Note it is certainly fine to check and/or monitor a MIX through (various types of) near field monitors *after* all of the above variables have been addressed.Īnd don’t forget to maintain awareness of typical consumption methods and devices, such as laptop speakers, trendy headphones, smart phones, earbuds, and vehicles. They are absolutely vital for this type of audio post throughout various stages of your workflow. Closed back headphones OTOH are paramount. In my view the sole use of near field monitors for Podcast post production is not your best option. (G) Replicate typical consumption methods and environments ![]() (E) Recognize and eliminate subtle mouth noises (D) Execute intricate/seamless dialogue edits (A) Establish audible awareness of (low-level) noise floor nuances Without proper isolation – it would be difficult to: That said, there’s some chatter out there referring to producing and mixing Podcasts solely through fancy near field monitors.Ĭonsider this: what about efficiently dealing with inherent audio clip attributes that require isolation as well as the subjective processing tasks/optimizations typically applied at the pre-mixing stage? The vast majority of producers, engineers, and/or “editors” working with typical spoken word Podcast audio are not using calibrated reference monitors in quiet work spaces with optimized acoustics.
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