editing Audio levels

[Cracker Funk]

Mixing audio. What are the standard max audio levels for dialogue, and for bigger stuff, like music?

Of course I tried googling, but mostly all I found was a bunch of technical jargon that's way over my head. All I understand is that little audio meter that ranges from -infinity, through -30, to 0.

What I've gathered, so far, is that normal peaking, depending on who you're getting advice from, should never top -6 to -3. Really? I should never creep towards 0?

Actually, I kind of already knew that, or at least sort of. My primary question is this --

What about a scene that is just dialogue? How loud should it be? How quiet is too quiet?

It wouldn't really make sense for me to have a dialogue-only scene peaking at -3, would it? Cuz that's the peak I save for the really loud scenes, when there are sound FX, yelling, and bombastic music (oh yes, my soundtrack is bombastic). Intuition tells me that, obviously, the dialogue-only scene should be more quiet.

I just can't figure out how quiet.

1. If it's a "regular" conversation, what should it peak at?
2. How low can I go, while still being heard? What if somebody's whispering?

Thanks, in advance, for the help!

 

[Alcove Audio]

Although the audio editing platform does make a difference once you step into the realm of "professional" audio/video work, at the low budget level Vegas will do just fine as will many other DAW and NLE systems. What is important is your understanding of how audio works - both the technological aspects and its affect upon the audience. When I was learning computers back in the early 80's (programming in "C", etc. - there was no such thing as Windows or the 'net and personal Fax machine was the height of chic) the guy who was teaching me told me "It's very simple; but there is one HELL of a lot of simple!" The same applies to audio; you have to understand basic concepts and how to apply those concepts in varying, even contradictory, situations. Two guys I admire, Ric Viers and David Sonnenschein, are currently giving a six-week webinar series for audio professionals. I'm posting the promo vid to give you an idea of a few of the things that experienced sound professionals focus upon. (Yes, I have their books and follow a lot of their precepts.)

https://www.youtube.com/watch?v=yPV8he1cQ2s​

From Ric Viers "Rode Rage" series (Ric endorses Rode products):

https://www.youtube.com/watch?v=vRpacB1aMf4​

 

[PositiveFuture]

Rerecording - mixing - is probably the hardest part of audio post.

I don't feel so bad then.

When I worked with analogue music I could ride the faders and do things intuitively. At this micro-budget level I am mixing digitally with no faders.

Thanks to everyone for reminding me to keep it below -2...

 

[Cracker Funk]

Rerecording - mixing - is probably the hardest part of audio post.

Just as a rule of thumb, dialog should be at about -20, screams and yells should peak at about -12. That gives headroom for explosions, crashes, etc. and the score to have more sonic impact.

I almost never use compression on dialog, but do use a limiter on the dialog buss. I will compress sound FX to increase their impact.

As a rule my master levels are always on the quiet side; I probably peak at about -4. Once the mix is completed I increase the gain of the entire mix to -.2.

I know it's way more complicated than this, but thanks -- this dumbing down is exactly what I was looking for.

Just as was the case with my lackluster cinematography, I just don't see how I can take the many years needed to become an expert on audio, so I'm doing the best I can, in my amateur way. I'm hoping that my storytelling is enough to keep my audience engaged, and that perhaps somebody might hire me for that. Or, perhaps I can use this movie to attract funding for the next feature, so that I can hire somebody who knows what the F they're doing in audio.

 

[chilipie]

I know it's way more complicated than this, but thanks -- this dumbing down is exactly what I was looking for.

Just as was the case with my lackluster cinematography, I just don't see how I can take the many years needed to become an expert on audio, so I'm doing the best I can, in my amateur way. I'm hoping that my storytelling is enough to keep my audience engaged, and that perhaps somebody might hire me for that. Or, perhaps I can use this movie to attract funding for the next feature, so that I can hire somebody who knows what the F they're doing in audio.

Snap. I've done a fair bit of mixing for gigs and live shows before, and even some music recording, but I'm starting on the audio post for my feature and I'm more than a bit lost.