Solvaudio
Complete Music & Audio Post-Production Solutions Tailored To Your Projects
We are a one stop solution for filmmakers that offers creative and technical support for all your audio post-production and music needs.
Our work is featured on top-tier multimedia platforms, and our team consists of highly experienced industry professionals specializing in diverse areas. Together, we collaborate to ensure that your projects sound the way they deserve.
«Making Your Audio Problems Disappear, One Note At A Time.»
Full Mix
(Stereo & Surround)
Because everything needs to be in the right place.
Audio Repairing
(With ADR & Dialogue Editing)
Because your story needs to be heard properly.
Sound Design
(Foley & Ambiences)
Because an immersive experience begins with audio.
THIS is what YOU SEND US
Sonic Discontinuity
Mic Rustling Noise
Boring Ambience
Sonic Discontinuity
Distracting Ambience
Audio Pops/Clips
No Music
Sonic Discontinuity
THIS is what WE DELIVER
No Sonic Discontinuity
No Mic Rustling Noise
Detailed Ambience
No Sonic Discontinuity
No Distracting Ambience
No Audio Pops/Clips
With Score
No Sonic Discontinuity
Fully Produced Music
You name it you get it. We got you covered with music tailored to your project in pretty much any style or genre that you may need including licensing partnerships with different artists and companies around the globe.
Special packs and promotions
The following prices do not include third party fees. Unless specifically requested, and agreed upon, prior to engaging our services, the client is responsible for sourcing, hiring and paying any third party talent or venue.
Just Give Me Music!
We can get you fully produced music from as low as
Just Fix My Sound!
We can fix the sound of your project from as low as
The Everything Package
We can take care of everything for you from as low as
Even cheaper: If you bring us one client, you’ll be able to claim a 15% discount on your total bill OR have 10% of their bill directly transferred/paid to you.
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Get some insight on:
· Stem Mastering
· 5.1 Surround Mixing
· Mixing for TV broadcast
· What are good levels?
· Sound Design
· Foley
· Ambience and Room Tones
· Dialogue Editing
· ADR
· Audio Repairing
· How To Deliver Audio For Post Production Work
Expand your knowledge with us on…
Stem Mastering
Stem mastering is a technique used in audio mastering that involves processing subgroups of audio tracks, or «stems,» rather than individual tracks or the full mix. By grouping together similar tracks, such as drums or vocals, and processing them together, engineers can achieve greater control over the final sound of the mix.
Stem mastering can be particularly useful in situations where the mix has balance issues or problematic frequency areas. By processing each stem individually, engineers can make adjustments to specific elements of the mix without affecting the overall balance of the mix.
To get the most out of stem mastering, it’s important to have a well-organized session and high-quality stems that are free of phase issues and clipping. Proper labeling of stems can also help the engineer quickly identify and process specific elements of the mix.
Stem mastering can be a great option for producers and artists who want a more tailored mastering experience, and can help achieve a more cohesive and polished final product.
In summary, stem mastering is a technique used in audio mastering that involves processing subgroups of audio tracks, or «stems,» rather than individual tracks or the full mix. By grouping together similar tracks and processing them together, engineers can achieve greater control over the final sound of the mix. Proper organization and high-quality stems are important for achieving the best results with stem mastering.
5.1 Surround Mixing
5.1 mixing is a technique used in audio production that involves creating a surround sound mix using six separate audio channels. The «5» in 5.1 refers to the five main channels: left, center, right, left surround, and right surround. The «.1» refers to the LFE (Low Frequency Effects) channel, which is used for bass and other low frequency sounds.
5.1 mixing is commonly used in film and television production, as well as in music production for immersive listening experiences. When mixing in 5.1, it’s important to consider the spatial placement of sound elements in the mix, as well as the balance between the different channels.
The center channel is typically used for dialogue and other central elements of the mix, while the left and right channels provide the stereo image. The left and right surround channels are used to provide ambient sounds and spatial cues, while the LFE channel is used for bass and other low frequency sounds.
To get the most out of 5.1 mixing, it’s important to have a good understanding of the acoustics of the mixing environment and the capabilities of the listening system. It’s also important to properly balance the levels of each channel, so that the mix is immersive but not overwhelming.
Common channel orders for 5.1 and 7.1 mixing are:
L C R Ls Rs LFE = 5.1 Film Order.
L C R Lss Rss Lsr Rsr LFE = 7.1 Film Order.
We recommend:
L R C LFE Ls Rs = 5.1 SMPTE order.
