Import the audio WAV generated by BIAB software into STUDIO ONE. Do I need to use After using it, I found that the waveform and sound were both louder. I personally prefer audio normalization because the sound becomes louder and the waveform becomes larger. However, I don’t know if it is right to do so? So, let me ask everyone. What do you usually do? Do you mix after audio normalization, or do you not need audio normalization? Are there any videos introducing these?
There is a problem, that is, I am not really good at mixing. But I like the sound to be louder and the waveform to be larger.
I used to normalise my audio files to 0 dB using BIAB as I imported them into Reaper. (It sounds like you've already found the setting, if you haven't, though, and you want BIAB to normalise each file individually, you can find the setting under "Audio | Export song as audio file". Doing this worked fine for me.
Then I read somewhere that it's better to leave a little bit of 'headroom' in audio signals so that audio effects could be applied without causing distortion or clipping. "Headroom' means to normalise to a value that is slightly less than 0dB. The book I read at the time recommended –0.3 dB. As a consequence, these days, I export all tracks from BIAB as they are and usually normalise to –3.0 dB in Reaper (which is well below the –0.3 dB I read about).
What normalising does is to increase every aspect of the sound by the same amount. When you normalise to 0 dB, the software scans the audio and looks for the loudest sound (this is the one with the highest peak). For example... Let's say this highest peak has a reading of –2.5 dB. To normalise this peak to 0 dB means that the wave will need to be lifted up by 2.5 dB. The normalise function then uses this information to increase every component of the wave in this example by 2.5 dB. This keeps all aspects of the wave in the same relationship with one another, it is just that the overall volume has increased.
I hope this helps. I'm pretty sure that there will be a number of replies to this question as everyone will have their own views on the topic.
Babymusic, you will quickly run into those who will advise you never to use normalization. I disagree; use whatever tool works best in each situation. But if I normalize, I set the target at -3 and the reason is what Noel said, to leave headroom for processing and effects during mixing, and then mastering. However, it’s been a long time since I used normalization since I discovered ‘smart’ limiters. They do some compression to accomplish raising the gain but unequally by compressing the total dynamic range. The first tools to do this somewhat that I’m aware of were T-Racks then Ozone. Now I use a separate smart limiter by Sonible called Smart Limit. I think it’s ‘smart’ because it makes different choices depending on the genre you choose and the desired amount of limiting (hard or soft).
If some of the terms I’ve used are unfamiliar, they will give you a start in your reading.
BIAB 2025 Win Audiophile. Software: Studio One 7 Pro, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Roland Integra-7, Presonus 192 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
Noel, good explanation. I suspect you changed your math example while writing. Normalizing from a peak of -2.5 up to 0 means raising all sounds by 2.5.
Let me understand what you are saying. See if I am right.
Let me understand what you said. See if I am right. I can use audio normalization, but I have to set the normalized audio volume to -3db to leave room for later mixing. (I want to insert a sentence here. I think it is still necessary to normalize, because some sounds are really too small. If I don’t normalize, I always have to turn up the computer speakers)
Now there is a software called "Smart Limit", which can increase the volume, and it is very smart, so you can hang "Smart Limit" on each track to increase the loudness. So there is no need for normalization?
So, can I do this, for some audio files with very low loudness, I still use normalization, and then I lower the volume to -3db, and then I use "Smart Limit" to intelligently increase the brightness. Is this okay?
Finally, let me talk about my specific situation. For example, I use NEXUS software to edit a drum, the sound is loud enough, I can see the waveform and the sound is loud enough, so I don’t need to normalize. Or I click normalization in DAW, and I can’t see any changes.
However, the audio I export using BIAB or KONTAKT guitar is very small. If I don’t standardize it, the sound and waveform will be small, so I must standardize it.
To the O/P, it is important to understand that sound levels are heard by humans on a logarithmic scale. The decibel unit is the 'intensity' of the sound. In practice, increasing a sound level by 10db will actually make it twice as loud as it was previously. Reducing a sound level by 10db will halve the intensity of the sound. Leaving -3.0db 'headroom' is somewhat of an 'industry standard' to allow for fine adjustments (filters, compressors, etc) without compromising the overall sound level.
BIAB & RB2025 Win.(Audiophile), Sonar Platinum, Cakewalk by Bandlab, Izotope Prod.Bundle, Roland RD-1000, Synthogy Ivory, Kontakt, Focusrite 18i20, KetronSD2, NS40M Monitors, Pioneer Active Monitors, AKG K271 Studio H'phones
For what it is worth I will add one other option. In Studio One Pro you can click on an audio track then while holding down the alt key you can raise or lower the track's volume by also pressing the + or - sign; + increased the volume while - lowers it. The track's wav also gets larger or smaller. This is an option that I use a lot.
I got banned from Weight Watchers for dropping a bag of M&Ms on the floor. It was the best game of Hungry Hippos I've ever seen!
