Hey guys, hope you all have a great last day of the weekend.

I received a movie where the main characters are inside a house, and the outdoor world is sometimes calm and chaotic. Sometimes there are cars passing by from the suburbs, other times there are helicopters and protests. The only time we hear those sounds is from an interior perspective.

How do you tackle this situation? In case you use delay (slapper or indoor), what’s your approach? Thanks! =)

Hey all, I'm trying to find the differences between the two versions online but struggling, can anybody shed any light?

Welcome to the AudioPost Community Corner Post for FAQ discussion. Based on community feedback, the following types of FAQ posts are no longer allowed on the subreddit front page. Those conversations must instead use the comments section of this post;

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Welcome to the AudioPost Mine. There's going to be a lot of dirt but we hope for some gold too.

I love the idea of upgrading my stereo setup and want to get into 5.1 mixing. I currently have two sets of speakers. I have a pair of Yamaha HS5 for offline editing and a pair of Neuman KH 120 A for mixing. I really love the sound of the Neumann's, but as they are too expensive to upgrade with 3 more of them just to build a surround setup, I am now wondering if the Yamaha HS5 with a sub would be a decent alternative. As a stereo pair they always seem too weak to me, but I have never tried them with a sub. I'd like to have a reasonably solid setup that will last a long time without spending a fortune. Maybe someone has such a setup, or maybe people have other recommendations. I could see selling the Neumann and using the money for new speakers. My room is quite small (5.5m x 3.07m) so it's designed for a near field setup and I mix mostly for broadcast and web.

Since there is a sale on just curious if anyone here would like to chime in on getting both or either. Seems that maybe Studio covers some of what Reformer does... (?) Useful to have for quick sound design?

Hi! I'm building a 5.1 near field mix room for audio post in a 23m2/248ft2 room, and I currently have a stereo setup with two Genelec 8340APM.

I'm thinking about buying another 8340 for the center channel, 8320APMs for the surrounds and a 7350APM for the subwoofer.

What I'm worrying about is the max SPL level of the smaller speakers and the subwoofer, as they max out at about 100-104dB SPL (while the 8340s go up to 110dB SPL).

For this smaller room, do you guys think this would work, or would I need to buy a bigger subwoofer and rear speakers to work properly?

First time poster, long time lurker! Some background: started doing audio post about 5 years ago with no experience, finally got some formal education at a college and graduated last year. I've gradually increased the scope of my projects and started doing paid work in the last year. Anyways...

Recently, a 6 minute short I worked on got into a short film festival where a lot of the other films clearly had decent budgets (several animated films, films with dedicated audio post production houses involved, etc). I was the only audio post production person for our film, and there were a couple other similarly no-budget films selected. But I was really surprised when our film came on and it was comparatively very quiet. Most of the films up until that point had been comfortably loud, about what you'd expect in a cinema, while ours was completely lacking. Even the more obvious "no-budget" shorts that made it were louder than ours. Everything in our film was audible, just quiet. The volume issue alone just made it feel totally amateur compared to everything else and I couldn't help but feel responsible.

What has me scratching my head is that I mixed to -24LUFS and came out of with a mix I was very satisfied with. Even hearing it in the theatre for the first time everything was well-balanced and nothing stood out in terms of mixing. It was just uniformly quiet throughout. When I try to research loudness standards at film festivals it seems like the wild west.

Is it commonplace that everybody would be sending in films mixed louder than -24LUFS? I guess I just want to know if this is something to be fixed on my end or if somebody else along the line (curators/technician) potentially turned our volume down.

Hope this post doesn't come across as silly, this is my first time experiencing this and I'm having trouble figuring out where it went wrong. I've been to a couple other short film fests featuring my work, but this is the first experiencing this issue.

Hi guys, do you think this new soft - DX Assist - could be useful in our workflow? According to their website, it handles the initial work in dialogue editing, removing unnecessary regions, like those from lav mics. What do you think? Could it be timesaver?

Hi everyone, does anyone know of a PC-based software (standalone or VST) that can process audio in a quality similar to Kyma ? I've never worked with it, only heard it, and it can obiously do some amazing stuff. However, it is unfortunately currently out of my budget ;)
Basically i'm looking for some kind of high-quality pitch-shift and time-stretch algorithms, something that offers modulation and / or some kind of granular synthesis along the way.
The onboard algorithms that come with Nuendo seem somewhat limited and lofi, when going for extremes. Is there any alternative out there that you would recommend ?

