Re: Should I be using multiple mics to record dialogue and sound effects?
 

Recording the atmos track in stereo is pretty standard on a drama it gives a bed into which you can place your sound effects. It gives a sense of acoustic space to your location.

Don't confuse the atmos track with the sound effects. like clothing rustle or gun cocking etc

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Don't confuse the atmos track with the sound effects. like clothing rustle or gun cocking etc
- Not to be confused with 'room tone' either.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

It does seem the later sections of this topic are pretty useful - so much content and facts. The most boring short term contract I had was driving to locations, setting up an M/S mic and recording atmosphere. Sometimes, the lack of sounds to record meant I had hardly anything specific - no birds or even insects sometimes, and these tracks, even though they were kind of 'nothing' actually made the studio stuff sound so much more real. Does silence actually have a sound?

Re: Should I be using multiple mics to record dialogue and sound effects?
 

I would record in stereo. Then you have the option of collapsing it to mono or of processing it to multichannel. I don't see a mono track being as useful in a surround mix. Disclaimer: I do live music videos more than videos with dialog and atmospheric audio, so that might not be the "right" answer for your type of production.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Oh okay thanks, but why is stereo better than mono? It seems to me that since I am pasting the room tone track into all of the surround sound tracks, it doesn't make a difference if it's stereo or not for me, so I was wondering what is better about it specifically?

With my current mics, I don't think I will be able to record stereo, cause I only have a hyper and a shotgun, and they are both mono. I could record with both simultaneously to make a stereo track but the room tone would sound different in both mics I am guessing?

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Putting the same signal into all 5 or 7 surround tracks defeats the purpose of surround, which is to have different (though often related) signal coming from different places.

Depending on your source audio and desired result you might be able to use different portions of the same audio file in different tracks to simulate a surrounding space.

(Again, I do live music videos, so take with a grain of salt. But that's what I'd do in your situation.)

Re: Should I be using multiple mics to record dialogue and sound effects?
 

So how long do you plan on keeping this up? Seems like you’re dedicating a lot of time and energy to something for free. I assume you’re hoping to win an award at film festival but I think the odds are very low.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

The way to go is M /S, it's the standard film recording technique for the stereo.

https://www.uaudio.com/blog/mid-side-mic-recording/

Googling "m/s stereo film sound" will give you a number of references for the different mic combinations that will work with it.

I hope the script writer has put as much work into rewriting numerous drafts as you've been in asking technical questions,

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Oh sorry, if I've been asking too many questions, I just wanted to get the best sound possible, and some concepts I feel there are certain exceptions and just wanted to be clear about the exceptions, that's all.

Well I can just do what I've been doing before then and just record with the boom mic, and record mono for room tone.

As for the notion that I shouldn't put a mono track into every channel in surround sound, I thought I should for room tone, so the whole room has it, but maybe I'm wrong.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

The sound on the right and left sides is slightly different, but no one is stopping doing it your way.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

I hate to think how many hours you have put into asking your questions and reading answers, but sound is about hearing, not reading. You would now be better off spending a similar amount of time actually getting out there with you sound recorders and mics, trying out different scenarios and techniques, then actually listening to the results and analysing what works for you and what doesn't.

You can ask questions and read answers for ever, but nothing beats actually doing it!

Roger

Re: Should I be using multiple mics to record dialogue and sound effects?
 

You could do that, but in real life the sound coming from different directions is different, even if the difference is small.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

I'm struggling a bit with the way you use jargon. "Room Tone" is one I hate because it means different things to different people. if I record with a boom, I normally record with a mono mic on the camera too. I never record with a stereo mic on the camera because of the weirdness it produces when the camera pans. Room tone - for me - is simply the sound of the room. It does NOT include dialogue, or physical practical sound from doors, things and people moving. I've heard people talking about room sound, but my rule book says room sound is just the absence of nothing and the capturing of something that can be used to fill gaps and sound exactly like an open mic sounds. These kinds of things are bandied about by students, as buzz words and smart-arse jargon. Not just sound, but the camera and lighting people do it too. That's probably why I make it up - like my hairy sausage.

