Levels

musicarteca · Post by **musicarteca** » Sat Sep 23, 2006 7:12 pm

Hi all,

I am doing a mix for a short documentary, and I have doubts on the correct levels, so far i am working very conservative with peaks hitting about -10. Is this correct? Any comments.

rainmaker · Post by **rainmaker** » Sat Sep 23, 2006 7:36 pm

-10 should be fine. In digital, the ceiling is of course 0. So you can record right up to it as long as you're careful to not clip. Digital clipping is horrid. In the past, the theory and common practice for digital recordings was to record as close to clipping (0) as possible to get the most out of your AD converters. But as converters have gotten better, I feel this is much less of an issue today. So where you're setting your levels should be just fine and leaves plenty of room for the occasional out-of-control over. I've also felt in the last year that my mixes are sounding a little better while recording at slightly lower levels. Rather than trying to peg 0 all the time.

Good Luck...
Rainmaker

musicarteca · Post by **musicarteca** » Sat Sep 23, 2006 7:49 pm

Thank you rainmaker, I am trying to find out if there is a level difference between regular music recording and a file that is going to be broadcated.

chrispick · Post by **chrispick** » Sat Sep 23, 2006 8:28 pm

Word to the wise, should you not know:

Audio mixed for broadcast usually goes through two phases of minor compression beyond your mixdown stage: 1.) when laid to master digital video during video conform; and 2.) again, when transmitted or aired. So, dynamic levels will be always be minimized.

And, to give you a sense of latitude: Most audio-for-video is mixed with peak levels not exceeding -6 dBFS prior to master tape. Confirm your standards with your editor.

When working for broadcast, it's good to think in dBFS.

stovall · Post by **stovall** » Sat Sep 23, 2006 8:30 pm

It has been my experience that the peak level, while important, is not as important as the lowest level as compared to the peak level. A minus 10 would render the average lowest level way down in "the mud" and make it somewhat a problem. Our ears have compressor/limiters built in. We can get used to low levels and get used to somewhat higher levels. Distortion is always a problem. It is the psychology of hearing that would render a minus 10 a problem in my estimation. Try to raise your level so that the lowest level at least gives a minus 30 or so (depending on your compression level, which varies by type of music or audio recorded) and the peak a minus 2.5 or so. It will sound more pleasing to your ear and the ears of your listeners.

Tim · Post by **Tim** » Sat Sep 23, 2006 11:45 pm

stovall wrote:It will sound more pleasing to your ear and the ears of your listeners.

It sounds to me like you're talking about level coming out of speakers, which has little to do with the print level of music delivered to the music editor.

Your points about overall dynamic range are something to consider with music that's going up against dialog and sound efx, etc.

Hopefully there is a dialog/sfx track to mix to so as to make sure soft music passages won't get lost in the mix, or solo instruments don't compete with dialog (then they turn the music down).

Anyway...... -10 is fine. One can go hotter or even lower. If the music is delivered at -1, you can bet the "music" fader will be way below unity for the film mix. But yeah...ask the editor what he/she wants. They get all kinds.