Hello everyone, i'm glad i found this subreddit and hoping to find help. Please excuse any weird grammar, i'm german ;)
I just got a job to do the whole audio post (and music) for a 40 min animation. Usually i'm a composer, but i've done this a few times before. Since this is large project with a relatively short deadline (of course), i'm trying to figure out how to plan this, avoid mistakes, wondering if there is an established way to effectively structure the mixing process. For example, is it wise to mix down stems of all the individual elements (like DX (each character separated), Foley, Ambience etc) and do the mix and automation of these stems in one master session ? Or is it better to have it all in one large project, for maximum flexibilty ?
I did it the latter way on the last larger post project, and despite organizing as best as i could, it was a nightmare to navigate through hundreds of tracks when it came to automation and handling all the busses. How do (or would) you do it ? Is there a common worklow (or pipeline ? how do you call it ? ;) ). I'm working in Nuendo or alternatively Cubase 14. Happy about any advice, or, suggestions on tutorials or books on the subject (didn't find any yet), thanks !

Priced for a few days, we’re now at 2 weeks, and it’s still constant revision after revision.. I was brought on as a sound designer, but ended up doing the dialogue and Netflix mix as no one else was doing it, and I wanted to see them do well.. but I’ve now given up fighting against all the mistakes they want to include in there. “Want a hard stop on this music track with reverb baked into the file? Sure. It’ll sound terrible but why not.” I just want it over now. Probably going to ask for pseudonym for the credit and drink it from memory. How do you draw a line under these never enders?

Any mixers have experience with these in smaller spaces (approx 130 sqft.)? Priced the same, but how different are they sonically? I'm hoping find a retailer to demo.

I'm moving into a new studio space, and I'm looking to specialise more into post-sound for film/TV etc. Just looking for a few recommendations for a good monitoring setup for 2.1 post sound workflows (for now, will likely add more down the line). Hoping I might pick something up around Black Friday sales.

I know this is never a one-size-fits-all, just looking for some recommendations so I can pick out what will work best for my space. Not looking for an integrated system, separate subwoofer is required. Looking for recommendations on the individual speakers for the setup.

Thanks

Professional music producer wanting to do more film work (have done one short so far). Will try to start out on low-budget gigs which probably means doing a lot of various tasks from dialog editing to foley to final mix.

I already have the full RX, Soundly and FreeToUseSounds (and of course tons of music-oriented VSTs). What should I try to get for Black Friday to more confidently take on other jobs?

I'm getting a lot of ads for Krotos Audio which looks really cool - but would it be useful for a beginner?

Wondering what people are doing for this if they have a sensitive interview where they are trying to mask a voice. I’d rather no do something that can be reversed engineered with a pitch correct etc.

Anyone have a good tool they use for docs, etc?

Anyone who owns one (or both), how often do you reach for them? Are they best suited for particular genres (film/games/trailers/adverts)? From what I can tell, BOOM's content sounds polished and "designed", whereas PSE's sound rougher and "raw".

Are either of these options a smart investment, or would you recommend spending an equivalent amount of cash on offerings from independent artists?

CONTEXT: I edit commercials for online & broadcast and need a mix of organic and designed sounds. I have a Soundly Pro membership, but often find myself wishing for more options.

Hi everyone,

I’ve been considering getting into 500-series gear for about a year now, and I think this is the right time to make the move. I’m planning to start with a basic setup, and here’s what I have in mind:

For the rack, I’d go with the WES-Audio Titan, which offers ten slots – enough room for up to five stereo modules. As for the modules, my initial selection would be:

1.	WES-Audio Hyperion – an EQ that can be controlled via USB and a plug-in, making it great for recall.

2.	Elysia Envelope – a transient designer to add more punch to the final mix.

3.	SPL Big – a stereo imager to enhance width and clarity.

Since I mainly compose music for commercials and do sound design, I think this setup would be a solid starting point – flexible, versatile, and well-suited to my workflow.

Do you have any experience with these components? Or any other recommendations for someone new to the 500-series world? I’d love to hear your thoughts!

I've been simply trying to find information of this topic and I've come to a stand-still after plenty of searching. Basically my question is this- suppose you have calibrated and tuned 'unmatched' speakers, with different max spl values, power etc. If you tune them perfectly for 85db spl with proper bass management, as you change the spl to each speaker, how does that change the sound field? If I were to drop my output so I would expect 77db spl, should I expect smaller speakers to behave differently than my larger, higher output LCR?

It seems like a 'pound of feathers' vs 'pound of steel' kind-of thing. Program material at 85dbspl calibration has tremendous dynamics but the sound field uniformity is the same. In practice, I'm wondering if anyone has any experience measuring or researching this and experiencing differences.

Genuinely curious and maybe I can pick up a few workflow pointers. I used to use a wave editor a lot more than I do now. I started out when Peak was the most popular wave editor and I loved it. Wavelab is great and I use it but rarely anymore. What do you find that you can do best in and editor and how often to you get away from your DAW? Thanks!

