DOCSLIB.ORG

MAAT • Drmeter Mkii

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MAAT • Drmeter Mkii DRMeter MkII User Manual M A AT Inc. MAAT Incorporated 101 Cooper St Santa Cruz CA 95060 USA More affordable yet essential tools & tips at: www.maat.digital Table of Contents Installation & Setup .................................................................................7 Licensing .................................................................................................................................... 7 Online Activation .........................................................................................................................................................................8 Offline Activation ........................................................................................................................................................................8 Quick Start ............................................................................................ 10 Introduction .......................................................................................... 10 Another Metering Tool? .......................................................................................................... 10 The Evolution of Metering ....................................................................... 12 Who Needs DR Metering These Days? .....................................................................................12 Evolution of DR ........................................................................................................................13 DR Basics .............................................................................................. 13 Pitfalls of DR measurement .....................................................................................................13 Interpreting DR measurements ...............................................................................................14 DRM2 Features ....................................................................................... 14 Main .........................................................................................................................................14 Unique Features ...................................................................................................................... 15 Additional Functions ............................................................................................................... 15 The Interface ......................................................................................... 16 Description of Functionality .................................................................... 17 [1] D–t button (Dynamic Mode) ...............................................................................................17 Mode 1 — DR ..............................................................................................................................................................................18 Mode 2 — PSR ............................................................................................................................................................................18 Mode 3 — LRA ............................................................................................................................................................................18 [1.1] Numeric Display .................................................................................................................................................................18 [1.2] D–MODE Bar Graph ..........................................................................................................................................................19 Friedemann´s User Tip #1 ........................................................................................................................................................ 20 [2] L-MODE button (Loudness Mode) ..................................................................................... 20 [2.1] Numeric Loudness Displays ........................................................................................................................................... 22 [2.1] L–MODE Bar Graphs ......................................................................................................................................................... 22 [2.2 & 2.3] Display Thresholds (Back Panel) ......................................................................................................................... 22 Friedemann´s User Tip #2 ........................................................................................................................................................ 23 [3] Integrated DRi & LUi/LUFSi ................................................................................................ 23 Friedemann’s User Tip #3 .........................................................................................................................................................24 [3.1] Play/Pause ...........................................................................................................................................................................24 [3.2] Auto Mode ..........................................................................................................................................................................24 Integrated Measurements ...................................................................................................... 25 [3.3] Gate ..................................................................................................................................................................................... 25 Friedemann’s User Tip #4 — for Advertising Clients ........................................................................................................ 26 [3.4] Gate Enable (Back Panel) .................................................................................................................................................27 [3.5] DR .........................................................................................................................................................................................27 [4] True Peak ............................................................................................................................ 27 True Peak Numeric Display ..................................................................................................................................................... 28 True Peak Bar Graph ................................................................................................................................................................. 29 Limiters ....................................................................................................................................................................................... 29 [4.1] True Peak Enable (Back Panel) ....................................................................................................................................... 29 [5] True Peak Threshold .......................................................................................................... 29 [6] 0 LU/Target Loudness ........................................................................................................ 29 [6.1] Relative Scale .................................................................................................................................................................... 30 [6.2] Absolute and Relative Switch (Back Panel) ................................................................................................................ 30 [6.1 & 6.2] Absolute Versus Relative ...................................................................................................................................... 30 [6.3] Relative Scale +9 & +18 ....................................................................................................................................................31 [7] -18 ㏈FS Reference ............................................................................................................. 32 [8] LINK .................................................................................................................................... 33 [9] RESET .................................................................................................................................. 33 [10] Digital Silence .................................................................................................................. 33 [11] AAC .................................................................................................................................... 33 [12] Dynamic Deviation ........................................................................................................... 35 Dynamic Deviation Examples .................................................................................................................................................37 More about Dynamic Deviation ............................................................................................................................................ 38 Drag & Drop with DRO2 .......................................................................................................... 38 Back Panel Setup ................................................................................... 39 [13] Back Panel .......................................................................................................................
