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If you have ever seen a movie
at home, something very but very common,

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surely you have had to play with
the volume of your remote control,

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because there are times when music or
noises are heard more than the actors and

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actresses' own voices. This,
fortunately, happens less and less in the

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field of digital audio and it is
thanks to the loops, without knowing what

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it is stay that I tell you. We welcome you to the other side

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of the microphone. On the other
side of the microphone. A project by

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Jorge Marín Nieto in which you will
find your daily ration of metapodcasting, casting

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with news, events, tools or
episodes of opinion in just ten minutes,

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ten minutes, ten minutes. Welcome
or welcome as every working day. That

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' s for your daily metapodcasting ration. I am Jorge Marín and every day,

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in just ten fifteen minutes, I
continue to untangle them in between the

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podcastile creation, with news, events, curiosities, tools, tips, correctness,

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everything, everything, everything, everything
that is related to the podcasting that

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surrounds me today. I want to
bring you a small technical class so that

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you know what loops are, something
that has been hard for me to understand

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a little bit, because it is
quite technical, but that really well explained,

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well understood, is something very pro
that, very simple and it is

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to say a limitation of the maximum
volumes of audio editing for the playback of

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audio in the different players. Let
me read the explanation a little more detailed

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forgiveness so that we can understand it
all light are the acronyms of Mondays and

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units relative to full skale or what
would be translated into units of sonorities relative

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to the full scale. What does
this mean? Well, loops are a

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standard measure of audio sonority, taking
into account the human perception and intensity of

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the electrical signal on each of the
different devices or platforms where each sound or

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sound file will be played. There
are other sound measurement systems, like the

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decibels RMS, but well, today
I want to focus on loops. This

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is really easy to understand if we
saw it or, rather, if we

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heard it as a percentage normally podcasts
and now I will stop at this they

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are exported to minus sixteen loups,
so this measure means that they will always

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sound to a maximum volume, just
like if I hear it 100 percent sound

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in my headphones. You, when
you put the volume of the whole producer,

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100%, you' re going
to listen to the same volume that

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I edited and the platform wants you
to listen. I explain, I can

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export the podcast or the different ones, the different tracks of the podcast to

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more or less loobs and you will
listen to it to the same soundness,

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to the same volume or to the
same intensity as I am emitting it the

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podcast platforms and here I will focus
mainly, especially, on Apple Podcast,

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because it is the first one that
started to delimit all this. They recommend

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that we import or rather that we
export our podcas at less than sixteen lubs.

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This means that when our listeners on
each of these platforms put it,

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I don' t know fifty percent
will listen to it at half the maximum

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sound that we' re going to
export. So if someone puts him in

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his car at fifty percent of his
volume, he' s going to listen

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to an average volume. If someone
puts it on his TV player at fifty

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percent, he' s going to
hear an average volume. And if someone

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wanted to go deaf and put it
at 100 percent volume, it' s

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going to reach 100 percent of the
power it can reach. Our archive is

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ported, our podcast or our music. The music, let' s say,

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isn' t so delimited. Those
minus sixteen lubs, but at least

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fourteen lu If I' m not
mistaken for the little research I' ve

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done because I haven' t gotten
in full, but on Apple Podcast and

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almost every platform let' s say
that the generality is those minus sixteen clubs.

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I' ve seen some Internet post
out there where in Spotify for Podcasters

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recommend we upload it to minus fourteen
luvs. But this is derived because it

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is a more focused platform. In
music, as in sound Cloud they also

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recommend this, but, for example, on YouTube they recommend a little bit

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less 11 In some posts I have
seen, but well, the podcast standard

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is less sixteen. I' m
going to leave you a link in the

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episode to a YouTube channel from Mats
with two zetas where it explains it more

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or less, just like I did. But also, putting the equation to

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the decibels and lrms RMS, let' s say it' s an average

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measure of all the peaks of our
podcast or our music in general. Our

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sound files with high peaks and low
peaks where there is more volume, also

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putting the equation, frequencies and so
on, and makes an average of the

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entire track, so to speak,
of the whole file. What happens if

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that means, let' s say
it' s corrupted or it' s

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not completely detailed, because if I
stay silent under the mean. However,

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what interests us, because today we
are talking about the total volume, the

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final volume, the maximum volume,
we are interested in reaching those maximum loops.