Bed audio
In summary, 5.1 mixing is a technique used in audio production that involves creating a surround sound mix using six separate audio channels. Proper spatial placement and balance of the different channels are important for achieving the best results with 5.1 mixing. Understanding the acoustics of the mixing environment and the capabilities of the listening system are also important for achieving a successful 5.1 mix.
Mixing for TV Broadcast
Mixing for TV broadcast can be a complex process, as there are many technical requirements that must be met in order to ensure that the audio sounds good and is compliant with broadcast standards. Here are some tips for mixing for TV broadcast, as well as information on the most common loudness levels and dynamic range standards.
· Technical Requirements: When mixing for TV broadcast, it’s important to understand the technical requirements for the broadcast. These requirements can vary depending on the broadcast region, so be sure to check the standards for your specific region. In general, the following technical requirements should be considered:
· Loudness levels: The loudness level of the mix should be within a specific range, as measured by the LKFS (Loudness, K-weighted, relative to Full Scale) meter. The most common loudness level standard for TV broadcast is -24 LKFS, but some regions may have different standards. It’s important to mix the audio so that it meets the required loudness level without going over or under.
· Compression: Compression should be used judiciously to even out levels and create a cohesive mix. However, over-compression can lead to a lack of dynamics and a dull sound, so use compression sparingly.
· Dynamic range: The dynamic range of the mix should also be within a specific range. Most TV broadcasts have a dynamic range of around 6 to 8 dB, meaning that the difference between the loudest and softest parts of the mix should be no greater than 6 to 8 dB.
· EQ: The EQ of the mix should be optimized for TV playback. In general, it’s best to cut frequencies that may be problematic for TV playback, such as low frequencies that can cause rumble, and high frequencies that can cause harshness.
· Peak levels: The peak level of the mix should not exceed 0 dBFS (Full Scale). This means that the loudest part of the mix should not clip or distort. In addition, setting a True Peak limiter at -2.3 for all audio deliverables is recommended. For 5.1 / 2.0, this helps to prevent false positives from minor differences in metering. For Atmos beds and objects, this setting will reduce excessive peaks due to summing factors within the Atmos renderer.
· Metadata: Metadata should be included in the audio file, including information on the loudness level and dynamic range of the mix.
· Pay attention to dialogue: Dialogue is a critical component of TV audio, so make sure it is clear and intelligible. Use EQ to cut any frequencies that may be masking the dialogue, and use compression to even out the levels of the dialogue.
· Balance the mix: Balance the levels of all elements of the mix so that they are in proportion to one another. Make sure that no one element is overpowering the others.
· Use subtle sound design: Subtle sound design can help enhance the viewing experience and make the mix more engaging. Use sound effects to enhance key moments and create a sense of immersion, but be careful not to overdo it.
· Check the mix on multiple systems: Check the mix on multiple listening environments to ensure that it translates well and sounds good on different systems.
· Use reference tracks: Use reference tracks to help guide your mix and ensure that it is competitive with other TV mixes in your genre.
In conclusion, mixing for TV broadcast requires careful attention to technical requirements and a keen ear for balance and clarity. By following these tips and understanding the technical requirements, you can achieve a successful TV mix that sounds great on a variety of different television sets and resonates with your intended audience.
What are good levels?
When it comes to recording and mixing audio, achieving the right levels is essential for a clean and balanced sound. Here are some guidelines for good levels when recording and mixing:
Recording Levels
When recording audio, it’s important to aim for a healthy and consistent signal level, while avoiding clipping or distortion. Here are some recommended levels for recording:
· Microphone level: Aim for a peak level of around -12dB to -6dB on your input meters, with occasional peaks up to -3dB.
· Instrument level: For instruments like guitars, basses, and keyboards, aim for a peak level of around -12dB to -6dB on your input meters, with occasional peaks up to -3dB.
· Line level: For line-level sources like mixers, aim for a peak level of around -12dB to -6dB on your input meters, with occasional peaks up to -3dB.
These recommendations are given in dBFS (full scale), where 0dBFS is assigned to the maximum level.
Mixing Levels
When mixing audio, it’s important to balance the levels of different elements in the mix, while avoiding clipping or distortion. Here are some recommended levels for mixing:
· Individual tracks: Aim for a peak level of around -12dB to -6dB on your track meters, with occasional peaks up to -3dB.
· Subgroups: When grouping tracks together, aim for a peak level of around -9dB to -6dB on your subgroup meters, with occasional peaks up to -3dB.
