Loudness Meters in use – a roundup of some of the best

Hello, my name is Ian Shepherd, I’m a mastering
engineer and producer, and I run the Production Advice website. In this video, I want to give you a round-up
of some of the loudness meters that are available these days as plug-ins
for any computer audio software. Over the last few years the most popular post
on my website has been this one – about how to use the TT ‘Dynamic Range’ Meter,
which I’m sure many of you are familiar with. Times have moved on, and there are more options
available now and I’m going to show you 4 or 5 plug-ins that you may not be aware
of that will give you a different way to measure ‘loudness’ and ‘dynamic
range’ in your music, and maybe get even more information that will
be useful to you. Before we go any further though I just want
to make sure that if you haven’t already seen the excellent YouTube
video on the Loudness War by Matt Mayfield from several
years ago now – I strongly recommend you head over there and
take a look. It’s the best 2 minute summary of many of
the key issues of why we would want to measure dynamic range
– and what happens when you lift up the average level of music
closer to the peak level – when you squash it, and the effect on the
sound that has. So please check that out now if you haven’t
already. I’m going to start by just recapping quickly
on the TT Dynamic Range Meter. There it is over on the right there… Because it’s still a great affordable way
to start to get to grips with measuring the ‘loudness’ of your music
and thinking about the average level, and how much you want to
squash it in mastering or in mixing. So let’s just quickly have a look at how it
works. If I start playing this track here… I’m going to be using a set of songs from
the ‘Process Replaces Content’ EP by a great band, Betatone Distraction. I mastered this a month or two ago now, it’s
been getting some great reviews. I’ve deliberately chosen it because it has
great dynamics within it. It gets very loud, and gritty and distorted
at some points, but it has some fantastic quieter moments in it as well, some great
subtlety. I think it’s a great mix by Roddy McIlwraith
of Roddy Mac Audio. I recommend you check it out! So, let’s take a listen… And you can see over here… the TT Meter is showing us the peak level
– these thin meters on the outside. It’s showing us the RMS level, which is roughly
the average level, it’s roughly equivalent to loudness – and it is also showing us, what’s new for
this meter is the dynamic range here – and if I just skip ahead a bit forward in
the song… you can see the dynamic range start to reduce… and if I skip to one of the loudest moments… You can see that the meters turn red when
the dynamic range reduces down to 8, a DR reading of 8 or less. That’s basically the difference between the
peak and average level of the music – and it gives you a good indication of how
squashed the music is. There has been some debate about whether the
DR reading – DR stands for dynamic range, it’s not REALLY
a measurement of the dynamic range – it’s actually closer to a measurement of the
‘crest factor’ – the difference between the peak and the RMS
level. People have talked about whether it’s an appropriate
way to measure music, I’m not bothered about any of that, it’s a
really useful tool for looking at mixes and getting to grips with these ideas. The makers chose the value of 8 for the meters
to start to turn red. I think they chose that wisely, if you consistently
push the DR value of your music less than 8 I think you’re risking squashing it too much
and damaging it. Let’s have another look at the meter… So it’s telling you the peak reading here
– it’s showing you the DR – the in quotes, ‘dynamic range’ of the left
and right, it has – you can Link – maybe that gives an easier
to read the indication of the DR value at any one point. It has a mono button – which is handy – and it has a correlator up here… which gives you an idea of the stereo width
of your material, which I find useful. The TT Meter used to be free, it was developed
by the Pleasurize Music Foundation in association with Brainworx, the plug-in
developers – and they’ve now changed it. In order to get the TT Meter you need to become
what they call an ‘active member’ of their site which costs $30.00, and once
you’re an active member and signed into the site, there is a download
link on the left here where you can get the TT Meter for Mac and
PC and a whole range of different VST, AU, RTAS, and also their
offline meter which will give you a single DR value for a particular song. That’s a bit of a blunt instrument for learning
about the dynamic range of music but it can be a useful shorthand, and I’ve
certainly used that – talking about it – and these kind of things for Dynamic
Range Day and in other places. So, you’re actually paying to become an active
member of the foundation so effectively you’re paying $30.00 for access
to the plug-in. I still think that is great value. Now Brainworx, the company who developed this
with the Dynamic Range Foundation have since released the BX Loudness Meter,
the Brainworx Loudness Meter. It looks very similar but they have made some
changes. Let’s just take a look, they’ve changed the
colour scheme by default. Personally, I prefer the original look which
they call ‘legacy’. They’ve also changed the way that the meter
reacts, and the readings it gives – it seems to give lower DR readings than the
old TT Meter – and they’ve changed when it changes colour
as well, which I think is a shame. Let me just show you the two of them side
by side… And I think they’ve changed the way – it seems to me that the TT Meter is responding
more slowly than the BX Meter. Which is maybe why it shows generally larger
values – and you can see it starts to turn red and
orange sooner, and even if I skip to the louder section of
this song… You can see the colour changes they have made. But it has some other features which are quite
nice. As well as a mono button, it has an ‘S’ button,
that allows you to solo the side signal in the audio so you can hear what’s
happening at the edges of the mix instead of in the centre,
and you can also change whether it shows you the stereo ‘dynamic range’
or DR values, linked as before – or – the Mid and Side values, so you can see how squashed the mono image and the side image
in your music are. So we can see there that the mono signal is
