Ryan Avery - Audio DSP Software Engineer, Digidesign - has responded to our comments on the new AAX Pro Limiter plug-in. In regard to about how the Pro Limiter AudoSuite Loudness analyser appears to work Bryan has had this to say. Russ, when you are selecting multiple tracks and processing things in Audio Suite, Pro Tools treats them as if they were stems in a surround file. So, for instance, selecting and analyzing a group of 6 tracks with the Loudness Analyzer will treat them as if it was a 5.1 surround file.

Developed from the ground up, the Avid Pro Limiter lets you maximize the loudness of your mix- in up to 7.1 surround- without distortion or harshness. I just bought the Pro Limiter for my HD Native system and was surprised to find that is also an LKFS and True Peak meter. I had used it on dub stages.

Thus the true and sample peak will display the max values of all of the tracks - not exactly the result you describe, but still very useful. So my understanding is that if you pick up 3 stereo files, or 6 mono files, it will treat them as if they were one 5.1 stem. This is helpful if you are working in surround but if you are trying to analyse several mono or stereo files, it is not so helpful because the different channels in the surround format are weighted slightly differently when producing a single loudness figure for a 5. Aplikasi Untuk Membuat Graffiti Sendiri on this page. 1 file. So my recommendation would be to analyse stereo files one at a time, if they are are multiple tracks. If they are all on the same track then you should be OK to analyse mutliple files together to get a single loudness figure for them all. On the Ryan has responded to observations which I voiced both in and also.

Hey all, I’m a bit late to the party, but I wanted to try to clear up some confusion regarding the Pro Limiter support of the various loudness standards. The best simple explanation on the differences between R128, A/85, and BS.1770-3 I have found online is a: One point that was raised was the idea that we don’t support the A/85 standard as required by the CALM-Act, which is misleading. R-128 and A/85 are both a series of recommendations about what loudness values (integrated LKFS, true-peak max, LU Range, etc.) are acceptable for broadcast. There are some key differences between them (-24 LUFS reference point for A/85 vs. -23 LUFS for R128, etc.), but in general the differences are fairly minor. But it is important to note that by themselves, the standards don’t give you a way to actually measure the loudness.

Instead, they make reference to BS.1770-3 for that. BS.1770-3 is the loudness metering standard that can be used to measure the values that are needed by either R-128 or A/85.

So although Pro Limiter doesn’t directly integrate the recommendations of A/85 (or R-128 for that matter) into its GUI, the metering values produced by the plug-in can be used to make your audio content R-128 or A/85 compliant. And Pro Limiter is fully compliant with BS.1770-3, including loudness gating and K-weighting. Some might say that we’re not able to fully support A/85 because we don’t do automatic dialog detection to help define the anchor element. But I would counter this by saying that since there is no industry-standard way to automatically detect dialog, these algorithms can’t necessarily be trusted to provide accuracy for all content, and thus are not foolproof. And A/85 is fairly ambiguous when it comes to whether dialog detection or gated measurements are preferred. I found to be a helpful read. Finally, the K-weighting stuff has generated some confusion.