Recent Episode on Which I Used Fabfilter Plugins ONLY

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1. Chris,

   Up for trying something? I think you’re using the RX Loudness Module for offline Loudness Normalization. How about removing it from your workflow, thus accomplishing the underlying task in an alternative way?

   Since we’re on the subject of FabFilter plugs … let’s use FF Pro-L 2 to create an offline (or online) processing chain that would result in meeting a predefined Integrated Loudness target while at the same time maintaining a maximum/subjective (True Peak) ceiling.

   Please note all ITU compliant (ISP) Limiters are not designed the same. For instance – Pro-L 2 includes Input Gain and Output Ceiling controls. Other limiters include Input, Threshold, and Output controls. In essence the following implementation will vary based on the attributes of the selected limiter.

   Anyway, this is essentially based on mathematics …

   Using (mastered) PES 155 as an example – it checks in on your site at -15.74 LUFS (Integrated) … +0.06 dBTP. Here’s how to knock the mix into subjective “compliance.”

   Compliance target: -16.0 LUFS … and TP ceiling: -1.5 dBTP.

   Of course the ultimate ceiling is subjectively flexible. For instance I typically process to -2.0 dBTP. Again, it’s subjective. The goal is to allow for headroom loss when the audio is converted from lossless to lossy.

   In order for this to work – you must first start the process at a pre-defined Integrated Loudness target. We’ll be using -24 LUFS.

   So, execute an offline measurement of your mastered mix. Calculate the difference between the measured Integrated Loudness and -24. E.g. PES 155 measures -15.74 LUFS, in which case the difference will be -8.26.

   Now – set up your offline processing chain:

   Insert a standard gain utility —>> followed by Pro-L 2 —>> followed by a secondary discrete instance of the gain utility.

   First:

   Set the initial gain utility instance to the measured differential (-8.26 dB). This takes the mixed audio down to -24.0 LUFS.

   Next:

   Set the Pro-L 2 Meter Scale -48dB. (We’re not using Loudness Metering features. In essence the scale is irrelevant). Activate TP limiting and define 4x oversampling. Set the Pro-L 2 Input gain slider to +9.5dB, and set the Pro-L 2 Output ceiling to -9.5dB. Set Lookahead, Attack, and Release to moderate increments, and Linking to 100%.

   Lastly:

   Set the secondary discrete gain utility instance to +8dB.

   Apply this processing chain to your mix and re-measure offline. It should now check in at -16.0 LUFS … -1.5 dBTP.

   Note: The initial gain offset is the only variable setting in the chain. This setting will always depend on the difference between the preliminarily measured mix relative to -24. OTOH – the limiter settings as well as the final gain offset will be static. They never change, unless of course you decide to change your intended target and/or ceiling. If so – the math will change. As such – the limiter will need to be re-configured.

   Once you have the chain saved – you simply measure your mastered mix offline, set the initial gain offset accordingly, and apply the chain. That’s it.

   Keep in mind you may also “monitor” your mix in realtime using the noted and properly configured chain, providing the initial gain offset reflects the proper setting.

   ** You can expedite processing time by disengaging the Oversampling options in Pro-L 2

   *** Want to set your max. TP ceiling to -2.0 dBTP instead of -1.5 dBTP? Simply set Pro-L 2’s Input and Output ceiling controls to +10/-10.

   **** Of course with any Loudness Normalization implementation – you want to avoid excessive limiting. If this occurs, the mastered audio may exhibit very wide dynamics. In this case you may need to re-master the mixed audio accordingly.

   -paul.
   @produceNewMedia

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2. If you travel the same route every day, you create a rut which can be hard to break away from.

   Always try something new.

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