I’ve found it works much better than relying on Apple’s built. 95 of my library is FLAC so I use this to maintain an AAC version of my library that gets synced to my iPhone. Just be mindful that transcoding from one lossy format to another will result in quality degradation. TimIt has options for applying ReplayGain as well as any DSP plugins. You could get it working by converting the DSF to PCM and then applying ReplayGain to the converted files.
Replaygain Plugin Portable Products Normalizes
Is the crest factor and LRA of 15.0 too large?I see that Sound Check in iTunes and Apple's portable products normalizes the integrated loudness to -16.7 LUFS:I also see that ReplayGain normalizes the integrated loudness to -14 LUFS:Thus, if I use less than -14 LUFS in my CD, players with ReplayGain will boost the level and potentially cause clipping distortion. I plan to use a high-quality dither (), but -23 LUFS seems like it would significantly affect quantization distortion with 16-bit CDs.I am also concerned that people playing the CD on modest playback systems with loudspeakers will experience clipping distortion when they turn up the loudness to an enjoyable level. Thus, for R128 compliance, I would need to limit -1 dBTP.My question is whether -23 LUFS is good for 16-bit CDs since R128 is based on 24-bit digital radio & TV transmission.
-12 or -14 is not too bad and all it is going to get is a gain reduction rather than a boost (and a non-optimised limiter), and you'll only lose a couple of dB of dynamics with -14 if -16LUFS is adopted.It's very liberating mixing and mastering without pummelling the living daylights out of your music. It will help with consistency with your mastering, too.-16 LUFS is supposed to be an aiming point for a standard, but it is quite a big jump from current hypercompressed stuff. If you are a bit over or under with the integral at the end of the piece, just adjust your gain to compensate and have another go. With the K-offsets, you set them to your 80 or 85dBA level and then aim for zero area on your SL meter/graph. But I also would rather not reduce the emotional impact by applying compression and limiting if they are not necessary for listeners who don't use ReplayGain.I would appreciate input from folks what loudness level they use when mastering CDs and why?If you've got the latest TB EBU plugin, look at the K-system metering modes.-23 LUFS is very quiet for music production -that standard is really for TV to allow for really wide dynamic range (and then peg back the commercials to match it ) ).Read up on using K-offsets with Loudness Units and try some masters with "LU K-14" (-14LUFS) to see what you think.
I will give this a go for my mastering.In addition to the helpful info from the forum members in this thread, I found a white paper that helped me understand the specifics of K-16 v2 and why use it instead of -23 LUFS for music production:Replaygain is -18 LUFS. Yes, it offsets the loudness scales by 16 (compared to LUFS) to allow more-convenient targeting toward zero. I have the latest TB EBU plug-in, and I just tried the K-16 v2 setting.
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