> Note, however, that the Dynamic Audio Normalizer achieves this goal without applying "dynamic range compressing". It will retain 100% of the dynamic range within each "local" region of the audio file.<p>Something doesn't feel right to me here.<p>If you are adding or removing gain from a signal in an attempt to "normalize" its amplitude overall, then by the very definition of Dynamic Range Compression has it been applied here. To say that it retains 100% of the dynamic range within each local region of the file is somewhat disingenuous in my view. The entire purpose of this exercise is to adjust the amplitude <i>relative to other sections of the waveform</i> such that <i>in aggregate</i> things sound more consistent to a listener volume-wise over meaningful periods of time. Listeners do not enjoy audio waveforms in 1000 sample window sizes.
I'm pretty sure OP has just designed a look-ahead compressor with a slightly over-engineered response envelope, which in practice will probably respond worse than most existing mastering limiters with lookahead capability on the market.<p>Nice write-up, but this is not some new, groundbreaking approach :)
Just adding this here for reference:<p><a href="https://www.producerspot.com/equalize-normalization-compression-and-limiting-mastering-tips-and-tricks" rel="nofollow">https://www.producerspot.com/equalize-normalization-compress...</a>
Good write up, but this reads as a naive implementation of a single band compressor with gain compensation, a long look ahead, fast attack and slow release setting.