In this edition of Recording Dojo, our columnist sheds light on the differences between decibel measurements, and offers a breakdown of real-life equivalents of basic sound level values.
Starting this month, I’d like to bring some clarity to some widely misused audio terms that engineers struggle with, especially when it comes to mixing and mastering. Do you know what a dB is and/or how it got its name, or understand the difference between dB, dBu, dBA, dBSPL, and dBFS and how they inherently apply to your recordings? Tighten up your belts, the Dojo is now open.
I’m going to start with our old beloved friend, the VU (volume unit) meter. Officially introduced in 1939, the purpose of the VU meter was to provide a standardized way of measuring and representing audio signal levels, and it immediately gave audio engineers and producers an increased ability to make broadcasts and recordings with substantially more consistent loudness levels.
Once it was standardized by ASA (later, ANSI—American National Standards Institute), the VU meter became a cheap and indispensable tool for measuring how much signal was being sent to broadcast transmitters. Essentially, the VU meter works by having a calibrated response time (ballistic) of 300 ms and reflects an inferred average of any peak that occurred within that time window. While it reflects speech in an intuitive way, it falls short with accurately registering very fast transients (like drum hits, claps, fast staccato attacks, etc.). Thus, every decibel of change is not accurately reflected by the meter but averaged (Fig. 1). It wasn’t long until engineers realized that short bursts of +3 VU on analog gear wouldn’t trigger distortion or affect the overall perception of loudness.
In fact, the VU meter was really designed to help the engineer get their audio signals to hover around 0 VU (which equals to +4 dBu, or 1.228V RMS) and what most of us call “0 dB.” This is further reinforced by the design of the meter’s scale range since standardized VU meters range from -20 VU to +3 VU (23 VU entries, in all). However, the majority of the meter’s real estate deals with the last six entries at the top of the scale (-3 VU to +3 VU).
“It immediately gave audio engineers and producers an increased ability to make broadcasts and recordings with substantially more consistent loudness levels.”
Decibels, Decibels, Everywhere!
Let me define the decibel—it is one 10th of a “bel,” named after Alexander Graham Bell (which is why the “B” in “dB” is capitalized). But what’s a bel? It is just a logarithmic unit of measurement relative to something else. We don’t actually hear decibels; we measure them because they approximate the human ear’s logarithmic perception of amplitude (aka loudness). This is known as dBA.
So this is what we mean when we’re talking about how “loud” or “noisy” something is, and also what audiologists use when measuring how well we can hear. What?!
Here’s some basic values for you:
20 dBA: whisper
40 dBA: home computer fan
60 dBA: normal conversation
80 dBA: inside an airplane
90 dBA: lawnmower, hair dryer, blender
95 dBA: prolonged exposure can cause slight hearing loss and tinnitus
100 dBA: motorcycle, construction site, normal stereo at max volume
110 dBA: rock concert, jackhammer
125 dBA: pain threshold; prolonged exposure will cause hearing loss
135 dBA: air raid siren
140 dBA: pain threshold; permanent hearing damage possible
150 dBA: handgun
180 dBA: possible death, rocket launch
But wait, isn’t this also known as dBSPL? I wish! They’re so close but so far away. You see, sound pressure relates to the variations in atmospheric pressure caused by the sound, and SPL (sound pressure level) is the pressure level of that sound measured in decibels. The crucial difference is that dBSPL treats all frequencies equally because it uses Mother Earth’s atmosphere as the gauge for measurement, and dBA doesn’t. It focuses on frequencies that humans most easily perceive—thus, it uses our outer and inner ear to gauge and measure the SPL. To put a finer point on this, using dBSPL will give much different readings if there are frequencies below 1000 Hz, whereas they are both very similar for any frequencies above 1000 Hz.
Next month, I’ll continue down this path and we’ll be using decibels to measure watts, volts, and SPL to definitively answer the age-old question: Is a 100-watt amp twice as loud as a 50-watt amp? See you next time. Namaste.
Using templates when recording makes a big difference in streamlining your workflow, and will leave you more time to get creative.
Hello and welcome to another Dojo! This time I’d like to focus on the benefits of using templates in your recording and mixing process. I’ll also show you some ways in which you can increase your productivity by using customized templates for your particular workflow regardless of what DAW(s) you use. Whether you’re recording a live band or a solo artist, you can create templates that include the necessary tracks, processing, and routing setups to meet your unique requirements. Tighten up, the Dojo is now open.
