Level restriction in digital music production has traditionally been based on simply measurering the value of individual samples. Where sample counting may have been appropriate in the early days of digital, previous work has revealed how processing now exploits our archaic principles to an extent where significant distortion can be expected to develop downstream of the studio in signal converters and perceptual codecs. The paper shows how production methods in combination with simplistic level assessment is responsible not only for more distortion and listener fatigue, but also for level jumps where digital interfacing or file transferring is used, e.g. at a broadcast station. Improved working practices and measurement methods are suggested.
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