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# produce New Media

Media Production and Loudness Compliance

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## Posts

- [Monitoring and Isolation](https://producenewmedia.com/monitoring-and-isolation) - The vast majority of producers, engineers, and/or “editors” working with typical spoken word Podcast audio are not using calibrated reference monitors in quiet work spaces with optimized acoustics. That said, there’s some chatter out there referring to producing and mixing Podcasts solely through fancy near field monitors. Consider this: what about efficiently dealing with inherent
- [Information Bar Fill Lower Thirds ...](https://producenewmedia.com/information-bar-fill-lower-third) - If you look in the FCPX Titles Effects Browser under the Lower Thirds Category you will notice an Information Bar Lower Thirds. The is a bundled FCPX Title. The title itself is actually quite stylish. It's subtle, with a semitransparent black bar and customizable text positioned on two lines. A few days ago I was
- [Information Bar Fill @2.35:1 ...](https://producenewmedia.com/information-bar-fill-2-351) - I am releasing an alternative version of my Information Bar Fill Custom Lower Third Title for FCPX. This version is designed to be used over clips with a 2.35:1 aspect ratio. Basically I've tweaked the default values for the initial positioning of the two lines of text as well as the graphical bar. I've also
- [spotPoint Lighting for FCP X ...](https://producenewmedia.com/spotpoint-lighting-for-fcp-x) - I'm distributing a new effect that offers some interesting control for simulated Spot and Point lighting of your video shots: spotPoint Lighting As noted there are two Light Source options:Spot and Point. You can set the color of the light to suit your needs. Global controls include Intensity, Falloff, and Falloff Start. There are two
- [spotPoint Lighting Duo ...](https://producenewmedia.com/spotpoint-lighting-duo) - spotPoint Lighting Duo is now available for download. This version features simultaneous use and control of Spot and Point Lighting. I decided to build this out as an Effect. So there is no control for text as previously suggested. Please read the following Notes prior to installing: I decided to use a standard installer package
- [Cinemascope Toolkit ...](https://producenewmedia.com/cinemascope-toolkit) - I've released my Cinemascope Toolkit. The package includes a basic 2.35:1 matte ("Cinemascope Crop") created in Motion and wrapped in a FCP X Effect. The Effect supports video Scale control and X/Y positioning. I've also included four Compressor Presets that output cropped MPEG-4/H.264 videos. Frame things up in FCP X and output using one of
- [Podcast Post Production: Gain, Limiting, and Ramifications](https://producenewmedia.com/podcast-post-production-gain-limiting-and-ramifications) - When considering best practice audio compliance guidelines for internet distribution [mobile, podcast, streaming, etc.] … processed intermediates may require significant up side gain adjustments in preparation for distribution encoding. If you elect to apply offline Loudness Normalization, the process is simply (after measurement) a linear gain offset + limiting if necessary. There are several [what
- [Ghost Netflix Loudness Meter Preset in Adobe Audition?](https://producenewmedia.com/ghost-netflix-loudness-meter-preset-in-adobe-audition) - Many months ago I posted feedback on Adobe's portal regarding what I refer to as a ghost loudness meter preset for Netflix measurement and compliance. The Integrated Loudness submission target for Netflix referenced in “Near Field Audio Prerequisites for Mix Facilities” is -27 LKFS [+/- 2 LU tolerance] with True Peaks not exceeding -2 dBTP.
- [aspectRatio: Divisible by 16 ...](https://producenewmedia.com/aspectratio-divisible-by-16) - Here is a glimpse of what I have planned for the next release for aspectRatio: At this point I've implemented a suggested dimensions method that displays values evenly divisible by 16. The results are triggered by the Target Width and returned Output Height calculation. Select MPEG formats are based on 16x16 macro-blocks. Evenly divisible (by
- [Reframing Images in Photoshop for "Cinematic" look ...](https://producenewmedia.com/reframing-images-in-photoshop-for-cinematic-look) - 2.35:1 (480x204) Reframed Image Here's how I reframe still images in Photoshop targeting a more "Cinematic" 2.35:1 aspect ratio. Reframed images can be resized and used in blog posts, tweets, etc. You can also use this method to reframe stills that will be used in your 2.35:1 video editing projects. Below is the original image
- [Waves and MaxxVolume](https://producenewmedia.com/waves-and-maxxvolume) - The latest addition to my audio processing toolset is MaxxVolume by Waves. This dynamics processor has been on my radar for the past few years. I was always under the impression that Waves plugins required an iLok account/key. It was for this reason I never bothered to pull down the demo and test it. A
- [Waves MaxxVolume Revisited ...](https://producenewmedia.com/waves-maxxvolume-revisited) - Back in October of 2012 I wrote about my purchase and initial impression of MaxxVolume by Waves. Let me first say I'm so glad I bought this tool. Secondly, my timing was impeccable. I was under the impression (when I purchased it) that the price of this plugin was significantly reduced on a permanent basis
