![]() Part of loudness is arrangement, part isįrequency distribution, part is tempo, part is compression/limiting/clipping. Basically the overallĭensity of the tune from start to finish. Density increases and measures higher on the LUFS or RMS scale.įrequency response also affects loudness measurements. ![]() Tempo playsĪ role too, the faster the track, the closer the elements are to each If you reduce the amount of VO text, the average density also goes down so the advert as a whole can be a bit louder and the few VO words that are there sound louder. If you use spare minimalistic music, you can also increase the level of the VO. Part is EQuing but also, in a single advert, if you lower the level of the music, you can increase the level of the VO a bit. Everything is normalised to the same level these days so the average is the same yet some adverts sound louder than others. The music is much much denser but ends up sounding much less loud. Part of loudness is arrangement, part is frequency distribution, part is tempo, part is compression/limiting/clipping. Basically the overall density of the tune from start to finish. Tempo plays a role too, the faster the track, the closer the elements are to each other. ![]() That's their one job.Ī "sparse" arrangement? Pretty sparse by some standards, yes. I think it's perfectly reasonable to expect them to take what we've been creating all along and deliver it to the public unscathed. Streaming sites today are trying to tell us to use their loudness targets and we are mostly ignoring them. So the streamers did what they did and there was no great public outcry about clipping distortion. From the perspective of the music industry at the time, I'm sure they just shrugged and said "That's your problem" to the streamers. It was incumbent on the streaming sites to deliver that existing content to the public without messing it up. I mean, by the time streaming caught on there were already thousands of major label albums mastered loud for CD. If you look at the history and the order in which things happened, I suspect the majors and their MEs asked a similar question to yours. So what I am angling at is why is the conversion process so poor that it cannot convert without clipping?Someone better at technical explanations can answer that better than I.īut I think your question gets to the heart of something. "Everyone do this because of loudness normalization. It's funny to me that if everyone were to follow their advice and master to -14 then there would be no reason for loudness normalization in the first place. It causes people to master to meters and numbers instead of by ear. I understand their technical reasons for suggesting we master to -14 integrated LUFS but I wish they didn't publish that because of all the reasons I stated in the OP. This is because louder tracks are more susceptible to extra distortion in the transcoding process.Thanks for posting the info. If your master is louder than -14 dB integrated LUFS, make sure it stays below -2 dB TP (True Peak) max to avoid extra distortion. This is best for the lossy formats we use (Ogg/Vorbis and AAC) and will ensure no extra distortion is introduced in the transcoding process. Target the loudness level of your master at -14 dB integrated LUFS and keep it below -1 dB TP (True Peak) max. Transcode the file into the following delivery formats for the quality options available to listeners:Ĭalculate the loudness using ReplayGain.<<<<< > When we receive your audio files, we apply the following processes:Ĭheck they aren’t corrupt and that their format and container is known.Ĭonvert to WAV 44.1 kHz (keeping bit depth). The only thing you achieve by being louder is have everyone lower the volume in annoyment ! However it can be useful to read carefully what these streaming platforms write on their sites, because some valuable information is sometimes given (see below for Spotify)īut to me the main reason is that many users now listen to music in a playlist with different tracks and artists. ![]()
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