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Radio Broadcast Levels?
Old 29th April 2018
  #61
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Quote:
Originally Posted by Jay Rose View Post
[I]In my experience, the cleaner it sounds in your studio, the cleaner it'll sound after Omnia*.
That's the issue I have with the Sennheiser 416 for VO. Guys like how they sound on them, but they're very spiky and not terribly clean, and station processors can make them sound small.

The waveforms of SM7's and RE20's, on the other hand, are relatively un-spiky and make it all the way to air sounding fatter.

But what we know and what they want are two different things, so 416 it is. :-)
Old 29th April 2018
  #62
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Here's my .02 worth after having mixed well over 50,000 commercials for radio over the past 40 years, both in house at radio stations and in a variety of studios, including private ad agency studios... all the extra dynamics you add before sending it will not make it louder on air. For maximum loudness don't add extra compression to the final mix on your end, but do EQ it mid heavy, normalize the track, and send it through a maximizer plug in.
The broadcast facility, no matter who they are, will compress the snot out of it with their Optimod or equivalent which sets the overall on air volume level. But your mix can be perceived to be louder with good Mid based EQ, normalizing, and maximizing.
Old 29th April 2018
  #63
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Quote:
Originally Posted by mbvoxx View Post
... all the extra dynamics you add before sending it will not make it louder on air.
Actually, the one thing you can do to make it louder on air is leave the music out.
Old 13th February 2019
  #64
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Quote:
Originally Posted by mbvoxx View Post
Here's my .02 worth after having mixed well over 50,000 commercials for radio over the past 40 years, both in house at radio stations and in a variety of studios, including private ad agency studios... all the extra dynamics you add before sending it will not make it louder on air. For maximum loudness don't add extra compression to the final mix on your end, but do EQ it mid heavy, normalize the track, and send it through a maximizer plug in.
The broadcast facility, no matter who they are, will compress the snot out of it with their Optimod or equivalent which sets the overall on air volume level. But your mix can be perceived to be louder with good Mid based EQ, normalizing, and maximizing.
Wow, that's a lot of commercials! Assuming a 5 day work week, there are a little over 10,000 work days in 40 years. You mixed almost 5 commercials per day?!

*** EDIT: Oops, sorry. Forgot I was reading an old thread. Didn't mean to necro-post.

Last edited by Ebeowulf17; 13th February 2019 at 08:40 PM.. Reason: noticed age of thread
Old 3rd March 2019
  #65
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Quote:
Originally Posted by Ebeowulf17 View Post
Wow, that's a lot of commercials! Assuming a 5 day work week, there are a little over 10,000 work days in 40 years. You mixed almost 5 commercials per day?!
yes, it is...you'd be surprised how much product a busy production studio can crank out in a day. especially if they have a seasoned, fast team who know the software and production libraries.
Old 3rd March 2019
  #66
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Quote:
Originally Posted by Ebeowulf17 View Post
Wow, that's a lot of commercials! Assuming a 5 day work week, there are a little over 10,000 work days in 40 years. You mixed almost 5 commercials per day?!
If they're simple spots, that's no big deal.

If you're working on a complicated, sound-design-heavy spot for an ad agency with a zillion opinions and layers of approval, it's not unusual to mix (and re-edit) the very same spot 5 times in a day. In the ancient times they'd be sitting there on the couch right behind you; now it's email and/or ftp and you're on a tight leash until they get back to you with notes.
Old 3rd March 2019
  #67
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All respect to you guys! I'm glad I don't have to work at that pace. Sounds intense!
Old 3rd March 2019
  #68
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Quote:
Originally Posted by Ebeowulf17 View Post
All respect to you guys! I'm glad I don't have to work at that pace. Sounds intense!
At times it was crazy but with the entire First Com library and just about every sfx library available at my disposal it didn't take long to knock out a run of the mill radio spot. You have to have your production elements libraries memorized for instant access with limited search time, get in the zone and stay in it, become a production 'machine', and just get it done.

I thought the work pace was fast when I was working on an Otari 16 trk tape deck. But things got really fast when we went to Pro Tools in '95. All I can say is that kind of 'in the trenches' on the job training prepares you for anything, especially the slow days when you have the luxury to really get creative and work on something more challenging.