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Let' s say reaching a peak, so that if someone puts a

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hundred percent of the volume of their
player will never distort, because I in

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this episode have put that the maximum
volume of this episode of my podcast in

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general, because I always do that
for a long time, it' s

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those minus sixteen loups. However,
this RMS is average. Those decibels could

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overtake them at some point, and
if that person puts his or her player

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at 100 percent volume, it might
come to this, because here we would

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be talking about average and not maximum
volume. Maximum volume is measured in lups,

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as this video said. In this
Matts video, he describes it logically

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with a visual way, because it' s a video a little easier to

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understand, because it puts several examples
and so on. But for you to

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understand what loops are in a simple
way. Let' s say they are

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the maximum volumes of each of our
episodes, which the platforms recommend us to

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adjust. If you upload an episode
of your podcast to more volume or what

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is the same, less light,
the platform will accept it and this will

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reach all the players and all your
listeners. But surely if they get into

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your episode after mine, they have
to turn the volume down a little bit,

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just like if they put it to
more light, that is, at

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less volume, they' re going
to have to turn the volume up a

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little bit, because let' s
say, it would be a little lower

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than the usual standard required by podcast
platforms. And that' s going to

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make your listeners, because they listen
to your podcast to a smaller volume that

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they' re listening to mine and
I say it' s too technical,

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but so that you understand that if
we all follow this standardization in terms of

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audio volume, because our listeners are
going to thank you and I think that

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it is appropriate to follow certain rules
so that everything sounds the same volume and

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that we don' t happen what
happened as it happened best said many years

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ago with podcasts, that there are
some that hear you more others that hear

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less, although lately I have also
found some. But, well, that

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' s say, they' re
exceptions. But what does continue to happen

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on some occasions is that we recorded
a group podcast and some partner could record

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it outside the microphone, but good. That ah already there we would go

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into compression, compression, in gain
of some microphone and we are talking about

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loops, which is a way to
measure the total volume of our audio file.

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Let me also bring you today a
podcast recommendation to take you to your

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player, which I' m sure
is fine, but well mastered at its

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minus sixteen lups. It' s
nothing more or less than this month'

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s sponsor on the other side of
the microphone, the podcast. Which worries

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us that it comes from Argal'
s hand. In its episodes you will

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find, for example, the journalists
are only Sonega Gera Romero, psychologist Silvia

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Congos and Dufne Cataluña, communicator Maramate, podcaster and dear friend Frannit Zuzquiza,

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actor and director Román reyes. The
network expert Patricia Bárcena or clear to Mecha

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Zurra and María Raz de Frida,
the protagonists of the first installment of her

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first episode, which is now available
and which you can listen to thanks to

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the link I have left in the
description of this chapter. In that link

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I will also leave you, as
I told you before, the video of

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Matts, where he explains the whole
theme of the lufs in a very simple

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way and above all with visual examples
so that you see the bometers there moving

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and how it works, more or
less this of the lups, the rms

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and the decibels. And in addition, the link to podcastres com where they

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specify exactly what features they have to
have in our podcasts in terms of the

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amplitude, in terms of the BS
decibel kilos of frequencies, resolutions in short,

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all the details they have to have, both in our audios and our

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sets on RSS, so that everything
goes as it has to go inside the

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platform Apple Podcast and, logically,
in all the aggregators that pull from the

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repository of Apple Podcast, which more
or less is the standard in the world

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of podcasting. Thank you for continuing
there one more day, and now I

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say goodbye and like every day,
I return to that place where you are

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right now on the other side of
the microphone. Composite Nstantes, Compotant Compotants