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Loudness units relative to full scale (LUFS) is a synonym for LKFS that was introduced in EBU R 128. [ 10 ] The EBU has suggested that the ITU should change the unit to LUFS, as LKFS does not comply with scientific naming conventions and is not in line with the standard set out in ISO 80000-8.
R 128 recommends normalising audio at the target level of −23 LUFS. This measurement is the integrated loudness calculated over the whole duration of the programme and in the entirety of its contents (i.e. without emphasising specific foreground elements, such as voice). [ 1 ]
This convention is the basis for the ITU's LUFS loudness unit, [23] and is also used in Sound Forge [10] and Euphonix meters, [24] and Analog Devices digital microphone specs [25] (though referred to as "dBFS").
The first research on the topic of how the ear hears different frequencies at different levels was conducted by Fletcher and Munson in 1933. Until recently, it was common to see the term Fletcher–Munson used to refer to equal-loudness contours generally, even though a re-determination was carried out by Robinson and Dadson in 1956, which became the basis for an ISO 226 standard.
Loudness monitoring of programme levels is needed in radio and television broadcasting, as well as in audio post production.Traditional methods of measuring signal levels, such as the peak programme meter and VU meter, do not give the subjectively valid measure of loudness that many would argue is needed to optimise the listening experience when changing channels or swapping disks.
Measured LUFS may further vary among streaming services due to differing measurement systems and adjustment algorithms. For example, Amazon, Tidal, and YouTube do not increase the volume of tracks. [36] Some services do not normalize audio, for example Bandcamp. [36]
A typical British quasi-PPM. Each division between '1' and '7' is exactly four decibels and '6' is the intended maximum level. A peak programme meter (PPM) is an instrument used in professional audio that indicates the level of an audio signal.
Black & Lane's Ident Tones for Surround (BLITS) is a way of keeping track of channels in a mixed surround-sound, stereo, and mono world. [1] It was developed by Martin Black and Keith Lane of Sky TV London in 2004.