On Wed, 29 Jun 2005 04:48:43 GMT, "Lorin David Schultz"
wrote:

"Martin Heffels" wrote:

Avid seems to think 0VU=-14dBFS.

Which Avid? Ours is -20.

Heheeh, they don't have their own standard internally. It's on the
Xpress Pro sofwtare per factory. But it's adjusteable.

There seems to be a whole lotta "shoot the messenger" coming from one of
the groups to which this thread is cross-posted. I didn't establish the
standard, I'm just quoting it.

Not shooting you But there is no global standard and it would be
nice to see where they keep which levels around the globe.

Anyway, how does your comment relate to the original poster's question?

Because I don't think the OP stated where he came from. Granted, nine
out of ten times it will be the US, but suppose he is in a country
where they use -16, and he start using -20 as you said, his material
might be rejected everywhere, as levels being to high. You know,
broadcast-technicians are very sensitive when it comes to levels

The other day in one of the other groups, it came out that sometimes
in one country, there are two different standards (crikey, Australia).

cheers

-martin-

--
"Now I want you to say it thrice daily and don't dress a bun"

"Martin Heffels" wrote:

Heheeh, they don't have their own standard internally. It's on the
Xpress Pro sofwtare per factory. But it's adjusteable.



Of course it's adjustable, but the interface has a "default" level.
Look at the meters on the hardware box.

Maybe you don't have dedicated Avid hardware? I haven't seen the XPress
stuff.

Not that it matters in our circumstances... we're not doing a-d at the
Avid anyway. It comes in SDI, so the level will have been set at the
converters in the control room (or at the camera in the case of field
acquisition).

--
"It CAN'T be too loud... some of the red lights aren't even on yet!"
- Lorin David Schultz
in the control room
making even bad news sound good

(Remove spamblock to reply)

Steve King wrote:

Of course, haven't we all seen the postings about Sony PD150/170 cameras and
their prosumer equivilents VX2000/2001 that will deliver excessively noisy
results at those settings? It is my understanding that other manufacturers
of this category of camera suffer similarly. Shortly after I switched from
BetaSP to DVCAM I had to reschedule an interview that was recorded to the
standards suggested by Lorin on a PD150. ( 0 = -20dbfs.) The result was simply too noisy to
use. It was an honest mistake by an experienced sound professional who
tried to apply standards that worked with analogue BetaSP to a new digital
format that simply doesn't have the capability to accommodate 20 dB of
headroom. (As a side note, the second interview was a bust. The
spontanaity of the first sitting was gone. Caution replaced candor. It
will, unfortunately, not be used in the documentary that is still an ongoing
project.)

It should be mentioned that although 0 = -20 dbfs is "Broadcast
standard", doing location (ENG) work with various kind of gear is a
beast of an altogether different kind. On location with a variety of
gear like say, a 16 bit -10 recorder the ENG guy has to know what his
gear is capable of and how to best use it. But as long as your peaks
levels are in the ballpark above your average levels than the 0VU tone
should make sense, and if you're posting on an audio console and
nothings goin to crap out when you adjust your mixer's inputs to tone.

And even though within a facilty the standard may be 0VU+ -20DBfs,
when it hits Master control it ain't so unusual these day to find a
multiband processor/"Mastering" device that kicks the levels up pretty
hot, sometimes even as loud as the commercials (imagine that!) The
loudness wars continue - on cable anyway just like on radio.

Will Miho
NY Music and TV Audio Guy
Staff Audio/Fox News/M-AES
"The large print giveth and the small print taketh away..." Tom Waits

In article .com writes:

It should be mentioned that although 0 = -20 dbfs is "Broadcast
standard", doing location (ENG) work with various kind of gear is a
beast of an altogether different kind. On location with a variety of
gear like say, a 16 bit -10 recorder the ENG guy has to know what his
gear is capable of and how to best use it.

Good point. When he gets the recording back to the studio, they'll
adjust the level so that when it goes on the air, it'll be at the
right level when they play it.


--
I'm really Mike Rivers )
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me he double-m-eleven-double-zero at yahoo