Question about optimum recording LEVELS and volume discrepancies.

[mikehoman316]

Hi there, I'm a first time poster and relative noob with a question about levels.

I've been reading a book that recommends your peak levels for recording audio should be around -12 to -6db

Does this also hold true for the main output channel?

Usually when I've finished a mix with the main output at around this volume the bounce comes out extremely quite compared to other pro-recorded music.

Is this volume discrepancy normal? Is it a problem that should be rectified in the mastering stage or is it common practice to simply bump up the master volume so it peaks at greater than -6db?

I hope I'm making sense. Any advice would be appreciated. I'm using Logic Express 9 btw.

 

[CrowsofFritz]

Yes. The reason why pro-recorded music is louder is because of mastering. If you want you mixes to come up in volume, you can try putting a limiter on the master track.

 

[JimmyS1969]

Definitely use a limiter on the main outs for bouncing to listen on other systems. Be careful to constantly check it as you are mixing. A limiter can drastically effect the overall mix if abused. If you master elsewhere, make sure to remove it completely. I recommend Waves L2 but it aint cheap. I'm sure others can recommend a good free one.

 

[snow lizard]

Peak levels are a potential can of worms. Nobody really paid much attention to them before modern digital recording. Old style VU meters were typically very slow reacting devices that indicated sort of average volume levels. The meters themselves didn't react fast enough to show you any peak information.

To make matters worse, different signals, like say a distorted electric guitar vs. snare drum will have dramatically different relationships going on with the crest factor. One of these signals will peak close to its average level while the other will not.

The average level (sometimes called RMS) is the one that's important. This should be somewhere around "line level". Line level should give you plenty of headroom so the peaks fall where they may and everything's cool. Less expensive gear can sound better by running on the conservative side of this.

And yes, your recordings should be typically way less loud than commercial CD's if you're doing things properly. Everybody abuses limiters at the mastering stage simply to make the final product louder. Ironically, tracking things louder is more than likely to make the sonics fall apart long before you get there. Even when mixing you should keep some healthy headroom on the main channels. The limiter comes last in the process.

 

[Massive Master]

I've been reading a book that recommends your peak levels for recording audio should be around -12 to -6db

I'd go more in the -18 to -12dBFS range with most gear. More here if you're bored: Proper Audio Recording Levels | Rants, Articles | MASSIVE Mastering

Does this also hold true for the main output channel?

There should definitely be some amount of "natural" (no limiting, no excessive compression on the 2-buss, etc.) headroom. You don't need any specific amount -- a dB or two, or ten, or twenty -- In 24-bit digital, you really can't have "too much" headroom unless you're doing something really odd.

In any case, the most critical part of the whole "headroom" saga is tracking levels. "Lower within reason" (really, anything peaking around -24dBFS to -15dBFS or so, maybe a whisker hotter for high transients) is almost universally better.

Usually when I've finished a mix with the main output at around this volume the bounce comes out extremely quite compared to other pro-recorded music.

As mentioned, totally normal. The "pro" stuff was at normal levels also (before it was all but wrecked by the current craze for ridiculous playback levels). You can do the "self-crush" thing as mentioned, but I'd wholeheartedly suggest saving a "normal volume" version first.