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Related Manuals for TC Electronic Loudness Radar Meter LM5
Summary of Contents for TC Electronic Loudness Radar Meter LM5
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Page 2: Table Of Contents
TC SUPPORT INTERACTIVE The TC Support Interactive website www.tcsupport.tc is designed as an online support and information center. At the site you can find answers to specific questions regarding TC software and hardware. All known issues are stored in a database searchable by product, category, keywords, or phrases. -
Page 3: Introduction
INTRODUCTION LM5 and LM5D Radar Loudness Meter LM5 represents a quantum leap away from simply measuring audio level to measuring perceived loudness. The old level method is responsible for unacceptable level jumps in television, for music CDs getting increasingly distorted, and for different audio formats and program genres becoming incompatible: Pristine music tracks from the past don’t co-exist with new recordings, TV commercials don’t fit drama, classical music or film and broadcast doesn’t match. -
Page 4: Basic Use
ever decreasing dynamic range. By now, the pop music industry is “right of” In Flight Entertainment in the illustration. LM5 offers a standardized option: The visualization of loudness history and DRT in combination with long-term descriptors from production onwards, is a transparent and well sounding alternative to our current peak level obsession. -
Page 5: Radar Page
RADAR PAGE Current Loudness: Outer Ring The outer ring of the Radar page displays current loudness. The 0 LU point (i.e. Target Loudness) is at 12 o’clock, and marked by the border between green and yellow, while the Low Level point is marked by the border between green and blue. The “0 LU Equals”... - Page 6 Universal Descriptors (LM5D only) Additional to the short-term loudness (outer ring) and loudness history (radar), LM5D displays long-term statistical descriptors that describe an entire program, film or music track. Unlike concepts that measure only dialog, LM5D may measure any type of audio.
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Page 7: Ppm Page
PPM PAGE Press the “PPM” key to bring up the PPM display, Fig 6. The PPM page is used to inspect balance between channels, headroom, overload of channels etc. Fig 6, PPM True-peak meter features. Bargraph PPM meters are shown next to the round Current Loudness display, which is identical to the Outer Ring of the Radar page. -
Page 8: Preference Page
PREFERENCES PAGE Fig 8, LM5 Prefs page. Preferences may be stored as Presets, thereby having suitable settings for different conditions easily at hand. Loudness Scale can be set to either “Loudness Units, LU” or “Loudness Full Scale, LFS”. Because LM5 uses the BS.1770 loudness model, LFS is the same as LKFS. When “LFS”... -
Page 9: Presets
PRESETS The following presets have been loaded as factory defaults. Factory presets all use the LFS scale, Program time and 4 minutes per Radar Revolution. You may store new presets with a ProTools session based on your own preferences. You may switch between presets on the fly without resetting the Radar, thereby easily changing scale, zoom etc. -
Page 10: Itu-R Bs.1770 Primer
Unlike electrical level, loudness is subjective, and listeners weigh its most important factors - SPL, Frequency contents and Duration - differently. In search of an “objective” loudness measure, a certain Between Listener Variability (BLV) and Within Listener Variability (WLV) must be accepted, meaning that even loudness assessments by the same person are only consistent to some extent, and depends on the time of day, her mood etc. -
Page 11: Meter Calibration
Fig 11, Frequency weighting used with selected Leq measures. Red curve: A weighting. Green curve: RLB weighting. Blue curve: R2LB weighting, AKA “K” weighting. The frequency weighting employed in the loudness part of BS.1770 is shown in fig 11. It means that you cannot perform a calibration tone sweep and expect the reading to stay the same, see below. -
Page 12: Post Script
POST SCRIPT Control of loudness is the only audio issue that has made It to the political agenda. Political regulation is currently being put into effect in Europe to prevent hearing damage and disturbances from PA systems, and to avoid annoying level jumps during commercial breaks in television.