Making Records with Eric Valentine - Mastering Digital/Vinyl

[@davewestner]

FWIW, I went to a vinyl mastering session a year or so ago. Engineer has a VERY fancy turntable, so he synced up his pressing (right from the Neumann lathe) to the digital master and they were indistinguishable as we A/B'd them. Digital and vinyl sounded the same to our ears. He then played the disc on the cheapo turntable he had and synced again. NOW it sounded like vinyl....warm, compressed, etc. The result showed me that vinyl itself doesn't actually change the sound of your audio. Your turntable does. Or probably more succinctly, your cartridge, stylus and TT do. Please note that I haven't watched past the first 2 minutes of this video as I am typing this. Just heard the intro and this story came to mind.

[@michaelanderwald4179]

I've been doing a lot of blind testing lately, and boy does it make my livelong believes about audio crumble!

[@davewestner]

@@michaelanderwald4179 would love to hear some stories!

[@LetMeDieLord]

I really wonder if you could get that vinyl sound just by using say the waves Abbey Road Vinyl plugin.... I feel about this kind of sound just like Eric does. It's heaven to me. Let's see what the cheapest emulated cartridge on the Waves plugin is, LOL!

[@davewestner]

@@LetMeDieLord love it! Let me know!

[@damienlott]

@@LetMeDieLord I have tried waves AR Vinyl... Don´t know if it sounds like the real deal but, doesn´t sound to me better than in bypass. I could get some overdrive and wow, but not magic mojo as shown in this video.

[@Greenmantislives]

TRUTH: “That’s the version of the record I would want to release” it just sounds great Eric. It took me back some years to sitting listening intently with the jacket in hand reading the liner notes. One thing I hadn’t considered until watching your video is that ear fatigue seems like less of an issue when listening to vinyl over digital files. So, this in fact makes the case for vinyl being the perfect medium for appointment listening of a whole record.

[@SocialGore]

I for one, would love to see how the Death From Above album was mastered!

[@cjrcjr]

+1

[@talktokale]

This!

[@krsp420]

Oh buddy IM BUYING this vinyl. This insight is huge man. love it.

[@deadrituals]

Always fantastic to hear your thoughts and knowledge!

[@miguelluismusic4181]

King Eric... another gem... I want you to know that since I started watching your channel I have been to IKEA twice for curtain shopping. Now I am feedback free during rehearsals... :) thanks for the inspiration..

[@TobyEllis]

Eric Thank you for confirming for me the use of a limiter when mixing. I've taken some heat in various forums for suggesting master bus processing in use while mixing for the very reason you mentioned. I want to hear what the limiter is going to do because it does change the mix, sometimes dramatically. Really loving all your videos. They've been super informative and helpful. My favorite nebula is the Horsehead Nebula. It takes a mighty scope but images released of it are just stunning! As an aside, before my second daughter was born we were so certain she'd be a he we picked out a boys name, Sagan :-) We ended up naming her June but I'm always happy to hear about all the little Sagans running around as a tribute to Carl.

[@burgerguitars]

I love being able to listen to all the different versions and this video is really helpful. Also, the mix sounds great! Thanks for sharing!

[@alexsdmmx]

Another amazing video, thanks for sharing Eric. If i remember correctly Spotify asks to submit 16-44 files at aprox -14 dB LUFS, wich I've read and knows from mastering engineers, that consider it´s kind of a professional suicide since most clients wants their songs to be in a competitive volume or loudness, ignoring that last process the streaming services do, but since it´s the industry leader on music streaming... And I think the loudness penalty plugin cameout first, and then someone suggested to do the website, wich i know a lot of people use, and looking at the results you got I'm guessing that your Vinyl master version must be around -13 or -12 Lufs, and that's so helpful to know. Izotope Insight 2 has a really nice LUFS meter, and there is a TC electronic dedicated monitor called Clarity M that works really great too. I'm not an expert in anything but trying to share some info.

[@gius_taakstudio]

+1 Another great vid! NOTE: while i find supercool the pace of the video transitions when you A/B versions, cutting to you saying which version we're hearing, is a bummer that the audio gets ducked right when we're listening to the A/B the audios :D:D

[@mattqualls9456]

Hell yes. So cool to hear it was pressed here in Memphis!

