Root mean square) or average volume power for these applications is about -20db (or 20db for Head-room). For commercial audio on CD it is recommended that the "0"db peak goes with is -14rms. For antenna transmissions (radio or TV) the "0" db is recommended to be at -12db rms... This levels are an average stimation of the actual european industrie. And its only measurable indoors of your Daw. Remember that whrn you are listening to music outside your Daw the volume is allways lauder than 0db. If you want to know if the volume of your work is in line with the standards of the industrie you can search for my LUFS post 👍🏿 These recommendations are quite effective, I have mixed for cinema and when I have listened to it in a room with dolby system sound it sounds very good. (en Madrid, Spain) https://www.instagram.com/p/B7nbeYcoH58/?igshid=oj4jeau2urn0
0 notes
gameaudiomix · 5 years
Text
Final Loudness-Tweaking
Here is a quick planning / organisation tip for setting up a bus structure in which you have control over ‘overall loudness’ of all of your in-game sound mix, while preserving the fixed levels of the sounds that live ‘outside’ of the in-game sound world.
Separating your menu and in-game UI sounds from the rest of the in-game sounds in your game allows you separation and independent control of overall levels during a final balancing pass when paying particular attention to ‘loudness’ measurements. 
In this example image below, you can see that underneath the Master Audio Bus, there are two parent busses. The HUD/UI bus, which contains all ‘fixed level’ sound in the game, and the ‘MasterInGame’ bus, which is the NEW master bus for every sound that actually occurs ‘in-game’. The important thdifference here is that the UI sound is not a bus underneath the Master In-Game Sound bus, inheriting whatever happens to that bus - which is usual in most hierarchical approaches we see. It is its own master bus.
Tumblr media
I’ve found that in the very final passes of a mix when you already have the sound really well balanced, but just need to attenuate the overall levels up or down by a few dB to hit a healthy loudness (LUFS) measurement range, that you need to push all the relative volumes up or down at some kind of master level, and preserve the complex interrelationships of the mix of everything underneath. This is especially useful if you are in your mix and inheriting maps made and premixed by many different sound implementers, for example, who monitor at slightly different levels in different rooms. 
Doing this kind of global dynamic adjustment at the top default Master Audio Bus level is risky, because you’ll be affecting ALL sound in the entire game, including sound like UI that should not change based on the different level or map you are experiencing in game. 
0 notes
nevelbeats · 6 years
Photo
Tumblr media
I’m thinking about releasing some templates that I use for TV broadcast mixing. Will any editors / audio engineers be interested? Comment below!!! #protools #mixing #audio #broadcast #lufs #dbs #leveling #compression #equalizer #iatse #tv #film #templates #editor #fcpx #adobeaudition #daw #avid
0 notes
jessicakmatt · 4 years
Text
What are LUFS? Loudness Metering Explained
What are LUFS? Loudness Metering Explained: via LANDR Blog
LUFS are the new way to measure loudness in audio.
This new measurement scale is an important development for many issues in music production.
But understanding LUFS can be pretty difficult at first. They’re different from the ways you’re probably used to measuring your signals.
Even so, these new units are being used all over the audio world. It’s important to know how they work to understand the role of loudness in audio production.
In this article I’ll go over everything you need to know about LUFS.
What are LUFS?
LUFS stands for Loudness Units relative to Full Scale. It’s a standardized measurement of audio loudness that factors human perception and electrical signal intensity together. LUFS are used to set targets for audio normalization in broadcast systems for cinema, TV, radio and music streaming.
If that sounds complicated, it just means that LUFS are the latest and most precise way to measure loudness in audio.
As simple as it seems, using LUFS for loudness has some important consequences that everyone who produces music should understand.
Why do we use LUFS?
You may not realize it, but most of the audio you hear in your daily life is tightly produced to sound great in the environment where you experience it.
Movies, TV, radio and streaming services all feature audio meticulously designed to work perfectly on each platform.
Movies, TV, radio and streaming services all feature audio meticulously designed to work perfectly on each platform.
But how did we get there? Someone had to decide on the audio standards for each different medium in order to make consistent sound possible.
LUFS are one of the latest tools engineers and researchers developed to help us make those decisions.
By integrating the loudness of audio signals and human perception into a single scale, LUFS acts as a kind of audio measuring tape.