As for surround - isn't this totally and utterly contrived and manufactured? Do people try to capture real surround? I thought most had given up on that quest. It works pretty well on a solitary static camera, but how do you deal with real surround in the edit? It's like my never using a stereo mic on a camera habit. If the camera pans, does the surround pan with it/ If you do, it's like turning your head - everything moves relative. But what about cuts/ Does the ticking clock on the right snap to centre, or does it stay right and be wrong.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

I suspect in the vast majority of cases surround is manufactured rather than captured. It just isn't practical or necessary to capture it as it happens.

In my little corner of video production, live music, it isn't completely inconceivable to capture surround, or at least capture stereo and process it into surround. Even when the video perspective shifts the audio perspective remains "in the audience," so it makes sense to capture rather than manufacture.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

I suspect that's why they record using M/S, since it gives you options in post. This is probably a drama thing, where everything is constructed in post, the days when stereo was recorded on say the average BBC programme are gone, they are recorded mono, even if going out in stereo.

The ticking clock would be on a separate effects track, where it goes may depend on if you can see it in the shot or if it's dramatically important. On my film we had gun shots flying over the audience, which was fun.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Oh it was mentioned in an earlier post to use stereo to capture 'atmos'. I meant atmos by room tone, sorry for the confusion. I meant whatever the previous post was referring to, as I am trying to understand what he is referring to when saying it should be recorded in stereo.

When it comes to recording live music, wouldn't it make sense to record from the mics of all the band member's voices and instruments though, so the voices and instruments are closer to the mics then, rather than from the perspective of the camera, if that's what you mean?

And as for this whole recording surround live, I won't do it then. They said to do it, and I even talked to them about manufacturing the sound later from mono tracks, and they said that the audience will be able to tell that something is off, if it's manufactured in post, compared to recording that way to begin with, and that they are not stupid. But I feel that they over-estimate the audience, and will record mono, and do a surround sound mix in post, based on the advice here.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

A stereo signal can be processed into surround. It would be much more realistic that simply putting identical signal into all the channels. It would still be a manufactured soundtrack as the stereo wouldn't be captured during the acting, it would be recorded just like any "room tone" type material and used to create the impression of space.

Absolutely, but on top of that there can be audience mics. In my ideal setup I'll have a pair of wide spaced mics at the foot of stage pointing out and a coincident pair in the middle/back of the audience in addition to all the close mics. The middle/back mic would need to be adjusted to compensate for the acoustic arrival time of the sound from the PA and stage.

None of this applies to what you're doing but it might explain why some sound guys think you should use multiple mics. For dramatic productions I'd use a boom and/or lavs to record the dialog, use the same mics to get some room tone for in between lines, then use a stereo mic setup at some other time (or even another place) to get some atmospheric audio for the surround tracks, then put it all together in post. But as I said I really don't do those productions so don't take my word for it.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Oh okay thanks. Are you saying to record the room sound with a stereo mic though, or two different mono mics, that both lead to a stereo track?

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Can we assume by "room sound" you actually mean "ambiance" and not "room tone"? Ambiance and room tone are quite different kinds of sound recording and using a term like "room sound" is ambiguous and hinders our discussion. It makes us wonder if you understand the difference between the different kinds of sound recordings. If you don't understand, then go back and read response #63 again. If you have specific questions about those definitions, please ask. Otherwise, we must assume that you understand the difference between "room tone" and "ambiance".

Whether to record ambiance in mono or stereo (or surround) is an "artistic" question, not a "technical question. There is no clear, unique solution. It depends greatly on what kind of a scene it is. What is the nature of the sound, etc. etc.

Again, I am unsure whether you are asking about Room Tone, or about Ambiance. Room Tone has a VERY specific purpose, and recording it EXACTLY the same as you recorded the dialog is critical to its usefulness.