[@OlofBerggren]

You were talking about releasing the vinylprint digitaly, I know that Michael Ilbert (The Cardigans, Hives, Roxette) have done it and I think that it is a great way to get the sound and the stable playback of digital.

[@grimmmstudios2367]

I have been checking all my mixes on the loudness penalty site, trying to get to a place where I am happy, last mix I did had similar results to your streaming version, about -1.5 on most. I also check my mixes on my phone, and was comparing my mix to something of a similar genre, such as 'Crucify the dead' from Slash's first (your mix), MAN, your mix was loud compared to mine, probably 6-8 db, so many variables at play here, so it probably wasn't a fair comparison, but fascinating all the same, 'Slash' is a reference album for me, great job. Keep it up.

[@mrwev]

Yeah that album was mastered by someone else at a different time. I was not particularly happy with that mastering. That mastering engineer also used the SAME mastering for both digital and vinyl. Not my favorite approach.

[@4bobmadsen]

Thanks Eric, love your channel.

[@voluntarybutlertv]

Incredible info again Eric! Thanks, this is gonna save some guessing my end.

[@masterbluesrockguitar4966]

Very interesting, thank you very much Eric!

[@Zackhames]

Hey Eric, I believe the reason why they don’t respond consistently numerically on the loudness penalty site is because LUFS measurements ignore passages of audio that are below a certain loudness threshold. This applies more for dialogue in film / commercials, but potentially could affect your results as well.

[@caspermaster-com]

Wow! First seconds hearing the difference between vinyl and CD, the high end of the vinyl is almost the difference between straight and shuffle groove on drums, vinyl being shuffle! Really cool.

[@crestiferj2689]

this was very interesting. i am a huge fan of vinyl as well, and for exactly the reasons that you articulated here. the dynamics, the cool distortion on the top end, and the fullness of the lows and mids. one thing i've found too is switching out cartridges on my dual turntable. i am a huge fan of grado labs. they make some really nice cartridges that i think do wonders to the midrange while still keeping that cool smooth top end that vinyl does so well. my system is modest, mcintosh integrated, and some proac speakers with a m&k sub. my favorite records on vinyl thru this rig just sound so damn musical...and ultimately that's what matters to me. i can't wait to hear grace's album on this rig. congrats to both of you for making such a great record. i love what i've heard so far digitally...can't wait to spin it. i'm hoping my local record store will have it in stock on the 25th.

[@stevecarmosinlegacymusic]

all the noise and imperfection is part of its beauty. Digital is to clean and sanitized, too perfect. And as a musician playing real instruments and recording music we shouldn't expect or want perfection. Plus the experience of the album artwork is so important.

[@bradproskoproduction]

I really like the vinyl tone and dynamics/character best. I'm currently playing with the Waves Abbey Road Vinyl plugin to see if I can a achieve something similar.

[@ProductionAdvice]

Hey Eric, thanks so much for sharing the Loudness Penalty site ! I'd love to chat to you about how you're using it - I've messaged you on Facebook :-)

[@Jim951cup]

Ian you make such good stuff, I'm using both Dynameter and the plugin version of Loudness Penalty, it's very useful.

[@jimmiefarmer3022]

It was my understanding that you couldn't just take the output straight off a turntable into a "normal" input device? You need to have the turntable output pass through the RIAA EQ curve before the preamp, otherwise the EQ is off. Perhaps more modern turntables do that internally now? I know when I used my family's (my dad was/is an audiophile) 40+ old Denon turntable to transfer some of my old albums to digital I had to buy a special preamp with that RIAA curve to get them to sound right. You obviously compensated for that with the Fabfilter in this instance, I'm just wondering if you wouldn't have to do that as much or at all if the RIAA curve was applied during the transfer.

[@mrwev]

Your guess is correct!! They are adding the RIAA EQ to the turntable electronics so you can have a regular line out. The turntable I used is like that. Good question!

[@ivancaplan]

I have the radial riaa eq ans use it with a fabfilter preset on the fabfilter webpage. It's really nasty sounding without the decoding

[@joshfields5966]

Excellent! Thank you!

[@Jim951cup]

Hey Eric, thanks for another awesome video. I'm curious about your MFiT process (which has actually been rebranded as ADM = Apple Digital Masters now). At 18:42 you mention that you are just turning down the final file by .8 dB but this is after limiting, right? So if there is clipping printed in the file it will still be there, only softer by .8 dB. It doesn't actually prevent clipping but just allows you to cheat the system by going undetected by the Apple "afclip" tool. Am I correct or is there something I misunderstood? And if I am, why aren't you getting rid of any clipping "for real" instead of just lowering the already limited file?