There were times when we spent all day on just one spot that involved sound design, original sfx, custom music, etc. But often it was slam bang theater when all clients were active with new creative and on air delivery deadlines were approaching.
Old 3rd March 2019
  #69
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Quote:
Originally Posted by mbvoxx View Post
I thought the work pace was fast when I was working on an Otari 16 trk tape deck. But things got really fast when we went to Pro Tools in '95.
The thing for me that really amped it up in a bad way was that with DAWs you never had to time anything. With analog tape you'd do your first build and then play it down and time it. So you'd get a little 60-second vacation.
Old 4 weeks ago
  #70
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Cool

Quote:
Originally Posted by Garret View Post
Lads this is a 5 year old thread.
^Comments like this contribute nothing positive^


No matter how long an active thread has been dormant, if it imparts useful information to the inquisitive at heart, it is still of value. If seeing a 5(10, 20)- year old thread bothers you that much, just scroll past, or, read the latest contribution to it, in silence.
Old 4 weeks ago
  #71
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some old threads are worth keeping alive. lol

as for production quotas, I spent my time in the trenches and after 40 years of it I retired from production and shifted to full time VO work. I haven't produce much in the last 4 years but I still fill in for the guy that replaced me in the production studio when he is on vacation or out sick. That happens a couple of times a year. It's like riding a bike. The ramp up to full steam happens pretty fast.
When I left the production business I had acquired every sfx library out there and still keep the sfx files on a Glyph Drive, backed up to 2 other drives. Plus I still use First Com.

But getting back to the original question about levels; The TV broadcasters, both stations and cable/sat, all have fairly rigid guidelines on audio level. There is some fluctuation among the recipients, but -10 is pretty standard as an average.
The radio stations, however, don't. We always send it as hot as possible within the normal parameters of the production studio. As long as it doesn't sound like crap they'll take it. But they will smash the guts out of it in the engineering bay before it goes up the stick so try to compress/limit as little as you can.
Old 3 weeks ago
  #72
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Quote:
Originally Posted by The_Phoenix_2018 View Post
^Comments like this contribute nothing positive^


No matter how long an active thread has been dormant, if it imparts useful information to the inquisitive at heart, it is still of value. If seeing a 5(10, 20)- year old thread bothers you that much, just scroll past, or, read the latest contribution to it, in silence.
You quote me from a comment over two years old from a thread that’s over 7 years old to have a go at me?! Jog on pal.
Old 3 weeks ago
  #73
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Quote:
Originally Posted by Garret View Post
You quote me from a comment over two years old from a thread that’s over 7 years old to have a go at me?! Jog on pal.
It wasn't personal. I point this out in other forums and on Usenet when someone whines about an old conversation being resurrected.

Now try contributing something positive to the conversation.

Thank you!
Old 3 weeks ago
  #74
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Quote:
Originally Posted by The_Phoenix_2018 View Post
It wasn't personal. I point this out in other forums and on Usenet when someone whines about an old conversation being resurrected.

Now try contributing something positive to the conversation.

Thank you!
Why don’t you take a look at my post history before you start painting people as not positive. Now please do jog on. Thanks!
Old 3 weeks ago
  #75
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Quote:
Originally Posted by Garret View Post
Why don’t you take a look at my post history before you start painting people as not positive. Now please do jog on. Thanks!

Again: you're taking it personally. I've already pointed out the negative - as I do in other forums I participate. I'm sure your other contributions are fine, no need to 'check up on you'.
Old 3 weeks ago
  #76
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Quote:
Originally Posted by The_Phoenix_2018 View Post
Again: you're taking it personally. I've already pointed out the negative - as I do in other forums I participate. I'm sure your other contributions are fine, no need to 'check up on you'.
Whatever man. Good luck on your quest. Whatever it is.
Old 3 weeks ago
  #77
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Quote:
Originally Posted by Jay Rose View Post
(...) Telos' Omnia is one of the major competitors to Orban's Optimod. I worked for Orban until 2000, when they changed ownership. Now I work for Telos. The third player is Wheatstone. All these products have different 'secret sauce' that may include predistortion, stereo enhancement, stereo un-enhancement or some SSB to protect against multipath for FM, asymmetrical clipping for AM, and a bunch of other things that if I tell you, I have to kill myself.
any comment from you available on jünger processors, which (to a tech-none-savy like me) seem to be using less sophisticated processing (dunno though; i'm but a recording/mixing engineer feeding my mixes into them)?

Last edited by deedeeyeah; 3 weeks ago at 03:45 PM.. Reason: typo
Old 3 weeks ago
  #78
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Originally Posted by deedeeyeah View Post
any comment from you available on jünger processors, which (to the non-tech savy folks like me) seem to be using less sophisticated processing (dunno though; i'm but a recording/mixing engineer feeding my mixes into them)?
All I know is the fairly complete descriptions on junger-audio.com. These look like they're more adapted to TV automated playouts rather than radio, with simpler AGC but specialized functions (such as automatic v/o ducking, surround consistency, and sync adjustment) for that market.

The Optimod/Omnia/Wheatstone line are sophisticated multiband with features like predistortion, harmonic generation, multipath reduction, and automatic dayparting designed more to help the final stereo output of radio stations -- which frequently all play the same music -- achieve a distinctive branding sound.
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