louder and more – no actually, probably similarly squashed to
the side signal. That’s quite a nice feature, you can choose
left and right channels independently. You can also choose various filters – you
can choose the C-weighted filter which gives loudness that is more closely
related to the way that we hear sound, and is has Bob Katz’s K-System metering down
here – basically it just shifts where ‘0’ appears on the meter to encourage
you to mix and master more conservatively. So, that’s the new BX Meter. Now let’s take a look at an entirely new loudness
meter that is just recently come out, which is the
Nugen VisLM – Visual Loudness Meter. Here it is in the centre… Now the Nugen Meter measures something different
than Brainworx and the TT Meter. They measure this DR value, which was decided
on by the guys at the Pleasurize Music Foundation. Something interesting happened last year which
was that a new international standard was agreed for
loudness. It’s called ‘ITU-R BS.1770-2’, it was developed
by the International Telecommunication Union and it’s being implemented in different parts
of the world. In Europe, the standard is called ‘R128’,
in America it is called ‘ATSC A/85’. It established a new loudness unit, ‘LU’ which measures something similar to the TT
Meter, if I’m honest – but it also defines a short term and a long
term measure and because these standards are becoming adopted,
they are also becoming law in America, they’re a legal requirement for
broadcasters now. The volume levels of what they output has
to conform to the standard. In the UK, all of the major TV broadcasters
have now agreed to conform to this standard which is very long and very
technical as you can see… So, that is what these new meters are showing
you – and let me give you an idea of how that looks,
with this song… So, like the TT Meter we’ve got an indication
here of the average level of the music. And – we have a graph over here… Which shows us the history of the loudness
of the music as it varies – it’s also showing us the same as this DR measurement of the TT Meter – well the
same idea, but measured in a different way, and displayed
in a different way. The loudness range here – which I think is
fascinating and one of the most useful things about this
meter, because it shows you the history of how squashed the
music was and how it relates to the overall loudness. And the meter also gives us a measurement of what is called ‘true peak level’, this
is another thing that is defined by the new standards, and
it relates to the fact that when there is a signal hitting
0 dB full scale often – as is common with CDs that are mastered
these days – when that digital signal gets converted back
into analogue you can actually end up with output levels
that are HIGHER than 0 dB when they play out. It’s a slightly
counter-intuitive subject. They are called ‘inter-sample peaks’, and
the new loudness standards include over-sampling meters that show those
peaks happening. So let’s just quickly take a look at one of
the louder sections of this song… And, as you can see, the true peak value there
is peaking at -1/2 a dB – I actually have the limiter
set to -0.6 which you can see is reading up here on the
more traditional sample meter, on the Brainworx Meter… The true peak value of that is -0.5, but this
song is not that loud. For comparison we have a much louder song
– up here… Let’s see what we get when we listen to this… So, that’s one of my favourite examples of
the moment of the new Red Hot Chili Peppers album, which,
as you can see has a true peak value of 2.7 dBs. That’s almost
3 dBs over ‘0’ – the average level is very high, and the ‘dynamic
range’ is very low. Those true peak levels that are over the maximum will correspond to distortion on many players. I’ve been noticing this effect a lot recently
on my iPod. So that’s another useful thing that a meter
like this will tell us. When you’re mastering you can make sure that
your true peak level stays below ‘0’ and therefore you’re
not introducing any additional distortion at the final stages. So, that’s a round up of the new Nugen Meter. It’s very configurable, it has a lot of options
that you can use to make it work exactly the way you
need it to. One thing that I would like is for it to be
possible to enhance this area of the display… You can see most of the useful information,
for me, as a CD mastering engineer, is in the top range
of this graph. Incidentally, this line here at -23, THAT
is the standard reference level that is going to be used in
broadcast. So this CD here – the average level is probably
somewhere in the middle – will be turned down to this
level for playback and the Red Hot Chili Pepper’s CD will be
turned down for playback here so there is all this headroom above that could
be used in the dynamic range of your music or anybody
else’s music to make it sound better, to make it sound
more interesting, and that is why I think these new loudness standards
could be a very good thing for people who are concerned about the
Loudness Wars. I’ve requested that they introduce the possibility
to enhance this scale and hopefully that will show up in a
future version of the plug-in. So now let’s move to our next candidate which
is the TC Electronics LM6. This is also an ITU ‘Loudness Unit’ meter
but it has a very different display from the Nugen
Meter. I like this one very much as well. Let’s give you an idea of how this one looks… So you can see in this case, rather than a
graph that goes left to right, they’ve chosen to display
the loudness graph in a radar configuration. It similarly has lots of options that can
be tweaked. Here we go, we can make the display show loudness
over a shorter range of time, so it evolves more
quickly. If I just skip ahead to a loud section of
the song… There you can see how it looks when the levels
are pushed up and again, you get a great indicator of
how the loudness of your song is evolving over time and you
can dial this speed option back in to show extra resolution
– if that’s what you would like. It remembers the history in the same way as the Nugen Meter does and it has all the same
options and statistics available to you. Let me just show that to you with a very loud
track… So, you can see there, it’s showing the Program
Loudness, it’s showing the maximum loudness and it’s
showing that massive true-peak value as well. The only thing that’s missing from this meter
