In that sense any wave peak in a file might equal the average volume, or may be more, or less there is not really a relationship that is mathematically constant.Premiere pro only putting audio From the left menu, click Editor. SPL measures a split second, LUFS measures an average. Its relationship to LUFS is the relationship of any given wave peak to the average volume of the file. Sound Pressure Level is an instantaneous measurement, like Peak. LUFS are conceptually similar to RMS in that loudness units measure PERCEIVED volume, by averaging all the waves in a file. So -10dB is relative but -10dBFS is absolute.
If they said, “That guitar was really loud, but I lowered it to -10dBFS,” we know the amplitude of the guitar is -10dB, relative to 0 - the top of the full scale. It’s 10 dB quieter, but that 10 db could be sliding around anywhere on the full scale of possible volume. If someone says “That electric guitar was too loud, but I lowered it 10 dB,” we get that it’s quieter now but we don’t really know the amplitude of the guitar. As I understand it, “full scale” simply means “the entire dynamic range possible” - or in digital audio, “How does this sound measure relative to 0 decibels, the maximum volume?”įor example, -10 dBFS may differ from -10dB. While the Loudness Radar is also bundled with Adobe Premiere, Amplitude Statistics is only in Audition and, for me, this one tool makes using Audition essential for any mix that I care about.ĭbFS means “decibels Full Scale.” This is the same FS in LUFS (Loudness Units Full Scale). When I did, my mixes started sounding better. I’ve used this measurement tool for years, but only recently started paying attention to the average levels (LUFS) rather than peaks. NOTE: Broadcast and cable require average levels closer to -24 LUFS. Most of my mixes end up around -16.5 to -17 LUFS. After distortion, this is the most important reading.įor the web, I want this ☑ of -16 LUFS. It is much more representative of the volume of your clip than peaks. This measures the average level of your clip. Also, click the small “home base” shaped icon to jump to that portion of your clip with the loudest peak. I generally want my peaks between -6 and -3 dB. I used to look exclusively at this number, but I’ve learned that peak values are deceptive.
This should be any number smaller than 0 dB. This measures the loudest portion of your clip. Peak Amplitude (and its cousin: True Peak Amplitude).I don’t release any audio that has the potential to be distorted.
Any other number means that your audio is too loud and, most likely, distorted.įor me, this is the most essential measurement. There are 16 different measurements in this window, with four that are truly important. (I use this so much I’ve assigned it a custom keyboard shortcut.)Ĭlick Scan, or Scan Selection, at the bottom of the window. If everything checks out, I then import it into Premier or Final Cut for final output.Ĭhoose Window > Amplitude Statistics.
NOTE: The way I use this for my mixes is that, when the mix is done and exported as a WAV file, I use this function to check the stats. (This tool doesn’t work in a multitrack mix and it only works for one clip at a time.) Then, double-click the clip to open it in the Waveform Editor. Open any audio clip, or a video clip with an audio component, into Audition. There is an extremely helpful analytical tool in Adobe Audition CC that I find essential to all my important mixes: Amplitude Statistics.