- [Final Cut Pro: Open in Editor ...](https://producenewmedia.com/final-cut-pro-open-in-editor) - One of the many aspects of Final Cut Pro that I would like to see improved is how project clip attributes are displayed. Currently right clicking on a media file located in the Browser or Timeline and selecting Item Properties/Format displays a sort of bloated window with a table. In most cases I am only
- [Final Cut Pro Offline Edit with ProRes Proxy...](https://producenewmedia.com/final-cut-pro-offline-edit-with-prores-proxy) - It has been documented that the newly released feature film "Eat Pray Love" staring Julia Roberts was edited entirely on a Final Cut Pro workstation. I found this most interesting: "The editors found an efficient solution in ProRes 422 (Proxy), a new version of the Apple ProRes codec introduced with Final Cut Pro 7. As
- [Return to Vinyl ...](https://producenewmedia.com/return-to-vinyl) - Introducing my "new" stereo ... ... Well, not really. It's a long story. Back in the late 1960's though the 1980's nothing (besides family, school, and work) was more important to me than music. Growing up my Dad blessed us with one of those retro console stereo cabinets that included a recessed turntable and AM/FM
- [Broadcast upTimer ...](https://producenewmedia.com/broadcast-uptimer) - This is the updated version of a neat utility that I built about 5 years ago. Radio Stations sometime use what are referred to as upTimers to track live programs and air time. Hardware versions are available from main stream broadcast gear suppliers and can be quite expensive. In fact many of these devices can
- [colorFloat](https://producenewmedia.com/colorfloat) - Last eve I was sifting through the Apple App Store looking for a simple utility to quickly convert RGB color values to corresponding float values (RGB integer / 255 = float). I decided to build my own Cocoa application with a few added enhancements. High-res Image: colorFloat Run the standard OSX Color Picker and press
- [toMotion](https://producenewmedia.com/tomotion) - One of the most useful features in the Final Cut Pro X/Motion 5 workflow environment is the ability to create, edit, publish, and share media content created in Motion 5. Creations like Effects, Titles, Generators, etc. can easily make their way into FCPX for widespread use. What is astonishing is these robust media tools can
- [Intersample Peaks, Normalization, and Limiting ...](https://producenewmedia.com/intersample-peaks-normalization-and-limiting) - When preparing to encode MP3 files we need to be aware of the possibility of Intersample Peaks (ISP) that may be introduced in the output, especially when targeting low bit rates. This results from the filtering present in lossy encoding. We alleviate this risk by leaving at least 1 dB of headroom below 0dBFS. Producers
- [Safe Zones](https://producenewmedia.com/safe-zones) - Cinemascope Toolkit ver.1.1 was released yesterday. I added the ability to display 2.35:1 Safe Zones (Yellow or Blue) to clip(s) where the filter is applied. When the Safe Zones option is switched on the underlying clips' opacity is reduced to about 30%. Below I use the Yellow Safe Zones for better visibility. The Rotation parameter
- [Film Zone](https://producenewmedia.com/film-zone) - Cinemascope Toolkit ver.1.2 has been released. The Crop Guides popup now displays one of three options:Letterbox, Film Zone, Letterbox and Film Zone. The Film Zone is essentially a set of colored cropping guides less the letterbox matte(s). Viewing the underlying clip with the Film Zone displayed on it's own makes it easy to view what
- [spotPoint Lighting - Simultaneously ...](https://producenewmedia.com/spotpoint-lighting-simultaneously) - I'm working on the next version of spotPoint Lighting. The next version will include simultaneous use and control of Spot and Point Lights. The example below is actually a Title as opposed to the Effect that was initially released. I'm trying to decide which format would be more useful. Having two independent text layers right
- [LoudMax and Final Cut Pro X](https://producenewmedia.com/loudmax-and-final-cut-pro-x) - One of the great features of Final Cut Pro X is the availability of Apple's 64bit Logic audio processing plugins (aka Filters). In fact FCPX supports all 64bit Audio Units developed by third parties. Let me first point out I've tested a fair amount of 64bit Audio Units in FCPX. Results have been mixed. Some
- [Internet Audio: True Peak Compliance ...](https://producenewmedia.com/internet-audio-true-peak-compliance) - Wide variations in average (Program/Integrated) Loudness are common across all forms of audio distributed on the internet. This includes audio Podcasts, Videocasts, and Streaming Media. This is due to the total lack of any standardized guidelines in the space. Need proof? Head over to Twit.tv and listen to a few minutes of any one of
- [Loudness Meters: Absolute/Relative Scales ...](https://producenewmedia.com/loudness-meters-absoluterelative-scales) - Professional audio Loudness Meters measure Program (Integrated) Loudness using an Absolute scale displayed in LUFS (or LKFS). For example the EBU R128 Program Loudness target is -23.0 LUFS (Loudness Units Relative to Full Scale). When the ITU defined new audio loudness measurement guidelines, the general consensus was that many audio engineers would prefer to mix
- [Adobe Loudness Radar Up and Running ...](https://producenewmedia.com/adobe-loudness-radar-up-and-running) - With the release of the Adobe "CC" versions of Audition and Premiere Pro, users now have access to a customized version of the tc electronic Loudness Radar Meter. In this video from NAB 2013, an attendee asks an Adobe Rep: "So I've heard about Loudness Radar ... but I don't really understand how it works."