The units help engineers compare different types of audio and match them to the requirements of their respective listening environments.
Loudness in music production
The biggest obstacle for consistent sound across mediums is loudness.
It seems like an easy problem, but making everything the same volume for every different playback system out there is pretty tough.
For starters, what even is loudness?
In your DAW you might think of the dB levels on your track meters. That’s a good start, but it doesn’t tell the whole story.

This type of loudness is a property of signals. But it might surprise you to learn that it doesn’t translate directly to how we experience loudness.
The reasons why aren’t exactly straightforward. It has to do with the technique used to measure the signal and the structure of our inner ears themselves.
To learn more about how loudness works, check out our overview.
When it comes to music perception and cognition, things get even more murky, but we broke down the basics in our guide to psychoacoustics.
To fix it, engineers developed a way to gauge listeners’ perceived loudness and signal intensity at the same time—LUFS!
How to use LUFS
Metering audio with LUFS is a little different from the other loudness measures you’re used to.
Metering audio with LUFS is a little different from the other loudness measures you’re used to.
First off, there are a few different ways to use it. Here are the most important ones.
Integrated loudness
Imagine you’re mixing a film soundtrack.
There are some extremely loud scenes with explosions and intense music, and others with barely any sound at all as the characters sit in silence. How loud should the mix be overall?
To make a judgement you’d need to take the entire duration of the mix into account. That measurement is called integrated loudness. It’s recorded in LUFS.
Film and TV have strict standards for integrated loudness that are set in LUFS values.
Dynamic range
Dynamics are important in any recorded audio. But how big should the difference between loud and quiet really be?
LU—or LUFS without the “full scale” part—can help answer that question. LU uses the same perception based units to evaluate how loud something seems to you.
But when you measure dynamic range in LU it’s no longer relative to full scale. Instead, it tells you the difference between the quietest and loudness sound over time like integrated LUFS.
Many standards organizations publish recommended dynamic range figures for their audio content.
Short term LUFS
Integrated LUFS tells you about the whole audio file, but you need to take a closer view of individual sections of sound to get the whole picture.
Even if your track hits the overall LUFS target, there still might be some sections that are too loud or too quiet.
Short term LUFS gives you perceived loudness over the last three seconds three seconds of audio.
Momentary LUFS
Momentary LUFS is the shortest period LUFS measurement. It’s the closest in style to the electrical Peak measurement you’d find on your DAW’s dB meter, but it’s not quite the same.
Momentary LUFS is measured across the last 400 ms of audio.
That’s the kind of fine grain level of detail you need to know exactly you loud your material sounds in the moment.
Why do LUFS matter?
At some point in the history of audio engineering, the music industry decided that recordings should be loud.
The idea was that listeners would subconsciously prefer the CD that sounded loudest on their CD player.
The evidence to support the theory was thin, but it set off a boundary-pushing race called “the loudness war.”
Eventually the trend wore out and loudness was reigned in when streaming platforms like Spotify and Apple Music took over.
Those platforms use LUFS to evaluate loudness.
Since LUFS indicates the perceived loudness, engineers are no longer racing toward the physical limit of the medium’s headroom.
Instead they’re aiming for a target that’s much more in tune with how listeners perceive loudness—and it’s not even close to the max!
Understanding this paradigm shift is important for how you work with your mix in its final stages of development.
In most workflows, these issues will come up most during mastering. Modern mastering is a highly technical art form that pushes your volume levels right to the edge—but never over it.
LUFS is the tool that makes it possible. Measuring audio correctly and hitting the right targets is a key part of any mastering process.
But if you don’t have the tools and experience to evaluate loudness this way, you should consider leaving mastering to the experts.
Whether you decide to hire a professional or try AI mastering, good mastering means getting loudness right every time.

Accurate audio metering
LUFS are an important technical standard in audio.
Loudness is a complicated subject, but with the right tools you can understand how it works and how it impacts your sound.
The post What are LUFS? Loudness Metering Explained appeared first on LANDR Blog.
from LANDR Blog https://blog.landr.com/lufs-loudness-metering/ via https://www.youtube.com/user/corporatethief/playlists from Steve Hart https://stevehartcom.tumblr.com/post/628078287468511232
0 notes