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Software, Windows, Mac OSX
MeterPlugs Loudness Penalty v1.7.0 Cracked WiN MacOSX-FLARE screenshot
Team FLARE | 16 June 2021 | WiN: 6.15 MB | MacOSX: 10.8 MB
RELEASE NUMBER: FLARE-1641/FLARE-1642

Confidently assess how your music will play back online
With Loudness Penalty, you can...

Optimize your music's online loudness
Share your music knowing it will hold up online.

Preview how your music will sound online
No need to leave your DAW.

Pinpoint loudness pain-points
Find exactly which parts of a song trigger the biggest penalty.

Discover when it's possible to turn your music up
without incurring a penalty.

Reassure clients
Show them how streaming services affect loudness.

Avoid loudness indecision
No more trial and error, no more guessing.

Take Control of the Loudness Penalty
Manage how much your music is turned down by online streaming services

Online streaming services turn down loud music to ensure a more consistent listening experience. The Loudness Penalty plugin tells you how much your music will be turned down by YouTube, Spotify, TIDAL, Pandora and Apple's Sound Check. Now you can have immediate access to this information right in your DAW. Spot the moments that trigger the biggest penalty, and tweak your settings to avoid them, while retaining impactful, punchy playback.

Why Do You Call It a Penalty?
Because it is!


We deliberately chose the name "Loudness Penalty" to be a little provocative, but it is accurate. The louder your music is, the more it will be turned down by online streaming services, to avoid "blasting" listeners with unexpected changes in loudness. You may think that your music sounds fine, even when it has been turned down, but with Loudness Penalty you can be sure. Preview your music live, and test whether you want to take advantage of the opportunity for more dynamics.

No More LUFS Estimates
Objective, accurate feedback


Have you ever been told to upload your music at -14 LUFS, or some other estimated value? Don't - it doesn't work! Not all the streaming services currently use LUFS to make their loudness decisions, and while LUFS estimates can tell you the overall reference loudness for a particular service, individual songs can be quieter by as much as 3 dB, in our experience. Loudness Penalty gives you far more accurate feedback, typically within half a dB of the real-world values. No more guessing, no more trial and error. With Loudness Penalty, you can optimize and upload your music knowing it will stand head and shoulders against the competition.



We are looking for any other MeterPlugs NON-DEMO retail installers for both windows and mac. If anyone has any and would like to supply them please send a PM.


CRACKED: Bypassed authorization checks. Works the same as the legit version without any modified/patched code done to the plugin.



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comments

  Member 17.10.2016 33 434
+1860
FLARE is our new R2R. A new hero! Thank you so much guys. FLARE, RET, VR, R2R, MORIA!
  Resident 9.04.2013 2 464
+165
FLARE thanks.

  Member 15.01.2014 193
+27
Grateful 4 these guys 4 sure!!!
  Member 23.10.2019 20 173
+524
Thanks a lot for this Flare. Amazing!
  Member 13.02.2021 54
+14
Finally!
  Member 13.02.2021 54
+14
I'm probably a stupid person... But in my Davinci Resolve positions: YouTube, Amazon, Tidal and Deezer — don't work at all: just two hyphens. I don't need this plugin to work in S1 and Reaper) I'm certainly not a fan of the loudness war, but I make the mixes as loud and juicy as possible for my case, but without fanaticism. I don't follow any LUFSs and dynamic ranges. All the same, big and powerful guys get a louder and more compressed result in any field: that is just an audio release, that music for stocks... No matter how I would like to keep up with them, but I can't) I'd rather slow down, but I'll get something the sound that I like. But in terms of YouTube videos — as I said, this plugin does not display anything in Davinci... Namely, this is what I would like to check, because in statistics for system administrators, YouTube usually shows me: -6 / -8 dB content loudness...
  Member 3.12.2019 132
+60
The positive part of this is that at least upload content that until now had not been broken, keep it up
  Resident 27.04.2012 91 21
+1294
I installed the Windows version, however for some reason it does not appeared any plugin file (VST 2.0) on the specified folder, I tried to search over the drives but no result. Any solution for this ?
  Resident 27.04.2012 91 21
+1294
Found it, the installer just dropped the VST file at "C:\Program Files\Steinberg\VSTPlugins", hope this will be helpful for others who want to install on a different drive, and not on "C".
  Member 8.06.2015 25 276
+1052
Not working in Logic and pro tools on macOS Big Sur
I've drained my heart, I've burned my soul.
  Member 8.03.2015 24
+3
Thank you Flare! Unfortunately not working with Mac OS Mojave LP 10.5.1 - "Installation Failed - the installer encountered an error that caused the installation to fail"
  Resident 5.01.2015 1 664
+273
Right click and click on open. This is probably due to SIP.
Live life loud
  Member 8.03.2015 24
+3
Thanks man but I actually get to the end of the Installer before getting the message. I have SIP disabled and run the .pkg by right clicking normally.. any other ideas?
  Member 30.05.2019 154
+30
installation went through on mac sadly the .vst and .component files have not been placed in the correct folders. So the plugin won't show up in logic and ableton
  Resident 5.01.2015 1 664
+273
? Where does it get installed. I've check on my end and they get places correctly
Live life loud
  Member 14.05.2018 111
+13
Quick check and everything seems to work fine! HS10.13.6
VST installed in the right place.
Not sure why but some of the meters need "above zero" input to start measuring: Youtube Amazon Tidal and Deezer