- [Waves WLM Plus Loudness Meter ...](https://producenewmedia.com/waves-wlm-plus-loudness-meter) - Waves has just released a stellar update to their critically acclaimed WLM Loudness Meter. The new WLM Plus version, available for free to those who are eligible - includes a few new and very useful features. The plugin now acts as both a Loudness Meter and a Loudness Processor. New controls (Gain/Trim) are located in
- [Avid Impact ...](https://producenewmedia.com/avid-impact) - Since upgrading to Pro Tools 11 - I lost access to one of my favorite plugins - The Glue by Cytomic. The Glue is an analog modeled console-style Mix Bus Compressor that supports Side-Chaining and features a classic needle type gain reduction meter. This plugin gets high marks in the music production community. In my
- [Cutting Edge Podcasting System ...](https://producenewmedia.com/cutting-edge-podcasting-system) - It's been a while since I've been called upon to design an audio system suitable for Podcasting. In 2004 I built a site that focused on all aspects of Podcast Production. I will (reluctantly) disclose that I am the person who coined the term "Podcast Rig." Besides a prolific user forum and gear reviews, the
- [No Free Pass for Podcasts ...](https://producenewmedia.com/no-free-pass-for-podcasts) - I think it was in the mid to late 1980's. I was still living home, totally fixated on what was happening with Television devices, programming and transmission. Mainly the advent of MTS Stereo compatible TV's and VCR's. I remember waiting patiently for weekly episodes of programs like Miami Vice and Crime Story to air. I
- [Fresh Air Podcast: Audio Analysis ...](https://producenewmedia.com/fresh-air-podcast-audio-analysis) - In my No Free Pass for Podcasts post I talked about why the Broadcast Loudness specs. are not necessarily suitable for Podcasts. I noted that the Program Loudness targets for EBU R128 and ATSC A/85 are simply too low for internet and mobile audio distribution. Add excessively dynamic audio to the mix and it will
- [Podcast Loudness Processing Workflow ...](https://producenewmedia.com/podcast-loudness-processing-workflow) - Below is Elixir by Flux. This is an ITU-R BS.1770/EBU R128 compliant multichannel True Peak Limiter. It's just one of the tools available that can be used in the workflow described below. In this post I also mention the ISL True Peak Limiter by Nugen Audio. If you have any questions about these tools or
- [Podcasting System featuring the Allen & Heath XB-10 Console ...](https://producenewmedia.com/podcasting-system-featuring-the-allen-heath-xb-10-console) - I continue to look around for a Broadcast Console that would be suitable to replace my trusty Mackie Onyx 1220i FW mixer. I was always aware of the XB-10 by Allen & Heath, although I did not pay much attention to it due to it's use of pot-styled channel faders as opposed to sliding (long-throw)
- [Skype in the Box ...](https://producenewmedia.com/skype-in-the-box) - Scenario: Studio Host and Skype participant to be recorded inside your DAW utilizing a slightly advanced configuration. The session will require a proper mix-minus using your mixer's Aux Send to feed the Skype Input - minus the Skype participant. Objectives: [-- Two discrete mono Host/participant recordings with minimal or no processing. [-- Host Mic routed
- [Audition CC: Loudness Normalization ...](https://producenewmedia.com/audition-cc-loudness-normalization) - *** UPDATE: Please note this post was written in 2014. The current version of Adobe Audition CC has been greatly enhanced, specifically in regards to the Match Loudness Module. It is now possible to define a True Peak Maximum, as well as Integrated/Program Loudness targets. It is also possible to customize Loudness Normalization Tolerence. Adobe
- [Audition CC: Loudness Normalization Pt.2 ...](https://producenewmedia.com/audition-cc-loudness-normalization-pt-2) - In my previous article I discussed various aspects of the Match Volume Processor in Adobe Audition CC. I mentioned that the ITU Loudness processing option must be used with care due to the lack of support for a user defined True Peak Ceiling. I also pointed to a video tutorial that I produced demonstrating a
- [Loudness Meter Descriptors ...](https://producenewmedia.com/loudness-meter-descriptors) - In the recent article published on Current.org “Working Group Nears Standard for Audio Levels in PRSS Content”, the author states: “Working group members believe that one solution may lie in promoting the use of Loudness Meters, which offer more precision by measuring audio levels numerically. Most shows are now mixed using peak meters, which are
- [Podcast Loudness: Mono vs. Stereo Perception ...](https://producenewmedia.com/podcast-loudness-mono-vs-stereo-perception) - Consider the following scenario: Two copies of an audio file. File 1 is Stereo, Loudness Normalized to -16.0 LUFS. File 2 is Mono, also Loudness Normalized to -16.0 LUFS. Passing both files through a Loudness Meter confirms equal numerical Program Loudness. However the numbers do not reflect an obvious perceptual difference during playback. In fact
- [iZotope Ozone 6](https://producenewmedia.com/izotope-ozone-6) - iZotope has released a newly designed version of Ozone, their flagship Mastering processor. Notice I didn't refer to Ozone [6] as a plugin? Well I'm happy to report that Ozone [6] is now capable to run independent of a DAW as a stand-alone desktop processor. Besides the stand-alone option and striking UI overhaul, Ozone's flexibility