[@mrwev]

Good Question! You are understanding this correctly. Turning down the master as the final step definitely loses the opportunity to reduce any clipping or limiting. It seems like a missed opportunity but there are a couple of reasons for this. First, it insures that all of the masters will sound exactly the same, except that the MFiT version will be a tiny bit quieter. The bigger issue is that if you try to get the masters to pass the afclip tool by turning down the mix before the limiting/clipping you have to turn it down A LOT more. Maybe 4 or 5 dB in some cases. Mastering engineers figured out that you can cheat the algorithm by turning down the master after clipping. Apple was hoping the afclip algorithm would discourage overly clipped/limited masters but what they got is overly clipped/limited masters that were a little quieter. haha! i think that is why the newer leveling algorithms like LUFS are working better for getting things back to a healthy place :)

[@Jim951cup]

@@mrwev Ok it makes sense. Thanks so much for taking the time to explain!

[@claudius3124]

That was really very interesting! Thanks Eric! It's really appreciated... ;-)

[@joelybarish4618]

Another stellar vid Eric! You prefer not using the Oversampling in Pro L2???

[@Barncore]

Also wondering this

[@damienlott]

I got the same question

[@gavmurray7398]

Awesome vid again Eric! Love the concept of digitising the vinyl play back for release. you should talk to the vinyl mastering place and get them to re capture from the mother master etc rather than you capture from the domestic player. i would be curious to hear that version. Rock on man

[@soundtoys795]

After you put out your EV Tape plugin, please put out a Vinyl Glue plug and take my $$$ for both ALREADY!!!

[@alexveg3]

Thanks Eric for sharing your knowledge, I find your approach to mastering very wise and consistent, I would like to know what was the final integrated LUFS you got from the mastered version for vinyl? and what was the true peak? Big greetings!

[@albusking2966]

a question about lufs: If i master a song so its true peak is at 0.8 db and its lufs will be at -13, spotify would turn it down by 1 db to reach -14 lufs scale right? that would turn down my peak volume by 1 db too but apparently lufs is what we hear as loudness. why would i then try to aim for a specific lufs number and not just let spotify and co. turn down my song to their lufs number and it will be as loud as every other song on there?

[@alphanumeric1529]

Thanks, man, invaluable. FWIW: I prefer A/B'ing over like a 2 bar loop, and just cutting between the sources. Really helps my developmentally delayed ears hear what your paragon ears are hearing. I can listen to specifics, like pic attack, or that sax, or the snare, just listen through the mix in pieces, and hear what the A and B are actually doing. It's a total backseat driver thing... I can't stand how people A/B on youtube, it's the only time I want to jump into the front and grab the wheel. ;) Just a data point. And again, thanks so much for this vid and the rest, you're coming across as a really solid individual.

[@andrewsintel]

Argghhhhh -9173 Glad to see it's not just me. Good stuff my friend!

[@astrosoniq459]

Thanks for another great episode, timing couldn’t be better because I am mixing and mastering a record at the moment for a band for both digital and vinyl. And already had a similar take on it, good to see a masters approach on it, very learnful. I was wondering if the waves vinyl plugin could be helpfull to get you that ‘magic’ sound without the added negative artifacts like pops and ticks?

[@siriusfun]

A good target for loudness where Spotify is concerned is -14LUFS; any louder than that and the algorithm will just push it down. A quieter but more limited master is precisely the opposite of what you want.

[@southstudyspecialaide4934]

Eric you make the best videos on youtube! But as a suggestion, I would suggest you not speak when doing an A/B comparison, as we can see the A/B process happening on your computer monitor etc. Obviously, the vocal cues could prove useful for your blind listeners, but I think for the rest of us, it would be useful just to hear things back-to-back :)

[@hlbears30]

Eric, is it possible to master to vinyl and then track the output from the vinyl on to digital so you get all of the extra "heat" the vinyl gives you but the ease of listening on digital? Sorry if that is a dumb question!

