Another problem is that RMS volume detection is not really like human hearing. Humans perceive different frequencies at different volumes. This is shown on the Fletcher-Munson curve below. If one sound file has many frequencies between — Hz as shown in the diagram, it will sound louder.
Luckily there is a recent solution, the new standard in broadcast audio, the catchily titled EBU R This is a similar way to measure volume as RMS, but can be thought of as emulating a human ear.
It listens to the volume intelligently and thinks how we will hear it. It understands that we hear frequencies between — Hz as louder and takes that into account. We still have the same 0 dBFS problem mentioned for RMS, but now the different normalized audio files should sound much more consistent in volume.
Normalization can be performed in a standalone program, usually an audio editor like Sound Forge , or also inside your DAW.
For the sake of this section we are assuming you are using an audio editor. Nowadays audio editing software works internally at a much higher bit depth often bit floating point. This means that calculations are done much more accurately, and therefore affect the sound quality far less.
This is only the case if we keep the file at the higher resolution once it has been processed! To take advantage of the high quality of high bit depth inside audio editing software make sure all your temporary files are stored as bit floating point. Also consider saving them in this format if you are going to do further processing. In summary, normalization is a very useful tool, but also one that can easily be abused and cause an unnecessary loss of sound quality.
I don't normalize. Sebastian N. Synth Guru. I've used that feature one time on one of my tracks but I find myself using mastering tools instead. Balzac De Bagge. I use it a lot, mostly just to see how things sound when you do it, usually I hit undo though as it's not always something that works, it's great for introducing certain noise into the recording.. I normalize when something needs normalizing, on a case by case basis.
For example, the samples I transfer to the Korg Electribe Sampler I have in my possession right now are always normalized.
It doesn't really have a proper gain structure, if a sample is too quiet it can be too low level even when you max out the volume. Normalizing the samples before you transfer them ensures proper volume. The Electribe also has quite a quiet headphone output, which makes normalizing even more important. I've been using normalize on stems for live show playback. These are files that are stemmed out from sessions within Pro Tools and are mixed however not always at the same level gain wise usually db variance.
So I will normalize the different stems so that from song to song there's no real shift in volume. There is no need to fear normalization -it's a tool that is there to be used if needed. It achieves nothing more than can be done with a boost by using the fader or a simple gain plugin.
But it takes the guessing out of it - if you applied a boost manually you could end up clipping the waveform. So if you need a boost, and don't want to waste time looking for the highest peak - go for it. I would not normally use it, simply because I am much more likely to apply compression, limiting, saturation, EQ, FX Although that is not normally a major concern either, with floating bit maths - digital signals never actually clip in the digital domain unless the plugin designer designed it to clip - which is often the cause with analog modeling.
Normalising doesn't create noise at all. It just brings everything up - and if you already have noise in your signal, you will hear this. But that's not the fault of normalization. Normalization might seem like a convenient way to bring tracks up to a good volume, but there are several reasons why other methods are a better choice. What does that mean? Think of a strip of reel-to-reel tape—to perform an edit you need to physically slice it with a razor! But in your DAW you could simply drag the corners of the region out to restore the file.
Unfortunately there are some operations in the digital domain that are still technically destructive. Any time you create a new audio file, you commit to the changes you make.
Normalization sometimes requires you to create a new version of the file with the gain change applied. Since normalization is a constant gain change, it works the same way as many other types of level adjustments. Many new producers are looking for the easiest way to make their songs loud. When it comes to raising the level of an entire track, normalizing is among the worst options. In fact, normalizing an entire track to 0 dB is a recipe for disaster.
The normalize function finds the highest peak in the entire waveform and raises it to the target. With this peak touching the 0 dB maximum, things get unpredictable. When digital audio gets converted to analog to play through your speakers, the filters that reconstruct the signal smooth out the curve between individual samples in the file. Sometimes the arc between two points close to the ceiling can exceed the maximum! The result is clipping from inter-sample peaks.
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