一个关于录音音量的外国帖子
http://gearslutz.com/board/showthread.php3?t=65122
MASSIVE Master :I don't mix an awful lot anymore - But most of the time, they just "naturally" have peaks that rarely exceed -8 or -9dBFS.
Don't worry about "hot" - You've got more headroom than at any time since recording was just an idea. Use some of it.
MASSIVE Master :I don't mix an awful lot anymore - But most of the time, they just "naturally" have peaks that rarely exceed -8 or -9dBFS.
Don't worry about "hot" - You've got more headroom than at any time since recording was just an idea. Use some of it.
这个,很长的啊~~不如我给论坛地址和帖子名字你啦
帖子名字是"Record final mix as close to 0db or always left (at least) -2 db for ME? "
论坛地址是http://gearslutz.com/board/index.php3,以前HIMHUI在这里介绍过的;
这里是其中一段:MASSIVE Master 的发言
If the tracks are tracked where the gear wants to be (somewhere around 0dBVU / -18dBFS) it's almost difficult to get a mix to peak that high without trying.
I don't mix an awful lot anymore - But most of the time, they just "naturally" have peaks that rarely exceed -8 or -9dBFS.
Don't worry about "hot" - You've got more headroom than at any time since recording was just an idea. Use some of it.
Sidenote: 90% of the time, mixes that come in with "hot" levels, overly compressed for the sake of sheer volume at ANY stage (at the track level, at the group level, on the main buss, etc.) are the ones that don't have the potential to be "in-your-face" loud in the end. On the contrary - Mixes that come in peaking at -12dBFS, with barely any compression that didn't actually *serve the mix* -- Mixes that were well cared for, with generous amounts of headroom at every stage in the game - THOSE are the ones that have the most potential for sheer volume in the end. They're the ones that can handle it, they're the ones that have room for it. They're the ones that can "take the abuse" when the client says "make it freakin' loud."
But again, that's only about 90% of the time...
SO - Rule of thumb - If you're even the slightest bit concerned about your levels, they're probably much too hot.
neilwight 发言
the real issue that often gets over looked somewhat by many clients is actually how you get to the final value, not really what it is as such.
ive had mixes with peaks of -3dbfs and greater that have had very little compression, certainly none on the 2buss and as a result have been both dynamic, excellent sounding and using all of the 24bits.
others have come in where they have left me -6dbfs after reading some internet discussions but they have still limited or heavily compressed the audio to get there. as such its had "headroom" to them but actually had none at all. its been no different than it just being smashed to 0dbfs then turned down -6dbfs.
all you get from this is a quieter hypercompressed flat topped audio.
turning it down after this doesnt restore any of the space into the file.
as a general rule of thumb, anything that you apply purely for volume gain should be left off. 2 buss compression is great to use if it helps you get the sound you want on your tracks, its not great to use if all you are really using it for is to gain the audio up as far as it can go for example.
i know john (massive) goes on about this alot, for good reason, as do others but i'll say it again in relation to this anyways.
many people it seems need to think about and actually learn how to work properly in the digital realm. its actually alot different from the analog world.
you should use 24bits and record in with levels your interface is actually happy working with, anything from -18dbfs to -12dbfs peak values with faders set to unity. not only does this get a clean signal but it leaves tons of headroom on each track while still keeping massive quality benefits over 16bit recorded to 0dbfs.
once you start mixing you will find this massive amount of headroom really allows you space to both physically mix in without being cramped against the fixed 0dbfs celing and allows your mix space to breathe. you are able to leave tracks more dynamic than you would be able to do generally (if thats what you want).
you should find that not only is mixing easier but that your finished result has much more quality, seperation and depth than if you had pushed it all hard against the top from the start.
if you do this you will also find that its actually pretty hard to get anywhere near to 0dbfs without really turning up the master fader or using something to get quite a bit of gain. your mix will probably sit about -6dbfs peak but you will have not once had to worry about watching levels. you would then just send this, as is, to the ME who would eat up the remaining headroom and get it where you wanted it to be. mixes done this way are almost always able to go louder and sound better than those done hot from the start
its really desperately simple and yet so many people out there seem to not have come to terms with this but instead continue to record everything hot, push it continually hard against 0dbfs from the start, find mixing then much more difficult and suffer from all the common complaints
帖子名字是"Record final mix as close to 0db or always left (at least) -2 db for ME? "
论坛地址是http://gearslutz.com/board/index.php3,以前HIMHUI在这里介绍过的;
这里是其中一段:MASSIVE Master 的发言
If the tracks are tracked where the gear wants to be (somewhere around 0dBVU / -18dBFS) it's almost difficult to get a mix to peak that high without trying.
I don't mix an awful lot anymore - But most of the time, they just "naturally" have peaks that rarely exceed -8 or -9dBFS.
Don't worry about "hot" - You've got more headroom than at any time since recording was just an idea. Use some of it.