– and I probably wouldn’t have missed it, if I hadn’t already
used the Nugen VisLM – is the option to see the loudness
RANGE. It would be great if TC could add that as
a future update, but even so, it’s another fantastic option
for a loudness meter and let’s face it, it looks really sexy, so
maybe that would be good for you! Now in terms of price the Nugen VisLM and
the TC Electronic LM6 both cost more than $500.00. It depends on the exchange rate, but I think
LM6 is $599.00 – so they are much more expensive
options than either the Brainworx which is $97.00
from memory – or the TT Meter, which remember you only have to
pay $30.00 for ! But I wanted to just take a look at a couple
of entirely affordable options for you, if you’re interested in measuring
loudness. The first one is PC only and has been released
by KVR Audio, it is an R128 Meter, so that’s using the European
version of this standard. You can see a screen shot of it here… It doesn’t have any of the graph facilities
or even, I don’t think, the moving meter display, but it will tell
you the loudness values for your music at any particular time, and
it’s free, so that will be a great thing to play around with! I haven’t found any other free meters yet,
if anyone knows of any, please let me know – but the meter that
I want to show you that I’m really excited about is made by a
company called Klanghelm – you’ve got to love that name! It’s called the VUMT, it occurred to me the
other day, it’s actually therefore called, the Klanghelm
VUMT – which just makes it even more attractive to
me! And you can see the price here, it’s €6.28,
which is about $9.00. It is EXTREMELY affordable, and I will just
show you that here in my Logic project. Now this is an emulation of
a traditional analogue VU meter – so it has needles, and it’s actually
the kind of meter I learned to master with when I was training
15 years ago. I find it really really useful! Even after playing with more sophisticated
meters like the TC Electronic and the Nugen, it was almost
like ‘coming home’ to play around with this VU meter. So I’m just going to show you how it works. You need to calibrate it first and you do
that with this little number down here in the bottom right hand
corner… I tend to master my stuff with it calibrated
to -10, which means that ‘0’ here on the meter gives you – roughly
speaking – a RMS level of about -10 dBs, which if you allow
it to peak a couple of dBs up into the red, means that
your loudest moments are going to be about -8 dBs, which
corresponds to a DR value of 8 – which is my suggested value
for keeping a decent ‘dynamic range’ in your mixes. And that also corresponds to kind of -8, -9
loudness unit reading with an ITU standard meter. So let me just show you the VU meter working
on this song here… So, this is a quieter section and the needles
are hovering down below ‘0’, we are coming up to a louder moment… And, if we skip forward to one of the loudest
sections of this song… I think the thing I like about the VU Meter
is that I find it easier to read than the TT Meter or the Brainworx
Meter. They have these RMS values, you can hear,
see – one channel is slightly louder than the other, and the
RMS is round about the -8, -9 mark, but I just find these so
much easier to read. I can see instantly where the signal level
is, I mean, low and high is easy enough to see on the TT Meter – but the feel
for how high that kick drum is pushing, how high the average level is and
how loud overall it’s going to be. I just find it so much easier to read on the
VU Meters. So I recommend you get them – $9.00, you can’t
go wrong, and if you’re interested in assessing the level of
your own music… Let’s try it with this really loud Red Hot
Chili Pepper’s track up here… The meter is calibrated to -10, which is my
kind of mastering reference and since this song works with that,
we’ll stick with that so we’re going to reduce the level of the
Chili Pepper’s song, so that it is also hovering around the ‘0’ level on
the VU and then we can do a fair comparison between the two. So I’m just going to adjust the clip gain
over here, and I’m going to guess, to start with -6 dB. Let’s see how loud that comes out… Okay, so that’s a little bit quiet, let’s
adjust it some more… So that’s very quickly level-matched those
two. Let’s now take a look at how that same information
shows up on the Nugen Meter here, and maybe, just for
the fun of it, the LM6 as well… So, there you go! I hope you found that interesting, hopefully
that gives you a good overview of how these different plug-ins work
and the different information they can give you about your mixes
and your masters. I really like them all – the TT Meter and
the BX Meter update are still great tools for judging loudness in
a mix. I slightly prefer the Brainworx’ newer version
– if you already have the TT Meter and it’s
worth it to you to upgrade – that’s for you to call. Both the LM6 and the VisLM-H are fantastic,
they are obviously quite expensive. The LM6 looks great, but I am really
quite addicted to looking at the loudness range feature on VisLM,
so if TC added that kind of feature to the LM6 in the future then
maybe I would shift my allegiance. But like I say, I’m also very comfortable
using VU Meters to judge loudness. You have to take time to learn to use them,
you have to be careful. You need a balanced EQ for them to give you
a reliable reading. If you have lots of bass, you’ll get a much
bigger reading than if you have not enough bass, so you need to learn how
to use them, but you’ll learn a fantastic amount about how
music sounds and the way you hear audio by doing that. You can use the settings down here to dial-in
whatever target dynamic range you like – you can go with my suggestion
of 10 dBs – you can dial it down to -14, -16, -18 – whatever fits with
the music that you’re working with. I encourage you to use it, it’s $9.00! Download it, load up some music that you love,
load up some of your own mixes – level-match them using the meter and
your ears. Start thinking about loudness versus ‘crest
factor’, ‘dynamic range’ – all of these issues! If you’re interested in this, found it helpful
and would like to know more – please head over to my website – www.productionadvice.co.uk There is a mass of information there about
EQ, compression, levels, the Loudness Wars… …just making your music sound great ! Please check it out. Thanks for listening.