[@shane2973]

I'm curious about that waves vinyl plugin...I haven't heard it or even really seen it. I would imagine the results would be similar to the tape machine results you experienced, but was curious how that may help get you closer to what you are looking for or if it is just a waste of time

[@Paul_Hinton]

Awesome thank you

[@Aaezil]

Is there a reason you aren't oversampling the Pro-L2? Sometimes I like it in sometimes out just wondering your thoughts. Thanks.

[@jamielang8900]

As an engineer and long time consumer of HD digital...what level of a limiting are you using for the HDTracks and Amazon/Tidal HD streaming? I've always wondered why we don't get the less limited version when I buy from HDT. It's just as clipped as the CD--it is usually the CD master just before SRC/bit reduction. Even through KZbin's compression it seems apparent that the "vinyl digital" files breathe more. That's the version I want to buy. Even though I have a decent turntable, that's not my preference unless my only other option is CD. I'd much rather buy the 24/96 at "full intended dynamics". I've bought them for years and made 48khz AAC(mp4) to go on my iPhone...computers and Oppo digital player all play the HD natively...so buying that for $15-18, I get a better than CD sound on the iThing...AND on my "big" stereo. It's a value of tone all around.

[@spencerb2631]

Hey Eric, I'm curious to know how early in the process of a mix you're adding your master bus compression and limiting? Directly after balancing or a little bit later on?

[@davetbassbos]

This might be outside the scope of this video, but the strings on "Back to me", very Philly soul sounding, were they live? thanks!!!!!!

[@mrwev]

Yes those are live performed strings!! Grace did the arrangements by singing them one part at a time. An amazing musician Rob Moose transcribed them and performed them. He is a one man string section. He plays violin and Viola and layers up the parts. I did not do a lot layering on this. Its mostly just 4 passes: two violins, 1viola and 1 bass viola. It was recorded with an RCA77 to my Scully 16 track tape machine. I am SUPER happy with these string sounds. Definitely the closest I have ever got to the classic Philly soul string sound :)

[@davetbassbos]

@@mrwevThanks so much for the great explanation, they really captured that vibe, cheers!

[@marcelosuarez3027]

Eric, do you know in this case for example, what the integrated LUFS levels were for both those masters?

[@A613-p1z]

l2 is a gem but try to use AOM invisible limiter + PSP xeon limiter with the first push the gain without reductions and with Xeon reducing also as dither goodhertz one is the top ... peace

[@Journeymanlive]

Hi Eric ! again thanks a lot. can you explain why you did the Pultec trick of boosting and attenuating at the same time at 30hz ? Also can't you find an in-the-box chain that'd do the same the whole vinyle pressing- digitalrecapturing did ??

[@mrwev]

The boost and cut trick on a pultec trick has been around for a long time. It is a really cool way to move energy from the lowmids down to the low lows. I graphed the curve once and it is somewhat surprising what it does. It ends up turning down frequencies in the 200-250 range and is turning up frequencies around 50hz and below. I tried Waves Abby road vinyl and, to my ears, it's not even close to the real thing. I have used it on some stuff occasionally but its not really like playing off of my turntable. Hopefully, someone will get it right at some point. That would be amazing :)

[@Journeymanlive]

@@mrwev Thank you for the reply ! I'd definitly buy the last print you are happy with! and thanks a lot for the insights in this video. that's so interesting. keep it up !

[@jerryososkie839]

Hi Eric. I was wondering what method do you find works best to convert your 96k 24 bit files to 44.1k 16 bit CD files. Cheers!

[@BukanIbuMu]

Thank you!!!

[@saxjam]

Fantastic information thanks. Do you use a LUFS meter? If so which one?

[@mrwev]

So far I have simply used the loudness penalty website but I am going to start using their plugin in pro tools to check the overall level.

[@georgejenkinsmusic2786]

@@mrwev Pro L2 has a really solid LUFS meter built-in.

[@BlackenedNL]

The vinyl version sounds better in my opinion as well, really cool what it does to the highs

[@GregsGuitarLessons]

I believe the Foo Fighters record “Wasting Light” was an “all analog process”....tracked in DG’s garage, done to tape for the entirety of the process, including the bundled digital files being rips of the vinyl playback. You can hear the needle drop. 👌

[@damienlott]

Eric, you say you are lowering back -0.8 dbs? Can't you make that in the Pro L2 or with a trim plugin to save a step? Also, what mode do you like on the limiter, transparent, punchy, modern?

