LPM is in the Shop

[TritoneAddiction]

So here I am just looking for a quick answer what this RE is for and now it seems like it requires hours of research just to understand the subject. My brain hates this sort of stuff.
I started watching the video but I just can't bring myself to finish it. I envy anyone who finds this stuff interesting, because I'm sure it's important to some degree.

Just one question. Can this device help me put my mix at some sort of standard perception level?
Like can I write a bunch of tracks and this thing helps me figure out at what level I should have them?

Otherwise I give up.

Set your target to:
-23 LUFS for broadcast and commercial audio (TV)
-14 LUFS for Youtube, and around
-16 LUFS for Apple iTunes (Soundcheck).

Run your final track though it to compute the Long Term loudness and delta.
Up the final gain into your limiter buy the given delta.
Do this for all your tracks and they will all have the same perceived loudness.

Thanks, really appreciate the answer. That's what I needed, some sort of simple instruction on how to use it.
This description made things a lot clearer what the device is for. Why not add something like that in the Prop Shop? Imo this should be the first thing the customer reads. This way it's a lot more motivating to do the necessary research because you know why the RE exists in the first place.

Some developers do this, for example with FRG-4RE:

"Crushing drums are on the menu with the FRG-4RE. Turn the threshold, attack and release controls to their minimum value (all the way to the left), while setting the compression ratio to maximum (all the way to the right). Adjust output gain as needed. Feed in snares, kicks, toms, etc. The FRG-4RE is ready to eat them for breakfast, lunch and dinner."

Stuff like this helps.

Again thanks for the answer Mr Panda

[miscend]

This plugin is a godsend for mastering guys and those working in broadcast.

[buddard]

here some standarts :
- youtube -13 db lufs
- itunes -16 db lufs
- spotify -12 db lufs
- most video game plublisher -23 db lufs
- broadcasting -23 db lufs

I think it's really interesting that iTunes and Spotify have different standards, because normally you upload a single master to your distributor, who will then pass it on to all digital services.

So what's the best target LUFS to go for in this case? Is it better to master at -16dB and let Spotify squash it up to -12dB afterwards, or should you master at -12dB (ensuring that you get minimal artifacts) and have apple turn down the level -4dB instead?

In the first case you get more dynamic range on iTunes, but on the other hand you don't have that much control over how it will sound on Spotify. I guess it comes down to how good/lousy Spotify's limiter is?

[frog974new]

here some standarts :
- youtube -13 db lufs
- itunes -16 db lufs
- spotify -12 db lufs
- most video game plublisher -23 db lufs
- broadcasting -23 db lufs

I think it's really interesting that iTunes and Spotify have different standards, because normally you upload a single master to your distributor, who will then pass it on to all digital services.

So what's the best target LUFS to go for in this case? Is it better to master at -16dB and let Spotify squash it up to -12dB afterwards, or should you master at -12dB (ensuring that you get minimal artifacts) and have apple turn down the level -4dB instead?

In the first case you get more dynamic range on iTunes, but on the other hand you don't have that much control over how it will sound on Spotify. I guess it comes down to how good/lousy Spotify's limiter is?

with your network , label or agregator audio , all master are the same on most current distributor but yes for playback streaming there's a few difference . but be carefull ^^ , dB fs are not dB lufs. even spotify the target loudness is -12 dB lufs and itunes at -16 db lufs with a master at TP -1 db and a large dynamic range ( above DR9/DR12 ) we can avoid a small difference for level perception for those 2 playblack streaming service .

atm for my album on market , i use more those setting
master at -18 db with -4/-8 db peak to make a track with DR12 and -1dB true peak ( most playback streamind use encoder at -0.5/-1db max )

now itsn't a Loudness war but a dynmic range war