- [Intermediate File Format for New Media Producers: MP2](https://producenewmedia.com/intermediate-file-format-for-new-media-producers-mp2) - If you are in the audio production business or involved in some sort of collaborative Podcast effort, moving large lossless audio files to and from various locations can be challenging. Slow internet speeds, Hotel WiFi, and server bottlenecks have the potential to cripple efficient file management and ultimately impede timely delivery. And let's not forget
- [Asymmetric Waveforms: Should You Be Concerned?](https://producenewmedia.com/asymmetric-waveforms-should-you-be-concerned) - In order to understand the attributes of asymmetric waveforms, it's important to clarify the differences between DC Offset and Asymmetry ... Waveform Basics A waveform consists of both a Positive and Negative side, separated by a center (X) axis or “Baseline." This Baseline represents Zero (∞) amplitude as displayed on the (Y) axis. The center
- [Skype, Logic Pro X, and Aggregate Devices ...](https://producenewmedia.com/skype-logic-pro-x-and-aggregate-devices) - Scenario: Studio Host and Skype participant to be recorded inside Logic Pro X on a single machine (single pass) with no additional hardware other than a Mic Input Device. Objectives: [-- Two independent mono Host/Participant stems with no processing. [-- One processed split-stereo mixdown of the session with the Host and Guest residing on discrete
- [dbx 286s: Beyond The Basics ...](https://producenewmedia.com/dbx-286s-beyond-the-basics) - The dbx brand has been a favorite of mine since the late 1970's. My first piece of dbx kit was a stand-alone noise reduction unit that I coupled with an old Teac Reel to Reel Tape Deck. Through the years I've owned various EQ's and Dynamics processors, including the highly regarded 160A Compressor. I purchased
- [Public Radio Loudness Compliance](https://producenewmedia.com/public-radio-loudness-compliance) - PRSS (Public Radio Satellite System) recently published Loudness Standardization parameters intended for contributing producers: [-- Target Loudness: Integrated loudness shall be -24 LUFS per program segment with a variance of ±2 LU. This will apply to speech and/or music elements. [-- Maximum Peak Level: Shall be no higher than -3 dBFS for sample peaks and
- [Adobe Audition Multiband Compressor](https://producenewmedia.com/adobe-audition-multiband-compressor) - I thought I’d clear up a few misconceptions regarding the Multiband Compressor bundled in Adobe Audition. Also, I’d like to discuss the infamous “Broadcast” preset that I feel is being recommended without proper guidance. This is an aggressive preset that applies excessive compression and heavy limiting resulting in processed audio that is often fatiguing to
- [Quantifying Podcast Audio Dynamics](https://producenewmedia.com/quantifying-podcast-audio-dynamics) - I’ve discussed the reasons why there is a need for revised (optimized) Loudness Standards for Internet and Mobile audio distribution. Problematic (noisy) consumption environments and possible device gain deficiencies justify an elevated Integrated Loudness target. Highly dynamic audio complicates matters further. In essence audio for the Internet/Mobile platform must be perceptually louder on average compared
- [AES “Recommendation for Loudness of Audio Streaming & Network File Playback.”](https://producenewmedia.com/aes-recommendation-for-loudness-of-audio-streaming-network-file-playback) - I’d like to share my observations and views on the recently published AES Technical Document AES TD1004.1.15-10 that specifics best practices for Loudness of Audio Streaming and Network File Playback. The document is a collection of Loudness processing guidelines for diverse platform dependent media streaming and downloading. This would include music, spoken word, and possible
- [Bit Depth and Dither](https://producenewmedia.com/bit-depth-and-dither) - In a professional workflow Dither will be applied to audio clips (or mixes) when reducing word length. This process will mitigate errors that occur due to the subtraction of digital audio bits. I thought I’d cover the basics. Digital Audio Digital Audio incorporates individual samples consisting of bits created by the process of Quantization. This
- [Utilizing Multiple Outputs for Recording](https://producenewmedia.com/utilizing-multiple-outputs-for-recording) - The vast majority of audio industry professionals use DAWS running on proficient computer systems to record audio directly to secondary hard disks. For some reason direct to disk recording is not widely endorsed in the Podcasting space. Many consultants (for various reasons) advise against this recording method. Instead, they recommend the use of inexpensive hand-held
- [Understanding Pan Mode Options](https://producenewmedia.com/understanding-pan-mode-options) - Adobe Audition and Logic Pro X include Pan Mode preference options that determine track output gain for center panned mono clips included in stereo sessions. These options are often the source of confusion when working with a combination of mono and stereo clips, especially when clips are pre-Loudness Normalized prior to importing. In Audition, the
- [Hardware Inserts In Your DAW](https://producenewmedia.com/hardware-inserts-in-your-daw) - It is possible to implement support for use of external hardware processing components within your software DAW. This support is common in music recording and audio post production environments. When properly implemented, operators have the capability to insert an instance of an external component (or chain) on a DAW audio track just like any other
