<html><head><meta http-equiv="Content-Type" content="text/html charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class=""><div>Hi Bob,</div><div><br class=""></div><div>Like Kevin suggested between the lines: it may be about time to define the ‘noisy environment’ processing. What I read in your message is that the micro dynamics should not be changed. That means we still need a target of -14 LUFS or lower (with 3 dB extra headroom): the processing is on the softer part of the sound.</div><div><br class=""></div><div>I think it is time for MLA to again show the way to the future and write a white paper about this. Perhaps we better wait with publication until -23 LUFS targets on smart phones are possible. But then we should have a solution ready to help people control the huge dynamic range they got. Would you be willing to take the lead in writing this white paper?</div><div><br class=""></div><div>Cheers,</div><div>Eelco</div><div><br class=""><blockquote type="cite" class=""><div class=""><div text="#000000" bgcolor="#FFFFFF" class=""><p class="">Dynamics processing in streaming on mastered material is just
another backwards step to the ugly Orban, ugly-sounding and ugly
radio land. No ONE, I mean no ONE knows what's optimal for every
venue. NO ENGINEER has preknowlege of what the user's venue or
user's conditions are going to be. And giving the user the choice
rarely results in anything good. <br class="">
</p><p class="">Furthermore, presets called "Loud" and "Normal" are just ways of
making the sound "squashed" and "more squashed". Applying downward
compression, limiting and Orban style processing presets on top of
music which can vary from the most unprocessed to the most smashed
is just going to further and seriously distort the smashed
recordings, and ruin the depth and clarity of any high quality
material. Thus returning to the distortions that we successfully
got rid of by inventing R-128 in the first place! This is WHY the
EBU and ATSC do NOT advocate ANY loudness processing, simply
loudness normalization. Do you think that Spotify knows better
than experienced broadcast engineers?<br class="">
</p><p class="">There are two proper solutions to the noisy venue problem. The
eventual and proper one is to move to is a noise-based processor
that incorporates the microphone in the user device and raises the
gain of low level material without any level-based time-constants.
<br class="">
</p>
As we wait for a microphone-noise-based processor to be perfected, I
would propose interim presets labeled "noisy environment" "medium
noisey environment' and "quiet environment". These would use
parallel compression which is designed to be invisible at high
levels and only effective meaningful at low levels. NOT the kind of
processing that I wager Spotify is using. I wager they're using
ugly, undiscriminated, downward compression and limiting. <br class=""><p class="">Otherwise vendors and streamers should keep their noses out of
the processing business. It failed and sucked with radio and
they're just bound to repeat the mistakes of FM radio :-(</p><p class=""><br class="">
</p><p class=""><br class="">
</p><p class="">Let's call a spade a spade and do things right. <br class="">
</p><p class=""><br class="">
</p><p class="">Bob</p><p class=""><br class="">
</p>
<br class="">
<div class="moz-cite-prefix">On 3/16/18 12:07 PM, Kevin Gross wrote:<br class="">
</div>
<blockquote type="cite" cite="mid:CALw1_Q09-P5KoYpuPSsL-8T-SquZNOQ=MpSSLqbXpxf0+43XHA@mail.gmail.com" class="">
<div dir="ltr" class="">
<div class="gmail_extra">
<div class="gmail_quote">On Fri, Mar 16, 2018 at 3:22 AM,
Grimm | Eelco <span dir="ltr" class=""><<a href="mailto:eelco@grimmaudio.com" target="_blank" moz-do-not-send="true" class="">eelco@grimmaudio.com</a>></span>
wrote:<br class="">
<blockquote class="gmail_quote" style="margin:0 0 0
.8ex;border-left:1px #ccc solid;padding-left:1ex">
<div style="word-wrap:break-word" class="">
<div class=""><br class="">
</div>
<div class="">Let’s hope we can nudge Apple to implement the
“extra headroom with normalization on” option soon.
Then we just switch to a -23 LUFS target and have a
beer :-)</div>
<div class=""><br class="">
</div>
<div class="">Cheers,</div>
<div class="">Eelco</div>
<div class=""><br class="">
</div>
</div>
</blockquote>
<div class="">We have talked in this group in the past about the
potential need for different processing for different
listening scenarios. Spotify is touching on this with
their "Loud", "Normal", "Quiet" options. Based on the fact
that loudness-normalized material is played off a
different server, it appears they're doing some dynamics
processing. We've said that we'd look at this once we had
solid recommendations for unprocessed loudness
normalization. Maybe it is time to get started.</div>
<div class=""><br class="">
</div>
<div class="">Kevin</div>
</div>
</div>
</div>
<br class="">
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