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This avoids the problem of cruder methods, where you take, say, the peak dB as the "loudness" of the track. Doing it that way would take a fairly quiet song with one overly dramatic drum hit and make it so you couldn't hear the rest.

EDIT: I think they will also turn a track up if it's under the target, but I'm not absolutely sure. There would be no real reason not to.

Spotify normalizes volume to a LUFS level, which is not nearly the same thing as overly compressing dynamics and causing clipping.

https://www.sweetwater.com/insync/what-is-lufs-and-why-shoul...

A bright-blue headlight of a modern car will actually make everything surrounding the headlights darker. A light which is slightly dimmer and more shifted towards red works much better for your peripheral vision. If you drive in rural areas the difference is very apparent.

Not only that, but street lights seem to be doing that as well.

Cross-walks here are now illuminated along the path with a strong shaped light. But the light is so bright that during night they just blind the observer: the pedestrian looks like ghost in a black background. IMHO this is even more dangerous, I frequently cannot see past the crosswalk, so a pedestrian which is passing behind it is risking much more than before. Go figure.

There are a couple of intersections which I pass frequently where the green light is too bright already during day. During the night, as soon as you get the green light you get blinded, which is _awesome_ since the light is guarding a cross-walk in this case as well. By night you cannot see pedestrians when you have the green.

Slightly related, still widely off-topic: lights on bicycles, same problem. I think e.g. Germany has rules for those, but in countries where there aren't and/or there's zero awareness being raised it's sad to see how many people ride around with LED headlights which are way stronger than required and aimed straight ahead instead of down, completely blinding opposite direction traffic including cars. Now on the commute I do I've made it a sport to (friendly) shout to them telling to put their light down and it seems to have effect. But there's still a long way to go.

See also bicyclists.

There is a general saying that there are two types of lighting: those that allow you to see, and those that allow to be seen. In most urban areas with street lamps, one simply needs to be seen. Too many of my fellow pedallers do not seem to understand this distinction, and do not realize that more lumens does not always been better: at some point you're simply blinding people, and they can no longer tell where you are.

A moderately (500 lm?) bright blinking light, with a simple on-off, non-random pattern seems to be best IMHO.

Chances are that the car behind you had misaligned headlights or some dubious aftermarket modification, like a HID conversion kit.

An old crummy incandescent bulb in a 90s civic will produce a lot less light at the same wattage, than a new, super-bright LED.

It's not possible to separately compress constituent stems in a mix. Once they're mixed, the impact that you can have on "loudness" is restricted to the whole, frequency-separated bands (multi-band compressor), or extracted parts. From an information-theory perspective, the available leeway for control over presentation is restricted once the audio is mixed.

However, I'd rather have a simple compressor running on playback than have a whole industry ruin their content.

To be fair, I believe mastering is one of those domains that may soon be made obsolete with machine learning. But we're not quite there yet, and the existing methods require a lot of DSP power.

https://apps.apple.com/us/app/boom2-volume-boost-equalizer/i...

And yeah, that's a famously "loud" genre. What drives me insane is going to, say, a mostly acoustic live show and having the person behind the desk mix it as if it's Drum & Bass. I never ever go to a show without earplugs, because you just never know.

So, for example, Spotify enables normalization by default, they target -14 LUFS, use limiters, normalize both tracks and albums, and will turn up quiet tracks. Amazon, by contrast, does not use limiters, does not turn quiet tracks up, only normalizes at the track level, and so forth . . .

My tinnitus came from being around jets & equipment in the military, concerts (Rush's Presto tour in 1990 was super loud), and competitive shooting. I double-up on my hearing protection these days.

Makes RATM sound like easy listening. Which I suppose it is these days anyway.

I still can't bring myself to hit "Mastering Assistant" (still less, "Mix Assistant" in Neutron) and call it a day. But honestly, it's pretty spooky how good these tools are getting. I'm particularly impressed by the way it figures out where to set dynamic EQ points on problematic frequencies. I haven't played with Gullfoss yet, but the pros I talk to say it's even spookier.

Of course, what you may mean is that there's no substitute for a $50,000 Neve console, a treated, isolated room, monitors that cost considerably more than your car, and an engineer with twenty years of experience. Sure.

But honestly, it is reasonable to wonder whether this is a bit like when we used to say, "Well, a computer will never beat a human at chess."

It's also not true that no professional mastering engineers use Ozone. Most big shops at least have it lying around (if only for that limiter, which many pros emphatically do use). It's also sometimes the right tool for the job. And there are a few serious pros for whom it's their main tool. Not many, granted. But interface aside, it's not clear that when it comes to "clean" processing, that FabFilter's stuff (which is very widely used) is any better.