75 thoughts on “Loudness Meters in use – a roundup of some of the best

  1. 21:00
    Well, if I ran -10dB RMS signal through my VUMTDuo meter calibrated to 10, it shows me +3, not 0. Maybe you wanted to say peaks of about -10dB? Just wondering. Thanks.

  2. Thanks for the great articles and video on "loudness." I wasn't aware that there were tools available to quickly guage my compression damage until seeing the video. The information came at perfect time since I'm in the process of mastering my first project. The donation to pleasurizemusic is not a concern to me. The tool is well worth it. Thanks again Ian!

  3. Excellent video. Great content. I especially liked the fact that you mentioned the 1770 changes. Thanks for sharing this.

  4. Hello, great video, thanks a lot for the comparisson and the Klanghelm hint.
    I've another hot VU-Meter which is not on the list. It's seems to have similar features as the Nugen stuff and costs only 15 bucks. Moreover, it has the Zoom-feature you miss in the Nugen. See toneboosters[dot]com[slash]tb-ebuloudness

  5. Since there was about free loudness meters, PSP Audioware have released a free Vintage Meter, which is your typical oldschool VU/PPM meter. It's pretty old, though and hasn't been updated for quite a lot of time (I think), but you may try it – it could work.
    It isn't really on their main website, though (probably decided it's not really worth supporting and updating it to – only guessing – 64bit or newest Mac OS). It's still on their servers and after googling, you can find it.

  6. Rick Rubin is the producer and has a hand in mixing. He's not the mastering engineer. Vlado Meller is the mastering engineer, currently mastering at Masterdisk in New York City and he mastered the last 4 RHCP releases.

