Louder Recordings?

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andymc

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Hi,

i didn't know where to post this.. so i just thought i should ask here. when i do my recordings, the sound seems low, is there any way to make it louder (besides doubling the tracks)?

i hope i provided enough information, if not sorry for the lack of detail!
 
I don't know what program you're using to make your songs, but on Cubase if I raise the volume up on the master fader and then resave the song it will save the song at the boosted volume.
 
andymc said:
Hi,

i didn't know where to post this.. so i just thought i should ask here. when i do my recordings, the sound seems low, is there any way to make it louder (besides doubling the tracks)?

i hope i provided enough information, if not sorry for the lack of detail!
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It's okay to be a little low on the original recording, especially if recording in 24bit.

If your peaks are below 0dBFS you can raise the level as dintymoore suggests or by using a peak level normalizer. To get it louder than that you have to sacrifice your peaks to a limiter.
 
andymc said:
Hi,

i didn't know where to post this.. so i just thought i should ask here. when i do my recordings, the sound seems low, is there any way to make it louder (besides doubling the tracks)?

i hope i provided enough information, if not sorry for the lack of detail!
Click to expand...
It's not "low" -- It's "normal" -- Most of the audio out there today is anything but normal. If you properly calibrate your monitoring chain, you'll see what I mean and not worry about it anymore.

That all said - Final volumes are determined during the mastering process. I won't go into the whole "mastering" thing (as I'd hope it'd be self-evident).

If you really need to simply increase volume (PART of the mastering process), slap a limiter on and go. Preferably AFTER you're happy with the mixes.
 
JasonJohnson said:
Sacrificing your peaks to a limiter works a bit and is fun. Another helpful tool is a multiband compressor. ...]
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I would tend to suggest multiband as a second (or fourth' :) after eq, remix..) specific fix tool vs good old single band compression + limiter (particularly just starting out.
I guess the caution falls in that multiband is introducing eq balance variables. (presumes you like the mix and the point was 'density, minimal harm.
 
Dr. Varney said:
properly calibrate your monitoring chain

Duly bookmarked as bedtime reading. Thankyou!

Dr. V
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same here =) I've been finding peoples personal websites on here with articles extremely informative.


But - I think this question might fit here.

I've been told about peaks when tracking - but as I add more tracks, even if they all peak around -12, they end up much higher on the master fader.

Is there a rule of thumb for peaks during mixing?
 
Opivy said:
I've been told about peaks when tracking - but as I add more tracks, even if they all peak around -12, they end up much higher on the master fader.

Is there a rule of thumb for peaks during mixing?
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I've heard it said that every time you double the number of inputs to a mix you gain approximately 3dB. Maybe take that into consideration when starting your mix.

But ultimately, as long as you aren't clipping you are probably okay. I try to track around -18dBFS peak as that seems to correspond to 0dBU on the analog elements of the systems I use. I start my mixes around -12dBFS peak and they creep up as I go, sometimes to as much as -9dB.
 
ez_willis said:
don't let it clip. you'll know it when it happens. lol. if it's not loud enough, turn it up.
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....or limit the master output, or squeeze every bit of dynamics out of each individual track with compression. :D
 
Opivy said:
Is there a rule of thumb for peaks during mixing?
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Assuming your interface is calibrated to around -18dBFS (it's a pretty safe bet), then you want the "meat" of your signal riding around -18dBFS with occasional peaks above (maybe to -12dBFS). I normally stay a little lower (my tracking converters are calibrated to -20dBFS and I 'pretend' they're at -24). As typical, percussives can be a little more "peaky" and sustained sources should be far less.

More of that here if you're bored: http://www.massivemastering.com/blog/index_files/Proper_Audio_Recording_Levels.php

(EDIT): D'oh!!! I'm sorry - I thought it said 'peaks while tracking' -- Peaks while mixing are an entirely different story where the typical rules don't apply in the same way -- "Naturally" non-clipping (no limiting, no excessive compression for the sake of volume) is generally fine...
 
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thanks Massive!

I'm doing this digitally, and those numbers don't look familiar to me though-

So, to keep from clipping - the master shouldn't go over 0db. (to my understanding, that is where clipping occurs)

Should some room be left? What kind of problems can occur during mastering if my peaks are reaching -1db?
 
Opivy said:
thanks Massive!

I'm doing this digitally, and those numbers don't look familiar to me though-

So, to keep from clipping - the master shouldn't go over 0db. (to my understanding, that is where clipping occurs)

Should some room be left? What kind of problems can occur during mastering if my peaks are reaching -1db?
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I think he's saying they should peak between -12 and -20db. "FS" stands for "full scale", which is zero on digital gear.

People got into a screaming match in the last several years, and started making everything as close to zero db as they could so their song would pop out on the radio. The problem is that it sounds like screaming, so that's why it sounds better to leave that -12 to -20 like John is saying.

I think that's been the problem with cymbal samples since day one. They are all recorded loud and then turned way down but it's too late because they're already harsh. Cymbals are extremely complex and to my ears they sound best when they're recorded at the volume they'll be used in the final mix instead of the normal way or recording them loud and then turning them down. The more headroom the better on cymbals.
 
If I'm tracking with my peaks around -12, after all tracks are done - do I just move my master fader down until the peaks from the master out are at -12?
 
At the risk of causing all sorts of confusion ----

I was talking about *TRACKING* levels for a minute there (which should generally be bouncing around -18 to -12dBFS, maybe the occasional snare or kick a little higher).

*MIXING* levels are a totally different animal -- If you're summing digitally, it's simply a matter of avoiding -0.0dBFS 'naturally' (that is, no 2-buss limiting or excessive compression).
 
dintymoore said:
People got into a screaming match in the last several years, and started making everything as close to zero db as they could so their song would pop out on the radio. The problem is that it sounds like screaming, so that's why it sounds better to leave that -12 to -20 like John is saying.
Click to expand...

It's important to distinguish between peak and RMS. When I'm tracking and mixing I use peak levels as my reference point, tracking around -18dBFS peak and mixing around -12dBFS peak. But for "mastering" a song I think in terms of RMS and I usually shoot for something around -16dBFS RMS unless asked do go higher or lower. When "mastering" a CD I use my ears to determine the relative levels between songs and nudge them around from the -16dBFS RMS or whatever was my starting point.
 
I'm starting to get it!

But quick question - what's 2 bus compression?
 
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