OTOH, ambiance could be anything. It doesn't even need to have anything to do with your specific production. With some rare exceptions, if ambiance for your scene is traffic noise coming through an open window behind the actors, it doesn't really matter whether you record the actual traffic on that specific street. Or even in that particular neighborhood, or on the same continent, for that matter.

And if the actors are walking along a beach, the background sound of the surf is pretty generic stuff. If you are using a cutaway of a wave breaking and flowing up to their feet, then it would be good to try to match the sound to the wave breaking if you can see it in the frame. Otherwise, it is just uncorrelated, non-synchronous background sound.

And even if you had a good stereo recording of traffic noise, you might well mix it down to monaural and pan it so that it sounds like it is coming through the window. OTOH, the actors walking along the beach would probably sound more realistic if the surf sounds were mixed in as stereo. Which illustrates the point that recording ambiance in stereo gives you the flexibility of using it in the mix however it fits that particular scene. Even if it us ultimately mixed down to mono and panned off to one side, etc.

But if you record the surf in mono, you are essentially stuck with it. It might be useful in a scene where distant surf sounds are coming in through a window. But not very useful for the scene where the actors are walking through the wet sand as the tide comes in.

And recording the traffic noise in the room where the scene takes place is probably not a good idea either. Because as you ought to know by now, microphones "hear" quite differently than our ear-brain system works. Much better to have a "clean" recording of the traffic without any effects from the room. For at least two reasons: (1) the effects of the room will limit and compromise how well you can produce a convincing mix for that scene. (2) Having a more generic, "clean" recording of the traffic noise is a much better addition to your library of sounds that you can use for future productions.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Oh okay, I meant whatever Bryan Drysdale meant when he used the term 'atmos'. I am trying to establish what we are talking about myself, so I meant whatever he was referring to.

As for the example of recording traffic noise, I would record it from whereevever I felt it sounded good. Do you think it's a bad idea to record through a closed window, if you want to capture a sound on the other side of the window?

For example, for one of my short film I wanted a character to knock on a door and yell, and I wanted to hear him through the door, since the characters in the scene hear him through the door. So I decided to have him go behind the door, and close it, and record his voice through a closed door to get the sound I want.

I could have recorded his voice dry, and manipulated to sound like he was coming through a door in post, but I thought that the sound of yelling through a door was pretty straight forward, that I could do it in production and it will turn out fine, which it did.

I also wanted to record a dog barking in the distance of neighborhood establishing shot. I could have recorded a dark barking with the mic right up close to the dog, but I decided to do it from about 50-100 feet away, to make the dog sound distant.

It turned out good as well. Is that a bad way about going about it?

When you say, if you record surf in mono and you are stuck with it, are you referring to a stereo mic, or two mono mics both being fed to a stereo channel?

I'm assuming we are talking about a stereo mic. But the thing about a stereo mic, is both mics on the stereo mic are right next to each other, so the sound going into both mics will be the same anyway, when the mics are right next to each other. Therefore, what difference does stereo make, when the mics are both next to each other?

Unless you are talking about two mono mics placed a distance apart?

Re: Should I be using multiple mics to record dialogue and sound effects?
 

To get a decent stereo image directly with mics (as opposed to a stereo mix composed of various stereo or mono elements) you need two two identical mics, or a stereo mic, or a compatible pair for mid-side. For mid-side I would prefer a pair of the same model of multi-pattern mics, one set to cardioid and one set to figure-8, but two very similar mics, like LDCs of different models, could work. Definitely don't try to combine a condenser as the mid with a ribbon as the side.

There are various stereo mic techniques. I suspect a coincident pair would be best, and that's my general preference. Spaced pairs of several methods are common in some applications.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Yes, when I use the term "ambiance" it appears to be the same as Drysdale's term "atmos" (short for atmosphere or atmospherics).

I said explicitly that recording outside ambiance or atmos through the window is NOT a good idea. Did you miss that part of my response? Did I not phrase that strongly enough?