Load more

Recommended publications
  • Pyloudnorm: a Simple Yet Flexible Loudness Meter in Python
    pyloudnorm: A simple yet flexible loudness meter in Python Christian J. Steinmetz 1 Joshua D. Reiss 1 Abstract dardize, simplify, and improve upon previous approaches, the ITU-R BS.1770 recommendation was proposed (ITU-R The ITU-R BS.1770 recommendation for measur- BS.1770-4), and has now seen widespread adoption (Lund, ing the perceived loudness of audio signals has 2011; 2012). The proposed metering algorithm was later seen widespread adoption in broadcasting, and included in the EBU R 128 recommendation, which dictates due to its simplicity, this algorithm has now found loudness for broadcast material (EBU R 128). applications across audio signal processing. Here we describe pyloudnorm, a Python package that The ITU-R BS.1770 recommendation proposes a straight- enables the measurement of integrated loudness forward algorithm consisting of frequency-weighting fil- following the recommendation. While a number ters and gated energy measurements. The algorithm has of implementations are available, ours provides been shown to correlate well with the perceived loudness an easy to install package, a simple interface, and of broadband content, is computationally efficient, and rela- the ability to adjust the algorithm parameters, a tively easy to implement. For all these reasons it has now feature that other implementations neglect. We seen widespread adoption in the broadcast industry, and with discuss a set of modifications that we incorporate the rise of online streaming platforms, interest in content based upon recent literature that aim to improve normalization has sustained (Katz, 2015; Grimm, 2019). the robustness of the loudness measurement. Fi- While this recommendation has been found to correlate nally, we perform an evaluation comparing the ac- well with broadband content, further listening studies have curacy and runtime of pyloudnorm with six other discovered that this is not always the case, especially for nar- implementations, identifying issues with several rowband content (Cabrera et al., 2008; Pestana et al., 2013; of theses implementations.
    [Show full text]
  • The End of the Loudness War?
    The End Of The Loudness War? By Hugh Robjohns As the nails are being hammered firmly into the coffin of competitive loudness processing, we consider the implications for those who make, mix and master music. In a surprising announcement made at last Autumn's AES convention in New York, the well-known American mastering engineer Bob Katz declared in a press release that "The loudness wars are over.” That's quite a provocative statement — but while the reality is probably not quite as straightforward as Katz would have us believe (especially outside the USA), there are good grounds to think he may be proved right over the next few years. In essence, the idea is that if all music is played back at the same perceived volume, there's no longer an incentive for mix or mastering engineers to compete in these 'loudness wars'. Katz's declaration of victory is rooted in the recent adoption by the audio and broadcast industries of a new standard measure of loudness and, more recently still, the inclusion of automatic loudness-normalisation facilities in both broadcast and consumer playback systems. In this article, I'll explain what the new standards entail, and explore what the practical implications of all this will be for the way artists, mixing and mastering engineers — from bedroom producers publishing their tracks online to full-time music-industry and broadcast professionals — create and shape music in the years to come. Some new technologies are involved and some new terminology too, so I'll also explore those elements, as well as suggesting ways of moving forward in the brave new world of loudness normalisation.
    [Show full text]
  • Loudness Standards in Broadcasting. Case Study of EBU R-128 Implementation at SWR
    Loudness standards in broadcasting. Case study of EBU R-128 implementation at SWR Carbonell Tena, Damià Curs 2015-2016 Director: Enric Giné Guix GRAU EN ENGINYERIA DE SISTEMES AUDIOVISUALS Treball de Fi de Grau Loudness standards in broadcasting. Case study of EBU R-128 implementation at SWR Damià Carbonell Tena TREBALL FI DE GRAU ENGINYERIA DE SISTEMES AUDIOVISUALS ESCOLA SUPERIOR POLITÈCNICA UPF 2016 DIRECTOR DEL TREBALL ENRIC GINÉ GUIX Dedication Für die Familie Schaupp. Mit euch fühle ich mich wie zuhause und ich weiß dass ich eine zweite Familie in Deutschland für immer haben werde. Ohne euch würde diese Arbeit nicht möglich gewesen sein. Vielen Dank! iv Thanks I would like to thank the SWR for being so comprehensive with me and for letting me have this wonderful experience with them. Also for all the help, experience and time given to me. Thanks to all the engineers and technicians in the house, Jürgen Schwarz, Armin Büchele, Reiner Liebrecht, Katrin Koners, Oliver Seiler, Frauke von Mueller- Rick, Patrick Kirsammer, Christian Eickhoff, Detlef Büttner, Andreas Lemke, Klaus Nowacki and Jochen Reß that helped and advised me and a special thanks to Manfred Schwegler who was always ready to help me and to Dieter Gehrlicher for his comprehension. Also to my teacher and adviser Enric Giné for his patience and dedication and to the team of the Secretaria ESUP that answered all the questions asked during the process. Of course to my Catalan and German families for the moral (and economical) support and to Ema Madeira for all the corrections, revisions and love given during my stay far from home.
    [Show full text]
  • EBU R 128 – a New Standard in Audio and Broadcast Technology ! ! !