Hey y’all. I was using the Soundly Place It Plugin until today for simulating different speakers and rooms in a current serial production I’m editing. I really loved this plugin as I tend to do lots of sound work even in my assembly cuts to get a better feel for the scenes. Place it let me do it much quicker than parametric eq, distortion and reverbs - I love the “wall” slider for getting distance to sound sources. BUT I was having massive performance issues those last weeks and finally today found out that it caused by Place It. So removed the plug-in and everything is running smoothly as it should again. Now I’m searching for an alternative. I know of Speakerphone but it’s way too expensive for something my sound designer will always rebuilt in Pro Tools again. Any free or cheap alternatives around?

I've been cranking away as a full time re-recording mixer for the last 6 years or so, and I'm starting to feel the burn out big time. Just had a kid so family time has gotten a lot more valuable too.

Has anyone had any luck leveraging their post-audio skills into another lucrative career? Are there office jobs out there in distribution, tech, automotive audio etc where experience in post is valuable, or is going back to school a good option? Would love to hear everyone's stories and experiences leaving, coming back, interviewing etc outside of post. Thanks!

So I've begun working with a music library that has a specific delivery spec in mind:

File Format: WAV, 24bit, 48kHz.

Integrated Loudness: Exactly -16 LKFS/ LUFS.

Absolute True Peak: Not louder than -2 dBTP (this can be less, i.e. - 6 dBTP).

That's all fine. On top of this Alt Mixes are required (ie. Underscore version, No drums version etc etc). The spec is for the Full mix only.

Now I'm trying to find a streamlined way of hitting this spec. The tracks in question are already written and mixed, they just need to be conformed to this spec. I can generally hit this LUFS target but it takes longer than I'd like; back and forth with group comp on stems, peak limiters on groups etc.

This is of course without doing any 2 bus processing as I need the stems to reflect the full mix exactly.

Is there a more "automated" way to hit a specific LUFS target in this scenario? With 7-9 exports needed for each song, and 45 songs to do - well, it gets tedious.

I use Cubase Pro mainly, and have access to Reaper, Live and Acoustica 7.

Thanks

Hi everybody, I'm approaching using the Field Recorder Workflow in Pro Tools for the first time. I often happen to work on audio post production for shorts or docs, and I'll soon start working on a feature.

I would like to understand how the metadata of the original audio clips recorded on set can be maintained when the AAF is exported (from DaVinci 19) so that I can retrieve them when working in Pro Tools, to get my head around what audio clip I'm working on at any given moment and to be able to use the Field Recorder Workflow in pro tools.

What is happening for the moment is that, just like you can see in the screenshot below, the file names / details shown in my Pro Tools timeline differ from the audio exported via AAF (clip on top) from the original audio I recorded on set (clip at the bottom, where I have Scene, Take, and Channel Name infos in addition to the name of the file ("MASSIMO-T015").

https://preview.redd.it/iumf8gq3mx1e1.png?width=358&format=png&auto=webp&s=39f022d6293a5ad21e3420ea1a9a556f7a11d2ad

This makes it so hard to edit dialogue...can anybody help me out?

Hi everyone,

I’m in the market for a new computer to break into audio post, focusing on dialogue and sound effects editing. It’s been over a decade since I bought a new system, so I’m open to getting the newest and best, but I’m also happy to explore refurbished/used options if they’re worth it.

I’ve been looking at the new Mac Mini with the M4/M4 Pro chip. In Canada, the 32GB M4 model is $1,549, which seems reasonable. My main concern is whether 32GB of RAM will be enough for audio post, or if I’d be better off with something like an Intel Mac with 64GB of RAM (a setup I’ve seen many editors recommend). For context, I already have a monitor, so that’s not a factor.

Ideally, I’d prefer a MacBook Pro for portability, but since I don’t have work lined up yet and might not need to be mobile, I’m not sure if it’s worth the extra cost.

I currently work in the industry but in a different department in post-production audio and am looking to pivot into editing. What do you think is the best bang for my buck in this situation? Any advice would be greatly appreciated!

Thanks in advance!

Hi folks.

I'm looking for a hardware preamp for recording/tracking, mostly for foley & sfx.

Any recommendations from the audio post side of the industry?

Thanks

Hi everyone! Junior sound designer here. I’m currently working on a project for a 1-minute video presentation for a director. The goal is to balance both music and sound design equally, giving importance to each. I’ve just about finished all the sound design (foley, ambience, SFX, etc.), and the composer has already completed the music a slow trip-hop beat with an ambient intro and break. I’m wondering about the best way to mix the project so that the SFX and foley are clearly present without overpowering the music. Should I consider automating the music? Using something like Trackspacer on the music? Any tips or suggestions would be greatly appreciated!