I think the approach you take has a lot to do with the audio content you’re woking with. For straight ahead dialogue, narration-based tracks or commercial spots I have to agree with a couple of posters who advocate letting levels fall between -6 and -3. Obviously, you have to watch your transients carefully. I usually apply some compression to assure there are no errant peaks. I’ll even go through the track and make keyframe adjustments to contol audio peaks. The tracks are hotter and don’t need normalization (which is basically bringing the audio gain up to just below the clip point). It also makes a big difference when exporting audio tracks to DVD or for web use. If you understand the process, it works very well.
However, for video or film projects that involve a lot of dynamics, I’ll average at -12 or -20 which allows for dramatic dynamics (explosions, etc.). I’ll always release the master with audio the way the client calls for it.
John
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