    EBU R 128 – A new standard in audio and broadcast technology ! ! ! ! Completed by ! ! Philip Wansch mt101101 ! ! ! Research conducted at San Diego State University, San Diego, CA, USA ! Under the supervision of Prof. DI Andreas Büchele ! Vienna,!on!! ! ! 31.01.2013! ! ! ! ! ! (Signature!Author)! ! ! ! ! ! ! Declaration ! ! ! the attached research paper is my own, original work undertaken in partial fulfil- ment of my degree. I have made no use of sources, materials or assistance other than those which have been openly and fully acknowledged in the text. If any part of another per- son’s work has been quoted, this either appears in inverted commas or (if beyond a few lines) is indented. Any direct quotation or source of ideas has been identified in the text by author, date, and page number(s) immediately after such an item, and full details are provided in a reference list at the end of the text. I understand that any breach of the fair practice regulations may result in a mark of zero for this research paper and that it could also involve other repercussions. St.!Pölten,!on!! ! ! ! ! ! ! ! ! (Signature!Author)! ! 2! Table of Contents 1! INTRODUCTION ..................................................................................................... 6! 2! DYNAMIC ............................................................................................................. 7! 3! WHAT IS THE PROBLEM? .................................................................................... 10! 3.1! Louder = Better .........................................................................................................
    [Show full text]
  • Maintaining Audio Quality in the Broadcast/Netcast Facility
    Maintaining Audio Quality in the Broadcast and Netcast Facility 2019 Edition Robert Orban Greg Ogonowski Orban®, Optimod®, and Opticodec® are registered trademarks. All trademarks are property of their respective companies. © Copyright 1982-2019 Robert Orban and Greg Ogonowski. Rorb Inc., Belmont CA 94002 USA Modulation Index LLC, 1249 S. Diamond Bar Blvd Suite 314, Diamond Bar, CA 91765-4122 USA Phone: +1 909 860 6760; E-Mail: [email protected]; Site: https://www.indexcom.com Table of Contents TABLE OF CONTENTS ............................................................................................................ 3 MAINTAINING AUDIO QUALITY IN THE BROADCAST/NETCAST FACILITY ..................................... 1 Authors’ Note ....................................................................................................................... 1 Preface ......................................................................................................................... 1 Introduction ................................................................................................................ 2 The “Digital Divide” ................................................................................................... 3 Audio Processing: The Final Polish ............................................................................ 3 PART 1: RECORDING MEDIA ................................................................................................. 5 Compact Disc ..............................................................................................................
    [Show full text]
  • Evaluation of Live Loudness Meters ISBN 978-91-7790-297-3 (Pdf)
    DOCTORAL T H E SIS Department of Arts, Communication and Education Division of music, media and theater ISSN 1402-1544 ISBN 978-91-7790-296-6 (print) Evaluation of Live Loudness Meters ISBN 978-91-7790-297-3 (pdf) Luleå University of Technology 2019 Jon Allan Evaluation of Live Loudness Meters of Live Allan Evaluation Jon Jon Allan Audio Technology Evaluation of Live Loudness Meters Jon Allan Luleå University of Technology Department of Arts, Communication and Education Division of music, media and theater Printed by Luleå University of Technology, Graphic Production 2019 ISSN 1402-1544 ISBN 978-91-7790-296-6 (print) ISBN 978-91-7790-297-3 (pdf) Luleå 2019 www.ltu.se Dedicated to my parents and their loved ones. Abstract Discrepancies in loudness (i.e. sensation of audio intensity) has been of great concern within the broadcast community. For television broadcast, disparities in audio levels have been rated the number one cause to annoyance by the audience. Another problem area within the broadcast and music industry is the loudness war. The phenomenon is about the strive to produce audio content to be at least as loud or louder to any other audio content that it can easily be compared with. This mindset, when deciding for audio level treatment, inevitably leads to an increase in loudness over time, and also, as a technical consequence, a decrease of utilized dynamics. The effects of the loudness war is present in both terrestrial radio transmissions as well as in music production and in music distribution platforms. The two problems, discrepancies in loudness and the loudness war, both emanate from the same source; regulations of audio levels and the design of measurement gear have not been amended to cope with modern production techniques.