Sidenote: 90% of the time, mixes that come in with "hot" levels, overly compressed for the sake of sheer volume at ANY stage (at the track level, at the group level, on the main buss, etc.) are the ones that don't have the potential to be "in-your-face" loud in the end. On the contrary - Mixes that come in peaking at -12dBFS, with barely any compression that didn't actually *serve the mix* -- Mixes that were well cared for, with generous amounts of headroom at every stage in the game - THOSE are the ones that have the most potential for sheer volume in the end. They're the ones that can handle it, they're the ones that have room for it. They're the ones that can "take the abuse" when the client says "make it freakin' loud."
But again, that's only about 90% of the time...
SO - Rule of thumb - If you're even the slightest bit concerned about your levels, they're probably much too hot.
neilwight 发言
the real issue that often gets over looked somewhat by many clients is actually how you get to the final value, not really what it is as such.
ive had mixes with peaks of -3dbfs and greater that have had very little compression, certainly none on the 2buss and as a result have been both dynamic, excellent sounding and using all of the 24bits.
others have come in where they have left me -6dbfs after reading some internet discussions but they have still limited or heavily compressed the audio to get there. as such its had "headroom" to them but actually had none at all. its been no different than it just being smashed to 0dbfs then turned down -6dbfs.
all you get from this is a quieter hypercompressed flat topped audio.
turning it down after this doesnt restore any of the space into the file.
as a general rule of thumb, anything that you apply purely for volume gain should be left off. 2 buss compression is great to use if it helps you get the sound you want on your tracks, its not great to use if all you are really using it for is to gain the audio up as far as it can go for example.
i know john (massive) goes on about this alot, for good reason, as do others but i'll say it again in relation to this anyways.
many people it seems need to think about and actually learn how to work properly in the digital realm. its actually alot different from the analog world.
you should use 24bits and record in with levels your interface is actually happy working with, anything from -18dbfs to -12dbfs peak values with faders set to unity. not only does this get a clean signal but it leaves tons of headroom on each track while still keeping massive quality benefits over 16bit recorded to 0dbfs.
once you start mixing you will find this massive amount of headroom really allows you space to both physically mix in without being cramped against the fixed 0dbfs celing and allows your mix space to breathe. you are able to leave tracks more dynamic than you would be able to do generally (if thats what you want).
you should find that not only is mixing easier but that your finished result has much more quality, seperation and depth than if you had pushed it all hard against the top from the start.
if you do this you will also find that its actually pretty hard to get anywhere near to 0dbfs without really turning up the master fader or using something to get quite a bit of gain. your mix will probably sit about -6dbfs peak but you will have not once had to worry about watching levels. you would then just send this, as is, to the ME who would eat up the remaining headroom and get it where you wanted it to be. mixes done this way are almost always able to go louder and sound better than those done hot from the start
its really desperately simple and yet so many people out there seem to not have come to terms with this but instead continue to record everything hot, push it continually hard against 0dbfs from the start, find mixing then much more difficult and suffer from all the common complaints
如果铁轨都被跟踪而齿轮要被(约0dbvu / 18dbfs ) ,它几乎很难找到一个组合,以峰高无尝试.
我不配合神速了,但大多数时候,他们只是"自然"的高峰期很少超过-8或9dbfs .
不必担心"热" ,你更净高比以往任何时候,因为唱片只是一个想法.使用了一些.
旁注: 90 %的时间,搭配得出了与"热"的程度,过分压缩为求数量,在任何阶段(在赛道上水平,在集团层面,主要巴斯等) ,是那些没有潜力可挖: "你的脸"的声音中结束.对恰恰相反组合来最高峰- 12dbfs ,几乎任何压缩,其实并没有*服务*组合--组合获得良好的照顾,数额慷慨的净高,在每一个阶段,在游戏中,这些都那些能够在最有潜力的数量,在年底前.他们自己可以处理它,他们是有充分的余地.他们自己可以"带儿" ,当客户说" ,使年freakin '响亮"
不过,只有大约90 %的时间… …
所谓经验法则,如果你连一点点关心你的水平,他们很可能过于炎热.
neilwight发言
真正的问题,往往超过获得的样子有点许多客户其实是你如何去最终价值,而不是什么真的是这样.
学院已经混杂峰- 3dbfs更大曾经很少压缩,无一定论2buss并且由于一直都充满活力,漂亮出色,并利用所有的24bits .
别人都在那里,他们都离开了我- 6dbfs看了一些网上的讨论却仍然有限,或大量压缩音频到达那里.正因为如此, "净空" ,但他们实际上都没有.它已经没有什么不同,只是被撞到0dbfs然后拒绝-- 6dbfs .
你能得到来自这是一个宁静hypercompressed单位超过音频.
谈到下来后,不加任何挽回的空间变成档案.
作为一般经验法则,凡是您申请纯粹为增益量应搁置下来. 2巴斯压缩是非常使用,如果它有助于你得到健全,你想对你的轨道,它并不太好用,如果你真的用它是为了获取音频起来至于到底能走举例.
