TC electronic SDN BHD LM5D Radar Detector User Manual

LM5 and LM5D Radar Loudness Meter
LM5 represents a quantum leap away from simply measuring audio level to measuring
perceived loudness. The old level method is responsible for unacceptable level jumps
in television, for music CDs getting increasingly distorted, and for different audio
formats and program genres becoming incompatible: Pristine music tracks from the
past don’t co-exist with new recordings, TV commercials don’t fit drama, classical
music or film and broadcast doesn’t match. The most fundamental audio issue of all –
control of loudness – every day makes millions of people adjust the volume control
over and over again.
LM5 is part of a universal and ITU standardized loudness control concept, whereby
audio may easily and consistently be measured and controlled at various stages of
production and distribution.
LM5 works coherently together with other TC equipment, or with equipment of other
brands adhering to the same global standard. Follow the guidelines given to allow
audio produced for different purposes to be mixed, without low dynamic range
material such as commercials or pop CD’s always emerging the loudest.
Realtime loudness meter adhering to ITU-R BS.1770.
Loudness History Radar display.
True-peak Bargraph display.
Universal Descriptors (LM5D)
Supports mono, stereo and 5.1.
Presets for use in Broadcast, Music, Post and Film.
Mac OS X (10.4 or higher) / Windows XP
Pro Tools TDM 7.2 software (or higher)
Pro Tools HD or HD Accel hardware
iLok USB key account and internet access required for product authorization
System must meet Digidesign’s system requirements for Pro Tools TDM systems!
Since 1998, TC has performed listening tests and evaluation of loudness models; and
therefore holds an extensive, Universal Database of loudness, based on ten thousands
of assessments. The database covers all sorts of broadcast material, music,
commercials, feature film and experimental sounds, and is verified against other
independent studies.
The Universal Database is authoritative from an academic as well as a practical point
of view. It has been indispensable when designing the LM5 meter, because it provided
the missing link between short-term and long-term loudness, and enabled the
statistically founded Universal Descriptors of LM5D.
Fig 1. Left: DRT for consumers under different listening situations
Right: Peak level normalization means that material targeted low dynamic range
platforms gets loud.
The chart of Dynamic Range Tolerance in Fig 1 is a side-effect of the studies
mentioned: Consumers were found to have a distinct Dynamic Range Tolerance (DRT)
specific to their listening environment. The DRT is defined as a Preferred Average
window with a certain peak level Headroom above it. The average sound pressure
level, which obviously is different from one listening condition to another, has to be
kept within certain boundaries in order to maintain speech intelligibility, and to avoid
music or effects from getting annoyingly loud or soft.
Audio engineers instinctively target a certain DRT profile when mixing, but because
level normalization in broadcast and music production is based on peak level
measures, low dynamic range signatures end up the loudest as shown by the red line
in Fig 1, right. Audio production is therefore trapped in a downwards spiral, going for