4th Gen. Focusrite Scarlett Series Interfaces – Solo, 2i2 and 4i4
October 19, 2023
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I use iZotope RX to set all the episodes I produce to either -19 Mono or -16 Stereo.
How do you accomplish this task?
Some folks use Auphonic; others simply eyeball the meters in their DAW. There are no doubt many other ways.
If you’d like to share your method in the comments we would all be very grateful!
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11 Responses
I have Hindenburg Journalist Pro apply the desired LUFS as I export the 48 kHz AAC-HE file. Hindenburg Journalist Pro does a great job with doing both at the same time, and before doing that, I add the metadata in the Properties section, so it already has the graphic and text to be included in the 48-kHz AAC-HE file with an M4A suffix.
Excellent!
I try and mix my audio to -16 LUFS before playing with the master, just so I got a good idea of how it’s going to sound. I’ve recently started to use ADPTR AUDIO Streamliner to monitor this on the master channel but was previously using Waves WML Meter.
I then put a very gentle setting on a mastering compressor (Waves SSL Comp or Shadow Hills Class A couple of go-tos for me) on the mix just to tidy the peaks and help add a little thickness.
Because I mix in Adobe Audition, I will also use the Match Loudness tool on there and apply it to my stereo mixes (using -16 LUFS) just to make sure my mix was accurate as possible, usually see the final wavelength shift ever so slightly, but I know it shouldn’t sound too drastic.
I love this. Sounds like you’d be a great guest on my show. Are you game? If so, I’ll send more info 😉
I’ve recently changed my process, but I generally like to get it pretty close during mixing – like between -17.0 and -15.5 LUFS (stereo). I export my mix and check the integrated loudness, loudness range, and true peak, as well as the relative balance of the different parts, and then move on to the last step.
I bring the mic into a new track in my session, solo that track, disable any master track plugins, and have Hindenburg run the final export and MP3 conversion, with the target set at -16 (stereo) or -19 (mono). I often also attach any ID3 metadata at this point and may also push it to the client’s podcast media host.
Nice!
I’m one that uses Auphonic desktop to set the final level to -16 Stereo for all episodes. It’s pretty simple to drag the episode file over, click a few buttons, and let’r rip. This is usually my final step in the workflow, so I don’t really use anything other than the leveling and setting the final file name.
Very good!
I came up with this myself and it seems to work pretty well with this very inexpensive plugin:
https://www.klangfreund.com/lufsmeter/
I run the Klangfreund LUFS Meter as the last plugin in the chain of each vocal track in sync mode (any change you make to one instance applies to all the others). I do not run it on the master bus or music tracks.
After I’ve got everything dialed in with compression, limiting, etc. on all the tracks I do the following:
1) Click “reset” on one instance of the Klangfreund LUFS Meter (it gets applied to all)
2) Select all the tracks and bounce approximately 10 minutes of a section where all those tracks are active
3) Click “adjust to” at the LUFS level I’ve selected in one instance Klangfreund LUFS Meter (it gets applied to all)
4) Review the LUFS graphs for each track to make sure I haven’t made a huge adjustment up or down… if I have I’ll fiddle more with compression on that track so that the LUFS Meter is only making a minor adjustment
5) Bounce the entire episode knowing that each vocal track is at the desired loudness level
That’s the basic gist.
I use Logic Pro X, but I think this could work with any DAW
Ah that’s awesome, John! Thanks for sharing this. Have you joined our Podcast Production community on Locals yet? It’s a real hoot 🙂 ……I don’t know why I just typed that “hoot” remark!
I use a combination of Vocal Rider, compression, and a limiter.