- [Loudness Measurement and Silence](https://producenewmedia.com/loudness-measurements-and-silence) - Consider this: Two extended segments of audio, Loudness Normalized (or mixed in real time) to the same Integrated Loudness Target. Segment (A) is fairly consistent, with a very limited amount of intermittent silence gaps. Segment (B) is far less consistent, due to a multitude of intermittent silence gaps. When passing both segments through a Loudness
- [CNN and Program Loudness Tolerance](https://producenewmedia.com/cnn-and-program-loudness-tolerance) - I recently analyzed a few of the internal Podcasts produced by CNN. One particular installment is yet another example of a major media outlet distributing audio that is in my view unsuitable for this particular platform. Let’s discuss file attributes and measured specs. for one of CNN's distributed Podcasts: The distributed audio is mono, 64kbps,
- [Adobe Audition CC Productivity](https://producenewmedia.com/adobe-audition-cc-productivity) - Below I've listed a few Adobe Audition CC (ver.2015.2.1) features/options that may be obscure and perhaps underutilized. Usability 1- Maximize Active Frame (⌘↓). This command toggles full screen display accessibility of the active (blue outlined) UI Panel. 2- Lock In Time (Multitrack). When activated, selected clips are pinned to their current location. I mapped ⌥⌘L
- [Programmatic Ads and Loudness Standardization](https://producenewmedia.com/programmatic-ads-and-loudness-standardization) - This is a re-post of an article that I published in October, 2015 ... In a recent Midroll article titled “Why Programmatic Ads Aren’t Necessarily Great for Podcasting,” the staff writer states: “A number of players in the Podcasting and advertising industries are making bets on programmatic Ad delivery — dynamically inserting Ads into a
- [Elixir ITU True Peak Limiter](https://producenewmedia.com/elixir-itu-true-peak-limiter) - Certain ISP/True Peak Limiters provide added compliance processing flexibility. Case in point: Elixir by Flux. Preparation Before processing or Loudness Normalizing, execute an offline measurement on an optimized source clip. An optimized audio clip may exhibit the benefits of various stages of enhancement processing such as noise reduction and dynamic range compression. The displayed clip
- [Loudness Meter Scale Variations](https://producenewmedia.com/loudness-meter-variations) - I thought I’d revisit various aspects of Loudness Meter Absolute/Relative Scale correlation, and provide a visual representation of a real time processing Session with both Scales active. Descriptors and Scales Modern Loudness Meters display various descriptors including Program Loudness - also referred to as Integrated Loudness. There are two scales that can be used to
- [Real Time Print To Track](https://producenewmedia.com/real-time-print-to-track) - Logic and Audition users will be familiar with the term Bounce to Track. This process allows the user to perform an Off-line Mixdown of a selected group of Session Tracks without physically exporting. In most cases the Mixdown appears on a supplemental target Track. Bouncing Off-line is a time saver. However it can be precarious.
- [Recording Multiple Skype Clients On A Single Host System](https://producenewmedia.com/recording-multiple-skype-clients-on-a-single-host-system) - **UPDATE 1: It appears current versions of Skype (e.g. ver.8.12.0.14) broke the capability to run multiple instances of Skype (via command line) on a Mac. I'm looking into a fix. You can use Source-Connect Now as a high quality Skype alternative. Two accounts will be necessary. Setup and Routing will be consistant with what is
- [Intelligibility Optimization](https://producenewmedia.com/intelligibility-optimization) - The attached image displays a processing workflow designed to optimize Spoken Word intelligibility. The workflow also demonstrates a realtime example of Integrated Loudness compliance targeting. There are 7 reference point Sections worth noting: Section A includes the Adobe Audition Effects Rack Signal Level Meters indicating the source (Input) level and the (Output) level. The Output
- [Loudness Compliance Summarization](https://producenewmedia.com/loudness-compliance-summarization) - - I continue to endorse -16.0 LUFS for (stereo) Podcast distribution. If meeting this target requires an excessive amount of limiting, a slightly lower target is a viable option. However from my perspective a -20.0 LUFS spoken word piece consumed in a less than ideal environment on a mobile device would be problematic. I'm comfortable
- [LevelView by Grimm Audio](https://producenewmedia.com/levelview-by-grimm-audio) - LevelView by Grimm Audio is a highly functional and well designed real time Loudness Meter. Here are the details: LevelView features a unique multifaceted Rainbow Meter. Clicking the Rainbow display toggles the Meter scale (EBU +9 or EBU +18). There are three compliance modes: EBU R128, ATSC A/85, and a custom User specification (Gated or
- [Aphex 320D Compellor](https://producenewmedia.com/aphex-320d-compellor) - What is a Compellor? In short it is a Compressor-Leveler-Limiter. The device is specifically designed for the transparent control of audio levels. It operates as a stereo processor or as a two-channel (mono) processor supporting independent channel control. The device includes 3 interactive gain controllers: - Frequency Discriminate Leveler - Compressor - Limiter Additional features
- [SSL 4000 Series](https://producenewmedia.com/ssl-4000-series) - Waves has sporadically released the SSL 4000 Series Channel Strip plugins independently and free from previous bundle restrictions. This is great news. What’s even better is their limited time pricing of $29. On the surface both channel strips feature various equalization stages and dynamics processing modules. There are a few discernible differences between the E-Channel
