Altering non-uniform sound levels inside an imported video WAV file

Duane wrote on 5/21/2012, 5:55 AM

Hi Guys,

I have an ASUS P5N-MX motherboard, Intel Q6600 2.0 GHz quad CPU, Windows 7 Home Premium SP1, NVidia 700 series graphics, Alesis Io26 firewire sound interface, Magix Movie Edit Pro 16 Plus and Magix Audio Cleaning Lab MX software :-

I've used a new "Zoom" microphone attached to a Sony HDR-SR10E camcorder for the first time and the audio tracks for each of about 24 recordings vary in volume where the camera zoom, (which is directly linked to the microphone via a "Hot-Shoe" attachment), has recorded close ups of the singers, resulting in the band's volume dropping off during these close-up parts. The finished videos therefore have audio fluctuations that spoil the whole performance. I've tried many of the Magix effects in an attempt to get a consistent volume throughout one of the videos that I'm using as a test bench, but none of these effects seems to correct the volume fluctuations.

Can anybody suggest how volume and presence can be restored to the entire video recording, based on the loudest part that is at the beginning of the recording.

I guess I shouldn't have used the "Zoom" facility on the microphone and left it switched off, but it's too late for that. Maybe I should go back to school !!

Thanks for reading my dilemma anyway.

Duane

Comments

emmrecs wrote on 5/21/2012, 8:17 AM

Hmm, interesting problem!

I assume that each "section" of the video is a separate object on the time line? If not, and there is just one continuous object this is somewhat easier. Highlight the audio track and right-click on it, select Show Volume Curve (shortcut Ctrl-Shift-V.) You will then see a line, normally green I think, at the top of the audio object. By clicking on this line, which creates a node/keyframe point and dragging it up (to increase volume) or down (to decrease volume) you can then, by trial and error, get somewhat closer to a match between the various levels.

If you have multiple audio objects you will need to show the volume curve on each one. By simply matching up the level of the volume "line" from one object to the next you should be able to achieve something like a reasonably consistent level.

I think you will need to reduce the level on the loudest parts in order to create your match (i.e. drag the line downwards) since I doubt whether you can increase the quieter parts enough to match those louder ones. In order to make the final output "loud enough" you will then need to use the mixer (shortcut M) to increase the overall level of the audio track and, perhaps also the Master faders.

Theoretically, judicious and careful use of the Compressor in MEP should enable you to achieve your desired outcome with minimal direct input from you; in practice, you will either have a soundtrack whose level appears to "pump" or the listening experience will be less than optimal!

There is just one more question in my mind: your description of how this microphone "works" in zoom mode suggests that it somehow "filters" the audio not coming direct from the person who you have zoomed in to. Is this correct? If so, all the above suggestions are useless because your audio track does not contain the sound you need to increase. Hopefully, that is not the case.

Jeff

PS. Just realised you can also choose the option on right-click to Show Track Curves (shortcut Alt-K) which puts the green volume line and the white balance line across the whole audio track. Principle of creating nodes and dragging that green line around still applies.

Duane wrote on 5/21/2012, 9:08 AM

Hi Jeff,

Many thanks for your input.

I'll dive into my system and try some of your suggestions, although I have to admit that your fifth paragraph is correct in that my new hot-shoe microphone does filter out sound not emanating from the source when in "Zoom" mode, which leaves a very "Thin" sound that is close to "Speech Only." I had expected that this mode would enhance the vocals, whilst retaining the background band sound. Sadly, it didn't, so I have messed up !! Ah, the joys of not doing enough practising with unknown equipment before an event !! The microphone has three settings : Zoom, Off and Shotgun. At least I now know that "Zoom" is not suitable for live performance, because the envelope is too narrow ! I guess the next event will need the "Off" setting, although I'll run some tests at home before I pack the truck with my gear.

Thanks once again. I'll be in touch.....

Duane

johnebaker wrote on 5/21/2012, 2:28 PM

Just a correction on the 'zoom' of the microphone - as you zoom with the camera the response angle of the microphone is altered just the same as the angle of view of a lens is altered. As you zoom in the response angle narrows - this should not have the unwanted effect of changing the frequency response of the microphone.

