Hi guys,
does it make sense to master my content after the EBU /ATSC norms ? For example I finish a dance track and want to upload it on youtube and deliver it on a disc, does it make sense to apply the same loudness mastering ? Does it makes sense to master the song after an EBU norm ? (I know that these norms were initially made for broadcast-reasons). Or is this loudness mastering useless for normal music mastering ?
Mastering after Broadcast Standards ?
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- KVRist
- Topic Starter
- 35 posts since 28 Aug, 2015
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- KVRAF
- 14658 posts since 19 Oct, 2003 from Berlin, Germany
This "Loudness Mastering" makes sense in the long run for an overall better/easier transfer of your material to various mediums.
In this case however, -16LUFS is currently considered to be the hotspot. It works for:
- Youtube (-13LUFS)
- Spotify (-14LUFS, though they wanted to go down to -16LUFS)
- iTunes (-16LUFS)
It works for Vinyl and Tape (although, some media outlets say that both are back on the decline again)
It works for CD (you can play it right after your Blu-Ray and not blast our your ears)
It works for broadcast stations (less stress on the in-studio compressor) - the output will be pulled down to -24LUFS or -23LUFS on the fly (depending on the requirements of the county).
If you really need to master your material "hot", cause "competition" - then you should ideally not exceed -14LUFS Integrated +-1 (whole track). This will still keep a lot of your transients intact if your maximum signal strength ceiling is -1dBTP, while not having to live with strong cut ins due to automatic loudness adjustments on playback (loud masters = less transients = less impact and feels actually more quiet compared to the other productions at equal loudness). The "pumping" of the production then needs to come from a well balanced mix and careful bus treatment - not from the in-your-face loud mastering. The art lies in the balance of those tasks
In this case however, -16LUFS is currently considered to be the hotspot. It works for:
- Youtube (-13LUFS)
- Spotify (-14LUFS, though they wanted to go down to -16LUFS)
- iTunes (-16LUFS)
It works for Vinyl and Tape (although, some media outlets say that both are back on the decline again)
It works for CD (you can play it right after your Blu-Ray and not blast our your ears)
It works for broadcast stations (less stress on the in-studio compressor) - the output will be pulled down to -24LUFS or -23LUFS on the fly (depending on the requirements of the county).
If you really need to master your material "hot", cause "competition" - then you should ideally not exceed -14LUFS Integrated +-1 (whole track). This will still keep a lot of your transients intact if your maximum signal strength ceiling is -1dBTP, while not having to live with strong cut ins due to automatic loudness adjustments on playback (loud masters = less transients = less impact and feels actually more quiet compared to the other productions at equal loudness). The "pumping" of the production then needs to come from a well balanced mix and careful bus treatment - not from the in-your-face loud mastering. The art lies in the balance of those tasks
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- KVRAF
- 4430 posts since 15 Nov, 2006 from Hell
mastering isn't just about loudness. so yes, it makes sense to master the song regardless. how you master it may be different.husteblume wrote:Hi guys,
does it make sense to master my content after the EBU /ATSC norms ? For example I finish a dance track and want to upload it on youtube and deliver it on a disc, does it make sense to apply the same loudness mastering ? Does it makes sense to master the song after an EBU norm ? (I know that these norms were initially made for broadcast-reasons). Or is this loudness mastering useless for normal music mastering ?
I don't know what to write here that won't be censored, as I can only speak in profanity.
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- KVRist
- Topic Starter
- 35 posts since 28 Aug, 2015
@Burillo: Yes, but I think loudness Metering is an important final step.
@Compyfox: Great, exactly what I wanted to learn
. Thanks a lot for your great reply 
So I will try to master my future songs @-16 LUFS. So as far as I understood it is important to get the long term @-16 LUFS. What is about the short term levels ? Is there any limit or anything to pay attention to ?
Fun Fact: I listened to around 15 Youtube Songs (Hip Hop and Rap) and all have around -7 to -12 ILUFS. Is this like the new "Loudness War" ?
@Compyfox: Great, exactly what I wanted to learn
. Thanks a lot for your great reply So I will try to master my future songs @-16 LUFS. So as far as I understood it is important to get the long term @-16 LUFS. What is about the short term levels ? Is there any limit or anything to pay attention to ?Fun Fact: I listened to around 15 Youtube Songs (Hip Hop and Rap) and all have around -7 to -12 ILUFS. Is this like the new "Loudness War" ?
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- KVRAF
- 14658 posts since 19 Oct, 2003 from Berlin, Germany
It's actually "Loudness Normalization" alongside the (pre)mastering process.husteblume wrote:@Burillo: Yes, but I think loudness Metering is an important final step.
I wrote a couple of articles about this (see my signature / KVR Marks).husteblume wrote:@Compyfox: Great, exactly what I wanted to learn
Basically, you shoot for any reference value you select. In our case we say -16 LUFS. So your focus is on the SLk meter having the average signal strength on mezzo-forte (middle-loud) parts around -16 LUFS, while the forte-fortissimo (loudest) parts are not higher than +4LU. If your mix is not necessarily classic or just voice over with effects (a radio play), this should get you in the +-1LU ballpark of your target (-16 LUFS ILk).
Momentary Loudness can shoot up to +9LU to +10LU MLk offset to your target level...
It's all down to the meter ballistics.
No - the Loudness War is still raging on. But the future is to pull down the loudness (average signal strength) of the signal during playback. Youtube does this very inconsistently and only on bigger channels. And their target it (currently) -13 LUFS.husteblume wrote:Fun Fact: I listened to around 15 Youtube Songs (Hip Hop and Rap) and all have around -7 to -12 ILUFS. Is this like the new "Loudness War" ?
You will still see/hear CDs with -7 LUFS ILk until the upper management and auto-mastering devices finally understands / realize what damage they're doing to the material, and that their "more competitive mixes" don't fare any better on loudness normalized streams or channels.
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- KVRist
- Topic Starter
- 35 posts since 28 Aug, 2015
Okay, I will read the other articles too. Thanks a lot for your reply