· Master bus: Aim for a peak level of around -3dB on your master bus meters, with occasional peaks up to 0dB. This varies greatly depending on the genre.
These recommendations are given in dBFS (full scale), where 0dBFS is assigned to the maximum level. A good reference for how loud mixers would mix in a room in LA would be 85dBSPL (going a bit below like 82dBSPL if it’s for TV).
Loudness Standards
In addition to peak levels, it’s also important to consider loudness standards, particularly for broadcast or streaming audio. Here are some common loudness standards:
-23/-24 LUFS: This is the standard for broadcast television in the United States, as well as for most streaming services. See Netflix requirements for further info.
-16 LUFS: This is the standard for streaming audio services like Spotify and Tidal.
-14 LUFS: This is the standard for broadcast radio in the United States.
By following these guidelines for recording and mixing levels, and considering loudness standards when applicable, you can achieve a clean, balanced, and professional sound for your audio projects.
Sound Design
Sound design is the art of creating and manipulating audio elements to enhance the storytelling in visual media. From feature films to video games to virtual reality experiences, sound design is an essential component of creating immersive and engaging content. Here are some tips for effective sound design:
· Understand the Story
The first step in effective sound design is to understand the story you’re trying to tell. Whether it’s a feature film, a video game, or a virtual reality experience, the sound design should always serve the story. This means understanding the themes, characters, and tone of the project, and designing sounds that enhance and support those elements.
· Choose the Right Tools
There are many tools available for sound design, from simple sound libraries to complex synthesizers and samplers. Choose the right tools for the job based on the needs of the project. It’s also important to learn the tools thoroughly so that you can use them effectively and efficiently.
· Create Original Sounds
While sound libraries can be a great starting point for sound design, creating original sounds is often what sets great sound design apart. Experiment with recording and manipulating different sounds to create something unique and unexpected. You can use everyday objects, instruments, and even your own voice to create sounds that are specific to your project.
· Focus on Detail
Sound design is all about the details. Small, subtle sounds can have a big impact on the overall feel of a project. Pay attention to the sounds in the environment, the movements of characters, and the details of each scene. Adding in the right sound at the right moment can enhance the emotional impact of a scene and make it more memorable.
· Collaborate with the Team
Sound design is not a solitary process. It’s important to collaborate with the rest of the creative team, including the director, producer, and other sound professionals. By working together, you can ensure that the sound design is in sync with the overall vision for the project.
· Stay Organized
Sound design can involve a lot of different elements, from dialogue and music to sound effects and ambient noise. It’s important to stay organized so that you can quickly find the sounds you need when you need them. This may involve creating a detailed library or labeling each sound with specific tags.
In conclusion, sound design is a critical component of creating immersive and engaging visual media. By understanding the story, choosing the right tools, creating original sounds, focusing on detail, collaborating with the team, and staying organized, you can create sound designs that enhance the emotional impact of your project and bring your vision to life.
Foley
Foley is the art of creating and recording sound effects to enhance the realism and immersion of a visual project. It’s used in film, television, video games, and other media to create realistic sounds for actions and movements that can’t be captured by on-set audio recording. Here are some tips for effective Foley work:
· Understand the Project
Before you start creating Foley sounds, it’s important to understand the needs of the project. Consider the setting, the characters, and the overall tone and style of the project. Understanding these elements will help you create sounds that are appropriate and effective.
· Choose the Right Props
Foley work often involves creating sounds with props and objects. It’s important to choose the right props for the job based on the needs of the project. Consider the materials, size, and weight of the objects, and how they will sound when used in the context of the project.
· Experiment with Techniques
There are many different techniques that can be used to create Foley sounds, from simple actions like walking and running to more complex movements like fighting and dancing. Experiment with different techniques to create sounds that are realistic and effective. For example, you can try using different types of shoes or varying your walking speed to create different sounds for footsteps.
· Record in a Controlled Environment
Foley recording requires a controlled environment to capture clean audio without unwanted background noise. Ideally, you should record in a studio or other soundproofed environment to ensure the best quality audio. Use high-quality microphones and recorders to capture the sounds accurately.
· Pay Attention to Detail
Like sound design, Foley work is all about the details. Small, subtle sounds can have a big impact on the overall realism of a project. Pay attention to the movements of characters, the sounds of objects, and the overall environment to create sounds that are specific and believable.
· Collaborate with the Team
As with sound design, Foley work is a collaborative process. It’s important to work closely with the director, sound designer, and other members of the creative team to ensure that the Foley sounds are in sync with the overall vision for the project. This may involve tweaking sounds or adjusting the timing of Foley effects to better match the on-screen action.
