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mixintheDialogue: Clean NoiseWhenever you need room tone to fill gaps, you’ll need to find ‘clean’sections of noise from the same shot, without any breathing, lip smacks,footsteps, etc. Room tone on either side of the section in question will bemost likely to match, so start by pulling out the handles of the region.If there’s not enough here, look to the rushes for the rest of the sametake, or alternative takes of the same shot. Try not to loop room tone,as you’ll almost always hear the repeat. Match the room tone ‘fill’appropriately; if an actor has a noisy jacket, you might need to usesections of the jacket rustle to smooth out the edit, rather than thecleanest room tone you can find.Susan Pennington, Dialogue Editor Spool Post, Audio Media Feb 2010Loudness: 1770 vs 1771With ITU-R BS.1770, algorithms to measure audio programmeloudness and true-peak audio level are specified.In March of 2011, ITU approved a new release of this standardnamed ITU-R BS.1770-2. The new aspects are part ofthe Annex 1 of this standard. Annex 1 meets the input fromEBU regarding the use of a silence gate and a relative gatein combination with the already defined “K”-filter to assurean objective measure of the perceived loudness of audiosignals. One of the goals of EBU’s input was to create analgorithm that with its simplicity, allows it to beimplemented at a fairly low cost.Mike Kahsnitz, Technical Director, RTWToo Loud, Man.Everything always sounds better loud. So mix softly, and play it back for yourclient loud. Or mix softly and carry a big stick.David Mathew, Audio PrecisionConvoluteratorNearly any convolutionreverb can be turnedinto a powerful multieffectprocessor, if used inconjunction with particularimpulse responses collections,like Synaesthesis.In fact, these kind of IRlibraries can mangle inputsounds beyond all imagination:creating evanescentlayers, organic textures,innovative tempo-syncedeffects, turning foley fx intobrand new sounds, morphingvocals into complex textures,and producing alter-egos oftraditional acoustic musicalinstruments. A secret weaponfor every musician and sounddesigner looking for new waysof transforming and spicing uphis/her music and sounds.VirtuasonicRe-AmpingRe-amping can be a great tool for mixing.Finding something special and for a keysound can make a huge difference.I’ve built up a collection of little amps,speakers, megaphones and guitar pedalsthat offer me a wide palette of treatmentsfrom warm valves through to screamingdistortion. Synths, snares, and vocals canall gain a bit of character by paying avisit to an amp or a funky pedal. Oneof my most useful (and cost effective!)purchases was a £10 Realistic mini speakerfrom Tandy, which sounds great on vocalsand Hammond organs. Of course, thereare plenty of plug-ins that offer somethingsimilar but there’s nothing quite like thesound of air being moved by a speaker.Simon Gogerly, Producer/Engineer and AM ContributorAUDIO MEDIA AUGUST 2011 29