[@mrwev]

It appears that lowering -0.8 dB in the limiter doesn't fix the errors registered by the MFiT algorithm. you would have to lower it a lot more. That is the wor around that mastering engineers came up with so they could use the same loud/limited mastering for iTunes. I mostly use "Punchy" and "Modern" on ProL2. "Transparent" is great for mixes that don't have drums.

[@adamlittich]

On pro L2 you can adjust the overall output level with the knob labeled “Out” in the bottom right. You have to hover over the word “Out” for it to show up.

[@cjrcjr]

On the files that will be exported, are you just splicing to make the individual tracks? Do you search for a specific place to make the splice, like when the waveform is crossing the axis? Or creating crossfades?

[@mrwev]

Good question! I am simply putting in edits where I want the track IDs (beginnings) to be on the CD or in the streaming service. I typically dont edit for a zero point if it is happening where there is no music playing (which is most of the time). I do add about a 100ms buffer to the beginning of each song because some players will cut off the first moment of sound when you skip to particular song and play it. I will go for a zero point if there is a cross fade between songs and it never goes to total silence. In those cases, I search for a zero point that seems musical base on the transition between the two songs.

[@cjrcjr]

@@mrwev Thanks! I have been doing this when doing my own mastering/sequencing, but didn't know if there was a better way to avoid clicks/pops between tracks that don't go to silence.

[@ivancaplan]

Doing offline bouncing some plugins as the cytomic glue can do a overselling imposible to do on an real time bounce and actually you can go way further on the hardcore oversample shit

[@ivancaplan]

I meant oversampling

[@mrwev]

Ahh cool. that might explain why it has worked better for me.

[@ChasetheDay]

Have you checked out Waves Abbey Road Vinyl plugin?

[@mrwev]

I have! I talk about it in a response to another comment on here. The quick answer is that I have used it on a couple of individual instruments at times but, to my ears, it doesn't do anything even remotely close to what the real vinyl does on a whole mix.

[@danolivier4899]

Eric do you dig Nugen MasterCheck?

[@mrwev]

I did try Master check and at the time I didn't find it as informative as "loudness penalty". I am going to try it again when I try the "loudness penalty" plugin and see which one is the easiest to use.

[@joshcobb]

Do you do any DeEssing or high-pass for vinyl?

[@mrwev]

I didn't for this. Often the vinyl mastering engineer will add those things if they are needed.

[@TheMirolab]

I love Eric... but this video illustrates perfectly everything that's wrong with the sound of most modern music. That heavily-limited CD master sounds awful. I simply cannot understand why Eric would do that to his music. The less limited LP master absolutely sounds better. How many more CDs does anyone think he sold because he made it that loud? In what world is this CD being played in some jukebox, where it's competing for sales based on its loudness?

[@sonnioffice6439]

It's the average level that is turned down for streaming services etc.

[@danivalles7638]

Hi Eric, about the targeting loudness thing I will like to suggest you to read this interesting thread on Gearsultz: www.gearslutz.com/board/mastering-forum/1252522-targeting-mastering-loudness-streaming-lufs-spotify-youtube-why-not-do.html

[@kniferideaudio]

I work with a guy that is in his early 20's and he cannot stand vinyl. He thinks it sounds terrible. He has great tastes in music and has a great ear for production, but he cannot get over how distorted and noisy, and lacking dynamics vinyl is. I grew up with it and love it, but I really think nostalgia has a lot to do with how it sounds "right" to me. All of his complaints about it, upon close inspection are 100% correct. It is objectively a worse music delivery system than a well mastered CD, and all that I love about it are subjective. It's interesting to think about it from the perspective of someone that does not have the sense memory of the tangible elements of playing records, and that warm, fuzzy pop and crackle. The sound of a needle dropping is part of listening to music to me, and he would delete it.

[@DavidSJ_DAP]

I can't help but wonder how your wife feels about the geek-outs that are happening on your channel...

[@adoremotion]

Ofcourse Vinyl sounds better... different mastering. That’s it! Why don’t you use the vinyl mastering for the digital releases? Your too hot tracks get lowered to 15lufs and -1dbpeak. You can have 14db of dynamic transients! USE THEM! Most records are still around 10 lufs and less. You hear what 4db does. Use your vinyl mastering for everything. Simple. I don’t carry around a walkvinylman... give me the good stuff digitally. Yeah but radio.... radio has it’s own limiters also! Hot tracks get lowered and soft tracks get more volume. What’s not to understand? Keep it simple. 1 good mastering with more punch.

