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Input FX exist between your microphone and the recorded track.
#OCENAUDIO COMPARE SOFTWARE#
If the software that you record in has this feature, consider adding a Limiter to your Input FX Chain.
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The higher the number at this point (the closer it is to zero), the more work you will need to do in post-production to fix your audio. So -60 is actually lower than -40.īetween -59dB and -50dB is pretty good, between -51dB and -45dB is okay, and between -44dB and -40dB is acceptable. Remember, we are dealing with negative numbers here. Our goal is to get a noise floor at or below -60dB. If you can’t achieve that, do your best to get a number as low as possible. Now reduce any ambient noise in your recording space before measuring your noise floor. Odds are, you will wind up with peaks quite a bit lower than that, at -9dB or -12dB.
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Since, in this example, we are delivering an audiobook file to ACX, the highest level that we would want ever see on that meter is -3dB. You don’t want to be set so loud that any kind of intensity sends your levels too high. You want to find a volume that allows you to really act. Starting at 50% gain, adjust your volume while watching a meter. Make a quick recording of yourself and ask someone else, “Does this sound like me?” ( Do not ask, “Does this sound good/deep/cool/etc?”) 2. Parallel surfaces of any kind increase the possible sources of noise. And, do not make it parallel with the capsule of the mic either. When you add the pop filter, be sure to leave space between the filter and the capsule of your microphone. Good mic placement reduces the amount of work that you are expecting the filter to handle. And, the point of offsetting your microphone like this is not only to eliminate plosives, but other stray noises as well.Įven with good mic placement, it is still a good idea to use a pop filter. Odds are, you will stop feeling the rush of air at about 7 inches. As you do this, move your hand away from your mouth. Place your hand in front of your mouth and start reciting “Peter Piper picked a peck of pickled peppers,” over-and-over again. Currently, my microphone is about 37° to the right of my nose and about 40° up from the level of my nose. Using that as a starting point, shift the mic slightly north, south, east, and west until you feel that you have found the truest sound. Set it 7 inches away from you and point it at your mouth (or slightly down toward your chest for a bit more resonance – but be careful with that). With your nose as longitude 0°, latitude 0°, move your mic to 45° north (up) and 45° east or west (right or left).
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So, let me give you a good starting point. You want it to be “just right!” Unfortunately, “just right” is a subjective thing. What we are really looking for is The Goldilocks Zone - not too hot, not too cold, not too hard not too soft. How about the theme to Gilligan’s Island? It’s a great practice text since it has most of the offending sounds (S, P, T, etc), and it’s kind of fun to say. Have an Average RMS between -23dB and -18dBĪnd, for today’s text, let’s choose something with lots of sibilant and popping sounds….ACX has very specific guidelines for file submission: If you take it step-by-step, it’s really not that difficult to do.įor our example, let’s assume that your next project is an audiobook that you are working on via the Audiobook Creation eXchange (ACX). You bought a new mic? A new pre-amp? You added some new sound treatment? Or, your set-up is the same, but the room its in is different? Any variation in your recording space means that you really should go through all of your settings again.