Dealing With Volume Spikes In The Recorded Waveform

  • Thread starter Thread starter Dr. Varney
  • Start date Start date
Don't forget about fader automation, either. Compression might not even be the answer for some/most passages. If the sound goes too loud for half a second, pull the volume fader down for that half second. If the sound tails off at the end, pull the fader up.

The simplest answer is usually the best, and nothing is a simpler solution to a volume problem than the volume fader.
 
Yes, there is some great advice here... and proven. You're all right. Between posts, I've paced a long sample; monitor sometimes off, or else listening with eyes closed. The only reason to look at the monitor now is to hit buttons on the screen, which I can't access with my keyboard.

I've decided to work on pacing all the samples first and deal with the volume automation at mastering stage. Now I come to view this in retrospect - the way I've been doing things so far makes for very fussy editing. I think I need to address volume spikes in a more global manner, for the sake of consistency, over the finished piece.

So thanks... You guys have really helped me!

What I want now is a control surface that I can use as transport with programmable editing features. I've got my eye on this.

Dr. V
 

I think these can be a great substitute for the keyboard and mouse, just to get a hands-on approach that feels more comfortable, but I don't think you need one just so that you'll mix more with your ears and less with your eyes.

Now, I'm not bashing in the slightest so don't take me the wrong way :) Just think about why you're getting one before you spend the cash :)
 
I think these can be a great substitute for the keyboard and mouse, just to get a hands-on approach that feels more comfortable, but I don't think you need one just so that you'll mix more with your ears and less with your eyes.

Now, I'm not bashing in the slightest so don't take me the wrong way :) Just think about why you're getting one before you spend the cash :)

Oh, no offence taken. :) It's a good point. No, the main two reasons I want one, are to get a more positive, real-world feel with the track sliders & knobs in the DAW and set up a convenient transport (if it will do that).

Already I've converted a secondary keyboard (compact qwerty) as a transport array.

Oh, and there's another reason... Man, you should see this thing light up in the dark!!! :laughings: I mean, do I need a better reason?

Dr. V
 
Oh, and there's another reason... Man, you should see this thing light up in the dark!!! :laughings: I mean, do I need a better reason?

Dr. V

[video=youtube;<object width="480" height="385"><param name="movie" value="https://www.youtube.com/v/nPDz3_996is&hl=en_GB&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="https://www.youtube.com/v/nPDz3_996is&hl=en_GB&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>]video[/video]

Get that :D
 
[video=youtube;<object width="480" height="385"><param name="movie" value="https://www.youtube.com/v/nPDz3_996is&hl=en_GB&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="https://www.youtube.com/v/nPDz3_996is&hl=en_GB&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object>]video[/video]

Get that :D

Wow, That reminds me of my alien abduction experience. They wouldn't let me bring my camera on board.

Dr. V
 
Honestly, I would never want to mix with a mouse. If for no other reason than I freqently have fingers on 3 or 4 faders nudging everything into place. Control surfaces are definatly good ideas.
 
Behringer are about right for my current budget but I think motorized sliders will break at this end of the price spectrum, so I'm going for the one with pots, because I think (as the buying advice suggests) they will be more sturdy. Like a mouse or keyboard, it doesn't have to be expensive to do it's job. What do you think? Sorry, I guess this is a subject for another thread...

Dr. V
 
Fair assumption but I don't think I am (although saying it is good advice). If I were working with analogue tape, I'm not sure what I'd do. I suppose I'd have no choice but to apply compression afterwards - though, isn't digital editing supposed to give us more flexibility and control over the recording afterwards?

Approaching the task digitally allows choices which, to you, would appear as though I'm trying to "Tame each transient into some homogenic level..." and that's not really what I'm trying to achieve. Rises and falls in speech volume give this piece it's expression. I wouldn't want to destroy that by homogenizing the volume levels.