[@mrwev]

That is a good question!! Why not just use the mastering that I did for vinyl for everything? There are two reasons I didn't. First, is that there is still a volume war going on for CD releases. That then creates a problem for me because I am trying to use the same mix for everything and only change the limiting for vinyl. If I was going to release mixes that were 15lufs for everything I would have mixed it differently. Those mixes are actually too dynamic because I am mixing to accommodate the limiting that is expected for the CD release. For the digital release mixes, the version with the extra limiting actually sounds dynamically more like what I am shooting for. Its not my favorite way to get there but that is how it was mixed. If I released the "vinyl" version mastering for everything the drums would poke out too much for the digital releases. Its the vinyl that actually made that mastering work for me. There are still people that are listening to this record from the CD and this approach was the best compromise right now but I think that is continuing to change. As more people switch to streaming, the next record I do will likely all be mastered closer to 15lufs and everything WILL be better for it :)

[@TheMirolab]

@@mrwev You claim that there's still a CD loudness war...... Where? Who? Tell me how many more CDs do you think you sold because you made it as F-ing loud as you can? I for one have nearly stopped buying new modern CDs because they all sound so bad. Don't be that marine that's been left on an island for 10 years, and doesn't know the war is over. Dynamics won. Sadly.... too many engineers are still fighting a war that nobody ever wanted.

[@RyRyTheBassGuy]

Time to ditch the Mac and upgrade to an insane Windows desktop so you can actually screen capture!

[@RealHomeRecording]

END THE LOUDNESS WAR! No louder than -8 LUFS gosh darn it! There is ZERO reason vinyl should be more dynamic than digital releases! I personally try to not go past -13 LUFS and -15 if I can get away with it!

[@cassio_zambotto]

I'll try to add my perspective on this one, not trying to offend anyone. In some cases the crushed master is exactly what the music needs; -13/-15 LUFS do not benefit high energy musical content, I would never use less that -8 LUFS for the louder parts in a heavy rock song. It makes the music sound loose when it have to be really tight, "jumpier" transients don't let vocals sit properly in front of the band for highly energetic styles of music also. A well done loud master obviously makes the record sound wider too. Aggressive limiting, clipping and distorting are tools for achieving a specific (and very consecrated) type of sound, not for making things loud, at least not anymore. And yes, I agree that there is cases where it got out of hand, but the "loud master" is a very importante element of some styles of music, we can't preach against it at all costs just because we don't like the style. And man, let me thank you for that Reaper DDP video of yours, amazing lesson about the protocol and a huge value for our community! Cheers!

[@RealHomeRecording]

@@cassio_zambotto just know that once you get past -8 LUFS you will be losing details. So as long as the whole song isn't above -8 except maybe the final chorus / crescendo then okay. I still would not recommend it but I understand where you're coming from. Thanks for the compliments on the reaper DDP video!

[@Journeymanlive]

@@cassio_zambotto it's art, anything can be done. you can crush a CD and call it creative. We are not talking about drum and bass or and indie punk band crushing it for art. Ed Sheeran is just normal vocal pop. at 4 or 5db LUFS is sick: fear based, weird trend disguised as "a choice". unlistenable on a real Hifi system. between the Beatles production and Ed Sheeran there are good places for vocal music. 2019 radio is not one of it! I have a couple "creative-cool-crsuhed" CD. most of the rest is "fear-based-destroyed" for the industry wanting to excite iPhones and radios. ;)

[@pclairoot]

Vinyl? That's the natural compression that happens with the needle + static!

[@WillJukedTheBox]

i love you eric, but you're mastering is bad man, i'm sorry...there's digital clipping all over mexican fender. i thought someone else mastered it but apparently it was you...bad. Bad eric. Stop that. i'm so sick of hearing digital clipping ruining records. kanye and post malone records are especially egregious. "Spotify suggests leaving at least -1dBTP (decibels true peak) of headroom when submitting music so they're optimised for the lossy formats. They suggest -2dBTP of headroom for loud track, as loud tracks have a greater chance of clipping during transcoding." maybe -.8 db is not enough?

[@davestanley357]

What rubbish