- [Mic Preamp Level and Gain Staging](https://producenewmedia.com/mic-preamp-level-and-gain-staging) - When configuring voice processors such as the dbx 286A/s (or any other device with a similar configuration) - there is always an optimal preamp level setting or sweet spot for the connected microphone. Basically - your mic needs to be properly driven at the preamp stage in order to pass sufficient gain with low inherent
- [16 bit Audio](https://producenewmedia.com/16-bit-audio) - The vast majority of Podcast producers are not using multi- thousand dollar Neumann mics and/or highly efficient preamps in acoustically treated environments ... When recording (spoken word) audio via mic input, the noise floor is perceived as the level of ambient noise and residual preamp noise - NOT the system noise. Any such mic input
- [upTimer 3.0](https://producenewmedia.com/uptimer-3-0) - I think it was in 2005. I was looking around for some sort of hardware component Timer to track Podcast recording session elapsed time. I came across an Ad in Radio Magazine sponsored by ESE. They specialize in manufacturing different types of clocks, timers, and timecode utilities intended for broadcast environments. It was their Up
- [Audio Plugin for Podcast Post and Streaming](https://producenewmedia.com/audio-plugin-for-podcast-post-and-streaming) - An obscure and rarely mentioned audio plugin by Waves exists that is well suited for Spoken Word processing, Live Streaming, and Podcast Post Production - MaxxVolume. Back in 2012 I documented my initial interest and subsequent purchase of MaxxVolume. I paid $149 for the plugin, on sale at the time over at DontCrack. I believe
- [Optimizing Dialogue Levels](https://producenewmedia.com/optimizing-dialogue-levels) - I was just reading Chris Curran’s Daily Goody segment, published today. The piece is titled Balancing the Levels of All Voices. Chris explains the importance of consistent dialogue levels across multiple participants, and shares various methods to achieve this. Chris states in his second tip: >>> “Another way to quickly balance the levels of various
- [Podcast Dynamics: Loudness Range vs. PSR/PLR](https://producenewmedia.com/podcast-dynamics-loudness-range-vs-psr-plr) - I’ve heard a few savvy people refer to the LRA (Loudness Range) descriptor as inherent Dynamic Range. This reference is for the most part inaccurate. LRA is a threshold gated statistical representation of measured Loudness or variations as such over time. Incorporated Absolute and Relative gating prevents potentially skewed measurements that may result when the
- [Reworking a Master](https://producenewmedia.com/reworking-a-master) - It's been a while since I last posted. The last few years have been difficult. I was compelled to tend to my Dad Sonny. He passed away on April 26. I'm obviously heartbroken. However he would have wanted me to move forward and continue to share insight ... I recently listened to a program consisting
- [Significance Of Target Based Audio Processing For Independent Podcasters](https://producenewmedia.com/significance-of-target-based-audio-processing-for-independent-podcasters) - Are you producing a Podcast and hosting it on your website? Your website is essentially a proprietary distribution platform. Sound familiar? Maybe similar in concept to a broadcast network? Regarding vague perspectives in relation to whether the “Target Loudness” post production mindset is relevant, or not … hear me out. Broadcast networks specify audio submission
- [“Loudness Leveling” Denotes a Vague Description of Two Discrete Processes](https://producenewmedia.com/loudness-leveling-denotes-a-vague-description-of-two-discrete-processes) - Scores of audio producers in the Podcast Production space have adopted an inaccurate term when referring to basic Loudness Normalization: Loudness Leveling. First - what is Loudness Normalization? Actually, it’s quite simple: Audio is measured in it’s entirety. The existing Integrated (Program) Loudness is determined. A gain offset is applied relative to a spec. based
- [Pro Tools Aux I/O Customization](https://producenewmedia.com/pro-tools-aux-i-o-customization) - Avid’s latest Pro Tools update [2022.9] includes Aux I/O support for internal audio connections and assignments using Core Audio devices that are supplemental Extensions to the main Playback Engine. Extensions as such may include supported hardware plus preexisting and/or Pro Tools supplied virtual devices. Virtual Devices are referred to as Audio Bridges. To access the
- [Pulldown](https://producenewmedia.com/pulldown) - Confused by the term Pulldown, or Telecine? Here are the facts: 24p = 23.98 fps (Progressive) 29.97 fps = 59.94 interlaced fields per second, aka 60i • Interlaced video displays 60 half frames per second • Progressive video takes entire video frames on the go • Progressive video requires 2x the bandwidth of interlaced video
- [aspectRatio: New design](https://producenewmedia.com/aspectratio-new-design) - I've consolidated the design and functionality of the aspectRatio version 1 series UI. The main (and only) program window now consists of two individual views: Fixed and Custom Calculations. The user can select a view with the Segmented Control, located at the bottom right of the application window. Additional fixed calculation actions that were previously
- [Software Updates ...](https://producenewmedia.com/software-updates) - New Software Updates: checkDefinitions 1.5 ... with a customized Authentication Panel, a date string that displays the last attempted forced update, and UI tweaks. aspectRatio 1.12 ... with improved key mapping for custom conversions and UI tweaks. -paul.