  7. If you do, please release that as open source? 🙂 (but one cannot release VSTi compatible plugins as open source since EULA from Steinberg prevents that)

  8. okay, I'll need to learn how it works. If you tell me how it works or anyone tells me, I will make an open source version, no fancy UI unless I have the time though. Anyone willing to collaborate will be much appreciated.

  9. Totally agree. The TB EBULoudness is a great plugin. Identical readings to Nugen's VisLM-H. But now they have made it so that you can zoom in on the graph. Just set it to a longer time and zoom in to older areas.
    Still it'd be nice if they followed the MeterPlugs LCAST, which allows the vertical scale to be moved at will. ToneBoosters do allow the scale to be changed enough to see even modern destroyed stuff (ala Lady Gaga).

  10. Ian – I've be referencing commercial tracks whilst working on an EDM project and, try as I might, there's just no way I can get my 'home' masters as loud. That's not such an issue as my project is creating drum/perc loops for a sample pack. But in Logic 9, and with all faders at unity, the commercial reference track was peaking way over the master buss 0dB. But I couldn't detect any digital clipping. I'm assuming this is because my Logic project is at 24bit. I usually aim for -0.2dB on the master buss, but I'm now not sure if the meters are really giving me a true reading for the peak level. The loops will stay at 24bit in any case.

  11. Superb, Ian! Really inspirational advice. Thank you. A few things. The Brainworx Bx meter does show different values to the TT ( I'm running the TT in the 32 bit bridge in Logic). Which one is more accurate? Also, tried the Klanghelm on -10 and the Toneboosters  EBU loudness. Which plugins would you say give the "healthiest" data?  My last track (tested on the offline TT meter) had a dynamic range of 14.

  12. Good Vid, i enjoyed the detail on each plugging n now i now have a little bit more of an idle of whts to come. Thks Ian

  13. Another great video, Ian! I have learned so much watching these, and I greatly appreciate it. I was wondering if you have used the Blue Cat DPMP meter. It is inexpensive and I wonder what your thoughts on it were. 

  14. This is great Ian. Thanks a lot.
    For what I can understand, if you limit peaks around -0,5db and use Klanghelm VU meter trimmed @-10db to drive your song loud sections about there, then you'll have a dynamic range goal of about 10db (which is not squashing much, and I don't expect very high intersamples). Assuming the mix is well balanced along freqs it sounds to me that this and ears is all you need, isn't it?

  15. So if we want our RMS values to be around -20 (K style) 
    do we still want our peaks to reach close to 0 db?

    That maintains a SIGNIFICANT difference between the highest and lowest amplitudes.

    This is what I have been trying lately in my own mixes but I find it difficult. Should I still be trying to reach close to 0db even while maintaining such a low RMS value? 

  16. when I master my mixes, I use Ozone 5, which shows me my RMS level. What is ideal setting?? (-15,-10,-6) ??

  17. Ian, my head is spinning with trying to get a grip on all this. I do a lot of commercials for TV, but also get hired to do music that is released on CD. I just got the Klangheim meter….so if I keep all my mixes at around 0 VU on this meter, I should be good for all purposes? When I first brought the meter up into a session where I had a mix it was WAY over zero (I had a really loud mix going, but that was typical for me). Thanks!

  18. Thanks for the informative post.
    I've been using the Toneboosters TB_EBULoudness meter. Comparable to the meters you've shown here, for 20 Euros.Also the Klanghelm VUs in your video are great. I learned on old skool  VUs as well- still very useful.

  19. Hi Ian. Just a short question. I work as a post production audio mixer. I have both LM6 and Nugen VisLM at my disposal. So, not so much to do with music. In any case, I've always been using LM6, but thought I'd take a look at Nugen.

    For some bizarre reason, the difference in huge. The the same mix, LM6 is showing program loudness of -24dB, while Nugen consistently shows -27dB regardless of which setting I dial it in.

    Do you know why there is such a difference?

  20. Can you use the TB EBU Compact to get your:
    -Loudness range
    -Overall Loudness
    -True peak levels 

    It seems to me that just the demo version is enough to monitor all of the above why would I need the full version?

    I want to use it in Adobe premiere CS5.5 on a 30 minute long project. Can't find any decent user manuals on the internet. There are lots of acronyms that I can decypher from the screenshots. Like Integrated SI, Short SL, MLk, SLk.

    Lots of usefull information that I would otherwise have to pay in this video 🙂 Awsome work.
    Maybe a new video for the new plugins 🙂 ? 

