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The digital dilemma

Analogue technology made the technical specification of musical loudness relatively straightforward, with the measuring device of choice being the beautifully designed and easy-to-use VU Meter. The measurement of zero VU (Volume Units) represents a subjectively vague average sound level, which still has a precise electrical and - for tape recording - magnetic power specification. The idea of a maximum level simply didn't apply back then because the maximum limits were arbitrarily enforced by the particular technology or piece of gear being used. It was part of the sound engineer's job to have a good feel, not only for the practical limits of their own equipment, but for the limits of the final playback media, such as vinyl records or magnetic tape cassette.

As digital technology started to work its way through the entire recording and playback chain, the rules suddenly changed. Instead of having the combination of a fixed electrical (or magnetic) 'average' level, and an awareness of somewhat vague 'maximum' levels enforced by the equipment, digital audio technology totally reverses these concepts. The level, which is fixed and unchanging for digital audio equipment, is the maximum level, not the average one. As engineers started to realise that the suggested 'average' levels for digital recordings were merely standardised recommendations (rather than technically justified ones), the trusty old VU meter went straight into the dustbin.

In practical terms, the VU meter had to go, since some parts of a digital multitrack could have the VU meters literally pounding against their end-stops, risking physical damage and providing no usable information. This fundamental shift in recording level practice also meant that making simple one-to-one copies from a digital source to an analogue one could no longer be assumed to be a safe, simple operation, due to the possible level differences.

The loss of a technically-specified 'average' level has also made CDs and music downloads very user-unfriendly. While each carefully mastered album can usually be relied upon to have a consistent level and tone from start to end, the differences in average volume between separate projects can be dramatic; Most music lovers have had the unfortunate experience of having to desperately rustle through their belongings to grasp the volume control on their MP3 player before their ears get torn to shreds.

The reason for this is nothing more than straightforward competition: All record companies want their records to sound louder than everyone else's, particularly if that music is likely to be played on a pub jukebox or the radio. Some mastering engineers have proposed a return to 'standardised' average levels in order to regain some sanity and user-friendliness. In practice, however, the harsh realities of a competitive marketplace mean that this is simply never going to happen.

The age-old rule of competitive battles has always been, 'If you can't beat them, join them', and so you, too, need to know how to get the levels of your final mixes as loud as possible without compromising musical integrity.

The tutorial

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