Figure A3.1^{[2(p. 76)]}

Figure A3.1 – Discrepancy in low-frequency contribution with A-weighted sound-level measurements.^{[2(p. 76)]}

Normalization: Peak vs. Loudness

(i) Suggested setup - multi-act event

• An RME MADI interface with BNC takes Left/Right outputs of all mixing consoles from the Presenters Desk MADI output.

• The connected PC displays an ITU 1770 / EBU R128 loudness meter for each console using RME’s Digicheck NG^[16]

• The PC’s HDMI output is used to feed its mirrored display to external monitors at each mixing console: e.g.
  System 1;2;3 (stage), and Presenters Desk (PA system)

(ii) Apply changes to default DigiCheck R 128

(iii) PC external monitor - setup example

(iv) Recommended calibration procedure (1)

Electrical Alignment Signal and Level

• Ensure filtering and dynamic processing is bypassed on the mixing console output path 
• Adjust console operating level so that a \(1\) kHz sine wave at
  –20 dBFS on Left output equals –20 dBFS at the Left input of metered devices
  
• Repeat for the Right output
  
• A coherent 1 kHz sine wave from both Left and Right outputs at –20 dBFS will sum to –20 LUFS
  

(v) Recommended calibration procedure (2)

Acoustical Alignment, Listening Level

• Once sound system optimization is completed, propagation tests should be conducted with appropriate test signals and loudness normalized programme material at a calibrated output level of –23,0 LUFS.
  
• All loudspeakers should be operational during propagation tests, with the overall acoustic gain adjusted to fit local conditions.
  

(vi) Brownian noise test signals

A recommended type of test signal is broadband Brownian noise, as this has a frequency spectrum that approximates real musical material^{[1(p. 3),2(p. 87)]}.

(vii) Integrated Loudness (I) — Total Time clock

It is the average, integrated loudness of the whole programme that is normalised.^{[6(p. 7)]}

The master R 128 meter (i.e. PA system; Presenters Desk) should ‘start’ at the beginning of show, and ‘stop’ at the end (RME’s Total Time function). This represents the average, integrated loudness of the whole programme.^{[6(p. 41)]}

For individual act consoles (i.e. System 1, System 2, etc.) the meter should ‘stop’ at the end of each act, and ‘start’ at the beginning of a line-check.

(viii) Mixing the show

Sound mixers should refer to their R 128 meter and listen to the result; they need not concern themselves with chasing an SPL target.

Programme that does not exceed the loudness Target Level will likely not exceed the L_p, Aeq, T upper limit, provided the calibration and propagation steps have been completed correctly and circumstances have not changed.

Short-form content

Fair loudness-based measurement

The fair loudness-based measurement protocol is ideally suited to any event that wishes to follow safe listening guidelines†:

• providing consistent and predictable loudness and contrast across all program segments.

• with noticeable improvements in sound quality, impact, and the audience experience.

Work in progress

A number of case studies using our research paper recommendations are planned for the summer of 2025.

The findings will be used to expand specific guidance for implementing our protocol.

Please contact the authors if you are interested in collaborating with us and using your event as a case study.