The 'speech only' effect is odd as the built in zoom microphones (5.1 surround sound) of my camera do not show this effect and continue to pick up the background sound while emphasising the sound directly ahead of the mics.

Are you using a genuine Sony microphone and which model?

John

Duane wrote on 5/22/2012, 6:44 AM

Hi John,

Many thanks for the update.

The microphone is a genuine Sony ECM-HGZ1 Shot-Gun microphone for hot-shoe fitting to Sony Camcorders. I also fitted a Reihardt "Dead Cat" wind protector, which combines the sponge core with the hairy exterior, although the recent recordings that I made were inside a marquee, so the only reason for keeping the wind protector on was in an attempt to exclude audience hubub, as there were many children playing around the stage at the time.

I'm still waiting for a Pearston adaptor, which will fit onto the hot-shoe on my Sony HDR-SR10E Camcorder, since the HDR-SR10E doesn't come with the usual 3.5 mm jack socket, so that microphones other than the dedicated ECM-HGZ1 unit can be attached to the camera. (Good old thoughtful Sony marketing stunt that !!) I'll then have the capacity to use better specification microphones, which might help avoid a repeat of my recent recording catastrophe.

I think that as the quiet parts of the bands performance are intermittent throughout all of the original takes, it's going to be almost impossible to bring the band parts back to the sound levels before and after the zooms onto the singer. I don't understand how the "Spectrum" section in Magix Movie Edit Pro 16 Plus works, so can't try that on the recordings, but thanks for your help.

Duane

johnebaker wrote on 5/22/2012, 3:30 PM

I think the problem of 'speech only effect' may be due to the windshield.

I use a 'dead cat' only with no foam underneath on my cameras microphones as shown in the images

Before fitting

After fitting

I have been looking at using an external stereo zoom mic (Sony ECM-HST1) however all the independent reviews tend to lead me to believe they are not as good as the internal microphones on my camera.

I have also tried a Rode zoom gun mic but have been dissappointed in the sound quality and the loss of the surround sound which really does have the beneficial effect of retaining background levels when zooming.

John

Duane wrote on 5/23/2012, 12:11 PM

Hi John,

I think you're right. The sound quality without the zoom microphone was much cleaner and definitely had a better range. I think I'll look at a "Dead Cat" cover for the built-in microphone on the Handycam.

Of course that still leaves me with the dilemma of having 24 recordings that can't be doctored in Magix. I've not had time to try Jeff's suggestions the other day yet, as I've been on the move so much, but will have a crack at it tomorrow.

Thanks for your help,

Duane.

Duane wrote on 5/29/2012, 6:33 AM

Hi Jeff,

It's taken awhile to get back to you owing to additional recording work etc, so apologies, but I tried your suggestion to move the track curve around in the audio track and whilst it was useful in that the volume could be adjusted to bring the entire track into something resembling normalisation , the distinctive vocal/music separation became more evident where the quiet parts were amplified. I tried to open the EQ & Compressor clean-up tools during the audio track curve adjustments, but as soon as the tools window opens, the audio track stops, so I couldn't hear what changes any alterations made. Basically, the orchestra's base and medium frequencies needed to be boosted during the section where the vocalist's close-ups were recorded and at the same time, damping down the higher vocalist frequency, which as previously mentioned, tended to sound like speech.

I'm disappointed with the Sony ECM-HGZ1 shot-gun microphone, because it doesn't allow true zooming onto the vocalist, without cutting down the general sound from the band. I tried the other settings during the past week's recordings, which were both outside and inside venues and even in the "Off" position, the Shot-Gun microphone's performance wasn't as good as the built-in microphone on my Sony HDR-SR10E Handycam. I've contacted Reinhardt to see whether they produce a "Hairy" wind-shield that covers just the camera's built-in microphone, because I personally feel the overall audio is much better. I think I'll also look into a top-end portable digital recorder, as it might produce better results than anythig actually attached to the camera.

There might be something in the Magix programme that automates what we've been discussing, but I guess I'm not experienced enough to know how to find it.

Thanks for your effort to help Jeff. As mentioned previously, it would have been easier if I'd done a decent recording in the first place, then it wouldn't have been necessary to find complicated solutions. I should have done some testing with the new microphone prior to the event I covered.

Thanks & Best Regards,

Duane