The correct way in my opinion the only limit would be that of RMS. Seeing is believing. Hi Garry Below is a suggestion I got from our support guy, when we asked him about a processor not being capable of measuring EBU R option. Of course the ballistics may also need to be adjusted, but I suggest that you use the appropriate standard depending on the content e. Please help, thank you. That is correct Porica. I want you, all of you. I want to feel you inside me, deep inside me. Hey, i am looking for an online sexual partner ; Click on my boobs if you are interested.
As part of my work, I've been reading a lot about audio loudness standards recently. Not any more anyway. They used to be different but now they are effectively the same thing. However, over time they discovered a problem. It was too easy for long quiet sections of audio to bring down the average measurement. However, it is intended to stand in for the subjective quality we call "loudness.
There are four aspects to that derivation: First, we boost the high frequencies approximately 4 dB above 2 kHz of all five 5. It focuses on high frequencies, discounts low frequencies, and tends to hover closer to the higher levels than the lower ones over time, thanks to the power averaging. Hence: —24 LKFS. The characteristics of many of the common "electronic" meters available are unknown, and contribute to the inconsistent and confusing situation found in practice today. You are going to need new metering, if you haven't already got it.
Dolby, TC Electronics have such products, among others. Where it gets a little fuzzier is with the so-called anchor element and the target loudness.
The anchor element is defined in the recommended practice as "the perceptual loudness reference point or element around which other elements are balanced in producing the final mix of the content. The fuzziness grows out of the fact that much of the time there is more than just dialog happening, and a "simple" measurement of LKFS is going to yield readings that are greater than the LKFS of just the dialog or anchor element.
This process called Dialog Intelligence has been a cornerstone of the dialnorm process from the beginning of metadata usage in set-top boxes—they've called it dialog "Leq A.
Meanwhile, the target loudness is, simply, —24 LKFS for the anchor element. Given such a target, I would expect to see levels of up to —16 LKFS maybe even higher for the entire mixed program. It's unclear, unless you have the meter and the post-production time to do all the measurements and corrections.
More importantly, there is potential for error to creep in at any point in the broadcast. We then need to maintain that level at approximately unity gain throughout signal distribution and transmission. Finally, at the set-top box, we need the approximately correct level and dialnorm metadata, so that viewer can set the level to their satisfaction and then leave it alone, having the audio continue to sound good!
This dispels their urge to complain. It is a primary carrier of emotional intensity and nuance. My own take, after a career in mixing and mastering music, is that first we need to get the levels under control and then we need to manage that sensation of loudness, through our careful handling of all the audio elements in our mix over time.
Our goal is to achieve the best and most convincing emotional rendering of our audio content. This means we need to manage the louds and the softs, getting our mix to breathe, to have feeling and to sound authentic.
This goes way beyond the notion of LKFS, which must be viewed as a starting point for excellent production, not as the ultimate outcome. Now it's the law!
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