On 04/12/2016 04:04 PM, jonetsu wrote:
From: "Jörn Nettingsmeier" <nettings@xxxxxxxxxxxxxxxxxxx> Date:
04/12/16 08:26
That's it. Why would 3 weeks of work on 25 tracks be thrown to a
mathematical function that will move one fader ?
???
That still sounds like you're confused about it.
If you normalise the master output, it does not affect your mixing
balance at all. All the mysterious "mathematical function" does
is: 1. play the song through a "peak hold" meter. 2. look at the
maximum peak level, say it's minus n dB FS. 3. play the song again
with the master fader at plus n dB FS 4. save the result
Something is affected nevertheless.
Sorry, I'm dropping out here. If I didn't know your posting history,
which is overall very constructive (if confused at times), I would
assume you're trolling.
If by "tracks", you actually mean "songs", well then, yes, if you
have one song per session, normalizing each one individually can
upset the loudness balance from one song to the next, but I doubt
you'd get that one perfect anyway. For this kind of workflow, when
switching songs means loading another session, I would recommend
to export each song, then create a new ardour session with as many
stereo tracks as your album has songs, arrange the songs one after
another, but each on an individual track. Then you can fine-tune
the relative levels with the channel faders and even throw in some
extra "mastering" processing like EQ if the songs don't quite
match yet.
I think I mentioned that. Not just now, but earlier. Comparing
with commercial tracks of the same genre. This is what I started
doing. First steps. Much later on, developing a uniform experience
from a series of original pieces. I still do not see why I would
throw anything at a 'mathematical function' at this stage of
learning. I might stick with that for a long time (there's at least
one 'big guy', Bob Katz, that does not consider normalization in a
good light, as can be read in a recent link posted here, so it might
not be a uniform accord).
Bob is arguing against the practice of normalizing every track as it
comes in without thinking.
There are also very good arguments against peak normalizing a master,
namely that we should adjust for loudness, not peak level.
Another of his arguments is the accumulation of rounding error in
fixed-wordlength systems, which is very valid. But honestly, your
understanding of the whole matter seems to be several tens of dBs away
from the point where this becomes relevant.
Unless you are willing to understand that normalizing the sum does not
change anything in your mix, continuing this discussion is pointless.
For now I much prefer to do all by
craftiness, by observation and experiment and that all and every
changes are made explicitly.
You should also get rid of mysteries and magical thinking, because half
of the audio industry is drooling and waiting for non-analytical
thinkers to show up so they can be ripped off, ruthlessly.
--
Jörn Nettingsmeier
Lortzingstr. 11, 45128 Essen, Tel. +49 177 7937487
Meister für Veranstaltungstechnik (Bühne/Studio)
Tonmeister VDT
http://stackingdwarves.net
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