Over the last 30 years, digital audio workstations (DAWs) have revolutionized the way music is produced and recorded, making it easier to create high-quality recordings from the comfort of your own home. With so many options now available, it can be challenging to streamline the recording process and maintain consistency across multiple sessions. This is where templates—pre-configured session setups that can be customized and reused to simplify the recording process—come in.
The main point here is to create a template that works for you. I have found that the more specialized the template, the less flexible it becomes for use in other scenarios. For example, a 48-channel mixing template with specific plugins, buses, and other routing assignments won’t be a first choice when recording a power trio. I think the important thing is to recognize the type(s) of work you do and make different levels of templates accordingly. By creating various kinds of templates that include all the necessary tracks, plugins, and settings, you can ensure that each recording or mix session starts with a consistent foundation, allowing you to focus on the creative process rather than technical setup.
“By sharing templates, you can ensure that everyone is working with the same setup and settings, making it easier to collaborate and share ideas.”
Saving Time
Creating a new tracking session in your DAW from scratch can be a time-consuming process, especially if you’re working with a large number of tracks or complex routing setups. Using templates allows you to quickly set up your session and get to work, without having to waste time configuring settings or searching for the right plugins. I find this particularly useful when starting a new project that involves recording multiple songs with the same artist or band.
Typically, I create the session’s tracks and buses, assign, route, and organize my signal flow, in-the-box or outboard (Fig. 1), and get sound levels from each musician by making adjustments at the mic first, then add EQ and compression as needed. Once all that is done, I save the session as a “tracking template” with the artist/band name and date. When we’re ready to move on to the next song, I pull up the “tracking template” and save it as a “new session”! Now I have the same organization of track count, routing, etc., and I am able to repeat the process for each song moving forward.
Mixing It Up
The same logic applies when moving to the mixing stage. I’ll create a new template focused on advanced signal routing and incorporate things like console and tape emulation (if it wasn’t tracked through a console), side-chain options, routing folders, and instrument groups specific to that project. I found that using one-size-fits-all, highly specialized mixing templates end up being overbuilt and I waste time parsing out only what is necessary, as well as making sure that it is not draining my RAM and CPU resources.
Collaboration
Using templates can also be beneficial when collaborating with other musicians or engineers. By sharing templates, you can ensure that everyone is working with the same setup and settings, making it easier to share ideas and tracks. This can be especially important when working remotely, as it can help ensure that everyone is on the same page, even if they are not in the same physical location.
Creating templates can also help future-proof your recording process, ensuring that your recordings remain consistent and of high quality as your needs change over time. By creating templates that can be easily updated or modified, you can adapt to new recording technologies or workflows without having to start from scratch. This can help you stay ahead of the curve and ensure that your recordings are always of the highest quality.
Finally, you can create templates that use console emulation on every channel, aux, and mix bus. There’s Universal Audio’s LUNA API Vision Console Emulation Bundle ($559 street), Neve and API summing plugins ($149 street) and many other possibilities from Waves NLS, and Slate Digital’s Virtual Console Collection ($149).
Regardless of the DAW you use, taking the time to create some different types of templates will save you time and help keep you and everyone involved in the creative state of mind. Until next time, keep creating! Namaste.
Gibson Records announces its second official release with the signing of the rock and blues group, Ghost Hounds. Their new album will drop in June 2023.
Written by guitarist Thomas Tull and Kevin Bowe, “Dirty Angel” is an ode to a one-of-a-kind romance. The infectious track is brought to life by lead singer Tré Nation’s powerhouse vocals, with electrifying guitar riffs from Thomas and Johnny Baab, while bassist Bennett Miller and drummer Blaise Lanzetta give the track its thundering pulse.
Hailing from Pittsburgh, PA, Ghost Hound’s classic rock and roll guitar tunes are the result of both Thomas Tull and Brooklyn native guitarist Johnny Baab, while the driving forces on bass and drums are Bennett Miller and Blaise Lanzetta, respectively. Fronted by lead singer Tré Nation, whose voice was simply made for rock, Ghost Hounds are a modern-day rock band that plays blues-inspired rock in such a way that proves that the genre is not only alive but thriving for the next generation of rock fans.
Stream/download Ghost Hounds new single “Dirty Angel,” out today, via Gibson Records, HERE.
Ghost Hounds has refined their sound on the road, having supported legendary acts, including The Rolling Stones, ZZ Top, Garth Brooks, and Bob Seger on tour.
Ghost Hounds’s fourth album will be released this June. The album follows the first official release from Gibson Records, Slash Ft. Myles Kennedy & The Conspirators’ acclaimed fourth full-length album titled 4, which was released last year in partnership with BMG.