In conclusion, Foley work is an essential component of creating realistic and immersive sound in visual media. By understanding the project, choosing the right props, experimenting with techniques, recording in a controlled environment, paying attention to detail, and collaborating with the team, you can create Foley sounds that enhance the overall realism of a project and bring it to life.
Ambience & Room Tone
Ambience & Room Tone are crucial elements in sound design and post-production audio work. They provide a sense of location, space, and atmosphere in a project, whether it’s a film, television show, or video game. Here are some tips for creating effective ambience and room tone:
· Understand the Space
Before you can create an effective ambience or room tone, it’s important to understand the space you’re working with. Consider the size and shape of the room, the materials used in its construction, and any natural or artificial sounds that might be present. This information will help you create a more accurate and believable sound environment.
· Record in the Space
Whenever possible, it’s best to record ambience and room tone in the actual location where the scene takes place. This will give you the most accurate and authentic sound possible. Use a high-quality omni microphone and/or recorder to capture the sound accurately.
· Record Different Versions
When recording ambience and room tone, it’s a good idea to record multiple versions with different perspectives and mic placements. This will give you more options to work with in post-production and ensure that you have the best possible sound for the scene.
· Blend and Layer Sounds
To create a more realistic and immersive sound environment, it’s often necessary to blend and layer different sounds together. For example, you might combine the sound of a room tone with the sound of distant traffic or birds to create a more complex and believable sound environment.
· Pay Attention to Dynamics
Ambience and room tone are often low-level sounds that provide a subtle backdrop for other audio elements. It’s important to pay attention to the dynamics of these sounds and ensure that they don’t overpower other elements in the mix. Use compression and EQ to balance the sound and make it fit naturally in the mix.
· Incorporate Realistic Elements
In addition to the ambient sound of a space, it’s important to incorporate other realistic elements to enhance the sense of location and atmosphere. This might include the sound of footsteps, rustling leaves, or distant chatter. These elements can help to create a more complete and immersive sound environment.
In conclusion, ambience and room tone are essential elements in sound design and post-production audio work. By understanding the space, recording in the location, recording different versions, blending and layering sounds, paying attention to dynamics, and incorporating realistic elements, you can create a more accurate and believable sound environment that enhances the overall realism of your project.
Dialogue Editing
Dialogue editing is the process of refining and enhancing the dialogue tracks in a film, television show, or video game. It involves removing unwanted noise and inconsistencies, optimizing levels and EQ, and syncing the dialogue to the picture. Here are some tips for effective dialogue editing:
· Start with a Clean Recording
The quality of the original recording is crucial for effective dialogue editing. Whenever possible, strive to record dialogue in a quiet environment with high-quality microphones. This will reduce the amount of unwanted noise and make it easier to optimize the dialogue tracks later in the process.
· Remove Unwanted Noise
One of the primary goals of dialogue editing is to remove unwanted noise from the recordings. This might include background noise, pops and clicks, or other extraneous sounds. Use a combination of spectral editing tools and traditional EQ and filtering techniques to remove these noises while preserving the natural sound of the dialogue.
· Balance Levels and EQ
Once the unwanted noise has been removed, it’s time to optimize the levels and EQ of the dialogue tracks. This involves balancing the levels between different speakers and optimizing the frequency response of the dialogue tracks. Use a combination of volume automation, compression, and EQ to achieve a natural and balanced sound.
· Sync Dialogue to the Picture
After the levels and EQ have been optimized, it’s time to sync the dialogue to the picture. This involves matching the timing of the dialogue to the movements and actions of the actors on screen. Use a combination of time stretching and editing tools to achieve a seamless and natural sync.
· Pay Attention to Pacing
The pacing of the dialogue is crucial for effective storytelling. Pay attention to the natural rhythm and pacing of the dialogue and adjust the timing and phrasing as needed. This will help to create a more engaging and natural-sounding dialogue track.
· Incorporate Room Tone
Finally, it’s important to incorporate room tone and other ambient sounds to create a more realistic and immersive sound environment. Use the original recordings or create custom room tone and ambience tracks to add depth and dimension to the dialogue track.
In conclusion, dialogue editing is a crucial part of post-production audio work. By starting with a clean recording, removing unwanted noise, balancing levels and EQ, syncing the dialogue to the picture, paying attention to pacing, and incorporating room tone, you can create a natural and engaging dialogue track that enhances the overall quality of your project.