    [Show full text]
  • Loudness Normalization: the Future of File-Based Playback
    Page | 1 Loudness Normalization: The Future of File-Based Playback Music Loudness Alliance1 http://music-loudness.com Version 1.0, July 2012 Today, playback on portable devices dominates how music is enjoyed.2 3 A large portion of songs present on the average music player come from online music services, obtained either by per-song purchase or by direct streaming. The listener often enjoys this music in shuffle play mode, or via playlists. Playing music this way poses some technical challenges. First, the sometimes tremendous dif- ferences in loudness between selections requires listeners to adjust volume. Second, the re- duction in sound quality of music production over the years due to a loudness war. The art of dynamic contrast has almost been lost because of the weaknesses of current digital systems. Third, the potential damage to the ear caused by these loudness differences and a tendency towards higher playback levels in portable listening especially when using earbuds. The Three Challenges Loudness Differences In digital audio, the maximum (peak) audio modulation has a hard ceiling that cannot be crossed. Digital audio tracks are routinely peak normalized. This results in tremendous loudness differences from track to track because the peak level of a signal is not representative of its subjective loudness. Rather, the listener perceives loudness according to the average energy of the signal. Because of the widespread practice of peak normalization, program producers ap- ply severe compression, limiting and clipping techniques to the audio. This removes the original peaks and allows normalization to amplify the signal increasing its average energy. This has resulted in a loudness war with large loudness differences between newer and older material 1 The Music Loudness Alliance is a group of technical and production experts led by Florian Camerer and consists of audio engineers Eelco Grimm, Kevin Gross, Bob Katz, Bob Ludwig and Thomas Lund.
    [Show full text]
  • Tech 3401 GUIDELINES for RADIO PRODUCTION AND
    Tech 3401 GUIDELINES FOR RADIO PRODUCTION AND DISTRIBUTION IN ACCORDANCE WITH EBU R 128 SUPPLEMENTARY INFORMATION FOR R 128 Geneva June 2021 This page and others in the document are intentionally left blank to maintain pagination for two-sided printing. Tech 3401 Guidelines for Radio production & distribution in accordance with EBU R 128 Contents 1. Introduction, key concept ........................................................................ 5 1.1 Document structure .................................................................................................... 7 1.2 Definition of “programme” ........................................................................................... 7 1.3 Programme Loudness................................................................................................... 8 2. Production and Distribution characteristics and workflows ............................... 8 3. The Loudness transition .......................................................................... 9 4. Production ........................................................................................... 9 4.1 Production principles and directives .............................................................................. 10 4.2 Loudness Metering .................................................................................................... 11 5. Distribution ......................................................................................... 12 5.1 FM Distribution .......................................................................................................
    [Show full text]
  • Lyx's Figure, Table, Floats, Notes, and Boxes Manual
    MASTERARBEIT Titel der Masterarbeit “Loudness and auditory masking for Mobile TV” Verfasser Ing. Martijn Cornelis Sack Angestrebter akademischer Grad Diplom-Ingenieur (Dipl.-Ing.) Wien, 2011 Studienkennzahl lt. Studienblatt A 066935 Studien lt. Studienblatt Master studium Medien Informatik Betreuer Ao. Univ. Prof. Dr. Helmut Hlavacs Selbständigkeitserklärung Hereby I declare that I wrote the Master Thesis with the title Loudness and auditory masking for Mobile TV by myself and no one else except the sources that are mentioned in the Bibliography. Vienna, 7-10-2011 Signature ii Acknowledgement The thesis that lies before you would not exist if my parents would not have inspired and supported me by taking the challenge to move to Vienna. Papa 57/6 en mama, bedankt! Also a big inspirer who made a lot possible for this thesis is Helmut Hlavacs. He enabled me, together with Shelley Buchinger, to go to China so I could present a paper [1] on a conference. This meant a lot to me. Karin Anna Hummel must be mentioned as well for contributing her knowledge in mobile computing. For the rest I would like to thank my CACMTV colleagues, Tijnemans!, Evilein, Horsie, Claudia, people who took part in experiments, ESN, IEEE BMS, Hollandse avond Wenen, The Finnish, Wilhelm, Nelly and Kaja. You and all the others made my student life in Vienna unforgettable!!! iii Abstract In the past decades the consumption of multimedia content has been increased dramatically. First by portable cassette and compact disc players, later digital files and now live TV and radio streaming on the internet. The available content is quite diverse including classical concerts, audio books, sports matches, home made videos and so on.