64 bit Win 10 Pro, the latest BiaB/RB, Roland Octa-Capture audio interface, a ton of software/hardware
To the O/P, it is important to understand that sound levels are heard by humans on a logarithmic scale. The decibel unit is the 'intensity' of the sound. In practice, increasing a sound level by 10db will actually make it twice as loud as it was previously. Reducing a sound level by 10db will halve the intensity of the sound. Leaving -3.0db 'headroom' is somewhat of an 'industry standard' to allow for fine adjustments (filters, compressors, etc) without compromising the overall sound level.
Technically that isn't really correct for all sorts of reasons.
I think what you're saying is that an increase of 10dB makes the sound subjectively twice as loud, or reducing it 10dB make is subjectively half as loud.
A decibel has a specific definition, which is somewhat different from that. An actual "twice the level" is only +3dB and, as you indicate, it doesn't sound twice as loud.
Jazz relative beginner, starting at a much older age than was helpful. AVL:MXE Linux; Windows 11 BIAB2025 Audiophile, a bunch of other software. Kawai MP6, Ui24R, Focusrite Saffire Pro40 and Scarletts .
. However, it’s been a long time since I used normalization since I discovered ‘smart’ limiters. They do some compression to accomplish raising the gain but unequally by compressing the total dynamic range. The first tools to do this somewhat that I’m aware of were T-Racks then Ozone. Now I use a separate smart limiter by Sonible called Smart Limit..
I used a pressure limiter to increase the volume. Sometimes the sound is even too loud. I will reduce it a bit. I don't know if this is the right operation. But the sound has indeed increased, but it's not overloaded yet.
. . .it is important to understand that sound levels are heard by humans on a logarithmic scale.
Yes, we do hear on a logarithmic scale but that’s half the story. The other half is that we hear on a highly non-linear basis as a function of frequency. Some of the first research on how the ear hears different frequencies at different levels was done by Fletcher and Munson in 1933; brilliant work and the design of our auditory system is truly astonishing.
A simplified description of the several transduction steps begins with the physics of a pressure wave. The acoustic energy is converted to mechanical energy in the eardrum, which causes the fluid-filled cochlea to vibrate. This fluid motion causes the hair sensory cells to bend, causing electrical signals to be generated which are fed to the auditory cortex which processes the signals allowing us to perceive, understand and interpret the information.
I’m not aware of a single unified equation that encapsulates both the logarithmic aspect and the frequency-based equal loudness curves. If I had such an equation, I might be able to produce a 3-D surface plot showing the complete 2 input and 1 output relation. If no such relation exists (which would surprise me) I’m guessing that hearing aid designers use nonlinear regression or table look-up methods. Perhaps someone that wears them or has worked in that industry may know more about how they do their DSP in this regard.
https://soundcloud.com/user-646279677 BiaB 2025 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
I typically mix songs so that the peaks are maximum -6dBFS, and I don't normalize since mastering (specifically the master limiter) would effectively do that for me. At least some headroom is necessary to prevent clipping.
Originally Posted by Noel96
What normalising does is to increase every aspect of the sound by the same amount. When you normalise to 0 dB, the software scans the audio and looks for the loudest sound (this is the one with the highest peak.
You're talking about peak normalization, however there are some apps that can normalize to an average or RMS value. When doing this, it's possible that the volume level could be reduced to hit the target RMS, or could be increased to the point of clipping.
Originally Posted by babymusic
I personally feel that louder sounds inspire me more.
Loud music typically is perceived to sound "better". Part of the reason is because our ears don't respond linearly to sounds of all frequencies, and as the volume increases the ears become more sensitive to low and high frequencies and less sensitive to mids (the Fletcher-Munson curves) - and because music is often mixed at a higher volume level (typically around 80-86dB) that's where the mix usually sounds "best". Everything is subjective though.
Last edited by Simon - PG Music; 01/09/2512:11 PM.
We’ve expanded the Band-in-a-Box® RealTracks library with 202 incredible new RealTracks (in sets 449-467) across Jazz, Blues, Funk, World, Pop, Rock, Country, Americana, and Praise & Worship—featuring your most requested styles!
Jazz, Blues & World (Sets 449–455):
These RealTracks includes “Soul Jazz” with Neil Swainson (bass), Mike Clark (drums), Charles Treadway (organ), Miles Black (piano), and Brent Mason (guitar). Enjoy “Requested ’60s” jazz, classic acoustic blues with Colin Linden, and more of our popular 2-handed piano soloing. Plus, a RealTracks first—Tango with bandoneon, recorded in Argentina!
Rock & Pop (Sets 456–461):
This collection includes Disco, slap bass ‘70s/‘80s pop, modern and ‘80s metal with Andy Wood, and a unique “Songwriter Potpourri” featuring Chinese folk instruments, piano, banjo, and more. You’ll also find a muted electric guitar style (a RealTracks first!) and “Producer Layered Guitar” styles for slick "produced" sound.
