premiere can’t find the plugin

If you can’t find the plugin in Premiere or Premiere gives an error “audio filter missing” when opening the quickstart projects you might need to set the plugin folder.

In Premiere, go to Preferences -> Audio -> Audio Plug-In Manager. This will open the following screen:


If you’d like to use the VST (this is always the case on Windows, on OSX you can choose either Audio Unit or VST) make sure the correct folder is shown. This should be the “default VST” folder used by all plugins. But just to be sure, open the Licence Manager and click the cog wheel (cogwheel) in the top right corner. This will show you the folders where the plugins are installed.

Secondly, make sure the plugin can be found by Premiere and is enabled. If it is not yet showing in the list click “Scan for Plugins”. Then make sure the enabled box is checked and click “ok”.



Install and activate with no internet

Installation and activation (as well as updating, de-activation and uninstalling) is done using the BeatRig Licence Manager. This requires an active internet connection. If your computer is not connected to the internet follow the offline instructions on your account page (requires login).


My mixes seem soft after normalising

The target level for EBU R128 is -23 LUFS, which is quite low in comparison to old style ‘cranked up’ broadcast mixes. There is no problem with that, during broadcast your mix will sound equally loud as other mixes. If you like to take advantage of the new standard, apply less limiting and compression and use a real time meter like LevelView to help you getting the right balance. As a rule of thumb: peek at the large integrated loudness number once in a while to keep it around ‘-23 LUFS’ and make sure that normal dialog drives the rainbow meter around 0 LU. Don’t be afraid if the meter is temporarily high or low on your full mix. When you’re done, correct the master volume of the mix to make the meter match -23 LUFS exactly or use LevelNorm to do that automatically.


LevelView(S) Technical specifications

LevelView and LevelViewS in EBU mode uses the official EBU R128 settings:

  • ITU BS.1770-2 measurement, including -10 LU ‘background sound’ relative gate
  • 0 LU = -23 LUFS

LevelView and LevelViewS in ATSC mode uses the 2009 version of the ATSC A/85 recommendation:

  • ITU BS.1770-1 measurement, without relative gate
  • 0 LU = -24 LKFS

LevelView and LevelViewS in User mode has an adjustable 0 LU level and the relative -10 LU gate can be turned on or off.

Working with LevelViewS


LevelViewS offers a variety of meters that will be described in detail in the “Detailed Operation of the Plugin” section of this manual.

Loudness meters measure from start to stop and therefore LevelViewS first needs to be activated by clicking the ‘play’ button. You can also click the ‘MANUAL’ button, which will then turn into ‘AUTO’. This activates the “Automatically follow DAW transport” function of LevelViewS. Another click on the button enables the ‘LINK’ function, which stores all intermediate loudness values along the time line. If after a first run the play cursor of the DAW is placed somewhere back on the time line, LevelView’s graph reflects the local history, but the numeric readings show the full program values. In case you now change your mix, the numeric results of the full program length are shown right away, freeing you of the need to re-measure your audio.

The main meter of LevelViewS has a curve that resembles that of the bendy meter of its big brother LevelView. However, in stead of the five integration times, LevelViewS only shows the S meter, which is the average loudness of the past 3 seconds. This meter is the most important meter for balancing dialog. The longer integration times of LevelView do not make sense when mixing short content like commercials. The ‘S’ of Levelview therefore stands for “LevelView for Short content”. In the outer ring, the relatively fast (400ms integration time) ‘M’ or Momentary meter is shown. It gives instant feedback of the current subjective loudness level. The M meter of LevelViewS is modelled on vintage light spot meters. It offers a view with continuos brightness, which is less fatiguing for the eye than the rapidly changing light intensity of a bar graph meter.

The M and S meters have a peak hold function. The scale of the main meter can be switched between ‘EBU +9’ scale and ‘EBU +18’ scale by clicking on the meter surface. Mark that with loudness meters, levels will regularly modulate above 0 LU. Since the target at the end of the program is 0 LU, one should modulate approximately an equal amount of sound above 0 LU as below it. Experience has for instance shown that properly modulated dialog has an S level that is allowed to vary between -7 LU for whispering and +7 LU for loud shouts. On average, dialog should modulate around 0 LU.

The big number at the center is the ‘I’ or Integrated loudness. It displays the LUFS level, which is relative to full scale. For EBU R128 recommendation compliance, this number needs to become -23 LUFS at the end of your mix. The 0 LU level of the main meter (at the top) is aligned to this level. For ATSC A/85 compliance, the number needs to be -24 LUFS and this 0 LU calibration is selected by clicking the ‘EBU’ text, which then changes to ‘ATSC A/85’. By clicking another time, the meter enters ‘User’ mode, with an adjustable 0 LU level and gate.

Broadcast and post production engineers in the US know that according to the ATSC recommendation A/85 they need to adjust the volume of their program based upon analysis of the dialog parts only. This is conveniently done using LevelViewS. The 2009 edition of ATSC A/85 has no ‘relative gate’ in the measurement and a target of -24 LKFS (= LUFS) in stead of -23 LUFS like in EBU R128. In its ATSC setting LevelViewS complies to that standard. Since the ITU has adopted the EBU R128 relative gate in 2011, it is now unclear if ATSC A/85 advices to measure ‘all with gating’ or dialog only. Grimm Audio will closely follow the developments. Mark that moving loudness meters like the main meter of LevelViewS do not use the relative gate: the user should have a view of all levels. Only the integrated (I) loudness level is gated.

Below the big ‘I’ number the ‘max TP’ or Maximum True Peak level is indicated. By clicking max TP, it changes to max SP, which stands for ‘maximum Sample Peak level’. To the right of the main meter, Max M and max S reflect the peak hold readings of the main meter (the maximum Momentary level and the maximum Short term level). When the levels exceed certain limits, the numbers will turn orange.

Clicking the Grimm logo in the upper left corner opens the info page of LevelViewS where you can see the version number, credit list and licence.

Windows Plugins locations

Plugins on windows will be installed in the default locations:

  • RTAS for windows 32 bit:
    • C:\Program Files\Common Files\Digidesign\DAE\Plug-Ins\
  • RTAS for windows 64 bit:
    • C:\Program Files (x86)\Common Files\Digidesign\DAE\Plug-Ins\
  • AAX for windows 32 bit:
    • C:\Program Files (x86)\Common Files\Avid\Audio\Plug-Ins\
  • AAX for windows 64 bit:
    • C:\Program Files\Common Files\Avid\Audio\Plug-Ins\

Loudness References

  • provides all kinds of information about the EBU R128 broadcast loudness recommendation. The official R128 documents and guidelines can be found, as well as introduction papers and videos.
  • At the ATSC A/85 recommendation is available for download.

Compare LevelView & LevelViewS