Good. You must experiment with each situation to see what sounds best when recorded with your talent, crew, location and available gear.

Maybe, maybe not. Typically you can make something recorded close sound far away by reducing the level and by rolling off the high frequencies, just as happens in the Real World. Recording a far away barking dog in the city at the other end of a street of brick buildings will not work if you are using the sound in a scene out in a desolate wilderness. That is why you want to get good clean, close, intimate, well detailed recordings. You can always artificially "degrade" them (for distance, for echo/reverb, etc. But you cannot do the opposite. You can't use a distant dog bark if you need a close sound.

You do the research. Record something with one mic (mono). And record it with a stereo ("single-point") microphone (or a close pair like X/Y or ORTF) And then the same sound with wide-spaced microphones in stereo. They will all give you different recordings. Some of them will be useful in one situation but not in another. You are wandering again into "artistic" or subjective decisions vs. "technical" or objective questions. Recording sound well is an ART. It takes more than understanding the chemistry of paints to become a good artist.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Oh okay, thanks I can do some tests, as I haven't recorded with a stereo mic yet before.

For the dog scene, I recorded the dog barking from a backyard of a house in a neighborhood that was similar to the one we shot it in before, so I felt the acoustics match. Is it a bad idea to save time in post, by matching acoustics to the scene in the recording, rather than doing a lot of post manipulation?

For example, I did a fight scene in a bathroom and then needed to go out and record the sound effects and foley, but I did it all in a similarly acoustic bathroom along with the actors' voices as they made their grunts and scream sounds.

It just saved me having to do it in a dry studio, then giving it bathroom manipulation later. I mean I figure if I can get the bathroom in camera, why not get it in mic, as well, but is that a bad idea, since a lot of people, I know, seem to prefer post manipulation more?

Re: Should I be using multiple mics to record dialogue and sound effects?
 

It's generally better to keep it clean. you can't undo the reverb in post, but you can easily add it.

The most time consuming aspect can be recording all the sound effects and you may not want the real sound, it's common to use a "simulated effect" or a composite of a number of sounds to create the effect you want.

Fight scenes tend to have exaggerated effects, the reality isn't like the movies.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

It feels like you have asked this 100 times and 100 times we have said NO! If you are only doing something simple and low-quality, it may seem like is "saves time". But if you are doing anything serious, you will kick yourself.

I despair that you are not learning anything from this discussion or the one over on Creative COW. If you don't like our answers, why do you keep coming back and asking the same questions over and over? I'm getting tired of this. Maybe you should spend more time going out into the world and actually recording things rather than sitting at your computer keyboard asking the same questions over and over.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Well said Richard, exactly my point from post #131

Roger

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Here is another take for Ryan: I think you WANT to hear that yes you can save time by doing blah blah blah in the field, but the reality is that what all these guys are telling you is the way every movie and tv show has been mixed for who knows how long.

I have done plenty of low/zero budget projects as writer/director and I suspect that like me, you will end up doing the editing/post production yourself (possibly because anyone else you have lined up to do that will drop out once they see the actual workload for a feature-length project compared to the little to no money that you can afford to pay). That means edit, color grade, and anything to do with sound. It is an unbelievable amount of work, probably into the thousands of hours, but that is why in the professional sector all of that is handled by many different people (and it still takes them a year!).

So it is understandable that you want to avoid as much of that as you can, but if you want PRO results then what everyone is telling you above is how it’s done. So now the question is, how polished do you want this to be? Are you trying to compete with the high quality content on Netflix, theatrical releases, etc., or are you ok with it looking and sounding like a low budget student/amateur film? The answer will determine your approach to the entire process.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

3 minutes of pressing records is infinitely better than two weeks of text! What I simply don't understand is that most of these questions can be answered by you, with a single mic and pair of headphones.

Please don't be offended, but you sound very much like a younger friend of mine who is on the autistic scale. he has to ask and ask and ask before he tries anything himself - he needs a framework to work in and he can't learn at all from experience.