I can assure you, it's not my first priority to get everything looking nice and orderly on the screen (again, good advice). I'm trying to correct how it sounds, not the way it looks. Some of the spikes spoil an otherwise nice speech and it so happens, that when I look at them, I can see it in the waveform. Isn't that one of the given bonuses with digital editing? I suppose not everyone would agree. I guess it can easily distract someone new to sound editing.

The reasons I can think of that anyone would make these assumptions is because I opened my post with a visual illustration of how the waveform appears to my ears and complained that my waveforn didn't look as I expected it to. I'm aware that the viz gives me only a rough snapshot of the sonic reality but, short of making MP3s and getting you to listen, it seemed the easiest way to illustrate my problem.

Don't get me wrong... I'm not offended or anything. :) I just want to set the record straight, that I'm not trying to edit my sounds on visual information alone, or take the life and breath out of my actors' performance, just because technology allows.

Actually, I think I would benefit greatly from owning an analogue reel tape deck. I agree it might offer good extra training for the ears, but for the other hassles it would bring to this process.

Now I am beginning to think I'm trying to correct volume too early in the process. Maybe you are right about me getting too 'microscopic' at this stage. I've always felt as though most people in here do things more efficiently than I do - making less fuss about little things, to start with - then polishing things up afterwards. I'd like to gain the kind of confidence I see around me in here. That's why I come here.

That aside, I'm reading your instruction on compression use. I find that really helpful, thanks mate! :)

Regards

Dr. V
Fair points Dr. Varney, and sorry for the assumptions :)

If there are certain words and/or syllables that stick out, as Chibi Nappa pointed out, one of the best ways to deal with these is good old volume automation. Also, compression in some cases may not even be the right tool for the job. For example you've got pronounced "sssssss" or "shshshshs" stuff, a de-esser would likely work better. In any case, like others recommended, post a clip so we can hear and have better understanding of what you're dealing with. That way we can give better advice.

Cheers.
 
Fair points Dr. Varney, and sorry for the assumptions :)

There's no need to apologise, but thank you, anyway. The advice was spot on sound, IMO and without doubt given in good faith. :)

If there are certain words and/or syllables that stick out, as Chibi Nappa pointed out, one of the best ways to deal with these is good old volume automation. Also, compression in some cases may not even be the right tool for the job. For example you've got pronounced "sssssss" or "shshshshs" stuff, a de-esser would likely work better. In any case, like others recommended, post a clip so we can hear and have better understanding of what you're dealing with. That way we can give better advice.
Cheers.

De-essing is a preset for one of the VST compressors I have here. I've used it a couple of times - just as a preset. It looks as though I'll be using a variety of stuff that's been suggested. I've learned a lot in this thread, thanks to you guys.

I've just discovered something rather groovy with the Edison... Take a look at this:
fledisonve001.jpg


Yep - that's a volume envelope feature which I didn't know existed. It's just like setting an automation curve, except I can just save the wave file again, with the changes. Perfect for what I want in this instance.

I've pulled out some arbitrary nodes, just to illustrate. That roller-coaster shape makes for a nice smooth result. It's impossible to tell any adjustment has been made - until compared with the original rush.

Of course, we're back to a visual but still, it makes perfect sense, since automation is partly about drawing curves, otherwise, I don't think I could drag a slider in time to catch the spikes or smooth the action in quite as elegant a manner as this. It's much more accurate, for me at the moment.

I think I will use this to tame some of the more extreme spikes, then let the limiter loose on it, at the mastering stage.

Dr. V
 
Last edited:
Voice Sample Audio Clips Posted.

As promised, here are two sound clips of the rushes before any editing.

The first one is my voice, used as a control sample.
http://soundclick.com/share?songid=9253492

The second one (hopefully) demonstrates where the voice changes in volume.
http://soundclick.com/share?songid=9253493

They don't sound this bass-heavy in the DAW and this might not be the best example of the problem, but near the end of the second sample, you'll get the general idea.

Thanks for listening.

Dr. V
 
Last edited:
Back
Top