Thanks a lot FLARE!!!
  Member 8.08.2020 2 49
+39
yay thank you for this on mac. Been wanting this and Perception A/B for a while. Id just buy the software but even on sale $120 for a gain matching plugin with no ability to demo beforehand is a stretch
  Member 12.09.2019 89
+38
It´s $49 actual.
  Member 3.01.2021 65
+23
How can you get it for $49?
  Resident 25.05.2019 280
+125
Thanks a lot Flare
  Resident 8.07.2014 320
+63
Thanks flare working great here in logic x Catalina .
  Resident 5.08.2015 148
+18
Thanks Flare!
Working VST only, not AU, Catalina 10.5.7 Hackintosh.
OK in Performer ( as VST ) and Cubase Elements. Not in Logic 10.6.1

CORRECTED> after a re-boot Performer scanned and validated AU Component.
  Member 3.01.2021 1 93
+36
I can't understand the sense of the loudness war...

And this plugin doesnt even show the actual loudness of your track. That's an information I would absolutely like to see in such a plugin.

I master at -14 LUFS. No worries about loudness and about penalities here.

I think it's not very clever to produce so loud masters as -6 LUFS and more. You have to do a lot of effort to get it that loud while still sounding decent, and you always sacrifie natural dynamics. The track will always be turned down in volume by the streaming services. And while my track at -14 LUFS will have its natural dynamics, the other track that was -6 LUFS before will always show a very compressed waveform and sound overcompressed even after it was turned down to -14 LUFS. (Do some googling on loudness for Spotify, Youtube, etc. there are good articles with convincing graphs...)

The producer of Michael Jackson, Bruce Swedien once said something like this in an interview(I dont remember the exact words): "Compression is for kids. I dont have to make my tracks that loud. The consumer has a gain knob..."

So if the consumer will hear an excessively loud song he will use that gain knob to turn your loud song down in order to not blast his ears. Just like you do with TV commercials. One may ask himself: is this my goal?

Spotify and Youtube stream at around -13 and -15 LUFS, and ITunes at -16.

So if I keep my master at -14 LUFS, Youtube and Spotify might not even change the loudness of my Song, and Apple will turn the track down by only -2 LUFS.

If my track will be turned down anyway - why should I ever need to make it louder?

So my opinion is: master at -14 LUFS with 1 or 2 dB of headroom, and dont worry about loudness anymore. You will produce a natural sounding dynamic track, and your loudness will not be changed a lot by the streaming services.

Dont worry about loudness - produce some nice sounding music instead...

Just my two cents
  Member 27.03.2019 45
+7
I think you should read something about the difference between perceived loudness and loudness in Numbers. Or just try it yourself - create two versions of the same Track with -8LUFS and -14LUFS and upload them in private on YouTube/Spotify whatever. Your eyebrows will move to the Sky because according to the Numbers they should Sound the Same in terms of loudness. But thats Not the case. Besides it is also very genre dependend, it does not make any sense to squash f.e. a Slow Jazz Song to -6LUFS.

It works on latest Logic & Big Sur on Intel Mac, Thanks for the Share!
  Member 3.01.2021 1 93
+36
To my knowledge you can obtain more "perceived loudness" by compressing the track more. And a more compressed track will be perceived as being louder than a less compressed track at the same LUFS. So perceived loudness is not obtained by bouncing a track with higher LUFS but by compressing more. However a track at -8 LUFS will naturally be more compressed because you had to compress it more to not make the track clip when making it as loud as -8 LUFS. So if you turn the heavily compressed -8 LUFS track down to -14 LUFS, it will be perceived as being louder than a lightly compressed track that was bounced at -14 LUFS.
So again its not about the LUFS, but about compressing more or less.

Also a track with more quieter parts in it with just a few loud parts will show less longtime LUFS, so you can make it louder than a very busy and compressed track, and possibly get less loudness penality and therefor be able to increase the perceived loudness. Also the contrast between quiet and loud parts helps.

On the other hand an overcompressed track with all the peaks at the roof will show high longtime LUFS, and therefore it will probably be turned down much more than the less compressed track. So theoretically a overcompressed track should be turned down more than a less compressed track, and therefor result in less perceived loudness, once it was turned down by the streaming service.

