![]() There's different ways of measuring dynamic range, he was probably using loudness units. Once I'm done with it, I see what's happening according to the dynamic range analysis. I always try keeping the limiting as little as I possibly can. I look at mastering as nothing more than managing the dynamic of your track to make it fit whatever format you're going to put it on. My personal solution was to measure a bunch of tracks of different genres and with different behaviour while listening (this can get particularly interesting when put against stuff with some electronic music, especially 'burialesque' stuff) and then move to measure my own stuff.Īt the moment I stil check the dynamic range of what I do, but usually I work in this order: I mix till the track sounds like I think it should, I try getting the perfect dynamic range just by applying dynamic processing during the mix. You can get the same average from two extremely different songs if one song has a huge dynamic range the all time and another alternates bits of high dynamic to bits of low dynamic, they might just give you the same result in terms of numbers. Long term RMS:peak is also to be considered). Two tracks can have similar overall dynamic and two completely different dynamic profiles.ĭynamic range values are measuring the difference between peak and loudness level and the result they'll give you will always be an average (I think the TT Meter only measures RMS:peak, and I believe it sticks with short-term RMS, which is very usefull but still only partial. The same dynamic range value can mean two completely different things. Here's the problem with trying following exact values as guidelines: The audio-video codec thing you were mentioning depends on how you decide to export, you can go and do an uncompressed video, just like you can export a compressed video with uncompressed/lossless audio (which is what I do with my stuff, just to play it safe). You can go with the lossless file, although I usually prefer going with the uncompressed version, it takes longer but at the end of the day is the safer bet! That was a problem only once for me, but honestly it's not that bothering as the track still sounds fine enough. The only thing to keep in mind is that if you have a huge overall dynamic range, your track will sound less loud then others on youtube, as the site will regulate the volume of your track to have it peaking at a given level. Personally, despite what I said, I always do my masters with cd reference in mind, it is still safe for uploading to youtube. This is what I have gotten so far by studying the subject and practicing as much as I can: Having said that, I need to add I am not professional mastering engineer, just a sound engineer, I still study this argument a lot, most of my knowledge about mastering is self taught so, if anybody feels the need to correct any of the following, feel free! That doesn't mean in any way that the dynamic cannot change between tracks of course, but only that the overall loudness should sound consistent. Personally I'd say you should do a master per track, assuming the tracks have different kind of elements and behaviour, what you want is to end up with a consistent overall level (to put it simply: you don't want people to be forced to go and change the volume between one track and the other, once set the volume, the all album should be completely listenable at that level). Personally I find most videos by this guy quite interesting anyway: He also mentions some guidelines for which value one should be aiming for according to the platform he's mastering for. This plugin by Ian Shepherd looks very neat (it ain't free though :-/) and this couple of videos are a cool watch. Having said that, I also like to check dynamic range values more often than not. ![]() On the other hand, if you're mastering, you want to consider the limits of the platform you're mastering for if you check youtube official videos, for instance, in most cases you'll find they have different masters from the cd version (not to mention the obvious cd vs vinyl example). I mean, of course a d'n'b track will be less dynamic than a piece of classical music (more or less the two opposites sides of the spectrum!) but at the end of the day the amount of dynamic is only down to your hear, if you like d'n'b, I don't think you'll end up doing a track with uncompressed drums in it, the feel would just be different. I think that generally you should only consider precise values of dynamic range according to the media you're mastering for.
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