As such, peak normalization is generally used to change the volume in such a way to ensure optimal use of available dynamic range during the mastering stage of a digital recording. When combined with compression/limiting, however, peak normalization becomes a feature that can provide a loudness advantage over non–peak-normalized material. This feature of digital-recording systems, compression and limiting followed by peak normalization, enables contemporary trends in programme loudness. Loudness normalization Īnother type of normalization is based on a measure of loudness, wherein the gain is changed to bring the average amplitude to a target level. This average can be a simple measurement of average power, such as the RMS value, or it can be a measure of human-perceived loudness, such as that offered by ReplayGain, Sound Check and EBU R128. įor example, YouTube's reference level is −14 LUFS, so if a program is analyzed to be −10 LUFS, YouTube will lower the level by 4 dB to bring it to the reference of −14 LUFS. Loudness normalization was created to combat varying loudness when listening to multiple songs in a sequence. Before loudness normalization, one song in a playlist might be quieter than the rest, so the end listener would have to turn a volume knob up to adjust the playback volume. ĭepending on the dynamic range of the content and the target level, loudness normalization can result in peaks that exceed the recording medium's limits. Software offering such normalization typically provides the option of using dynamic range compression to prevent clipping when this happens. In this situation, signal-to-noise ratio and relative dynamics are altered. Standard loudness normalization reference level varies by location and application.
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