我知道约翰(块状)接着这篇了很多,很好的理由,为别人做,但我会说,它再次就这个亮点.
很多人似乎要想一想,其实学习如何妥善工作,在数字化的境界.它其实是一个很大的不同,从模拟世界.
你应该使用24bits和记录水平界面,你其实是快乐工作,任何事情都必须从18dbfs - 12dbfs峰值与推子设置统一.这不但得到了清洁信号,但它留下吨净高每个轨道,但仍保持大量质量效益超过16位记录0dbfs .
一旦你开始搅拌,你会觉得这是相当庞大的净空真的让你的空间,无论在身体上兼收并蓄而不拥挤针对固定0dbfs celing让你的组合空间,以呼吸.你能离开轨道更有活力比你能做到一般(如果决定做你想要) .
你应该看到,不仅是混合容易,但你最后的结果有更优质,分离和深度比,如果你推它都很难对从顶部开始.
如果你这样做,你会发觉它其实是相当难求各地近0dbfs未经真的翻主推子或用一些东西有点好处.你的组合可能会坐视- 6dbfs高峰,但你有没有曾经担心看水平.你会只派这件事,就是向我是谁噬咬剩余净高算了,你想要它.搭配这样做几乎总是能去的呼声和健全较热做,从一开始
它真的非常简单,但有多少人似乎不来而言,这反而继续记录一切热点,推动它不断艰苦斗争0dbfs从一开始就找到搅拌,然后要困难得多,并受到各方面的共同投诉
我不配合神速了,但大多数时候,他们只是"自然"的高峰期很少超过-8或9dbfs .
不必担心"热" ,你更净高比以往任何时候,因为唱片只是一个想法.使用了一些.
旁注: 90 %的时间,搭配得出了与"热"的程度,过分压缩为求数量,在任何阶段(在赛道上水平,在集团层面,主要巴斯等) ,是那些没有潜力可挖: "你的脸"的声音中结束.对恰恰相反组合来最高峰- 12dbfs ,几乎任何压缩,其实并没有*服务*组合--组合获得良好的照顾,数额慷慨的净高,在每一个阶段,在游戏中,这些都那些能够在最有潜力的数量,在年底前.他们自己可以处理它,他们是有充分的余地.他们自己可以"带儿" ,当客户说" ,使年freakin '响亮"
不过,只有大约90 %的时间… …
所谓经验法则,如果你连一点点关心你的水平,他们很可能过于炎热.
neilwight发言
真正的问题,往往超过获得的样子有点许多客户其实是你如何去最终价值,而不是什么真的是这样.
学院已经混杂峰- 3dbfs更大曾经很少压缩,无一定论2buss并且由于一直都充满活力,漂亮出色,并利用所有的24bits .
别人都在那里,他们都离开了我- 6dbfs看了一些网上的讨论却仍然有限,或大量压缩音频到达那里.正因为如此, "净空" ,但他们实际上都没有.它已经没有什么不同,只是被撞到0dbfs然后拒绝-- 6dbfs .
你能得到来自这是一个宁静hypercompressed单位超过音频.
谈到下来后,不加任何挽回的空间变成档案.
作为一般经验法则,凡是您申请纯粹为增益量应搁置下来. 2巴斯压缩是非常使用,如果它有助于你得到健全,你想对你的轨道,它并不太好用,如果你真的用它是为了获取音频起来至于到底能走举例.
我知道约翰(块状)接着这篇了很多,很好的理由,为别人做,但我会说,它再次就这个亮点.
很多人似乎要想一想,其实学习如何妥善工作,在数字化的境界.它其实是一个很大的不同,从模拟世界.
你应该使用24bits和记录水平界面,你其实是快乐工作,任何事情都必须从18dbfs - 12dbfs峰值与推子设置统一.这不但得到了清洁信号,但它留下吨净高每个轨道,但仍保持大量质量效益超过16位记录0dbfs .
一旦你开始搅拌,你会觉得这是相当庞大的净空真的让你的空间,无论在身体上兼收并蓄而不拥挤针对固定0dbfs celing让你的组合空间,以呼吸.你能离开轨道更有活力比你能做到一般(如果决定做你想要) .
你应该看到,不仅是混合容易,但你最后的结果有更优质,分离和深度比,如果你推它都很难对从顶部开始.
如果你这样做,你会发觉它其实是相当难求各地近0dbfs未经真的翻主推子或用一些东西有点好处.你的组合可能会坐视- 6dbfs高峰,但你有没有曾经担心看水平.你会只派这件事,就是向我是谁噬咬剩余净高算了,你想要它.搭配这样做几乎总是能去的呼声和健全较热做,从一开始
它真的非常简单,但有多少人似乎不来而言,这反而继续记录一切热点,推动它不断艰苦斗争0dbfs从一开始就找到搅拌,然后要困难得多,并受到各方面的共同投诉
高 高 实在是高
