![]() We say “compression” when this move is slow and gradual, and “limitation” when it is more extreme.įor instance, if I want to divide any bit higher than -12 dB by 2 (a 2:1 ratio), the peaks will be brought down to an average volume, and I will then gain a few decibels on the overall volume of the sequence (through normalization). It reduces the dynamic (the gap between the highest and lowest bits) and, consequently, the listener will not have to constantly adjust the volume.Ĭompression should be seen as a top-to-bottom move that reduces the intensity of the peaks – sometimes radically – when they are too high. To optimize the volume, you can lower the highest peaks (so that they never get higher than 0 dB) and then increase the overall volume of the sequence. There are ups and downs depending on the words and sounds, so the volume of a conversation is never the same. On your interface ( see our article on editing software), you can see a wave which shows that sound energy is not linear as a voice never keeps the same intensity. By normalizing up to 100% or 0 dB, the amplitude of the sequence is increased until its peak reaches the highest level, i.e. 0 dB.Ĥ – Lowering the peaks through compressors and limiters Here, Adobe Audition shows you how to normalize a sequence, both in percentage and decibels. ![]() While mixing, keep an eye on the many measure levels, such as VU meters, RMS or LUFS, as they show you the intensities you have to deal with, so you can control and mix them as good as possible. It is an interesting process through which you can intensify a sequence while staying under the 0 dB mark, which leads to digital distortion and to an unpleasant signal saturation. So, if I normalize it up to 100%, my sequence’s volume will be increased so its peak reaches 0 dB. Normalization is modifying the overall amplitude of a sequence based on the level of its highest peak. no higher than human voice, to protect your ears and avoid ear fatigue.ģ – Normalizing/maximizing the volume of a sequence at ear level and equidistant from each other. If you use speakers, place them right, i.e. The human ear can seize 20 to 20,000 Hz-high frequencies, so try to pick a device that covers this range, and choose “studio” or “monitoring” devices, as they do not bring any color to sound (unlike general use devices that may intensify some frequencies, either on purpose or because of cheap composition). You will then be more efficient and make the right postproduction choices. To have a good overview of the outcome, you should work with quality speakers or earphones. Leave a space the size of your hand between your mouth and the microphone, and move as few as possible.īefore editing your sound, make sure you can hear it properly. The microphone input signal should never be over 0 dB Here are the two golden rules to keep in mind: Set your own microphone first, then do the same with you guests’ by making them talk – they can introduce themselves as a warm-up, for instance. Slowly turn the gain up so the signal reaches about -16 dB. Adjust the microphone properly and speak normally. The gain of the microphone cannot be set by ear you must check the input signal of your recorder or interface. Be careful: the output volume (in the earphones) is nothing like the input volume (microphone), so keep the output volume low enough. Use your earphones while recording and give some to your guests as well if you can, just to hear if one of them is too far from his/her microphone or if a strange noise disturbs the session. Finally, record each participant on separate tracks. Depending on your microphone, consider using a windscreen or an anti-pop filter to protect it from plosives (“p”, “b” and “t” that send air in the cap). Use one microphone per speaker, with a stand or a tripod that would be high enough for the microphone to be in front of their mouths – you will then avoid the noises resulting from holding the microphone. Go for 44.1 or 48 kHz sample rates (audible frequencies would be lost with lower sample rates) and for 24-bit deep audios (it is better for detail and dynamism). ![]() WAV format (not compressed) – you will end up with an mp3 indeed, but you’d rather have a high-quality file when mixing. ![]() Here are the life-changing pro tips of a composer, sound designer and sound engineer!Ī quality recording is key for a good final outcome, so get familiar with your device and find the right settings before you start. You may wonder: what do the best editors do to get closer to perfection? In this article, Morgan, a sound specialist and the Studio Module founder, tries to provide you with an answer. ![]()
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