Hi,
Just looking for tips. Generally, I adjust a speaker's voice to -6db, then adjust music & fx to taste, then bump up the Master to -3db. However, some speakers are naturally soft spoken and some naturally loud, so sometimes the levels can jolt. So if I am to adjust audio levels while in Source (saving a lot of work later), what might be good ideas to keep in mind while performing all this?
Thank you,
DC
That completely depends on how they were modulated during recording, and if the recording is very dynamic or not. Still, -3dB as average peaks on dialogue would seem very very hot for broadcast, and possibly OK (bit still hot) for web distribution. Although it partly depends on the dynamic range within the dialogue.
More important than the peak levels in your Avid, is having a consistent, unchanged default monitoring level. If your monitoring volume changes by the hour, so will your mix levels, and none of it will be consistent.
It is also usually easier to use some kind of loudness meter than it is to use a peak meter. Loudness meters will measure average loudness over time. But even if you don't have a loudness meter, keeping a consistent monitoring level helps consistency. Mixing by ears is the rule of thumb, measuring comes second -- although some meters can help you find some guidance.
Another way to get a grip on dialogue levels is via some EQ and compression. Evan Schiff shared some tips on that: https://www.evanschiff.com/bd/articles/quick-and-easy-dialogue-cleanup
Do note that he is using the older Dyn III plugins, whereas most of what he suggests can be achieved using Avid's built-in Channel Strip plugin, which sounds really, really good (it is an emulation of the channel strip from the very expensive high-end Ehonix film mixing consoles).
Thank you. Where in MC can I find a loudness meter? And can you point to a tutorial on the Channel Strip audio plug-in?
No loudness meter is included. You'd need a third party solution for that. Many plugins are available. I don't know of any tutorials for Channel Strip but you can basically use the settings Evan Schiff uses on Dyn III as a starting point.
Job ter Burg:It is also usually easier to use some kind of loudness meter than it is to use a peak meter. Loudness meters will measure average loudness over time.
A loudness meter is not an ideal recording meter, where peaks are more important than average levels. The modern loudness paradigm is about mixing and delivery not recording. A PPM level meter can still be useful and is what I use as a confidence check whilst recording VO. In traditional terms VO & dialogue would always peak around 5 PPM, where the maximum bursts of other sounds would be 6 PPM in a mix (4 PPM is -18db). The peak level is one thing but often the VO involves, as has been mentioned, some compression too. There are other issues that are equally important such as the environment - a dedicated damped VO booth is best - and the type of microphone. I favour a Sennheiser 416, though ancient and a shotgun type, it produces a remarkable recording quality still.
Mercer:Sennheiser 416
I adored that mic... ran it into a reel-to-reel portapak!
-Telegram!
You're not wrong Telegram I used to be a location recordist and have used/kept hold of them on everything from Nagras to the present digital recorders. They are bullet proof in all weathers and have a signature sound echoed throughout decades of movie history. I have some nice Rode studio condensors too but still prefer these for VO. I've started to do some ADR with Fairlight and the 416s plus my equally venerable ECM 77b laveliers have had a new lease of life there too.
I find my PPM in the edit suite is far better than the Avid digital meters and I can look for dialogue to range between PPM 3.5-4.5 .
But its increasing common to use the loudness R128 measure over the whole dialogue in the edit to ensure your are in the right window to deliver the right R128 output. I use the Nugen plugins.
Its also not uncommon to add a slight compressor limiter to the dialogue track(s) to help reduce the dynamic range and make it all more manageable.
Broadcast & Post Production Consultant / Trainer Avid Certified Instructor VET (Retired Early 2022)
Still offering training and support for: QC/QAR Training - Understanding Digital Media - Advanced Files * Compression - Avid Ingest - PSE fixing courses and more.
Mainly delivered remotely via zoom but onsite possible.
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Mercer makes excellent points. I got myself a TC Electronics Clarity M, which has comprehensive metering. If you get Avid's Pro Limiter, that has some very good peak meters built-in, as well as a simple loudness meter.
One thing, though, Pat and Mercer: I don't think the PPM numbers you reference mean much to anyone outside of the UK. AFAIK US post used VU meters more than peak meters, and mainland Europe seems to always measure PPM in negative dBFS.
Job, you are quite right and I should have pointed that out. In the UK a PPM is still like second nature to us old hands I should also have said that when recording VO with a PPM one would normally peak to 6, my levels reference was to proir standard norms using a PPM in the final mix, for the OP's point about overall mix levels. I use PPMemulator XL plugin for Loudness and PPM as well as my old still perfect MurrayPro outboard. I also now use a Sound Devices MixPre II, as a audio I/O devices, with judicious Noise Assist plug in, which is remarkable, for a less than ideal room/edit suite.
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