Country, Americana & Praise (Sets 462–467):
We’ve added new RealTracks across bro country, Americana, praise & worship, vintage country, and songwriter piano. Highlights include Brent Mason (electric guitar), Eddie Bayers (drums), Doug Jernigan (pedal steel), John Jarvis (piano), Glen Duncan (banjo, mandolin & fiddle), Mike Harrison (electric bass) and more—offering everything from modern sounds to heartfelt Americana styles
And, if you are looking for more, the 2025 49-PAK (for $49) includes an additional 20 RealTracks with exciting new sounds and genre-spanning styles. Enjoy RealTracks firsts like Chinese instruments (guzheng & dizi), the bandoneon in an authentic Argentine tango trio, and the classic “tic-tac” baritone guitar for vintage country.
You’ll also get slick ’80s metal guitar from Andy Wood, modern metal with guitarist Nico Santora, bass player Nick Schendzielos, and drummer Aaron Stechauner, more praise & worship, indie-folk, modern/bro country with Brent Mason, and “Songwriter Americana” with Johnny Hiland.
Plus, enjoy user-requested styles like Soul Jazz RealDrums, fast Celtic Strathspey guitar, and Chill Hop piano & drums!
With your version 2025 for Mac Pro, MegaPAK, UltraPAK, UltraPAK+, Audiophile Edition or PlusPAK purchase, we'll include a Bonus PAK full of great new Add-ons FREE! Or upgrade to the 2025 49-PAK for only $49 to receive even more NEW Add-ons including 20 additional RealTracks!
These PAKs are loaded with additional add-ons to supercharge your Band-in-a-Box®!
This Free Bonus PAK includes:
The 2025 RealCombos Booster PAK:
-For Pro customers, this includes 33 new RealTracks and 65+ new RealStyles.
-For MegaPAK customers, this includes 29 new RealTracks and 45+ new RealStyles.
-For UltraPAK customers, this includes 20 new RealStyles.
Look Ma! More MIDI 13: Country & Americana
Instrumental Studies Set 22: 2-Hand Piano Soloing - Rhythm Changes
MIDI SuperTracks Set 44: Jazz Piano
Artist Performance Set 17: Songs with Vocals 7
Playable RealTracks Set 4
RealDrums Stems Set 7: Jazz with Mike Clark
SynthMaster Sounds and Styles (with audio demos)
128 GM MIDI Patch Audio Demos.
Looking for more great add-ons, then upgrade to the 2025 49-PAK for just $49 and you'll get:
20 Bonus Unreleased RealTracks and RealDrums with 20 RealStyles,
FLAC Files (lossless audio files) for the 20 Bonus Unreleased RealTracks and RealDrums
Look Ma! More MIDI 14: SynthMaster,
Instrumental Studies Set 23: More '80s Hard Rock Soloing,
MIDI SuperTracks Set 45: More SynthMaster
Artist Performance Set 18: Songs with Vocals 8
RealDrums Stems Set 8: Pop, Funk & More with Jerry Roe
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Mac!
Xtra Styles PAK 20 for Mac & Windows Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
New! XPro Styles PAK 9 for Band-in-a-Box 2025 and higher for Mac!
We've just released XPro Styles PAK 9 for Mac & Windows Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 29 RealTracks/RealDrums!
We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Windows!
Xtra Styles PAK 20 for Windows & Mac Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
New! XPro Styles PAK 9 for Band-in-a-Box 2025 and higher for Windows!
We've just released XPro Styles PAK 9 for Windows & Mac Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 29 RealTracks/RealDrums!
We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
Video: Band-in-a-Box® 2025 for Mac®: VST3 Plugin Support
Band-in-a-Box® 2025 for Mac® now includes support for VST3 plugins, alongside VST and AU. Use them with MIDI or audio tracks for even more creative possibilities in your music production.
Band-in-a-Box® 2025 for Macs®: VST3 Plugin Support
Video: Band-in-a-Box® 2025 for Mac®: Using VST3 Plugins
One of our representatives will be happy to help you over the phone. Our hours of operation are from
6:00AM to 6:00PM PST (GMT -8) Monday thru Friday, and 8:00AM to 4:00PM PST Saturday. We are closed Sunday. You can also send us your questions via email.
One of our representatives will be happy to help you on our Live Chat or by email. Our hours of operation are from
6:00AM to 6:00PM PST (GMT -8) Monday thru Friday; 8:00AM to 4:00PM PST (GMT -8) Saturday; Closed Sunday.
It's all fixed now.
Dansk
Deutsch - Windows
Español
Français - Windows
Italiano - Windows
Nederlands
Polski
Português
Svenskt
русский
Japanese
Simplified Chinese
Traditional Chinese
Korean