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#1
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Weird Mix Request from Producer
Just finished a bunch of spots ranging from 30 seconds, 15 Seconds & 06 Seconds.
Normally I deliver mixes at broadcast -24 lkfs (+/-2) and web mixes at -14 lufs. But the producer said she doesn't do web level deliverables anymore because "laptop speakers are so good now." I tried to explain why we should and that it takes 10 minutes to do and she just said "no". This is a seasoned producer that I've known for over 20 years btw. Has anyone else come across this? |
#2
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Re: Weird Mix Request from Producer
Nothing to do with laptop speakers being too good, but alot of online advertising channels and distrubutors are having specs requesting -24 +-2. Could be that?
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Matt Perrott Sound Designer and Engineer Sydney, Australia |
#3
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Re: Weird Mix Request from Producer
For ad/commercial work I stopped delivering web only mixes unless specifically requested. I had too many problems with video houses and/or someone else along the chain retracking the wrong mix and messing up the delivery.
It also turned out the many of the places where a web mix would live have either changed their delivery spec to -24 or normalize to whatever random spec they decided. |
#4
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Re: Weird Mix Request from Producer
I've also heard that some distribution services want -24.
I do provide the -14LUFS for "Social" mixes the client posts themselves.
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~Will |
#5
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Re: Weird Mix Request from Producer
Spotify, YT Music, Apple Music, etc, the distribution platform can pick -18 (say, if it's mostly dialogue), or -14 (if it's pop music) or -11 if it's a mobile app and they know it is on a phone.
HOWEVER, if you have a mix at -23, a "smart master" algorithm is WAY better than we are at trying to meet 33 deliverable LUFS. It's better result for an algorithm to make things louder than quieter. It's harder to get a result that is less distorted, unless the input is more dynamic. -23 as "theatre", -18 as "dialogue" and -14 as "music" are just windows. It helps one translate, not match perfectly. There are Audio Engineering Society standards that are interesting to look at! Imagine a movie with lots of sound thoughtout, versus a horror with lots of quiet. LUFS Integrated suddenly makes more sense looking at parts, not as a random number to say "output that other number, but just right."
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___ >> me: nednednerB // ||main gig: editing audio voiceovers & testing software | 2nd gig: music software tutoring | hobby: electronic music // ||software: Sonoma 14.2 | PT Studio 2023.12 | Ableton Live 11 | iZotope RX, Ozone, Neutron | Arturia Pigments | Auto-Tune | Dubler2 // ||system: iMac (Retina 5K, 27", 2020) 10-Core-i9 | 128GB-DDR4 | 5700-XT-16GB | OWC Thunderbolt Hub and Thunderbolt 3 Dock // ||devices: RME Babyface Pro FS | Focusrite Clarett 2Pre | some AT mics | SM58 | Ableton Push 2 | Sennheiser HD 600 HP // Onkyo TX-8220 SR ||automation: SoundFlow | Stream Deck+ | Keyboard Maestro | SteerMouse | MacOS Shortcuts // |
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