ADR
ADR, or Automated Dialogue Replacement, is a process used in post-production to replace dialogue that was recorded on set but is unusable due to technical issues or other problems. ADR is a crucial tool for achieving high-quality audio, and it requires careful planning and execution. Here are some tips for effective ADR:
· Choose the Right Microphone
The quality of the ADR recording depends heavily on the microphone used. Choose a high-quality microphone that matches the tonal characteristics of the original dialogue. A good starting point is a large diaphragm cardioid condenser microphone, which is often used for dialogue recording in the studio.
· Tempo mapping
To achieve a seamless ADR recording, try tempo mapping the session according to the «internal BPM» that every line naturally has. Then feed the actors with the click right before recording every take. It works.
· Sync with the Picture
To ensure that the ADR matches the lip movements of the actors on screen, it’s crucial to sync the ADR recording to the picture. This involves using visual cues, such as the actor’s lip movements and facial expressions, to match the timing and phrasing of the ADR with the original performance.
· Maintain Consistency
One of the challenges of ADR is maintaining consistency with the original performance. Pay close attention to the pacing, tone, and emotion of the original performance and aim to replicate these elements as closely as possible in the ADR recording. This will help to create a seamless and natural-sounding dialogue track.
· Use Proper Editing Techniques
Once the ADR recording is complete, it’s important to edit and process the track to match the tone and quality of the original dialogue. This may involve using EQ, compression, and other processing techniques to achieve a natural and balanced sound.
· Incorporate Room Tone
Finally, it’s important to incorporate room tone and other ambient sounds to create a more realistic and immersive sound environment. Use the original recordings or create custom room tone and ambience tracks to add depth and dimension to the ADR track.
In conclusion, ADR is a crucial tool for achieving a high-quality soundtrack in post-production. By choosing the right microphone, matching the recording environment, syncing with the picture, maintaining consistency, using proper editing techniques, and incorporating room tone, you can create a seamless and natural-sounding ADR track that enhances the overall quality of your project.
Audio Repairing
In post-production, it’s common to encounter audio that has technical issues, such as noise, clicks, pops, or distortion. Audio repairing is the process of fixing these issues to achieve a clean and high-quality sound. Here are some tips for effective audio repairing:
Identify the Problem
The first step in audio repairing is to identify the specific issue. Use your ears and audio tools to pinpoint the problem, whether it’s a background noise, a click or pop, or a distortion. This will help you choose the right tool and technique for fixing the issue.
Use the Right Tool
There are many tools and plugins available for audio repairing, including noise reduction plugins, click and pop removal tools, and distortion correction plugins. Choose the right tool for the specific issue you’re trying to fix, and learn how to use it effectively to achieve the best results.
Be Careful with Processing
While audio repairing can be effective, it’s important to use processing tools with care to avoid creating additional issues or artifacts. Use processing tools only as needed, and be mindful of the impact on the overall sound quality.
Work Non-Destructively
Whenever possible, work in a non-destructive manner, using plugins and processing tools that allow you to undo or adjust your changes. This will give you more flexibility to fine-tune your repairs and adjust the overall sound as needed.
Mix with the Repaired Audio
Once the audio has been repaired, it’s important to mix it in with the other elements of the soundtrack. Use your ears and mixing tools to blend the repaired audio seamlessly with the original recordings, maintaining a consistent sound quality throughout the project.
In conclusion, audio repairing is an essential process in post-production, allowing you to fix technical issues and achieve a clean and high-quality sound. By identifying the specific issue, using the right tools, being careful with processing, working non-destructively, and mixing with the repaired audio, you can achieve effective and seamless repairs that enhance the overall quality of your project.
How to deliver Audio for Post Production Work
We have a video dedicated to this on the website.
Step 1: Duplicate Your Session
Step 2: Open the duplicate and remove all volume automation and sound edits. Ensure that the audio plays exactly as it was originally recorded by the microphones.
Step 3: Organize the audio captured by different microphones onto separate tracks. For instance, if you used 2 lavaliere microphones and a boom microphone, place all the audio from the boom microphone on one mono audio track, and all the audio from lavaliere microphone 1 on a separate track, and so on. Ensure that each microphone’s audio is on its own dedicated track. Do not duplicate tracks, create sub-mixes, or put audio from different microphones on the same track.
Step 4: Label each track with the microphone that captured the audio on it. Export all the tracks in a way that they match the length of the picture lock while remaining in sync with it.
If you have made any additional work in music and sound design, you can export those tracks (in stereo, if preferred) in the same manner.
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