I think there is a limit where compression doesnt help you anymore to get more perceived loudness when it comes to streaming sites turning down your volume. Moderate compression surely makes the track seem louder. But extreme compression as you have it with masters at -8 LUFS and more, should give you the contrary effect.

If you want the track to sound more compressed even when it is turned down by youtube, there is no problem creating loud mixes. But you could also simply compress/limit your track more, and afterwards bring the track down by yourself to -14 or -16LUFS depending on the streaming service where you want to upload your Song. So that particular Streaming service might not change your loudness anymore. Thats where this loudness metering plugin could be useful.

Compress to your taste, and then adjust the output LUFS with the Masterfader until this plugin doesnt show any penality for the specific streaming service anymore.

An other thing to consider is, that the streaming services require more headroom for mixes with louder LUFS in order to get a good sound when bringing the volume down.

So theoretically you sould get a track with more perceived loudness if you bounce the track at -14 LUFS where you only need 0.5 dB of headroom.

At -13 LUFS you already need to keep 2 dB of headroom for some streaming services algorithm to get optimum results(at least I read that somewhere). More headroom also means less perceived loudness. Except you compress the track even harder in order to make up for the loudness you loose when leaving the needed headroom...

So I think the best way to obtain more perceived loudness is not to make the track as loud as -8 LUFS and then let the streaming service turn it down.
But I think the better way is to compress the track to your taste and then bounce the track at the LUFS required for the particular streaming service.

If someone knows better please correct me.
  Member 27.03.2019 45
+7
Compression is only one of countless different techniques to achieve more perceived loudness. You also got Saturation or blending the Signal with an overprocessed signal, using 2 limiters… and so on and so on.
Imo it‘s Not that easy to say Compress to your taste and then turn it down according to the Streaming Services Standard. Before you even try to achieve a certain Loudness Level, you should make Sure that your Elements are Balanced well, the frequency spectrum is cleaned up in terms of masking, and the stereo field is organized. This is where Most People already fail and are wondering why they can‘t turn the signal up to -8LUFS without breaking the track.
I‘ve seen Engineers Mix and Master their track to -4 / -6LUFS (some metal Stuff) while still retaining dynamics and keeping the song cohesive.
This is the art behind it - apply EQ, compression and all other FX and techniques correclty and beeing able to push the Track to a certain Loudness without destroying the Tracks groove and Vibe.
This should be no correction, just a Share of thoughts.
At the End of the day, if it sounds good it is good.
Don‘t drive yourself crazy with all this Loudness Numbers.
Cheers!
  Member 3.01.2021 1 93
+36
Yes, you are right. All these techniques you mentioned plus compression make you achieve more perceived loudness. And I'm of course using all these techniques.

But my point is, bouncing a track at higher LUFS levels is NOT the thing that brings more perceived loudness once it's been normalized by the streaming services. Reading my next post and watching the videos I suggest, this can even result in less perceived loudness, once the streaming services have turned the track down.

Cheers!
  Member 10.06.2021 11
+3
-8 LUFS and thats the end of the story.
  Member 3.01.2021 1 93
+36
Here ist a good, practical and easy to understand video that explains why bouncing at high LUFS nowadays makes no sense anymore, and at what loudness you should bounce your tracks for optimum results. And its also showing this loudness metering penality plugin:

https://m.youtube.com/watch?v=0LTRAnxiU7o

And here is a masterclass with GRAMMY-nominated mastering engineer Alan Silverman who explains in professional terms and with good audio and visual examples why bouncing and uploading your track at very loud LUFS will even be a disadvantage, and your loud track will sound quieter than a more dynamic track after it was turned down by the streaming services. Make sure to watch till the end, because its there where you will understand.

https://m.youtube.com/watch?v=EiRMYoqU3ys

As I said: bouncing at around -14 or -13 LUFS will give you best results when uploading to the streaming services. Make sure to inform yourself about the required headroom for the specific streaming service, as this will also affect the quality when your track will get turned down.

So again aproximately -14 LUFS with 1 dB of headroom should work fine in most cases.

Watch the penality in the penality plugin and make shure you bounce at a level so you get slightly turned down by eg 0.5 dB or so. Because otherwise if the track is too quiet maybe some limiting might be used by the streaming services when they rise the volume, and that could also change the tone of the track. So the track should not be too loud and also not too quiet.

Nowadays thankfully everything is going to be brought to the same level. So if you upload your song to a streaming service you cannot be louder than the others anymore. And if you bounce your track too hot, it will even sound quieter than the other tracks, once it has been brought down in volume. Watch the video and you will understand...
  Member 3.09.2019 5 30
+133
Wow, finally! I've been waiting for this, thank you!
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