Calm Act Process

[Carl G.]

TV content producers.... What plugin tool do you use for compliance with the Calm Act?
1. Simply use compliant meters with SAW native tools? or...
2. Specific Plugin Processors designed for the purpose?

Suggestions?

[Sean McCoy]

I've been using the Waves WLM for several years with good results. The Toneboosters meter also works well in SAW, and is less expensive than Waves, but if you use the Waves WLM Plus it includes a peak limiter and level trim that makes compliance a no-brainer. There's nothing automatic about keeping the integrated loudness in the right place while making a decent mix, though. That still requires some craft.

[Carl G.]

Carl,

The WLM meter is not on sale now at Waves. I think it's $399. But, if you wait for one of their weekend deals or add-ons to their Specials, it usually goes for $199.
The Nugen MasterCheck is $129.
I have both and they work well to keep you legal with the CALM Act.

Yep... I'm turning "Wishin' and Hopin'" into "Waitin' and Watchin'".

I like the demo of Waves (though I've heard much better limiting). I'll also check out Nugen MasterCheck.

[Carl G.]

Carl,

One thing you'll notice about WLM and the other Calm Act meters: They force you to do the right thing in mixes and volume draws. Which makes the use of a squishing limiter obsolete. Or, at least not the go to plugin for all ills.
When we started using the WLM for network shows, I noticed myself simple getting the levels in range, using clip gain for the loud an quiet parts to match the target level, and using the limiter just to catch the light overages.
Listen to the mixes on Discovery. They are as loud as the Act allows and clean, clean, clean. All the VOs fit in one range and the mix is full without a lot of thumbs to your remote volume action.
I think my mixes have never been better. I just switched my old radio station 'clipper' brain off and record and mix with the end product in mind. There is a whole lot less of the 'fix it in the mix' commandment.
By the time I've finished editing the VO track to the WLM, I'm on to the FX music, mix and rarely have to visit the VO again. Everything else will be wrapped around it.
It's a fresh new way to use the old basic concepts of levels and sound in general.

Thank-you. Great insight of experience for TV. How do you now approach & deliver final mixes for Radio (amidst the sea of mixes where the RMS Tide is at its 'peak')?

[Sean McCoy]

Thank-you. Great insight of experience for TV. How do you now approach & deliver final mixes for Radio (amidst the sea of mixes where the RMS Tide is at its 'peak')?

I agree with Stashu that mixing to CALM Act standards does have its advantages, much like mixing a film strictly using proper calibration and your ears does. While staying within the proper average can be problematic with certain spots that may contain short, very loud sections, overall it yields a more pleasant and less crunched product. I still use compression on the mix bus for fatness and consistency, but even on dynamic mixes my WLM limiter is rarely doing much of anything.

For radio, however, I must admit I still enjoy going old-school, all-out squashed to the max. Some habits die hard.

[Carl G.]

Carl,

Radio is still an outlaw format. They still just get a file and normalize it. Even if it's already Normalized!
I've checked with quite a few sites and radio guys I know, and they still say, "Oh, just send whatever you've got, and we'll fit it to our format."
Which means "Normalized to death".
So, I normally send a very clean mix using a K-14 meter for leveling and use light limiting to keep some dynamic range. The better you sound going into their Flat Iron Panini press, the better it will sound coming out.
By the way, Nugen just released a Mastercheck Pro. $149. Check out the demo.

Excellent advice. I'll check out the Mastercheck Pro.

[Carl G.]

... I still use compression on the mix bus for fatness and consistency, but even on dynamic mixes my WLM limiter is rarely doing much of anything.

For radio, however, I must admit I still enjoy going old-school, all-out squashed to the max. Some habits die hard.

I do like it clean with controlled dynamics in mix ... but speaking of old habits we love.... I notice Waves all three Urie compressors (bundle) going for $119 on black Friday.... tempting.

Your advice on the WLM... leaves me to believe another very good choice is the ToneBooster Loudness plugin could be sufficient with the multitude of great dynamic control plugins I have available.

[Sean McCoy]

I do like it clean with controlled dynamics in mix ... but speaking of old habits we love.... I notice Waves all three Urie compressors (bundle) going for $119 on black Friday.... tempting.

Your advice on the WLM... leaves me to believe another very good choice is the ToneBooster Loudness plugin could be sufficient with the multitude of great dynamic control plugins I have available.

Sorry, a little late back to the party here. Yep, the Tonebooster is just fine, and works well in SAW. If you're going to insert a separate peak limiter and you're doing a lot of nit-picky post work, just make sure it's a true peak limiter.

[Carl G.]

Sorry, a little late back to the party here. Yep, the Tonebooster is just fine, and works well in SAW. If you're going to insert a separate peak limiter and you're doing a lot of nit-picky post work, just make sure it's a true peak limiter.

Thanks Sean. A plan come to life.