Hello all, and thanks for reading. I hope all is well for you.
I have recently bought the Waves WLM Meter and am trying to figure out how to use it effectively. I welcome your personal views on how to use the plug, but specifically, I would like to know which of the numbers you go by to make your final mix and/or master.
 
Do you use the "True Peak" with EBU R 128 LUFS 18 preset or other?
 
What number do you have for "Short Term", "Long Term" and "Range"?
 
What does "Range" mean and how important is it?
 
Also, do you use both the WLM Meter as well as the WLM Plus? If so, how do you use the two of them, in what order and why?
 
I basically understand how to use it, but sure could use some good advice on what number I am looking for in all these categories. If anyone would like to explain how they use the meter for their music, I am sure it would be quite helpful.
I am referring to prepping for internet distribution such as itunes or the like and with music as opposed to podcasts, trailers or video games.
 
Anything you add will be helpful because I have not found much of any worth on the net so far. Thanks, everyone and I am looking forward to reading your wisdom!
 
bob

Are you trying to follow ITU, EBU and ATSC specifications.
Is that why you are using this plug in ?
 
I thought the plug in was geared more towards Broadcast and film.
 
 
 

There are 3 areas to aim for these days. Download music, cd, and streaming. 14dB RMS is a good target to aim for. Seen some club music approach 5 dB headroom.

The true peak value often provides the punch at the expense of dynamics. I aim for about 10dB with only some positive peak values of around 3dB.

Thanks for your replies, chucke and interpolated, I appreciate it. It seems that few people are using this plug but I thought I would see if anyone here did and it looks like the answer is "no" except for interpolated. Yes, chucke, I am trying to get familiar with it for metering because soon, according to "the music industry", the whole world will be using this new way of measuring loudness-as a standard.
But, at least I have something to work with now so thanks for your input, interpolated. What metering device do you use, chuckebaby? Anybody else want to tell which meter they use?
 
thanks guys!
 
bob

I am using LM1n from Tc Electronic at the moment. Although when that demo expires I need to update my iLok so I can use the full license. Although I have other metering options. K-Meter in UAD Precision Limiter (in Bypass mode) it just meters the signal. Cakewalks Adaptive Limiter has LU reference. 
 
There's a free (yes free) Youlean meter which can be downloaded and gives quite a lot of options. Something that can integrate into the GUI and not be too distracting would be good. My ideal plug-in would be an all-in-one with goniometer, phase meter and loudness references. (I know Ozone does, however I mean just one shop reference).
 
The regulations are trying to get everyone to use the same standards so I think it's difficult to make an informed decision. Essentially though -23dB RMS is the accepted level broadcast. With radio being more or less digital now, it really eliminates the need for such low levels. 
 
Jeff Evans on here is a connoisseur on the subject.

bobernaut
according to "the music industry", the whole world will be using this new way of measuring loudness-as a standard.

Where did you hear this ? ^^^^^
 
I would suggest the K system. I  use a few different meters and frequency analyzers when mastering.
This is because some have features that others don't. but my go to meter is Brainworx BX Meter.
Waves Dorrough Meter is another great tool as is Waves PAZ
 
 
 

There's many different places you can look for these targets.
Here's an example. This article states a few of the targets for LUFS
Here's a short, great article from Bobby Owsinski

With the loudness wars diminishing these days, it's becoming more important to hit target levels of loudness, but even more so, dynamics targets. Waves WLM is a powerful tool, and includes a limiter which can help with down-sampling issues with clipping.

Here are some other amazing plug-ins that can also help:

Nugen Audio MasterCheck Pro ~ Loudness targeting with emulation of a destination's loudness adjustment; this is handy to hear what your music will sound like in different delivery services, such as Apple iTunes.

Dynameter ~ This is an equally powerful plug-in, but one that helps you target dynamics (difference between loud and quiet).

Both are reasonably priced, but equally useful. In fact, between these two alone, you can probably get a Master to have exactly the right amount of loudness and dynamics to compete with the best Masters out there! 

Here's an interesting article on where the OP is coming from, Chuck:
http://www.soundonsound.c...iques/end-loudness-war

Obviously we're not getting there overnight but all in all I believe this is a good direction and WLM can help you follow the suggested standard.

I think your meter should have been the Dorrough Stereo Meter
 
See the Video

I think the best option is one that can display them all and if not all,most. That way people who think in metric can communicate to people who still think in imperial.
 
By the far the easiest way to think about all of this is, digital 0dB will always be unity gain. No matter what system you use. At least until you start pushing the levels louder. I discovered that -18dB = 0dBU on my system for most things, so setting my monitor knob to around 2 o clock which I usually use a test tone to do this.
 
BBC (British Broadcasting Company) used to use their own system. Loudness in steps with 4 dB between interval. Meaning essentially 6 steps over 0 would be 24 dB. Maybe they still do.
 
https://www.youtube.com/watch?v=IPqr0gwOyr0
 
Funky music, sounds like the orb.
 
https://www.youtube.com/watch?v=NYx0MIUtoSI
 
Currently I set my Master fader to 0dB, make sure my bus tracks are still in the green/yellow zone and aim for about -23dB LKFS which means I  try for between -8dsBFS~-10dBFS on the master output. As this means I can amplify/limit each bus independently and balance them as required at a later stage or indeed send the mix to a mastering engineer with acres of headroom. None of my stuff is worth paying to be mastered however it's still a good practice to go through.
 
I've been pushing the envelope recently making my stuff louder however I'm going to step it back again as I feel my equipment isn't able to resolve the detail as it I feel it should at higher levels. Anyway I am always learning and being edumacated all of the times.