![]() In fact the goal is to avoid excessive limiting! Encoding heavily limited audio into a lossy codec is a work place hazard. The key of course is proper intermediate optimization before the audio is bumped up (or limited) at the final stage. Whether you are driving your mix into a limiter ceiling (I don’t necessarily recommend this) or you are applying offline loudness normalization – limiting (in most cases) will be necessary. You must produce audio intermediates (or mixes) that are prepped, optimized, and capable to sustain additional gain without compromising fidelity and/or nulling adherence to best practice or subjective specs. or a best practice imposed ceiling – producers must assess how added gain will impact potential limiting requirements.ĭo not ignore this fact: integrated loudness ‘targets’ for internet, mobile, and podcast distribution differ from broadcast specification description. As far as I am concerned the only way to properly optimize persistent breaths is manually, instance by instance. There are several tools available that attempt to sense and attenuate breaths. I do agree that breaths elevated in level or those exhibiting snap syndrome* may be bothersome to listeners. Yet there are cowboys out there that preach the technique suggesting “listeners do not want to hear breaths.” Questionable perspective in my book. ‘Ever experience speech passages with all breaths cut and subsequent ripple edits applied? It sounds robotic and horrible. IMO in order to preserve natural human speech characteristics breath retention is vital. Pre and/or post gain optimization is paramount. Of course best case is to circumvent noise at it’s origin.Īdding significant gain elevates breath amplitude. Heavy noise reduction will certainly introduce artifacts. In essence you must do whatever you can to mask your noise floor prior to downstream processing. If you think talent transitions from silent inactive speech passages to active passages with audible noise sound bad – imagine how this will translate after adding significant gain. When talent is actively speaking and the audio level is above a predefined threshold – residual noise will be audible as well. ![]() The process does not remove persistent audible noise. This is rudimentary: adding gain will boost the audibility of preexisting broadband noise and possibly degrade audio fidelity.Ī specific example where applied gain over noise is problematic ➝ post downward expansion.Īre you under the assumption that applying downward expansion is a form of broadband noise reduction? It isn’t. There are several pre-gain offset issues that all producers and engineers must be aware of … If you elect to apply offline Loudness Normalization, the process is simply (after measurement) a linear gain offset + limiting if necessary. When considering best practice audio compliance guidelines for internet distribution … processed intermediates may require significant up side gain adjustments in preparation for distribution encoding. ![]()
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