What's the best way to balance audio levels for a clear sound?

I believe it is essential to reconsider the introduction of the text, beginning with a fresh perspective that better encapsulates the theme the article aims to address. The current title, "What's the best way to balance audio levels for a clear sound?" sets the stage for an expansive exploration, opening the door to many potential pathways within the article.

This title is confusing, balanced audio levels have very little to do with clean sound. A better title might be "Four steps to clean audio". This paragraph is a bit basic but gets the point across. I would advise clarifying when to use a contender mic. A condenser mic should be used in a studio setting. It won't give studio quality outside of a studio.

Let us begin by breaking down this question step by step. This initial question is brimming with potential, offering various avenues to investigate the optimal methods for achieving a "clear sound" within the context of an article. First, let us address a fundamental query: What exactly do we mean by "audio levels," and in what situation do they apply? Providing a concise explanation of audio levels can greatly assist readers who may not be familiar with the intricacies of sound production.

This is good generic information, but setting the levels depends on the bit depth being used when recording. This paragraph seems to assume the person is recording in 24 bit. If someone were to record in 16 bits, they would be best served to push the levels higher to ensure the best signal to noise ratio. If they are recording in 32 bit float, there's a lot more flexibility and clipping is no longer an issue.

Furthermore, we should clarify the scope of the article. Is the focus primarily on video production, filmmaking, game development, or the broader realm of audiovisual creation? Are we also considering platforms like podcasts, music recording studios, and live music events? The diverse range of practices and disciplines within these fields warrants early clarification, perhaps even in the title. Determining the specific kind of sound that our text explores is equally crucial. What facet of "audio" are we addressing? Are we considering dialogues, such as those found in films or podcasts? Alternatively, is our exploration aimed at comprehending broader soundscapes? The clarity in this regard is pivotal to directing our discourse.

Again, we have decent generic information with some inaccuracies. The only background noise a windscreen helps with is wind and a pop filter does nothing for background noise; they prevent plosives.

Suppose our intention revolves around spotlighting the recording of dialogues (voices) and encompassing general soundscapes within the framework of audiovisual media. This differentiation becomes especially important when contrasted with the distinct process of capturing sounds in a controlled studio environment. Of course, the article can cover a more holistic approach from on-site to post-production. But, it's still essential to define in what practice (audiovisual or music production)? Each of these stages introduces its own set of complexities. Establishing a clear framework from the outset holds immense significance.

More generic information with some inaccurate information. This is the only part of the process where we are mixing levels, which is a more accurate term than balancing. Final Cut Pro is not audio editing software, it's video editing software. There are two types of normalization, so it would be nice to see loudness normalization specified here. Technically, a limiter doesn't enhance sound quality and they generally aren't used to control dynamics, but instead to ensure peaks don't clip. The last line is terrible. Almost all platforms these days have a recommended loudness target to ensure consistent levels. How does someone gauge loud enough when volume is relative? It needs to be measured using a loudness meter.

Start with nothing: If your mix lacks clarity, I recommend starting from scratch. Pull all your faders down, and add in one track at a time, starting with the most important track. If necessary, add compression and equalization to make this track sound great, on its own. Then pull its level down, and bring up your next most important track. Repeat the process, until all of your most important tracks are processed and each sounds good on its own. Then start at the beginning with your most important track, and add the others in one by one until you have a good clear mix.

Good, clean audio is a cumulative thing. It starts with the recording process, so, if you get it right here, the rest of the job is going to be easy. You won't need as much destructive processing like noise and reverb reduction. And mixing puts the finishing touches on everything. It takes time to learn to do all of these things well.