If you have ever seen a movie at home, something very but very common,
surely you have had to play with the volume of your remote control,
because there are times when music or noises are heard more than the actors and
actresses' own voices. This, fortunately, happens less and less in the
field of digital audio and it is thanks to the loops, without knowing what
it is stay that I tell you. We welcome you to the other side
of the microphone. On the other side of the microphone. A project by
Jorge Marín Nieto in which you will find your daily ration of metapodcasting, casting
with news, events, tools or episodes of opinion in just ten minutes,
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' s for your daily metapodcasting ration. I am Jorge Marín and every day,
in just ten fifteen minutes, I continue to untangle them in between the
podcastile creation, with news, events, curiosities, tools, tips, correctness,
everything, everything, everything, everything that is related to the podcasting that
surrounds me today. I want to bring you a small technical class so that
you know what loops are, something that has been hard for me to understand
a little bit, because it is quite technical, but that really well explained,
well understood, is something very pro that, very simple and it is
to say a limitation of the maximum volumes of audio editing for the playback of
audio in the different players. Let me read the explanation a little more detailed
forgiveness so that we can understand it all light are the acronyms of Mondays and
units relative to full skale or what would be translated into units of sonorities relative
to the full scale. What does this mean? Well, loops are a
standard measure of audio sonority, taking into account the human perception and intensity of
the electrical signal on each of the different devices or platforms where each sound or
sound file will be played. There are other sound measurement systems, like the
decibels RMS, but well, today I want to focus on loops. This
is really easy to understand if we saw it or, rather, if we
heard it as a percentage normally podcasts and now I will stop at this they
are exported to minus sixteen loups, so this measure means that they will always
sound to a maximum volume, just like if I hear it 100 percent sound
in my headphones. You, when you put the volume of the whole producer,
100%, you' re going to listen to the same volume that
I edited and the platform wants you to listen. I explain, I can
export the podcast or the different ones, the different tracks of the podcast to
more or less loobs and you will listen to it to the same soundness,
to the same volume or to the same intensity as I am emitting it the
podcast platforms and here I will focus mainly, especially, on Apple Podcast,
because it is the first one that started to delimit all this. They recommend
that we import or rather that we export our podcas at less than sixteen lubs.
This means that when our listeners on each of these platforms put it,
I don' t know fifty percent will listen to it at half the maximum
sound that we' re going to export. So if someone puts him in
his car at fifty percent of his volume, he' s going to listen
to an average volume. If someone puts it on his TV player at fifty
percent, he' s going to hear an average volume. And if someone
wanted to go deaf and put it at 100 percent volume, it' s
going to reach 100 percent of the power it can reach. Our archive is
ported, our podcast or our music. The music, let' s say,
isn' t so delimited. Those minus sixteen lubs, but at least
fourteen lu If I' m not mistaken for the little research I' ve
done because I haven' t gotten in full, but on Apple Podcast and
almost every platform let' s say that the generality is those minus sixteen clubs.
I' ve seen some Internet post out there where in Spotify for Podcasters
recommend we upload it to minus fourteen luvs. But this is derived because it
is a more focused platform. In music, as in sound Cloud they also
recommend this, but, for example, on YouTube they recommend a little bit
less 11 In some posts I have seen, but well, the podcast standard
is less sixteen. I' m going to leave you a link in the
episode to a YouTube channel from Mats with two zetas where it explains it more
or less, just like I did. But also, putting the equation to
the decibels and lrms RMS, let' s say it' s an average
measure of all the peaks of our podcast or our music in general. Our
sound files with high peaks and low peaks where there is more volume, also
putting the equation, frequencies and so on, and makes an average of the
entire track, so to speak, of the whole file. What happens if
that means, let' s say it' s corrupted or it' s
not completely detailed, because if I stay silent under the mean. However,
what interests us, because today we are talking about the total volume, the
final volume, the maximum volume, we are interested in reaching those maximum loops.
Let' s say reaching a peak, so that if someone puts a
hundred percent of the volume of their player will never distort, because I in
this episode have put that the maximum volume of this episode of my podcast in
general, because I always do that for a long time, it' s
those minus sixteen loups. However, this RMS is average. Those decibels could
overtake them at some point, and if that person puts his or her player
at 100 percent volume, it might come to this, because here we would
be talking about average and not maximum volume. Maximum volume is measured in lups,
as this video said. In this Matts video, he describes it logically
with a visual way, because it' s a video a little easier to
understand, because it puts several examples and so on. But for you to
understand what loops are in a simple way. Let' s say they are
the maximum volumes of each of our episodes, which the platforms recommend us to
adjust. If you upload an episode of your podcast to more volume or what
is the same, less light, the platform will accept it and this will
reach all the players and all your listeners. But surely if they get into
your episode after mine, they have to turn the volume down a little bit,
just like if they put it to more light, that is, at
less volume, they' re going to have to turn the volume up a
little bit, because let' s say, it would be a little lower
than the usual standard required by podcast platforms. And that' s going to
make your listeners, because they listen to your podcast to a smaller volume that
they' re listening to mine and I say it' s too technical,
but so that you understand that if we all follow this standardization in terms of
audio volume, because our listeners are going to thank you and I think that
it is appropriate to follow certain rules so that everything sounds the same volume and
that we don' t happen what happened as it happened best said many years
ago with podcasts, that there are some that hear you more others that hear
less, although lately I have also found some. But, well, that
' s say, they' re exceptions. But what does continue to happen
on some occasions is that we recorded a group podcast and some partner could record
it outside the microphone, but good. That ah already there we would go
into compression, compression, in gain of some microphone and we are talking about
loops, which is a way to measure the total volume of our audio file.
Let me also bring you today a podcast recommendation to take you to your
player, which I' m sure is fine, but well mastered at its
minus sixteen lups. It' s nothing more or less than this month'
s sponsor on the other side of the microphone, the podcast. Which worries
us that it comes from Argal' s hand. In its episodes you will
find, for example, the journalists are only Sonega Gera Romero, psychologist Silvia
Congos and Dufne Cataluña, communicator Maramate, podcaster and dear friend Frannit Zuzquiza,
actor and director Román reyes. The network expert Patricia Bárcena or clear to Mecha
Zurra and María Raz de Frida, the protagonists of the first installment of her
first episode, which is now available and which you can listen to thanks to
the link I have left in the description of this chapter. In that link
I will also leave you, as I told you before, the video of
Matts, where he explains the whole theme of the lufs in a very simple
way and above all with visual examples so that you see the bometers there moving
and how it works, more or less this of the lups, the rms
and the decibels. And in addition, the link to podcastres com where they
specify exactly what features they have to have in our podcasts in terms of the
amplitude, in terms of the BS decibel kilos of frequencies, resolutions in short,
all the details they have to have, both in our audios and our
sets on RSS, so that everything goes as it has to go inside the
platform Apple Podcast and, logically, in all the aggregators that pull from the
repository of Apple Podcast, which more or less is the standard in the world
of podcasting. Thank you for continuing there one more day, and now I
say goodbye and like every day, I return to that place where you are
right now on the other side of the microphone. Composite Nstantes, Compotant Compotants