Keep in mind that the dynamics of a song don’t indicate how loud a song is-LUFS does that. Peak to Short-Term Loudness Ratio (PSR) meters display the dynamics for the previous three seconds, so PSR shows the realtime crest factor. PLR really represents the dynamics or the crest factor of the music. The Peak to Loudness Ratio (PLR) represents the difference between the peak level and the average loudness of the song over the entire program.
Each streaming service provides a recommendation for their preferred maximum true-peak level, so this meter is an important part of the mastering chain.
True-peak or intersample peak meters display the peak level that a signal could produce when it is converted back to analog. Digital signals should never exceed digital zero (full scale), and the analog waveform that is recreated during the digital-to-analog conversion should not overload. True-Peak metering is important during the mastering stage. StudioOne provides various level meter options, including LUFS metering in its Project mode. VU meters are handy for monitoring the level of a mic preamp or analog signal processor, especially on voice. Digital VU meters are often simply called RMS meters. VU meters have a moderately slow response time (300ms rise and fall), so they don’t show transients or peak levels, limiting their applications. They were designed to emulate the way the human ear perceives the energy or loudness of an audio signal during recording and mixing. The VU meter is the most common meter and it represents the average short-term loudness of a signal. Generally speaking, most audio meters fall into one of three categories level meters, frequency analyzers, and stereo imaging meters. With so many metering options available, it may be helpful to do a review of some common types of meters. Many DAWs offer a variety of built-in metering options. However, analyzer plugins can help to visually identify problems and are especially useful aids while you’re honing your critical listening skills. “We’re e ngine-ears, not engine-eyes,” I would tell them. When I used to teach audio production, I would often see my students using meters to replicate settings they read about online instead of using their ears to assess how the mix sounds.
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