#Using sound siphon to record mac system audio full

#Using sound siphon to record mac system audio full

Let’s not marginalize the significance of target based audio processing and Loudness Normalization with full True Peak compliance. Of course the quality of your intermediate and/or pre-master prior to Loudness Normalization will dictate final fidelity and speech intelligibility of the processed output. However final stage off-line target processing is much more efficient. You can certainly attempt to “mix” your programs in RT using a loudness meter thus adhering to various descriptors. Point is – without a recognized Integrated Loudness target including acceptable tolerance margins (and an ultimate True Peak ceiling) – any standardization concept would be near impossible to efficiently implement. Your target may be subjective or it may adhere to published best practices. Remember, you – the site owner, producer, whatever – bear the responsibility to serve your listeners with let’s call it optimized audio that is perceptually consistent across all of your hosted programs. And I doubt independent producers at large hire coders to build server side audio processing engines to establish what I previously described.

My guess is your implemented site player does not manipulate the attributes of your embedded files in order to standardize distribution Integrated Loudness across your hosted catalogue. I’ll look into it.īack to hosting your Podcast on your personal website, or in essence – your platform …Įfficient website accessibility for your Podcast is an essential requirement. I don’t have access to valid data specifying whether ubiquitous streaming services currently manipulate spoken word Podcasts using the same methods applied to music submissions. They widely suggest mastering for optimum fidelity and present streaming services with a well produced product that may be efficiently manipulated according to the service’s requirements. Many music mastering engineers recommend producers simply ignore the loudness target concept. defined True Peak overshoots – limiting may be applied. However I do believe select streaming services add gain (and possibly limiting) if necessary.īTW Loudness Normalization in concept is nothing more than adding/subtracting gain in order to meet a specified target.

I’ve heard this practice is not widespread.

Note if the above scenario is reversed I’m not entirely sure if adding gain is now commonplace. They apply perceptual loudness manipulation across submissions in order to establish playback consistency.įor example if -14.0 LUFS is the recognized distribution Integrated Loudness for an arbitrary music streaming service and your mastered music submission checks in at -10 LUFS … the service will subtract 4 LU of gain. In essence networks expect the submitter to properly (let’s say) manipulate prepared works in order to meet requirements prior to submission.Ĭonversely most music streaming services handle this so called manipulation internally using proprietary methods. If an audio submission does not meet the specified requirement(s) – the work is rejected. Regarding vague perspectives in relation to whether the “Target Loudness” post production mindset is relevant, or not … hear me out.īroadcast networks specify audio submission Integrated Loudness targets which include tolerance margins.