  21. Great video, Ian! Have you seen the free loudness meter from Melda Productions? If so, what are your thoughts?

  22. And this one is free and has a hold needle and mirrors the environment in its glasses, 😉 nice: http://www.lsraudio.com/lvlmeter.html

  23. There is actually another free meter for EBU R128 from melda productions: MLoudnessAnalyzer.
    It is part of there free bundle.

  24. Whatever happened to that "Dynamic Range foundation"? I had sent them an e-mail a long time ago, but it seems like they died as fast as they came.
    It was the best thing I had found for the sake of music/audio in a long time. It's still not getting much better, other than maybe that Vinyl is somehow making a slow return. But then, I'm not sure if dynamics are actually any better or if they simply press the CD-mastering onto the Vinyl…
    But anyway, there still needs to be a big change in the treatment of audio for music. People are all up in arms about their precious HD surround sound for their movies and all their glorious pixels and broad color-range. But it has gone in the opposite direction for audio for music, just because it's not visible and people are becoming more deaf by the generation.
    Oh, how I wish Audio-DVD, with (optional) 24bit 48kHz 5.1, had become a standard a long time ago…

    Also, 1 off from having 15K subscribers, Ian! 😛

  25. It's funny how everybody stresses out the need for the artists and producers to have a great dynamic range.
    Yet most of the tools avaiables are expensive, especially for small musicians like me.

    Since this video was posted in 2012, have you tried new great VSTs similar to these ones ?

    Thank you very much for this video and your help !

  26. all this I find confusing, combining it with mixing etc… I am wondering do I need to mix to a these levels or only worry about the way these values look once I go to compression etc…?

  27. "BS.1170-2" is what you call the standard at 9:50 in the video, and it was actually "BS.1770-2" at the time. Nonetheless, very informative video, as always. Thank you.

  28. What i really dont understand is, how can you measure "loudness" on the overall frequency spectrum? I tend to produce sub bass oriented music, when im having a long 40hz sinus and not much going on in the rest of the frequency spectrum, i get easily -4db rms. and it doesnt sound loud or distorted at all. is this measurement based around a even distributed frequency range or whats the reference point of the measurement? thx in advance

  29. Curious why the Melda MLoudness didn't make the cut. It's kind of a little of everything demonstrated here.

  30. The digital readout of the Audiocation meter is difficult to read until it has settled. It also doesn't show anything above -14. I noticed that the integrated reading on the Audiocation drifts apart from other meters by a small amount, around -0.3 db per hour. The VisLM is the most practical. All modern TC plugins are ugly, since they've caught the flat design bug. The old TC Works Native series had much more pleasing design.

    I wonder why isn't there built-in percpetual metering in Reaper yet. They'd probably make it efficient enough to add no more than 100k to the program's size. All other vendors were quick to get R.128 feautures in their products.

  31. I have the Waves Dorrough meter. Haven't been too impressed by it since it doesn't show the dynamic range. Maybe I'm not reading it correctly.

  32. I don't get the prices of some of these plugins.
    Klanghelm makes awesome plugins and sells them at a very reasonable price.
    Love their VU meter, compressors and saturation plugins!

  33. Plugin alliance have the Bx meter for $9 this week so gonna have that and the VU meter from klanghelm. Love your videos and podcasts find them very insightful and worthwhile

  34. Wow! I'm SO glad I saw this! I have the Nugen Meters, but wasn't quite sure how to approach using them. Now, I've got a clue. The first band, Betatone Distraction, sounds great btw. Can't believe how LOUD the RHCP track is!! And yes, that will distort a lot of playback systems. I'm a little shocked because of who produces their records isn't a dummy. Funny thing is that it doesn't sound that much louder, here on YouTube, so I wonder why they would do that and sac rice sound quality?! Finally, I agree that the new loudness standards are going to save up from the insanity. Records with more dynamic range a much better chance and crazy loud program will get attenuated.

  35. Hi, such a great video thanx a lot !
    but, I must point that about the red hot chili peppers song, the mixing engineer was andrew scheps, who is known to give mixes
    without dynamic to the mastering engineer, who, as a result, has no room left to work on…
    also, the mastering engineer could at least lower the overall level to not exceed the true peak by 3dB… both guilty ! :)))

  36. Another free metering plugin is this one from IK Multimedia: http://www.ikmultimedia.com/products/trmetering/

  37. Please test the free MLoudnessAnalyzer from Melda! What do you think about it? I think it's great. Specially in comparsion to the, as I think, totally overpriced Meters from the big players.

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