Loudness (Chapter 1 page 5)

Loudness measurement is sometimes hard to understand. Sample 2a is louder at −19 LKFS, but still has a true peak of −9TP. Sample 2b is quieter at −24 LKFS, but also has a true peak of −9.

Record Sample Rate (Chapter 1 page 6)

These samples were recorded in the same booth by the same person. To best hear the differences, please use headphones.

The lower resolution file (3a) was recorded on a smartphone with a standard app at default settings. In this fast-paced world, sometimes a smartphone is all you have in the moment—but please reset the settings to record audio at the highest quality possible.

The higher resolution file (3b) was recorded on a Neumann TLM 103, through a Dante Focus RedNet X2P into AVID Pro Tools.

Distortion (Chapter 1 page 8)

This sample of distortion was created with the following conditions: it was recorded too close to the mic, and the mic preamp was set too hot going into the recording device.

Silence (Chapter 2 page 20)

In the documentary “Saving Sea Turtles”—mixed by Cheryl—one of the triumphant moments of the film was heralded not with a big swell in the music track, but, rather, with several beats of silence.

Thanks to filmmakers Jenny Ting and Michele Gomes of Interchange Media for allowing us to share this clip with our readers.

Mic Placement (Chapter 4 page 53)

On this low-budget documentary research shoot by Amy with only one lav, one person was anticipated for this interview slot, but a couple arrived. Since the schedule could not be adjusted for separate interviews, a joint interview was conducted, with the lav mic placed on the lapel of the subject on the right in such a position as to allow it to pick up both people. The recording came out better than anticipated due to the quality of the mic and good placement. But the sound files did require additional mixing by Cheryl in audio post in order for this interview to sound like the ones on either side of it. To let you hear the evolution, samples before and after the mix are provided: 6a is the final full mix, 6b is final mix with just the voices, 6c is the final string-out in premiere, and 6d is the vocal string-out only.

Thanks to Sara Grosvenor and the Bell/Grosvenor family for allowing us to share this clip with our readers.

WAV vs. MP3 (Chapter 5 page 81)

Use headphones in order to best hear the differences between these two files—one being a low-quality mp3 file, and one recorded as a high-quality WAV file.

Thank you to Matthew and Michelle Taylor who let us use voice samples from their film, “Marcel Duchamp: The Art of the Possible” www.amazon.com/Marcel-Duchamp-Possible-Jeff-Koons/dp/B07TN4TKK2

Foley Sound (Chapter 7 page 118)

8a is a sample from the final mix of a film that required Foley footsteps. Sample 8b is just the Foley footsteps recording. Sample 8c is a screen record of the Pro Tools session where the midi tracks were recorded from a keyboard with footstep samples programmed on board with Kontakt. After finishing the footsteps were recorded as midi data files on midi tracks in Pro Tools; they were then recorded back into Pro Tools as audio files so that the audio could always remain with the session if the original samples weren’t available. Remember midi is not audio—it’s data!

8a Foley footsteps recording

8b Final mix that required Foley footsteps

8c Screen record of the Pro Tools

Compression (Chapter 7 page 122)

As with all of the samples, we recommend listening through headphones.

Sample 9a is a screen capture video, showing how to “sweep” the frequencies to start finding an EQ setting for a voice. The sample then continues, showing how to set the parameters for this particular female interview subject. Q, Frequency, and Gain are all tweaked.

Sample 9b is a screen capture video of setting up EQ for a male voice.

Sample 9c portrays the different settings on a compressor and how it effects or does not affect the voice. One thing to keep an eye on is the amount of compression that is happening (middle meter) and the input and output of the meters. Remember, if audio does not meet the threshold set, no compression will occur. Likewise, no compression will occur if the compression ratio is set to 1:1.

Thank you to Matthew and Michelle Taylor who let us use voice samples from their film, “Marcel Duchamp: The Art of the Possible”

www.amazon.com/Marcel-Duchamp-Possible-Jeff-Koons/dp/B07TN4TKK2

Binaural Audio (Chapter 10 page 163)

To listen to these samples please use headphones.

One example was created from mono and stereo assets using the Dolby Atmos RMU, whereas the Quadcopter example demonstrates a binaural recording.

Quadcopter Record Credit: Kevin Durr, Recordist