If someone is not using loudness normalization, and is designing presets for other people that don't use infinite ratio for the AGC, then I question their abilities, and want to help educate them on why this makes the problem of peak normalization worse when it comes to audio processing. Obviously "-A-" is preferable for the listeners, but it removes all macro dynamics. B- Without the ability to attain that, they'll trend toward minimizing the track-to-track inconsistencies by smashing everything at every step as much as they can stand. then they'll be used to preferring processing that deals with it by either -A- trending toward an AGC with infinite ratio and high speeds and range. if someone hasn't used loudness normalization & metering before, and heard how much better the overall presentation can be. Very rarely are digital recordings not hitting 0dBFS somewhere anyways, so it doesn't do much.īut like I was saying before. I agree, except that peak normalization isn't the way to go. I think StereoTool should follow this model, as well.
The the input calibration procedure is standard on all processors, and is completely unrelated to the preset being loaded. Of course, users will need to adjust the AGC drive slightly when they load a new preset, based on the density of the audio they happen to broadcast. With peak normalization, the point at which the gates start working will be different from track-to-track.
The gates don't work based on peaks, which is also the correct way to handle that. That also makes adjustment of the pre-amp a moot point, since you can't set the AGC gates anywhere near something optimal. There's no point in normalizing playback to a maximum peak, when the track-to-track loudness can have such a huge disparity that you need to use aggressive AGC settings with huge ranges anyways, making normalization a moot point. Nor should anything else that's influencing the final loudness.
The AGC doesn't work based on peaks, and of course it should not. It's only relevant IF presets are calibrated to something, otherwise you DO need to adjust the pre-amp gain for each preset. Assuming a typical setup, -12dB peaks should suffice. Input levels should not be calibrated to anything but absolute peak with reference to how much louder the console can provide can audio. If presets are or are not calibrated to anything, it's irrelevant. Anyhow, the presets should leave your pre-amp and post-proc settings alone and I stand by that.
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