Bare Essentials Audio Post-Prod Workflow at DVinfo.net

Miggy Sanchez · June 18th, 2012, 01:01 AM

Hi all,

I've spent considerable periods of time trying to get across most of the relevant posts and threads here, and elsewhere. My aim has been to find a 'formulaic' post-audio workflow within my NLE, which is Prem Pro CS4. However, I do have SOUNDBOOTH, so I am willing to explore.

The workflow would consist of an 'at minimum' number of steps to laying-out and processing my various audio signals for a more professional result.

I'm the producer of a community TV show, and typically my audio channels consist of:

1 X Presenter on lapel mic, often in busy event type environments
4XInterviewees on lapel, as above, usually in busy/loudish environments
1XRoyalty Free Music track, fading in and out at times
1X VO: Voice-overs either shot wild or in the studio

This is what I've been doing so far:

1. Assign individual channels to each of the differing signals i.e interviewee 1, presenter, music etc.
2. Ensure each clip on each audio channel is lighting up around the -6db mark. If clip signal is weak, I raise the gain on the clip.
3. On each individual channel I apply compression. To voice, my average settings have been: -25dB threshold, ratio of 2-3. Boost the make-up gain till clip is averaging -6dB. The royalty free music I do not compress.
4. Mix music in and try to cross-fade clips when/where necessary, always keeping an eye on level.

It's a spartan treatment of the audio I know. And I'm sick of neglecting something I really would love to work on.

As part of the workflow, I'd love to incoporate some steps to cleaning up background sounds/spill etc, within reason of course.

Anyway, I look forward to anything you may contribute!

Cheers
Mig

Ty Ford · June 24th, 2012, 06:00 AM

Hi Miggy,

I'd be watching how much gain reduction your -25dB compression setting is causing. I usually try to keep GR to -2 to -4 dB to prevent crushing.

Maybe also try a limiter in your main output, again not more than -2 to -4 dB.

Regards,

Ty Ford

Jerry Karvasale · June 24th, 2012, 06:40 AM

Ty is right, you should reduce the gain reduction. For music -6 to -12 can be acceptable for untrained singers, but you most likely need much less. Set the ratio first, 2:1 is pretty standard and is light compression.

You could try experimenting with EQ. Depending on quality of mics and if they are all matched or not you may not need it. It's better practice to cut EQ than to boost, maybe cut a small hole in the music track around 5000 kHz if there is a VO with the music. You could also experiment with a little bass boost or high freq boost to add sparkle to the voice.

Also, perhaps a little light reverb on a VO if it sounds to dry.

Richard Crowley · June 24th, 2012, 09:02 AM

It is not clear from your description whether you have a crew person mixing audio during the recording? Having a competent person dedicated to mixing sound would go a considerable distance to producing nearly air-ready sound in real-time. Consider that this kind of thing has been done millions of times live to air for decades with NO fancy software.

June 18th, 2012, 01:01 AM	#1
Miggy Sanchez Regular Crew Join Date: Nov 2010 Location: Melbourne Posts: 92	Bare Essentials Audio Post-Prod Workflow Hi all, I've spent considerable periods of time trying to get across most of the relevant posts and threads here, and elsewhere. My aim has been to find a 'formulaic' post-audio workflow within my NLE, which is Prem Pro CS4. However, I do have SOUNDBOOTH, so I am willing to explore. The workflow would consist of an 'at minimum' number of steps to laying-out and processing my various audio signals for a more professional result. I'm the producer of a community TV show, and typically my audio channels consist of: 1 X Presenter on lapel mic, often in busy event type environments 4XInterviewees on lapel, as above, usually in busy/loudish environments 1XRoyalty Free Music track, fading in and out at times 1X VO: Voice-overs either shot wild or in the studio This is what I've been doing so far: 1. Assign individual channels to each of the differing signals i.e interviewee 1, presenter, music etc. 2. Ensure each clip on each audio channel is lighting up around the -6db mark. If clip signal is weak, I raise the gain on the clip. 3. On each individual channel I apply compression. To voice, my average settings have been: -25dB threshold, ratio of 2-3. Boost the make-up gain till clip is averaging -6dB. The royalty free music I do not compress. 4. Mix music in and try to cross-fade clips when/where necessary, always keeping an eye on level. It's a spartan treatment of the audio I know. And I'm sick of neglecting something I really would love to work on. As part of the workflow, I'd love to incoporate some steps to cleaning up background sounds/spill etc, within reason of course. Anyway, I look forward to anything you may contribute! Cheers Mig

June 24th, 2012, 06:00 AM	#2
Ty Ford Inner Circle Join Date: Nov 2004 Location: Baltimore, MD USA Posts: 2,337	Re: Bare Essentials Audio Post-Prod Workflow Hi Miggy, I'd be watching how much gain reduction your -25dB compression setting is causing. I usually try to keep GR to -2 to -4 dB to prevent crushing. Maybe also try a limiter in your main output, again not more than -2 to -4 dB. Regards, Ty Ford __________________ Ty Ford's Audio Bootcamp Field Guide Ty Ford's Audio Video Blog

June 24th, 2012, 06:40 AM	#3
Jerry Karvasale New Boot Join Date: Jun 2012 Location: Chicago Posts: 14	Re: Bare Essentials Audio Post-Prod Workflow Ty is right, you should reduce the gain reduction. For music -6 to -12 can be acceptable for untrained singers, but you most likely need much less. Set the ratio first, 2:1 is pretty standard and is light compression. You could try experimenting with EQ. Depending on quality of mics and if they are all matched or not you may not need it. It's better practice to cut EQ than to boost, maybe cut a small hole in the music track around 5000 kHz if there is a VO with the music. You could also experiment with a little bass boost or high freq boost to add sparkle to the voice. Also, perhaps a little light reverb on a VO if it sounds to dry.

June 24th, 2012, 09:02 AM	#4
Richard Crowley Trustee Join Date: Aug 2007 Location: Portland, Oregon Posts: 1,238	Re: Bare Essentials Audio Post-Prod Workflow It is not clear from your description whether you have a crew person mixing audio during the recording? Having a competent person dedicated to mixing sound would go a considerable distance to producing nearly air-ready sound in real-time. Consider that this kind of thing has been done millions of times live to air for decades with NO fancy software.