## Pages

- [About](https://producenewmedia.com/about) - I started Podcasting in 2004. At that time there were fewer than 100 Podcasts listed on various aggregation sites that hosted these obscure audio programs. In most cases they were produced by non-professionals. Today the term Podcast and their availability are for the most part ubiquitous. The same holds true for Videos distributed on the
- [Software Development](https://producenewmedia.com/aspectratio) - aspectRatio HDTV, NTSC, NTSC D1, Film, PAL, and Custom Calculations Current version: 2.9.3 Mac OSX 10.9 or Higher For support inquiries and availability - please send me an email using the Site Contact Information. I've developed additional applications for the Mac, including toMotion, symLinkX, pkfDelete, and setShareX: toMotion simplifies the installation of Motion Templates that
- [Contact](https://producenewmedia.com/contact) - Questions? Look for me on X:
- [Available Services](https://producenewmedia.com/services) - - Podcast Audio Post. Audio/Video Dialogue Editing. Mixing and Sound Processing - including Audio Restoration, Noise Reduction, Speech Volume Leveling, and High Quality Lossless/Lossy Encoding. - Loudness Compliance Processing & Consulting for platforms such as Broadcast and Internet/Mobile. - Audio Plugin support including custom Preset Design to suit your needs. - System Configuration and Technical

## Categories

- [Updates](https://producenewmedia.com/category/updates)
- [Audio Post Production](https://producenewmedia.com/category/audio-post-production)
- [Video Post Production](https://producenewmedia.com/category/video-post-production)
- [Final Cut Studio](https://producenewmedia.com/category/final-cut-studio)
- [Broadcast Gear](https://producenewmedia.com/category/broadcast-gear)
- [Podcasting](https://producenewmedia.com/category/podcasting)
- [Media Encoding](https://producenewmedia.com/category/media-encoding)
- [Broadcast Post Production](https://producenewmedia.com/category/broadcast-post-production)
- [Metadata and Annotation](https://producenewmedia.com/category/metadata-and-annotation)
- [Distribution](https://producenewmedia.com/category/distribution)
- [New Media](https://producenewmedia.com/category/new-media)
- [Developement](https://producenewmedia.com/category/developement)
- [AVCHD](https://producenewmedia.com/category/avchd)
- [Video Production](https://producenewmedia.com/category/video-production)
- [Audio Recording and Production](https://producenewmedia.com/category/audio-recording-and-production)
- [Vinyl](https://producenewmedia.com/category/vinyl)
- [Radio Broadcasting](https://producenewmedia.com/category/radio-broadcasting)
- [Final Cut Pro X](https://producenewmedia.com/category/final-cut-pro-x)
- [Motion 5](https://producenewmedia.com/category/motion-5)
- [Loudness](https://producenewmedia.com/category/loudness)
- [Image Editing](https://producenewmedia.com/category/image-editing)
- [Loudness Compliance](https://producenewmedia.com/category/loudness-compliance)
- [Loudness Normalization](https://producenewmedia.com/category/loudness-normalization-2)

## Tags

- [Final Cut Pro Offline](https://producenewmedia.com/tag/final-cut-pro-offline)
- [ProRes Proxy](https://producenewmedia.com/tag/prores-proxy)
- [LP's](https://producenewmedia.com/tag/lps)
- [Technics SL-Q2](https://producenewmedia.com/tag/technics-sl-q2)
- [broadcast up timer](https://producenewmedia.com/tag/broadcast-up-timer)
- [uptimer](https://producenewmedia.com/tag/uptimer)
- [Radio Up Timer](https://producenewmedia.com/tag/radio-up-timer)
- [broadcast timer](https://producenewmedia.com/tag/broadcast-timer)
- [Color Value Converter for Mac](https://producenewmedia.com/tag/color-value-converter-for-mac)
- [Intersample Peaks](https://producenewmedia.com/tag/intersample-peaks)
- [Normalization](https://producenewmedia.com/tag/normalization)
- [Limiting](https://producenewmedia.com/tag/limiting)
- [Waves](https://producenewmedia.com/tag/waves)
- [MaxxVolume](https://producenewmedia.com/tag/maxxvolume)
- [Loudness Maximizer](https://producenewmedia.com/tag/loudness-maximizer)
- [cinemascope](https://producenewmedia.com/tag/cinemascope)
- [FCPX](https://producenewmedia.com/tag/fcpx)
- [Motion Effects](https://producenewmedia.com/tag/motion-effects)
- [spotPoint Lighting](https://producenewmedia.com/tag/spotpoint-lighting)
- [spotPoint Lighting Duo.Motion 5](https://producenewmedia.com/tag/spotpoint-lighting-duo-motion-5)
- [FCPX Lower Thirds](https://producenewmedia.com/tag/fcpx-lower-thirds)
- [LoudMax](https://producenewmedia.com/tag/loudmax)
- [Final Cut Pro X Limiter](https://producenewmedia.com/tag/final-cut-pro-x-limiter)
- [loudness normalization](https://producenewmedia.com/tag/loudness-normalization)
- [EBU R128](https://producenewmedia.com/tag/ebu-r128)
- [Loudness Meter](https://producenewmedia.com/tag/loudness-meter)
- [adobe audition](https://producenewmedia.com/tag/adobe-audition)
