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Common LUFS and Ceiling??
Old 2 weeks ago
  #1
Gear Head
 
fairchildren's Avatar
 

Common LUFS and Ceiling??

Curious what everyone is using these days. Do you set a fixed ceiling to prevent intersample clipping for each master? Also what is the target LUFS for most modern stuff (Rock, hip hop, pop)? I'm just wondering if the loudness wars are really over thanks to normalization in streaming. It doesn't feel it's fully over.
Old 2 weeks ago
  #2
Gear Addict
 

Target LUFS for all modern stuff is still way too loud.
Normalization in streaming was a good idea but didn't stop the loudnsess war because you still have streaming platforms without normalization, and we still have the CD...
So because of that, artists and labels would always want the loudest thing...

Listening to overcompressed music annoy me more and more...ok it might be usefull while travelling with noisy background, in train, subway, airplane or in cars...
But I can't listen to more than 10mn of modern music on good and accurate speakers in my living room because of that.
I'm mastering since more than 15 years now and I can't understand why we are still stupid enough to listen music this way, and we're talking about Hi-Res at 24 bits?...what a joke!

I'm very sad we don't use dynamic in music anymore.
The only place you can hear a dynamic soundtrack now is listening to movies in theatrical exploitation or in Bluray.
For exemple, a regular movie shows Integrated between -23/-25 dBLUFS...Modern music today is -6/-7 dBLUFS!
Old 2 weeks ago
  #3
Lives for gear
 
SmoothTone's Avatar
 

Loudness is still a priority for many because there is no single standard for normalisation. Not all services use it, some only have it as an option in their app (not webplayer) and it's up to the user to turn it on. Each service uses a different loudness target and Spotify has 3 choices. It's still the wild west.

The best we can do is aim for the loudness (or crest factor really) that works best for the music. Make it loud enough to not get overlooked without compromising dynamic impact purely for the sake of loudness.

There are numerous threads in this forum on this. Here is a recent one that addresses your question about ceiling: Peak Headroom
Old 2 weeks ago
  #4
Gear Head
 
fairchildren's Avatar
 

Quote:
Originally Posted by SmoothTone View Post
Loudness is still a priority for many because there is no single standard for normalisation. Not all services use it, some only have it as an option in their app (not webplayer) and it's up to the user to turn it on. Each service uses a different loudness target and Spotify has 3 choices. It's still the wild west.

The best we can do is aim for the loudness (or crest factor really) that works best for the music. Make it loud enough to not get overlooked without compromising dynamic impact purely for the sake of loudness.

There are numerous threads in this forum on this. Here is a recent one that addresses your question about ceiling: Peak Headroom
Thanks for the link regarding ceiling. However, it appears there is still no consensus. From what I'm reading, keeping it closer to .1 still preserves more loudness, and the compromise is worth it for the occsasional intersample peaks.
Old 2 weeks ago
  #5
Lives for gear
 
Trakworx's Avatar
Quote:
Originally Posted by fairchildren View Post
Do you set a fixed ceiling to prevent intersample clipping for each master?
As you saw in the Peak Headroom thread, most of the major MEs are using -.1 or 0 as their ceiling and they don't seem concerned about ISPs. I have recently changed my ceiling from -.5 to -.3dbtp. I might change to -.1 soon pending more testing...

Quote:
Originally Posted by fairchildren View Post
Also what is the target LUFS for most modern stuff (Rock, hip hop, pop)?
Most Rock and Pop these days seems to hit -7 to -6 short term LUFS during the loudest sections. Hip Hop tends to hit -9 to -8 short term LUFS because LU factors in low end less than midrange.

Quote:
Originally Posted by fairchildren View Post
I'm just wondering if the loudness wars are really over thanks to normalization in streaming. It doesn't feel it's fully over.
Definitely not over. There are plenty of articles and posts that claim it's over, but that is wishful thinking IME. In reality 99% of my clients still want loud masters. Until that changes, a big part of my job will continue to be cramming in as much perceived punch as possible into loud masters. I feel like I've gotten good enough at doing that so I don't feel bad about most of the tracks I output. It's only with the clients who push me to really slam it that I cringe a bit...
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