What I mean is your question about recording through a window. I've never actually thought about it, but the glass as barrier does things to the audio. It will reduce amplitude, probably not linearly, and it introduces a tonal shift. I can do this with EQ. In practice, I'd stand in the room and listen with my ears, then listen with the mic, and then probably open the window and record that, and make it sound dull and filtered in the studio.

We seem to tell you things, then you ask "so you mean?" or you crazily say what you mean is what somebody else meant, when you have no idea what they were actually thinking?

We've tried to help, we honestly have - but we get the impression you ignore the whole, focus on the trivial and get confused very easy and switch your viewpoint on a whim.

If you read the topic start to finish, you will find all the people who do audio have broadly the same solutions, a few have found alternate systems, and while we often do it differently, I think that's within the limits of professional alternatives. Rarely have any of us disagreed. For goodness sake - put in some effort and try what we suggest out and decide for yourself.

PS it's ALWAYS Foley, never foley. Common error but it's proper name, so always something people spot as a 'sign'.

Of course, you could always record some stuff and let us listen and guide you. Sound works so much better than text.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Oh okay, well sorry if I kept asking questions, it's just that there are certain variables I want to nail down, that's all. Like when people say to introduce a stereo mic for atmos, or recording dry, that creates a whole new world of variables, that I just wanted to ask about, that's all. I feel that the answers, provide more questions that I felt like I needed to address, that's all.

I guess to me, that choosing to record a lot of the sound effects dry is like shooting a scene in front a green screen, and then saying that the reason for doing so is, is that if you shoot in a real location, you can never undo it later. So I figure if you can do video in the real location, then why not audio as well. But I just wanted to cover why audio is best done dry and then adding later, if you wanted everything to match, that's all.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

A book is a good starting point: https://www.amazon.com/Film-Sound-Pr...6370/din02c-20

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Audio in my experience is way easier to manipulate than video. You can chop up lines, sometimes even words, add, fx etc and make it blend/sound real/seamless (if you know what youre doing) way more easily than you can do the same thing with video. Probably something to do with how humans process sound vs visuals. That’s the difference.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

You need to consider who these people are and are they asking for things they want, or for things they've heard others ask for? This happens all the time. BBC now use producers straight from uni - who know nothing but know the jargon!

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Unless Im reading wrong this whole project is Ryan’s baby. So I assume he’s the producer/director.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

That clearly is a problem as the hired help appears to be running the ship, slapping him all the time. He needs to tell them what he wants and is paying for, and make some sensible decisions.

When you have a project. You set solvable problems - you need to do this, so to make it happen, X will happen. If you are the producer out the director, then you should know how many cameras you would like and how many you can afford. If you have a cast of thirty all talking on one screen, then one mic on a boom isn't going to cut it. However the intimate scene with two people close in probably can be done with a single mic. If the budget is not huge, and the talent not particularly well gifted as actors, then all this stuff about ambience and room sound/tone and Foley is probably best simulated afterwards. Let's be honest. real locations rather than studio sets are rarely nice sounding, so why would you want to capture them when you could do better with dry mics and a few SFX CDs. Back when we used lots of SFX on CD, I was a great fan of the Hollywood Edge collection and you hear so much of their stuff instead of real location sound. Simulation is controlled and almost infinitely tweak able - real life isn't.

If you have every worked in European Churches, you'll know the acoustics for music are generally wonderful. However, none of them record speaking well at all, so why would you even try to record decent audio for speech in them?

Re: Should I be using multiple mics to record dialogue and sound effects?
 

The advent of film making tools inexpensive enough for the average Joe leads to these type of threads. The downside is you have a bunch of guys running around with dslrs on electronic gimbals with no knowledge or experience. Combine that with the millennial generation who rely on google for all their answers instead of thinking for themselves.

As an outside observer I can’t imagine a more unpleasant project. Trying to create a feature film by yourself, in over your head, no money, not the right equipment, little knowledge or experience. Spending count less hours on a message board asking what if this, what if that... with no end in sight. This could take years to complete with no payoff.

