The numerical descriptor table features a large Integrated Loudness value. Both indicators will shift to orange when their values exceed recognized guidelines (+8 max M, and +6 Max S). Visual dots displayed (and held) on both the Momentary and Short Term Loudness indictor plots represent the maximum values for each descriptor. The arced needle meter located above the Rainbow Meter represents the Momentary Loudness measured within a 400ms time frame. The inward blue arcs indicate slower time frame variances (10, 30, 90, and 270 seconds). The upper blue Rainbow arc represents Short Term Loudness measured within a 3 sec. Consequentially the defined target will be equivalent to 0 LU. The Rainbow Meter displays a Relative Scale. There are three compliance modes: EBU R128, ATSC A/85, and a custom User specification (Gated or Ungated). Clicking the Rainbow display toggles the Meter scale (EBU +9 or EBU +18). LevelView features a unique multifaceted Rainbow Meter. LevelView by Grimm Audio is a highly functional and well designed real time Loudness Meter. Categories Audio Post Production, Broadcast Post Production, Loudness, Loudness Compliance, Loudness Normalization, Podcasting Tags Loudness, LUFS, Podcast Production Leave a comment These options, along with the ubiquitous Integrated Loudness definition (and of course subjective audio processing) should provide everything you need in your quest to achieve optimized dialogue. With regards to Loudness Normalization – some processing tools such as RX Loudness Control by iZotope (AAX/Pro Tools only) support user defined Short Term and Momentary Loudness targeting within a certain tolerance range.
#IZOTOPE INSIGHT STANDALONE MODE HOW TO#
Learn how to use a Loudness Meter (online or offline) to closely monitor each descriptor. Short Term and Momentary Loudness are useful indicators for the establishment of spoken word consistency. As noted there are 3 descriptors (Integrated, Short Term, Momentary). To summerize: “LUFS Level” is a generalization. Momentary Loudness will provide even finer “detail” – once again due to it’s inherent averaging interval (400ms). It is highly useful when analyzing the loudness consistency of spoken word/dialogue. averaging interval of the Short Term Loudness descriptor indicates an active, foreground measurement. What about Short Term/Momentary Loudness? With this in mind, if you choose to use Integrated Loudness as a perceptual Loudness matching indicator – audio optimization (compression, etc.) and target accuracy must be applied and established before relying on any common Integrated Loudness measurement. Also, the descriptor does not reflect inherent dynamic attributes and/or inconsistencies that my in turn marginalize attempts to optimize perception. For 100% accuracy – the piece must be measured in it’s entirety.
Remember – Integrated Loudness represents a cumulative measurement from start to finish. It’s important to recognize the significance of each descriptor.Īs well, (and Chris alludes to this in his piece) – you must recognize how a consistent Integrated Loudness measurement across multiple spoken word segments (or session participants) does not necessarily guarantee suitable matched level perception and/or optimized intelligibility. Their distinguishing attributes are distinct time and/or averaging intervals: Integrated (cumulative measurement from start to finish), Short Term (3 sec.), and Momentary (400ms).
So it’s a handy practice to set the LUFS level of each participant to the same value, but then you still have to use your ears.” <<< Because even when the LUFS level of two different voices is the same, the perceived loudness of each voice can differ due to things like proximity to the mic, dynamic range, frequency response of the mic, the timbre of individual voices, etc.
This will make them close to level, but you will always want to adjust the levels slightly using your ears. > “Another way to quickly balance the levels of various participants is to process each participants track to be the same LUFS level. Chris explains the importance of consistent dialogue levels across multiple participants, and shares various methods to achieve this. The piece is titled Balancing the Levels of All Voices.
I was just reading Chris Curran’s Daily Goody segment, published today.