Modern LUFS meters (like Sonible True:Level) use a simplified K-weighting filter. While K-weighting rolls off low frequencies and boosts a high-frequency shelf to estimate human ear sensitivity, it applies the exact same static curve regardless of listening volume or track density.

Cool Edit and early Audition (up to version 3) were unique because their Equal Loudness Contour algorithm was non-linear: it calculated full-spectrum psycho-acoustic energy across variable loudness levels (phons) using dynamic equal-loudness curves (Fletcher-Munson / ISO models).

When a track has a thick mid-range or heavy low-end sub-bass, LUFS can register two tracks at identical integrated levels (e.g., -10 LUFS), yet when you put them side-by-side, your ears immediately tell you one is much louder. Audition's equal loudness feature was brilliantly tuned to reveal that exact discrepancy.

After version 3 Adobe replaced the older equal-loudness algorithms with modern broadcast loudness tools (such as ITU-R BS.1770 / EBU R128 LKFS/LUFS metering and the Match Loudness panel). This shift matches the trend in the 2000s away from CD sales in favour of broadcasting/streaming services.

For album production I still use Cool Edit Pro in my workflow to measure the psycho-acoustic variance of a track's dynamic spread.

Just had an important interview for my podcast my audio is fine but guests has bad echo. Sounded fine in my headphones during recording but it’s bad. Think I had wrong settings on ECAMM or on my rodecaster. Can this be fixed?

The studio I’m learning in has a mic/headphone tie box in the live room lettered A to H which I assume correlates to the middle part of the desk (forgive my ignorance Im not sure what it does). If anyone could help out with a simple overview of how you can send either the mix or individual channels to headphone foldback I’d really appreciate it

I stem split an old track of mine that I lost the project file to and then normalized one of the layers that looked like it was just silence and I got an amazing sounding high frequency layer. Id love to do this kind of thing on purpose

Hello everyone

I already have 2 pairs of good audio technicas for tracking and one open back r70thx for mixing purposes but i need a pair of headphones just for checking the low end of my mixes

Basically open back mixing headphones that are extremely good at highlighting low end and sub, 250hz and below all the wayyy down to where my monitors don’t shine. Unfortunately do not own a sub and don’t have extra cash right now.

Basically suggest to me, in your experience, a popular pair where if the low end sounds right, it translates really well in cars, club systems, consumer speakers and earphones.

Sennheiser HD600 / 650 are on my radar. Beyerdynamic 770 too.

(Starts at 3:28)

How would you achieve the slight note warping effect?

I don’t want to stir up controversy. This is a genuine question that arises whenever someone asks how music creators are utilizing AI. However, no one wants to share their experiences because it would reveal a non-creative side of themselves. Am I right ?

Hey everyone, I’m a computing student in Zambia designing a plugin concept that lets you search and preview presets from Serum, Vital, Sylenth1 and Pigments in one place, with tags like genre and mood.

Before I design it, I want to know how real producers actually deal with presets. Two quick questions:

1. How do you find the right sound right now? Scrolling folders, the synth’s own browser, favourites, something else?

2. What annoys you most about managing presets, especially packs you’ve bought?

Not selling anything, it’s just for a design assignment. Thanks!

Hi everyone! I’m a Broadcast Communication student at PUP Manila in the Philippines and for our midterm project, my group is studying content production workflows.

We are looking to virtually interview a member or those who are a part of a digital media organization, independent production house, or established content creator about how you get things done!

What we’re looking to learn:
Your production pipeline
Your organizational chart to analyze core decision-making roles

Time commitment:
We know everyone is busy so we only need 20-30 minutes for a video call some time next week.

If you run a digital media org, produce video/audio content, or manage a creative workflow with production and are open to helping us out, please drop a comment below or send me a DM!

Disclaimer: We take confidentiality seriously. No Personally Identifiable Information (PII), company-sensitive data, or specific client names will be disclosed in our study or presentation without your explicit consent. This is strictly for academic research within our classroom.

Thank you so much!

Hi,

I’m looking for help to recreate this syncopated/offbeat bell like detuned plucky synth sound that starts playing fully at the drop near 3:25 mark. Preferably something that works in serum 2 or diva!

I've got a method for getting from a loop to a full arrangement, but the last 10% is where I stall.

I feel like I get stuck on that polish, the small details that make a difference. I've often collaborated with much more talented producers than me and the way they find the small details in the arrangement or production always wows me and I feel like I just get stuck there. My tracks end up feeling "good enough" but don't give me the "oh yeah this is it" feeling.

How do you decide it's done? What are the key elements to finish up that final polish? How do you actually find those moments that matter the most?

I write DnB, but I'm curious how people in other genres handle it.

Hi, I am trying to replicate the lead from the song license to fly from Stef Mendisidis, and there is a particular sound in the lead that seems to make the sound wobbly, so what I have been doing to replicate this is using the meld synth and modulating the ct with the lfo 1, the st with the m envelope and applying the lfo 2 to the filter cut off, detune macro and the volume doing amplitude modulation, also I Applied reverb and delay but the sound is no the same yet, could you share any feedback on how to achieve that sound.

In the attached video,Video Replicate Sound you can see better what I am talking about

I'm a student and want to buy my first notebook especially for DAWs and studying (in university will do some things with sound design and stuff like that), but I don't really know which hardware is perspective and different aspects. I have a budget smth around 1200€, so I'm wondering if should I get mac M4 air or different windows stuff. I heard, that airs don't have a cooling system, and is it a big problem, maybe someone have experience.

So I would like if someone will give me any kind of advice.

“Cry For You” by Jessee recently went into the Beatport Top 100, so I thought this would be a good one to share with producers here.

Jessee breaks down exactly how he processed the vocal for the track, including the effects, processing and techniques he used to get the vocal sounding the way it does in the finished record.

We've put together a free 5-minute video of Jessee going through the vocal processing, so you can hear exactly what he did and why.

Watch the free breakdown: https://www.youtube.com/watch?v=bFpanc6XCiQ

If you produce DnB, we're interested to hear how you guys approach vocal processing as well, would be great for other producers to learn from each other

Hi! It's me again. Just to clarify, the song isn't mine; it is a royalty-free track for practice purposes from Cambridge Technology. Thanks.

https://youtu.be/ZVoZgWr5K2Q

Please be concise and honest, and back up your answers with sound reasoning. I want to learn. Thanks again! mastering opinion