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Message: [QUOTE="Shamiso, post: 92708, member: 160"] KLOP's Learn to Target can move input toward -14, -9, or -6 LUFS, while Threshold spans from -24 to 0 dB. Those controls sit close together, but they are solving two different problems. Learn to Target is about where the signal arrives before you judge the clipping. Threshold is about where the clipping curve starts affecting that signal, so changing one can alter how hard the other ends up working. The [B][URL='https://goldmidi.com/community/threads/tmplt-sounds-introduced-the-klop-visual-clipper-plugin.78068/']KLOP loudness and clipping controls[/URL][/B] put loudness, gain reduction, the transfer curve, and the heatmap in one view. Keeping the jobs separate makes KLOP much easier to set without chasing numbers around the interface. [HEADING=2]Learn to Target moves the input toward a loudness reference[/HEADING] A LUFS target is not a clipping boundary. LUFS describes program loudness using weighted energy over time, while clipping happens when instantaneous signal values reach the active part of a nonlinear transfer curve. The [B][URL='https://aes.org/publications/elibrary-page/?id=15599']BS.1770 gated loudness paper[/URL][/B] treats program loudness as a time-based measurement shaped by gating, not as a peak detector. KLOP's -14, -9, and -6 LUFS choices belong to the loudness side of the setup, while Threshold belongs to waveform shaping. If Learn to Target raises the incoming level toward a louder reference, more of the same signal can reach a threshold you have not moved. The clipping boundary stayed put. More drum hits, vocal accents, or sustained bass can still enter the clipping region because the input feeding it became hotter. The reverse matters just as much. Moving toward a quieter target can leave fewer peaks crossing the same threshold. The clipper may seem gentler even though its mode and threshold have not changed. This is the useful bit when comparing KLOP LUFS target settings. Hold Threshold and the clipping mode steady first, then change the target. Watch how much activity moves into the curve before treating the LUFS selector like a simple output-volume preset. [HEADING=2]Threshold decides where the curve starts biting[/HEADING] KLOP's clipping threshold controls where signal level begins meeting the selected clipping behavior. Lower it, and more of the waveform reaches the active region, while a higher setting leaves more material below the boundary. Input level and threshold can therefore create similar-looking increases in clipping for different reasons. Turning the input up pushes the signal toward a fixed boundary. Lowering Threshold instead moves the boundary toward a signal whose starting level may be unchanged. Keeping those moves separate is especially useful after choosing between Hard, Soft, Pro, and Ratio. The [URL='https://goldmidi.com/community/threads/klop-clipping-modes-reshape-peaks-differently.78120/']KLOP clipping modes[/URL] decide how the waveform bends once it reaches the nonlinear region. Threshold decides how much of the signal gets a chance to meet that shape. A practical clipper input gain vs threshold comparison should change one variable at a time. Set the loudness reference first and leave it alone. Lower Threshold gradually through the loudest passage, then listen for the point where peak control turns into obvious texture. Do not use the LUFS number as permission to keep lowering Threshold. Two mixes at the same loudness can still have very different peaks, sustained sections, and peak-to-loudness relationships. The meter reading does not erase those differences. [HEADING=2]The clean workflow keeps loudness and clipping separate[/HEADING] Start with the section that actually represents the job you want KLOP to do. A chorus, drop, or dense passage usually reveals more than a quiet intro. Learn to Target and Threshold both need representative audio if you want repeatable decisions. Run Learn to Target toward the reference you actually want to test, then stop moving it. Choose the clipping mode and bring Threshold down until the unwanted peaks are being controlled. Use the heatmap and gain-reduction history to check whether clipping stays on brief events or spreads into the body of the sound. Once clipping is active, read the loudness meter again instead of assuming the earlier target still describes the processed result. Nonlinear peak reshaping changes the signal. Treat the target as a repeatable starting condition rather than a promise about the finished output. Peak room still needs its own check as well. The existing guide to [URL='https://goldmidi.com/community/threads/loudness-gain-can-use-up-true-peak-headroom.77402/']loudness gain and true-peak headroom[/URL] explains why a loudness target does not tell you how much peak margin remains. After the threshold pass, use Compare at matched loudness and listen to the same section you used for setup. If the clipped version loses attack or low-end shape, raise Threshold or choose a gentler mode instead of rerunning Learn to Target. Rerunning the target immediately can hide whether the problem came from clipping or from a fresh input-level change. [/QUOTE]

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