The optimum output volume for a selected media essentially comes down to the dynamic range of the content. For example it would be stupid to whack the faders up on a dialogue based piece with no extra-diegetic sound, because we would just be listening to REALLY loud talking. No, optimising a track for a certain volume refers to the difference between the dynamic range of these sounds and the best average volume to listen to the entire thing at. For example, have you ever been sat watching a film, where the main protagonists are having a really tense quiet conversation and then suddenly a mind bending explosion startles the neighbours two doors down, and you are left frantically padding around looking for the remote, before the next explosion strips you of your ability to hear? That is because that film is mixed to be LOUD, as a lot of modern films are. This is simply because volume is equal to impact.
This is definitely an area of ambiguity and a matter for contention in the modern industry. With the constant improvement of playback technology alongside the increasing ease of availability of home cinema systems, movie sound can get louder than ever before, without the risk of losing sonic integrity. The substantial rise in home Hi-Fi systems and the “bigger is better” mentality of loud story makers place us in a unique situation where loudness can be embedded in to the film with a lot less contemplation as to whether the audience will ever be able to truly receive it. In years past the standard volume for audio playback in a cinema setting, lay at around 85 dB. It is hard to place a single figure on this, because of course as is the case with any art, the beast defines the terms. Meaning that each case will of course have its own variables to consider and each mix should be different depending on what the film is trying to achieve. However, in more recent times mixes are being optimised for louder and louder playback, even sometimes reaching the eardrum blasting 108-110 dB. This will inevitably come down to the pressure applied from external sources. An experienced musician/engineer will know the detrimental, self defeating effects of making something louder, but the director will of course want to create the most affective piece of work possible and as we all know LOUD seems to be BETTER.
I suppose, now, with technology reaching its pinnacle it could be said that it is no longer a case of what sounds best, but how can he have the most impact without being unsafe. But is this really the avenue to explore if true quality is what is desired. Probably not right? Loud mixes can create a whole multitude of problems for example, the last action movie you saw, how much dynamic compensation were you having to apply with your TV remote between the dialogue sections and the all out action, probably a fair amount because these films cannot be listened to quietly. This is because the level that you’d have it set to, to listen to speech is way too high for the action and vice versa. This is the sound engineers attempt to impact you, overdriven by the directors pressure for volume. This having been said, sometimes there is absolutely nothing wrong with a really loud mix. I mean you wouldn’t want to watch an all-out action movie and not have it rattle your sofa, but how far is too far?
I suppose it depends on the beast.
Boyes States “We need to have some kind of even approach to dealing with clients to let them know that we agree that movies have gotten too loud. I think a real education process has to happen, and, if it does, it will be a real defining moment for film audio as we start the new century.”
Jordan Vaughan: Creative Sound Design 