    [Show full text]
  • Adaptive Normalisation of Programme Loudness in Audiovisual Broadcasts
    Master of Science Thesis in Communication Systems Department of Electrical Engineering, Linköping University, 2016 Adaptive Normalisation of Programme Loudness in Audiovisual Broadcasts Herman Molinder Master of Science Thesis in Communication Systems Adaptive Normalisation of Programme Loudness in Audiovisual Broadcasts Herman Molinder LiTH-ISY-EX--16/4947--SE Supervisor: Antonios Pitarokoilis isy, Linköpings universitet Jonas Åberg WISI Norden AB Examiner: Danyo Danev isy, Linköpings universitet Division of Communication Systems Department of Electrical Engineering Linköping University SE-581 83 Linköping, Sweden Copyright © 2016 Herman Molinder Sammanfattning Loudness är ett subjektivt mått på hur högljudd en ljudsignal uppfattas. Till följd av kommersiellt tryck har loudness utnyttjats i sändningar för att locka och nå tittare. Genom signalbehandling är det möjligt att öka loudness-nivån på en ljudsignal och fortfarande uppfylla dagens lagstadgade signalnivåkrav. Med strä- van att uppnå en lika medel-loudness-nivå mellan alla program har Europeiska radio- och TV-unionen publicerat en standard som föreslår metoder för att kvan- tifiera loudness. Denna rapport tillämpar dessa metoder och föreslår en algoritm som adaptivt normaliserar loudness-nivån i audiovisuella sändningar utan att på- verka dynamiken inuti program. Huvudtillämpningen för algoritmen är att nor- malisera ljudsignalen i sändnings- och distributionsutrustning med realtidskrav. Resultaten erhölls från simuleringar i Matlab där kommersiella sändningar an- vändes. Resultaten visade att för vissa typer av sändningar lyckades algoritmen minska variationen i medel-loudness-nivå med smärre påverkan på dynamik in- uti program. iii Abstract Loudness is a subjective measure of how loud an audio signal is perceived. Due to commercial pressures loudness has been exploited in broadcasts to attract and reach viewers and listeners.
    [Show full text]
  • Ebu Tech3343
    TECH 3343 GUIDELINES FOR PRODUCTION OF PROGRAMMES IN ACCORDANCE WITH EBU R 128 VERSION 3.0 Geneva January 2016 Page intentionally left blank. This document is paginated for two sided printing Tech 3343-2016 Guidelines for Production of Programmes in accordance with R 128 Conformance Notation This document contains both normative text and informative text. All text is normative except for that in the Introduction, any section explicitly labelled as ‘Informative’ or individual paragraphs which start with ‘Note:’ Normative text describes indispensable or mandatory elements. It contains the conformance keywords ‘shall’, ‘should’ or ‘may’, defined as follows: ‘Shall’ and ‘shall not’: Indicate requirements to be followed strictly and from which no deviation is permitted in order to conform to the document. ‘Should’ and ‘should not’: Indicate that, among several possibilities, one is recommended as particularly suitable, without mentioning or excluding others. OR indicate that a certain course of action is preferred but not necessarily required. OR indicate that (in the negative form) a certain possibility or course of action is deprecated but not prohibited. ‘May’ and ‘need not’: Indicate a course of action permissible within the limits of the document. Default identifies mandatory (in phrases containing “shall”) or recommended (in phrases containing “should”) presets that can, optionally, be overwritten by user action or supplemented with other options in advanced applications. Mandatory defaults must be supported. The support of recommended defaults is preferred, but not necessarily required. Informative text is potentially helpful to the user, but it is not indispensable and it does not affect the normative text. Informative text does not contain any conformance keywords.
    [Show full text]
  • Practical Guidelines for Production and Implementation in Accordance with EBU R 128
    EBU – TECH 3343 Practical guidelines for Production and Implementation in accordance with EBU R 128 Supplementary information for EBU R 128 Status: Version 1.0 Geneva February 2011 1 *Page intentionally left blank. This document is paginated for two sided printing Tech 3343 Practical guidelines for Production & Implementation in accordance with R 128 Conformance Notation This document contains both normative text and informative text. All text is normative except for that in the Introduction, any § explicitly labelled as ‘Informative’ or individual paragraphs that start with ‘Note:’. Normative text describes indispensable or mandatory elements. It contains the conformance keywords ‘shall’, ‘should’ or ‘may’, defined as follows: ‘Shall’ and ‘shall not’: Indicate requirements to be followed strictly and from which no deviation is permitted in order to conform to the document. ‘Should’ and ‘should not’: Indicate that, among several possibilities, one is recommended as particularly suitable, without mentioning or excluding others. OR indicate that a certain course of action is preferred but not necessarily required. OR indicate that (in the negative form) a certain possibility or course of action is deprecated but not prohibited. ‘May’ and ‘need not’ Indicate a course of action permissible within the limits of the document. Default identifies mandatory (in phrases containing “shall”) or recommended (in phrases containing “should”) presets that can, optionally, be overwritten by user action or supplemented with other options in advanced applications. Mandatory defaults must be supported. The support of recommended defaults is preferred, but not necessarily required. Informative text is potentially helpful to the user, but it is not indispensable and it can be removed, changed or added editorially without affecting the normative text.
    [Show full text]