The short answer to all of Ryan’s questions, know and understand the standard practices and deviate from them at your own peril. You need experience and common sense to deal with all the problems that will arise for a specific situation. But without a firm foundation of the basics you’ll be forever running around trying to discern who’s opinion is the right one. Good schools teach students to think for themselves.

I don’t mean to be harsh but that’s the reality of it.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

I also assumed these advisors were just people he had asked about methodology, not necessarily people hired on and committed to the project. I could be wrong about all of this.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

He hasn’t said but it’s safe to assume no one is being paid, instead they’ve agreed to work on each other’s project for free. For example, he films a music video of their rock band, in return they help him with the audio for his movie.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Yeah that's kind of how it is, I filmed some stuff for them and they were up for returning the favor.

I could record all the Foley and sound effects dry and then manipulate in post, it's just I am worried about not being able to get a match with the dialogue that was recorded on location. In the past I wasn't able to get the most satisfactory matches, compared to recording all the Foley and sound effects in the same location afterwards.

I know what you mean when you say real locations do not have the best acoustics, but the dialogue is already recorded in those real locations, so aren't I stuck trying to match the acoustics with the sound effects and Foley anyway?

For example, one of my scenes coming out is a courtroom scene, and I want to record all the dialogue during shooting. Even if the courtroom does not have the greatest acoustics, I can't do all the Foley and sound effects, with a different reverb and acoustics added onto it, because then it will sound different than the courtroom acoustics. So aren't I forced to suffer with the same location acoustics, since all the dialogue is recorded from them? I'm just afraid that if I add better reverb and better acoustics, sure it will sound better, but it won't match the more crappy location acoustics of the dialogue, and that's what I'm afraid of.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Nope, see that’s what those pros spend months doing is adding reverb and delay fx, eqing, etc. to those dry fx and tweaking until they match the courtroom (in your example) acoustics.

You have to understand there’s nothing “magical” about that environment...that wood (or whatever materials the room is made of) is going to dampen certain frequencies and emphasize others. The distance from the subject from the walls and the size of that room and its dimensions are going affect how the sound waves bounce around and how quickly theyre absorbed (reverb and delay characteristics). Once you know all that crap, you can add reverb and delay fx with those settings that match the real acoustics, eq, etc. and make any dry sound sound like it was recorded in that environment.

That is how its done. Its a tremendous amount of work, again but thats why theres usually dedicated department just devoted to the sound mix instead of one guy doing everything. It gives you ultra precise control on the mix compared to the substandard results of having baked in reverb/delay that cant be removed from those effects if you record them the way youre trying to. You will have a fixed amount of reverb/delay in anything you record the way you describe. You may decide in the mix you want it dryer or wetter and youll be more or less unable to do anything about that with sounds recorded the way you describe (difficult/impossible to remove reverb once its in there, adding reverb on top of more reverb gives weird unnatural results). I cant make it clearer than that. Anyone else correct anything I have wrong; I am not a sound pro.

Re: Should I be using multiple mics to record dialogue and sound effects?
 

Okay but the part I don't understand is, you said that the Foley and sound effects should match the room. So why not record that in the same room, as oppose to trying to match the room later. You give the what where and how to do things it seems, but not the why I feel, or I am just understand the why, that's all. Why make it dryer, or wetter, when you have to match the location anyway?

And yes, I wouldn't have a whole team doing the post production mixing, it would probably be all me.

Okay this might help me understand it. You say it's good to record everything dry so you have ultimate precise control. But the dialogue is not recorded dry, in post. So why isn't that, if you want precise control? If the filmmakers can accept not having precise control over the dialogue, then why are they so picky about the sound effects and Foley of everything else, if the dialogue is not as precise even?

There is just a contradiction in the belief that recording dry yields the best results, and that contradiction is, you still have to match it to the not so perfectly acoustic dialogue, so how does recording dry work, with that contradiction, which was never explained I thought.