Nathalie Ferare

I had an audio quality consult where they said: "I've looked around a lot, searched, and asked and I can't find anything that clearly defines 'broadcast quality' and whatever is written out is never the same or agreed on" let's talk about that I have edited in-studio recordings for games animations and commercials and there is very little consistency across each, even within the same project. noise floor, loudness, boxiness, background traffic and airplanes, some run through more hardware than others, ass internet... in-studio that makes it difficult to get a straight answer. Some studios have their own standards and I've even seen it change circumstantially. I imagine clients can influence that. At best it's just case by case and subjective. At worst it's a deliberately moving goal post It takes me :10 to reduce a normal noise floor, and I'm asked to do it anyways when I'm a production engineer so that's kind of a bs factor. and it takes me another :20 to eq different recordings to sound nearly identical. It's so easy I mean that. The hardest thing to do without detection is removing background noises during a take, and removing reflections cleanly. not impossible but not always possible and potentially expensive to do pickups or recast. and sometimes nobody hears it until after the audio is processed When all of that comes out to a group high-five despite those hurdles, I have still found the source audio to usually sound muffled [recorded in too small of an over treated space], with a 💾 noise floor sitting as high as -65dB and only ever as low as -70dB with zero reflections that's about as straight of an answer as you're going to get across the board. don't take my word for it though, pay attention to where you do and dont get a straight answer from if you ask. This is exactly why I started 'Iridescent Audio' and why I offer 'Help Your Audio'. Not everyone is an engineer, but you do have reasonable access to one