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when recording to an _analog_ VTR like beta SP, I like to use -12 digital = 0 analog. that levels works well with most analog gear. peaks of course may be limited to +4 to +6 analog which is a somewhat flat mix for dynamics, but works for the typical small speakers in the average TV set, even LCD ones. that said, it does take time, effort, skill and attention to mix this way, which is something that seems to of gone out the window. I actually run a outboard real compressor to aid with mixing this way setting up a mild 1.5:1 low threshold or 2:1 ratio slightly higher threshold. I try to stay away from high threshold high ratio compression because then it becomes obvious unless its just a few peaks you are pushing down here or there. I generally just use the compressor to ease my job. of course final metering on the deck. Prem Pro shines in this area because you can put effects on the channel strips, including the master output. to say the least Prem Pro has vastly better audio capabilities then FCP by a mile.
with digital tape, in north america, specs are normally average PGM = -18 with average peaks to -12, and nothing above -6/-4. this does make for a more dynamic mix,but I think its more about people not taking the time to really mix, and clipping the audio out. I wish with a 16bit signal, the choice was -12.
what you did with your DVD by simply using a higher mix level was just send more signal out, so yes -12 is louder then -18, and -6 louder then -12 without touching the volume control.
however if you use AC3 sound, the encoder can have a normalize / compression function that readjusts your levels. I think with compressor its something like -27 or - 24 to get unity gain. its wierd. usually I shut all that junk off because it can really mess with a mix and increase encode times a bit.
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February 22nd, 2009, 11:50 AM
