Media moved online and audio has to keep up. Sound designer Bryant Falk explains how to produce internet audio with clarity and the right loudness.
Much has changed in the world of communications. One of the biggest adjustments has been the way in which we watch and listen to media. Think about it. As little as 10 years ago you had three main venues. TV, Radio, and the Cinema. Now with the computer you have the Internet, and of course, it’s companion, the iPod (or iPod-like device). This along with the new compression algorithms like MP3 (ok, it’s not even considered new anymore), AAC, MP4, and others have led to a new segment of audio production.
The big issue with internet audio production comes down to clarity and loudness. This simplicity stems from the format your listener is going to be receiving your audio. More times than not, your production will be monitored with computer speakers or headphones in less than ideal conditions (busy offices, traffic-filled streets,… or on a sun-filled Miami beach?). We have the laptop to thank for these audio woes. So, when we are given lemons you know what they say… Make an audio mix that doesn’t suck!
The world wide web tends to be the “Wild West” of communications. No standards or requirements for posting media. This has led to most people posting audio as hot as possible. So to keep in the game and compete with the existing trend, we also must mix hotter.
Most TV audio is mixed at –10 to –12db. I personally like to mix internet audio at –2db. This level allows for a hot signal while also keeping some headroom to prevent clipping on systems. A good reference for level is to compare against other media sights that post similar material to your own. When referencing, make sure you have as many variables locked down as possible. One example is to know exactly what your speaker volume is set to, and always have it there when making comparisons. Another balance is to use the same compression format and settings. For example, deciding if you will use variable bit rate encoding and at what streaming level (128, 160, 320 kbps).
Next to consider is the clarity issue. Most computer monitor speakers just don’t have the performance capabilities to reproduce the full audio spectrum effectively. With this in mind, make sure to mix for what matters.
We have three main components in a mix: dialogue, music, and sound effects. What matters most to your project can be very subjective. Below I’ve broken it down into a type of cheat sheet for mixing. On the left is the description of the film project, and on the right is the order of our three audio components as to what is most important.
TYPE OF FILM AUDIO MIX PRIORITY
Slapstick Comedy Sound Effects, Music, Dialogue Drama Dialogue, Music, Sound Effects Action Adventure Sound Effects, Music, Dialogue Romance Dialogue, Music Sound Effects
Now the above is just a rough guide, very rough. Many movies are a combination of genres, say a romantic comedy, or an action-filled drama. But it should help you get a feel of where your project sits. One rule to always be aware of is if your dialogue is sharing additional information it must be heard! Dialogue is unique in its ability to relate feeling, data, and direction.
Now that you’ve prioritized your audio, the next big hurdle is EQ. On this I am rather aggressive. Most systems can’t handle the low frequency content, so I tend to minimize this area. Keep in mind, there are usually mid to high frequencies in your lows. Like a kick drum, for example. It usually has a lot of bass or low frequencies, but it also has mid to highs. The beater that hits the drum creates them. Bringing these out will create the illusion of a louder kick drum. Minimize your room ambience. The computer and surrounding area will add there own. EQ sound effects that sit right over your dialogue track – an example is a car engine. Using a parametric EQ, aggressively carve out the area in the car engine sound to allow for the dialogue to be heard. I find more aggressive EQ on Internet mixes leads to an effective mix on those tiny speakers we all have.
Bryant Falk has been a producer and engineer for over 12 years working with such clients as The Ricki Lake Show, Coca-Cola, Sports Illustrated, Valley National Bank, and MTV’s The Shop. His company Abacus Audio (www.abacusaudio.com) handles many aspects of the audio production field from creative and production to mixing and final output.
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