- [adobe premiere pro](https://producenewmedia.com/tag/adobe-premiere-pro)
- [loudness radar](https://producenewmedia.com/tag/loudness-radar)
- [tc electronic](https://producenewmedia.com/tag/tc-electronic)
- [waves wlm plus](https://producenewmedia.com/tag/waves-wlm-plus)
- [cropping](https://producenewmedia.com/tag/cropping)
- [cinematic crop](https://producenewmedia.com/tag/cinematic-crop)
- [2.35:1](https://producenewmedia.com/tag/2-351)
- [mix bus compressor](https://producenewmedia.com/tag/mix-bus-compressor)
- [podcasting](https://producenewmedia.com/tag/podcasting-2)
- [mix-minus](https://producenewmedia.com/tag/mix-minus)
- [audioarts engineering](https://producenewmedia.com/tag/audioarts-engineering)
- [wheatstone](https://producenewmedia.com/tag/wheatstone)
- [telos systems](https://producenewmedia.com/tag/telos-systems)
- [tascam](https://producenewmedia.com/tag/tascam)
- [izotope](https://producenewmedia.com/tag/izotope)
- [telefunken](https://producenewmedia.com/tag/telefunken)
- [shure](https://producenewmedia.com/tag/shure)
- [middle atlantic](https://producenewmedia.com/tag/middle-atlantic)
- [loudness compliance](https://producenewmedia.com/tag/loudness-compliance-2)
- [podcast loudness](https://producenewmedia.com/tag/podcast-loudness)
- [npr](https://producenewmedia.com/tag/npr)
- [fresh air](https://producenewmedia.com/tag/fresh-air)
- [podcasting system](https://producenewmedia.com/tag/podcasting-system)
- [broadcast console](https://producenewmedia.com/tag/broadcast-console)
- [telephone hybrid](https://producenewmedia.com/tag/telephone-hybrid)
- [Skype Recording](https://producenewmedia.com/tag/skype-recording)
- [Pro Tools](https://producenewmedia.com/tag/pro-tools)
- [Program Loudness](https://producenewmedia.com/tag/program-loudness)
- [izotope ozone](https://producenewmedia.com/tag/izotope-ozone)
- [mastering](https://producenewmedia.com/tag/mastering)
- [new media audio post](https://producenewmedia.com/tag/new-media-audio-post)
- [MP2](https://producenewmedia.com/tag/mp2)
- [Intermediate Audio File Format](https://producenewmedia.com/tag/intermediate-audio-file-format)
- [asymmetric waveforms](https://producenewmedia.com/tag/asymmetric-waveforms)
- [phase rotator](https://producenewmedia.com/tag/phase-rotator)
- [waveform](https://producenewmedia.com/tag/waveform)
- [Skype](https://producenewmedia.com/tag/skype)
- [Logic Pro X](https://producenewmedia.com/tag/logic-pro-x)
- [Aggregate Device](https://producenewmedia.com/tag/aggregate-device)
- [dbx 286s](https://producenewmedia.com/tag/dbx-286s)
- [dbx](https://producenewmedia.com/tag/dbx)
- [audition multiband compressor](https://producenewmedia.com/tag/audition-multiband-compressor)
- [AVCHD](https://producenewmedia.com/tag/avchd)
- [Vinyl](https://producenewmedia.com/tag/vinyl)
- [Final Cut Pro X](https://producenewmedia.com/tag/final-cut-pro-x)
- [Motion 5](https://producenewmedia.com/tag/motion-5)
- [Loudness](https://producenewmedia.com/tag/loudness)
- [Loudness Range](https://producenewmedia.com/tag/loudness-range)
- [Podcast Production](https://producenewmedia.com/tag/podcast-production)
- [PLR](https://producenewmedia.com/tag/plr)
- [streaming media](https://producenewmedia.com/tag/streaming-media)
- [word length](https://producenewmedia.com/tag/word-length)
- [bit depth](https://producenewmedia.com/tag/bit-depth)
- [audio resolution](https://producenewmedia.com/tag/audio-resolution)
- [dither](https://producenewmedia.com/tag/dither)
- [pan mode](https://producenewmedia.com/tag/pan-mode)
- [pan depth](https://producenewmedia.com/tag/pan-depth)
- [pro tools hardware inserts](https://producenewmedia.com/tag/pro-tools-hardware-inserts)
- [aphex compellor](https://producenewmedia.com/tag/aphex-compellor)
- [aphex dominator](https://producenewmedia.com/tag/aphex-dominator)
- [ITU G10 Gate](https://producenewmedia.com/tag/itu-g10-gate)
- [adobe audition cc](https://producenewmedia.com/tag/adobe-audition-cc)
- [programmatic ads](https://producenewmedia.com/tag/programmatic-ads)
- [Elixir](https://producenewmedia.com/tag/elixir)
- [Loudness Meter Scales](https://producenewmedia.com/tag/loudness-meter-scales)
- [bounce to track](https://producenewmedia.com/tag/bounce-to-track)
- [Dual Mix-Minus](https://producenewmedia.com/tag/dual-mix-minus)
- [Loopback](https://producenewmedia.com/tag/loopback)
- [levelView](https://producenewmedia.com/tag/levelview)
- [grimm Audio](https://producenewmedia.com/tag/grimm-audio)
- [SSL 4000 Series](https://producenewmedia.com/tag/ssl-4000-series)
- [dbx 286A](https://producenewmedia.com/tag/dbx-286a)
- [gain staging](https://producenewmedia.com/tag/gain-staging)
- [16 bit](https://producenewmedia.com/tag/16-bit)
- [broadcast upTimer](https://producenewmedia.com/tag/broadcast-uptimer)
- [broadcast clock](https://producenewmedia.com/tag/broadcast-clock)
- [Leveler](https://producenewmedia.com/tag/leveler)
- [podcast producton](https://producenewmedia.com/tag/podcast-producton)
- [LUFS](https://producenewmedia.com/tag/lufs)