- #Audio book recommendations full#
- #Audio book recommendations portable#
- #Audio book recommendations pro#
To start with the AES has made it clear what the aims of their recommendations are… What we share here in this article is not intended to replace reading these latest recommendations, rather it should be used alongside the recommendations.
#Audio book recommendations full#
My first piece of advice is that if you are delivering audio content to audio-only streaming services is that you should read the AES TD1008 Recommendations in full and that you will probably need to read it more than once, as there is a lot of advice and explanation integrated within the latest recommendations and hats off to the authors for not just producing a set of guidelines but providing the background and explanations as to why they have come to these recommendations.
#Audio book recommendations pro#
If you have ever worked with tools like the Sonnox Pro Codec plug-in of Nugen Audio’s MasterCheck Pro you will find that peak levels above -3dBTP can still distort these codecs, and so my advice is to always use a true peak limiter set to -3dBTP.
The EBU R128 distribution specs rightly recommend a maximum true peak of -3dBTP because lossy codecs, which are at the core of this type of content delivery, cannot handle peaks much above -3dBTP. When it comes to the maximum true peak I was surprised about the -1dBTP limit. My view was it should be -16LUFS ☑LU giving a window of -15 to -17LUFS. To provide some recommendations for audio streaming content in 2015, the AES published Technical Document - AES TD1004.1.15-10 - Recommendation for Loudness of Audio Streaming and Network File Playback in which they recommended a window between -16 and -20LUFS with a maximum true peak of -1dBTP.Īt the time I suggested that the window was on the low side, and with too wide a tolerance, effectively ☒LU. However, YouTube went for -13LUFS and Spotify initially went for around -11LUFS using ReplyGain rather than BS 1770, although they subsequently moved to 14 LUFS, and now use the ITU 1770 standard according to their Loudness Normalization article.
#Audio book recommendations portable#
There has been a view for a long time that the broadcast standard of -23LUFS or -24LKFS would not be suitable for portable devices because there isn't enough gain in the headphone amps to deliver an acceptable volume.Īs a result, a number of services including iTunes Radio settled on -16LUFS and here at Production Expert, we also settled on -16LUFS for our weekly podcast.
I agree with one of the authors, Rob Byers who said in his Linked In post, that this document “will have an impact on music streaming, podcasting, radio streaming, dynamic ad insertion, and even virtual assistants and it's intended to give all of us a better listening experience, no matter how or what we listen to.” The Backgroundīack in 2015, there has been some discussion on what loudness to use for audio streaming content on platforms like iTunes Radio, Spotify and YouTube etc.Īt the time there wasn’t a standard for audio streaming content, unlike broadcast workflows that settled on one standard, albeit with a number of delivery specs around the world based around -24 LKFS and -23LUFS and a maximum true peak of -1 or -2dBTP. In this article, our own loudness guru takes a look at the new recommendations to see what has changed. 6 years on and they have published an updated set of recommendations to supersede the 2015 audio streaming recommendations.
Back in 2015, AES grasped the nettle and produced a pivotal document to try and provide some loudness recommendations for audio-only streaming, to complement the broadcast standards already in use.
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