<<1. How do I decide how much to increase the volume by? It seems to me tha=
t normalising to a particular level will have haphazard results because it =
all depends on the loudest sound in the recording. Should I pick a typical =
piece and adjust till its peaks are at some particular level? If so, what l=
evel? Or should I be listening to some sort of reference track and doing it=
by ear? What I'd like to avoid is the listener having to dive for the volu=
me control because it's too loud or soft.
Message: 2.
Subject: If the above will result in clipping of the loudest parts, what should
I=
do about them? Audacity has a Compress function which looks like it might =
help bring them down a little without affecting the quieter parts. Is there=
a better way? (An example of the problem would be where for a few seconds =
a bird sings just a couple of metres from the microphone.)>>
1 & 2 are part of the same question. Normalization, if your software implem=
ents what is truly normalization, cannot result in clipping. At least in fu=
ll featured programs, the software scans the file to find the loudest peak,=
then brings that peak up to a level chosen by the user. If your software d=
oesn't find the hottest peak & establish that as the loudest possible momen=
t it isn't normalizing, it is merely adding gain. That said, there is not r=
eally much real world usefulness in normalizing. If low level detail is bei=
ng lost in the background ambience of your listening situation while the pe=
aks are plenty loud, then dynamic modification is needed, i.e. decreasing t=
he average to peak range, or the crest factor. Drawing level automation cur=
ves by hand can take care of peaks in a more intentional & generally more d=
esirable fashion than merely placing a compressor or limiter on the track.=
If you are placing different nature recordings on the same CD their levels =
need to be made compatible, which is the art of mastering, which is a whole=
other discussion.
<<3. Is there a standard length for fade in times? I randomly picked about =
10 seconds for one, then discovered that too long a fade in tricks the list=
ener into turning up the volume, only to discover in a few seconds that it =
has to be turned down again.>>
There is no standard. It is entirely dependent on the intended use of the r=
ecording & the characteristics of the sound. In the 1980s I released an alb=
um of water recordings. I found that, due to the constant, somewhat static =
nature of the sound sources, it was necessary to use extremely long fades, =
both in & out. To not have a sense of obvious manipulation or jarring the e=
ar (at least my ear,) I arrived at the use of 1 minute long fades, & to me =
it results in a pleasant, smooth listening experience. Other nature ambienc=
es, as well as presentations, have entirely different needs. And different =
fade curves have different audible results. I always draw fades by hand, si=
nce a linear fade rarely sounds natural. Some fades need to rest & resume, =
or even reverse direction briefly, along with the sounds depicted in order =
to sound natural & unaffected.
Scott Fraser
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