Split Audio Broadcast Levels

Hey, guys. I'm cutting my first project for broadcast, and I have a question about split audio levels. My sequence is set to the usual -6dB ceiling, but when I convert from stereo to dual mono and split the music and dialogue tracks, the levels suddenly jump up 6 dB. Why is that? I've had to lower everything to -12dB in order to compensate, and I want to make sure that I'm doing it right.
Also, do I need to pan the bars and tone, or should I leave them in stereo?
Thanks, and happy holidays.

Well, it is true that every broadcaster has different specs for audio. Once had to do a show for Starz that also aired on MSNBC and local NBC... the specs for all were different. Video and audio...all different. Made it kinda expensive to deal with...almost restrictively so. We had to tell them that for this to be economical we needed a consensus... and they gave us some leeway.
Thank goodness.
Shane

Similar Messages

  • Audio Broadcast levels

    Hi,
    After reading on the subject, here's what i found...and “think” being good.
    But i want to verify...
    When working in full scale (up to 0 dbfs) and -12 db test tone:
    Average -10 to -6 dbfs with peaks at 0 dbfs
    When working in "broadcast" standard and -20 dbfs test tone.
    -20 dbfs being calibrated to an equivalent 0 VU meter
    for normal TV programs: Average -20 dbfs with peaks never surpassing –10 dbfs.
    For commercials: Average –14 dbfs with peaks never surpassing –10 dbfs.
    Does it make sense ?
    Can we rely on digital db scale ?
    ...or must we always use a analog VU meter ?
    thanks

    Commercials don't really play hotter. They are perceived hotter because the audio is always overcompressed.
    A quality television program (or any audio recording for that matter) has dynamic range. And a lot of it. That means there are quiet parts and loud parts. If you watch the VU meters, they really bounce. Most people think things sound better that way. Open air, space, good recordings.
    TV Commercials compress the crap out of the audio to make them sound really loud without actually making them louder. There's no quiet parts, only loud parts. If you watch the VU meters on a commercial, it's more like on/off. Sound/no sound.
    Because everyone has to follow the same peak rule, commercials are just compressed to he!! to gain percieved volume. In actuality, they don't peak any higher than the program they're in (unless someone in Master Control fell asleep).

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  • Broadcast levels workflow

    Hi there,
    I teach Journalism production to undergrauate journalism students. We teach the Adobe apps: Audition, Premiere, InDesign, Photoshop.
    In Audition, radio students construct stories with various recorded or sourced audio files in the Multitrack view, then mix them down to the Edit view for saving as MP3 files.
    Naturally these source files vary in level and quality, depeding on where they came from.
    I'm just wondering what other people's workflows are to get a neat, broadcast level mixdown with files of varying level, and how one workflow might be better than other workflows (or the ones we're using now). I'd like to settle on a "best practice" workflow to document in my teaching.
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    Matt Petersen wrote:
    4) Something else?
    Oh, definitely that... In a nice, idealised student setting you can spend loads of time polishing everything after the event... but in the real world, stuff happens. For a start, if you have loads of different takes, all of different levels then what tends to happen is that each individual file is sort-of okay in itself, but not necessarily compared to any other file. So firstly you have to get all of these files to at least a vaguely consistent level, and that's where batch processing comes in. Assuming that the basic recording technique was okay, then batch normalize all of the individual files to about -1dB. This is way quicker than doing each one by hand, and it means that the next stage in the process you can generally whizz through a lot more easily without mucking about with levels all the time.
    So now you can put stuff in the mix quickly and easily, and play it out directly if you are desperate - which at some stage you are going to be. If you want to make sure that the final output sounds a bit more homogeneous, then all you have to do is to put some multiband compression into the master stage, and hey presto, what comes out sounds pretty good. And when you have to redo things, or use different parts of what's there, it's dead easy to swap sections around from your files and still have instant, good-sounding output without doing anything else at all. And that's what most real-life radio production is about - good results fast, because the editorial production team won't wait.
    So the basic rule is to get all your source material normalized first - and if anything else about it needs fixing, do that first too. And do as much of this stuff in batches as possible. One of the main reasons that Audition is used the world over for radio is because you can achieve a heck of a lot quickly in batch mode, and I'd say that any radio course that doesn't teach students what the real advantages of this method of working are isn't exactly doing their future employers much of a service at all.

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    libovh wrote:
    Especially the clip whose audio is 'covering' another... the timeline doesn't show it's audio as extending, and it would appear only that the clip for which audio has been shortened, is still there, or at "0"... what gives? If you uncollapse the audio, or detach it, you do, once again, see the split audio.
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