You'll start using your eyes instead of your ears. Use meters to help make judgements but do not rely on them because your music will suffer. Nothing beats using your ears to judge perceptive level. It's the only time it seems relevant for me. That's the only thing I use meters for at all though. That combined with how good the limiter is means I don't remember it ever sounding bad after being limited to that level. I do aim for a fairly low loudness level though so there isn't much limiting being done at all. The aim is to get everything I save to be roughly the same loudness without having to compare to previous ones. It's as valuable as knowing what an interval of a "fourth" sounds like for example, or knowing what "220" Hz sounds like.Įver since I got Pro L 2 I've been using LUFS to save my tracks where the loudest section (generally the chorus) hits at the same LUFS using the short term setting. There is another value of meters beyond all of that which is training/aligning ones ears with reference points. That said, meters can't tell us what sounds good and our ears are anything but infallible so it's really down to knowing the tool, knowing our ears and knowing when to trust which, and when to use one to confirm/deny the other. What bladerunner mentions comes into play when the person stops using their brains because LUFs metering (or any metering for that matter) isn't a brainless tool. Of course, the entire point of LUFs is perceived loudness and being able to make it consistent for various media targets - and there are at minimum three different values to help judge what it is and where what matters. That makes sense if one of the songs has widely varying dynamics.īut if you took 2 standard rock songs for example and looked at the loudness meter during the chorus and matched it to the reading of a loudness meter during the chorus of another song - they'd both be pretty much the same perceptive loudness for that section wouldn't they? When you say "a track which registers -6 LUFS that may sound perceptibly the same as another track that registers -12 LUFS" do you mean that's measuring the average loudness over the whole song? And then still I would work mainly by ear. It's much better, in practice, to say 'I need this track as loud as x,y and z tracks'. It's a misconception to work to a specific LUFS because it will heavily depend upon the internal dynamics of the particular track/song as to what the LUFS comes out as. You can have a track which registers -6 LUFS that may sound perceptibly the same as another track that registers -12 LUFS - it depends highly on the content of the music. If you rely on looking at LUFS levels you will still get wildly varying perceptive loudness levels. My point is that dynamic range varies wildly from track to track, song to song.
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