I've read about PLR and PSR again with respect to mastering.
This time Bob Katz's book on mastering told me that PLR is a good measure of microdynamics of music (a.k.a. the quick ups and downs in volume). This is opposed to macrodynamics that can be controlled via compression/expansion and can be gain-ridden (knob automation of the gain to achieve loudness targets). By contrast, microdynamics cannot be controlled or modified significantly via compression or expansion - and definitely not via "riding the gain" or otherwise known as gain automation or manual compression. PLR according to Bob is rare at 14, limit of 20, and he seems to suggest 12 is good. Bob also talked about LRA but I haven't digested what he is saying about it yet.
I also went to Ian Shepherd for some answers as well because I like his philosophy of mastering as much as I do Bob Katz's. Ian suggests, in mastering, shooting only for the loudest parts of any track to be -10 LUFS maximum. This would be the short-term LUFS level (S-max). Then he says to balance everything else by ear and it will likely fall in line so your track is in that -14 to -12 (or -10?) LUFS integrated range. I want to be in the -12 to -14 LUFS integrated, but don't want to try to chase that.
Ian Shepherd also said that PSR should be looking at around a PSR of 8, and not lower, during the loudest parts of a song.
Summarizing, I would say these are some targets:
1. Start with S-max (short-term loudness) of -10 maximum.
1. Also start with -1 dB true peak maximum.
(keep these two at the top of the list to watch over always)
2. PSR should be not lower than 8. This is your differential between peak and S-max.
2. PLR should be 12 or more. This is your differential between peak and I (integrated loudness of the whole track).
3. Integrated loudness should ideally fall at -14 LUFS for Spotify. But this should not really be a target. I'm still a bit out on this one as I keep looking at it as a target of some kind. But Bob Katz said this level can be lower than -14, while Ian Shepherd alluded to it needing to be -14 or higher, while not coming right out and saying it. I think I believe Bob for music like classical where there is very high dynamic range and this could explain his thoughts on the PLR levels.
I'm trying to get less confused about this stuff, but I think if I stick to the four items I have here for my list of two #1's and two #2's I should be o.k. for now.
Probably more later.
Ian Shepherd also said that instead of trying to get people to hit these targets of his, he prefers they listen to what the streaming platforms do to the levels by using his Meterplugs Loudness Penalty plugin, so I'm going to start listening through that to audition my tracks after mastering them to see if I can hear some differences.
This time Bob Katz's book on mastering told me that PLR is a good measure of microdynamics of music (a.k.a. the quick ups and downs in volume). This is opposed to macrodynamics that can be controlled via compression/expansion and can be gain-ridden (knob automation of the gain to achieve loudness targets). By contrast, microdynamics cannot be controlled or modified significantly via compression or expansion - and definitely not via "riding the gain" or otherwise known as gain automation or manual compression. PLR according to Bob is rare at 14, limit of 20, and he seems to suggest 12 is good. Bob also talked about LRA but I haven't digested what he is saying about it yet.
I also went to Ian Shepherd for some answers as well because I like his philosophy of mastering as much as I do Bob Katz's. Ian suggests, in mastering, shooting only for the loudest parts of any track to be -10 LUFS maximum. This would be the short-term LUFS level (S-max). Then he says to balance everything else by ear and it will likely fall in line so your track is in that -14 to -12 (or -10?) LUFS integrated range. I want to be in the -12 to -14 LUFS integrated, but don't want to try to chase that.
Ian Shepherd also said that PSR should be looking at around a PSR of 8, and not lower, during the loudest parts of a song.
Summarizing, I would say these are some targets:
1. Start with S-max (short-term loudness) of -10 maximum.
1. Also start with -1 dB true peak maximum.
(keep these two at the top of the list to watch over always)
2. PSR should be not lower than 8. This is your differential between peak and S-max.
2. PLR should be 12 or more. This is your differential between peak and I (integrated loudness of the whole track).
3. Integrated loudness should ideally fall at -14 LUFS for Spotify. But this should not really be a target. I'm still a bit out on this one as I keep looking at it as a target of some kind. But Bob Katz said this level can be lower than -14, while Ian Shepherd alluded to it needing to be -14 or higher, while not coming right out and saying it. I think I believe Bob for music like classical where there is very high dynamic range and this could explain his thoughts on the PLR levels.
I'm trying to get less confused about this stuff, but I think if I stick to the four items I have here for my list of two #1's and two #2's I should be o.k. for now.
Probably more later.
Ian Shepherd also said that instead of trying to get people to hit these targets of his, he prefers they listen to what the streaming platforms do to the levels by using his Meterplugs Loudness Penalty plugin, so I'm going to start listening through that to audition my tracks after mastering them to see if I can hear some differences.