jonleerichfilm
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“-12db range” for Shotgun Mic??
- Thread starter jonleerichfilm
- Start date
Disclaimer: I am not an audio expert.
That said, this sounds about right to me: https://www.massivemastering.com/blog/index_files/Proper_Audio_Recording_Levels.php
"Stop recording so hot. Instead of trying to get your tracks to peak at -2dBFS, have them peak between -20 and -12dBFS and your recordings will almost undoubtedly sound better. Mixing will be easier. EQ will be more effective. Compression will be smoother, more manageable and predictable. You're in the age of 24-bit digital recording - Relax and enjoy the headroom."
That said, this sounds about right to me: https://www.massivemastering.com/blog/index_files/Proper_Audio_Recording_Levels.php
"Stop recording so hot. Instead of trying to get your tracks to peak at -2dBFS, have them peak between -20 and -12dBFS and your recordings will almost undoubtedly sound better. Mixing will be easier. EQ will be more effective. Compression will be smoother, more manageable and predictable. You're in the age of 24-bit digital recording - Relax and enjoy the headroom."
This isn’s a one-dB-value-fits-all scenario.
Speech has a pretty decent dynamic range, from whispers and soft conversation to heated argument to outright screaming. When -12dB is mentioned as a target for sound recording, that’s an average. With dialog, the average can have its own range, generally -20dB to -12dB. That doesn’t mean you don’t ever cross -12dB.
Set your recording levels to average between -20dB (softer conversation) and -12dB (normal-ish conversation). One of your actors may suddenly laugh, or yell, and that very well may hit -6dB or even -3dB. As long as it doesn’t clip at that point, you’re safe. The point is to get healthy recording levels while leaving your self enough headroom to catch peaks. That’s why -12dB is often cited as it provides optimum levels with plenty of headroom. Remember as well that meters only tell part of the story; your ears are your most important tools, so keep those headphones on whenever you record sound.
We can talk about 32-bit float, but unless you’re using a recorder that has that option, and you know how to handle it in post (or if you aren’t doing post, your post facility knows how to work with it), it’s not really an option. I rarely use 32-bit because post houses generally aren’t ready to deal with it, and for cable network shows they still specify 24-bit/48kHz recording. I’ll use 32-bit if I’m recording certain sound effects that I will be dealing with myself.
Are you recording on anything other than your DSLR? If not, 32-bit float isn’t even in the conversation. More important, as Rick mentions, is mic placement. A camera-top mic is a terrible way to record dialog, and an actor standing 10’ away with levels adjusted to hit -12dB mean that your sound is going to sound distant and overwhelmed with background noise. Get the mic onto a boom pole and into the hands of someone who knows how to swing a boom. Or use wireless on your talent. Or, in a perfect world, both. But that requires an entirely separate sound kit.
Speech has a pretty decent dynamic range, from whispers and soft conversation to heated argument to outright screaming. When -12dB is mentioned as a target for sound recording, that’s an average. With dialog, the average can have its own range, generally -20dB to -12dB. That doesn’t mean you don’t ever cross -12dB.
Set your recording levels to average between -20dB (softer conversation) and -12dB (normal-ish conversation). One of your actors may suddenly laugh, or yell, and that very well may hit -6dB or even -3dB. As long as it doesn’t clip at that point, you’re safe. The point is to get healthy recording levels while leaving your self enough headroom to catch peaks. That’s why -12dB is often cited as it provides optimum levels with plenty of headroom. Remember as well that meters only tell part of the story; your ears are your most important tools, so keep those headphones on whenever you record sound.
We can talk about 32-bit float, but unless you’re using a recorder that has that option, and you know how to handle it in post (or if you aren’t doing post, your post facility knows how to work with it), it’s not really an option. I rarely use 32-bit because post houses generally aren’t ready to deal with it, and for cable network shows they still specify 24-bit/48kHz recording. I’ll use 32-bit if I’m recording certain sound effects that I will be dealing with myself.
Are you recording on anything other than your DSLR? If not, 32-bit float isn’t even in the conversation. More important, as Rick mentions, is mic placement. A camera-top mic is a terrible way to record dialog, and an actor standing 10’ away with levels adjusted to hit -12dB mean that your sound is going to sound distant and overwhelmed with background noise. Get the mic onto a boom pole and into the hands of someone who knows how to swing a boom. Or use wireless on your talent. Or, in a perfect world, both. But that requires an entirely separate sound kit.
While you're all here, maybe someone can explain a situation I had recently. Recording some voiceover with an SM58 straight into a Sony FX6.
Even though levels never go beyond -10dB there is definite distortion when my mouth gets very close to the mic. I surely can't be overloading an SM58! I'm not even shouting. Waveform does not look clipped.
I adjust the ref. / sens to -60dB (from -50) so the overall levels are now HIGHER. I reduced the levels on the side of the camera so that peaks are below -10dB again and the distortion is now gone. Does that make sense to anyone? I don't have a mental model that would explain it.
Even though levels never go beyond -10dB there is definite distortion when my mouth gets very close to the mic. I surely can't be overloading an SM58! I'm not even shouting. Waveform does not look clipped.
I adjust the ref. / sens to -60dB (from -50) so the overall levels are now HIGHER. I reduced the levels on the side of the camera so that peaks are below -10dB again and the distortion is now gone. Does that make sense to anyone? I don't have a mental model that would explain it.
Rick R
Veteran
I am not familiar with the Sony FX6. It is possible the audio input stage is being over-driven and distortion can be present regardless of the record volume and meter reading. Use an external mixer and send line level to the cam (assuming it can be switched to +4dB line level) .. or, record on a separate audio recorder.