{"id":83283,"date":"2026-08-27T07:13:00","date_gmt":"2026-08-27T05:13:00","guid":{"rendered":"https:\/\/faller-audio.com\/ratgeber\/allgemein\/film-sound-mixing\/"},"modified":"2026-09-23T18:14:38","modified_gmt":"2026-09-23T16:14:38","slug":"film-sound-mixing","status":"publish","type":"ratgeber","link":"https:\/\/faller-audio.com\/en\/guide\/understanding-television\/film-sound-mixing\/","title":{"rendered":"Film Sound Mixing"},"content":{"rendered":"\n<style>\n.fa-article{\n--fa-font:\"Figtree\",Arial,Helvetica,sans-serif;\n--fa-accent:#F63D28;\n--fa-accent-hover:#066A6D;\n--fa-badge-bg:linear-gradient(100deg,#E07444 0%,#F63D28 100%);\n--fa-badge-fg:#ffffff;\n--fa-badge-shadow:0 1px 2px rgba(0,0,0,.38);\n--fa-ink:#000000;\n--fa-ink-soft:#3d4b50;\n--fa-surface:#F4F0E8;\n--fa-border:#e3ddd0;\n--fa-radius:6px 0 6px 0;\n--fa-radius-soft:0 6px 0 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h2{font-size:1.35rem}\n.fa-meta{flex-direction:column;align-items:flex-start;gap:.25rem}\n.fa-procon{grid-template-columns:1fr;gap:.75rem}\n}\n@media(prefers-reduced-motion:reduce){\n.fa-article *{transition:none !important}\n}\n<\/style>\n\n<article class=\"fa-article\">\n\n  <nav class=\"fa-breadcrumb\" aria-label=\"Brotkr\u00fcmelnavigation\">\n    <a href=\"https:\/\/faller-audio.com\/en\/\">Homepage<\/a> \u203a\n    <a href=\"https:\/\/faller-audio.com\/en\/ratgeber\/\">Guide<\/a> \u203a\n    <span aria-current=\"page\">Film Sound Mixing<\/span>\n  <\/nav>\n\n  <span class=\"fa-cat\">Understand TV Better<\/span>\n\n  <h1>Film Sound Mixing<\/h1>\n\n  <div class=\"fa-meta\">\n    <span>By Faller Audio Editorial Team<\/span>\n    <span class=\"fa-sep\">|<\/span>\n    <time datetime=\"2026-08-27\">Updated on August 27, 2026<\/time>\n    <span class=\"fa-sep\">|<\/span>\n    <span class=\"fa-readtime\">6 Min. Read Time<\/span>\n  <\/div>\n\n  <figure class=\"fa-hero\">\n    <img decoding=\"async\" src=\"https:\/\/faller-audio.com\/wp-content\/uploads\/2026\/08\/Tonmischgeraet.jpg\" alt=\"Sound Mixer\" width=\"780\" height=\"439\" loading=\"eager\" fetchpriority=\"high\"\/>\n  <\/figure>\n\n  <nav class=\"fa-toc\" aria-label=\"Inhaltsverzeichnis\" role=\"navigation\">\n    <p class=\"fa-toc-title\" id=\"toc-heading\">Contents<\/p>\n    <ol aria-labelledby=\"toc-heading\">\n      <li><a href=\"#drehort\">On-Set Sound<\/a><\/li>\n      <li><a href=\"#nachvertonung\">Dialogue Re-recording<\/a><\/li>\n      <li><a href=\"#geraeusche\">Sound Effects, Ambience, and Music<\/a><\/li>\n      <li><a href=\"#mischung\">Mixing in the Sound Studio<\/a><\/li>\n      <li><a href=\"#fernsehton\">Implications for TV Sound<\/a><\/li>\n      <li><a href=\"#faq\">Frequently Asked Questions<\/a><\/li>\n    <\/ol>\n  <\/nav>\n\n  <p class=\"fa-intro\">When watching a film, you hear a soundtrack that has been assembled from many individual parts. Dialogues, sound effects, ambience, and music are created separately and only brought together at the very end. Much of it sounds different in the finished film than it actually did on set.  <\/p>\n\n  <p class=\"fa-intro\">This process is called sound mixing and takes place during post-production. Sound mixing helps determine how well dialogues are understood later, as speech competes with everything else intended for the soundtrack.  <\/p>\n\n  <aside class=\"fa-highlight\" aria-label=\"Zusammenfassung\">\n    <p class=\"fa-highlight-title\">Highlight Box<\/p>\n    <ul>\n      <li>Film sound consists of four groups: dialogues, sound effects, ambience, and music.<\/li>\n      <li>Original on-set sound is often replaced because it contains interference or sounds unclear.<\/li>\n      <li>Dialogues are re-recorded in the studio; this process is called ADR.<\/li>\n      <li>Foley artists record steps, doors, and fabrics specifically; this is known as Foley in professional jargon.<\/li>\n      <li>During mixing, the relative loudness of speech, music, and effects is determined.<\/li>\n    <\/ul>\n  <\/aside>\n\n  <div class=\"fa-content\">\n\n    <section id=\"drehort\">\n      <h2 id=\"h2-drehort\">On-Set Sound<\/h2>\n      <p>It all begins with recording during filming. The sound team records what the actors say on set. This recording is, of course, very important, but it often doesn&#8217;t make it into the finished film unchanged.  <\/p>\n\n      <h3>Recording During Filming<\/h3>\n      <p>The microphone usually hangs on a boom pole above the actors&#8217; heads or is a lavalier microphone attached to their clothing. The boom pole provides a more natural sound, while the lavalier microphone offers greater protection against background noise. Both options are often used simultaneously to provide choices later. Not only speech is recorded, but everything audible on set.   <\/p>\n      <p>Recording is usually done on multiple tracks simultaneously, allowing selection between microphones during post-production. All tracks carry a timestamp that later synchronizes them with the picture. <\/p>\n\n      <h3>Limitations of Original Sound<\/h3>\n      <p>However, this is precisely where the problem lies. A filming location is rarely quiet and silent. Scenery, a street, wind, or the crew itself can end up in the recording. Some scenes are also shot in locations where recording without background noise is simply not possible.   <\/p>\n      <p>In addition to technical reasons, there are linguistic ones. Sometimes a line doesn&#8217;t quite work, a word gets lost, or an emphasis no longer fits the scene after editing. In such cases, the original sound is replaced later.  <\/p>\n    <\/section>\n\n    <section id=\"nachvertonung\">\n      <h2 id=\"h2-nachvertonung\">Dialogue Re-recording<\/h2>\n      <p>If the original sound is not optimally usable, actors re-record their lines in the studio. This process is called ADR, usually short for Automated Dialogue Replacement. In German, it is also referred to as Nachvertonung or Dialogersatz.  <\/p>\n\n      <h3>ADR in the Studio<\/h3>\n      <p>The actor watches the scene and repeats the line until it matches the lip movement. The recording is made in a quiet room, free of background noise. Therefore, it sounds extremely clean, but also different from the original sound.  <\/p>\n      <p>This cleanliness must then be undone. A voice speaking in a hall, for example, will have artificial reverb added. Without this additional enhancement, the dialogue would not fit the scene.  <\/p>\n\n      <h3>Dubbed Versions for Other Languages<\/h3>\n      <p>The same process happens again for a German dubbed version, only with different voice actors and a translated script. Here, too, the voice is created in the studio and then inserted into the existing mix. <\/p>\n      <p>Music and sound effects are often delivered as a separate mix without dialogue. This version is called M&#038;E, meaning Music and Effects. It serves as the basis for adding new dialogues in other languages. Where sound effects were present under the original dialogue, they must, of course, be re-added.   <\/p>\n    <\/section>\n\n    <section id=\"geraeusche\">\n      <h2 id=\"h2-geraeusche\">Sound Effects, Atmosphere, and Music<\/h2>\n      <p>In addition to dialogues, there are three other elements that are recorded or composed separately. They remain on their own tracks until the end. Only after they are combined do they form what is heard as the final film sound.  <\/p>\n      <div class=\"fa-table-wrap\" role=\"region\" aria-label=\"Die vier Elemente einer Filmtonspur\" tabindex=\"0\">\n        <table>\n          <thead>\n            <tr>\n              <th scope=\"col\">Element<\/th>\n              <th scope=\"col\">Creation<\/th>\n              <th scope=\"col\">Relevance to Speech Intelligibility<\/th>\n            <\/tr>\n          <\/thead>\n          <tbody>\n            <tr>\n              <td>Dialogue<\/td>\n              <td>Recorded on set or in the studio<\/td>\n              <td>the part that needs to be understood<\/td>\n            <\/tr>\n            <tr>\n              <td>Sound Effects<\/td>\n              <td>specifically recorded or created on a computer<\/td>\n              <td>mostly uncritical, as they are short and punctual<\/td>\n            <\/tr>\n            <tr>\n              <td>Atmosphere<\/td>\n              <td>Recording of ambient sound<\/td>\n              <td>often runs in the background and can reduce the distance to speech<\/td>\n            <\/tr>\n            <tr>\n              <td>Music<\/td>\n              <td>composed, recorded, or licensed<\/td>\n              <td>often an antagonist, as it plays simultaneously and frequency ranges can overlap<\/td>\n            <\/tr>\n          <\/tbody>\n        <\/table>\n      <\/div>\n      <p class=\"fa-table-summary\">All four run on separate tracks until the mixing stage. For dialogue intelligibility, the relationship between speech and music is particularly crucial. <\/p>\n\n      <h3>Foley and Foley Artists<\/h3>\n      <p>Footsteps, doors, rustling clothes, or a glass being set down are specifically recorded while the scene plays. The technical term for this is Foley; in German, they are called Ger\u00e4uschemacher (foley artists). <\/p>\n      <p>This work takes place in a studio with various floor coverings and a collection of objects. What you hear in a film as, for example, footsteps on gravel, is created there and not on set. On set, these sounds would be recorded along with everything else and could not be separated later.  <\/p>\n\n      <h3>Sound Design for Everything Else<\/h3>\n      <p>Not every sound can be recorded. A spaceship or a monster does not have a real sound. Such sounds are assembled on a computer from various sources. Amusingly, often from sources that have nothing to do with the scene.   <\/p>\n      <p>This step is called sound design and is distinct from sound recording, even if both ultimately end up in the same track group.<\/p>\n\n      <h3>Background Atmosphere<\/h3>\n      <p>Atmosphere, also called &#8216;atmo,&#8217; is the continuous background sound of a scene. Traffic outside the window, bird calls, or other ambient noises. It ensures that a room sounds like a room and not like a studio recording.  <\/p>\n\n      <h3>Music and Speech<\/h3>\n      <p>Film music is usually created last because the composer needs to see the edited film. It follows the plot and begins at specific points, which are determined beforehand with the director. These points are recorded via timecode to ensure music and visuals align later.  <\/p>\n      <p>For the intelligibility of spoken words, music is the most challenging element. It can overlap with the frequency range of the human voice and often plays exactly when dialogue is present. <\/p>\n    <\/section>\n\n    <section id=\"mischung\">\n      <h2 id=\"h2-mischung\">Mixing in the Sound Studio<\/h2>\n      <p>Ultimately, all tracks converge. During the mixing process, a re-recording mixer determines the relative volume of each element. This is where it is decided whether dialogues stand out or get lost.  <\/p>\n\n      <h3>Separate Tracks<\/h3>\n      <p>The individual elements remain separated into groups called stems. Typically, there are three: one for dialogues, one for music, and one for effects. This separation is practical because individual groups can later be exchanged or re-weighted.  <\/p>\n      <p>This is a fundamental prerequisite for dubbed versions. Newer methods for improving speech intelligibility also focus on this by increasing the dialogue component relative to the rest. <\/p>\n\n      <h3>The Relationship Between Speech and Everything Else<\/h3>\n      <p>The difference in volume between dialogue and background is a creative decision. Some directors aim for a realistic impression and accept that speech may be less prominent in the scene. Others bring dialogues clearly to the forefront.  <\/p>\n      <p>The Audio Engineering Society considers this relationship the decisive factor for dialogue intelligibility. According to EBU studies, too small a difference between speech and background is one of the most common causes of complaints about TV sound. <\/p>\n\n      <h3>Loudness Standards<\/h3>\n      <p>For television, there are fixed guidelines that specify the loudness levels at which programs should be mixed. This ensures, for example, that channels and commercials are comparable. However, this standard only regulates the overall loudness level of a program. It does not dictate how speech and music within that program relate to each other.   <\/p>\n    <\/section>\n\n    <section id=\"fernsehton\">\n      <h2 id=\"h2-fernsehton\">Consequences for TV Sound<\/h2>\n      <p>A cinema film is mixed for a large, quiet auditorium with many loudspeakers. On a television, this mix then encounters a living room, two small speakers on the device itself, and ambient noise. What works as quiet dialogue in the cinema can often be lost in one&#8217;s own living room.  <\/p>\n      <p>Cinema films, series, and movies are often mixed too dynamically for broadcast and streaming, because the difference between overall loudness and dialogue loudness is large. Therefore, separate versions with reduced dynamics are often created for television and streaming services. <\/p>\n      <p>In object-based formats, individual sound components can be transmitted as separate objects or groups with metadata. If dialogue and background are available separately, the dialogue component can fundamentally be treated differently or adapted to the listener. <\/p>\n    <\/section>\n\n  <\/div>\n\n  <section id=\"faq\" class=\"fa-faq\">\n    <h2 class=\"fa-faq-title\">Frequently Asked Questions<\/h2>\n\n    <div class=\"fa-faq-item\">\n      <button class=\"fa-faq-q\" aria-expanded=\"false\" aria-controls=\"faq-0\">What happens during film sound mixing?<\/button>\n      <div class=\"fa-faq-a\" id=\"faq-0\" role=\"region\">\n        <div class=\"fa-faq-a-inner\"><p>During mixing, all sound elements are brought together, and their relative volumes are set. Dialogues, sound effects, atmosphere, and music run on separate tracks until this point. A re-recording mixer then decides how loud each element should be in relation to the others. This step is part of post-production and takes place after picture editing.   <\/p><\/div>\n      <\/div>\n    <\/div>\n\n    <div class=\"fa-faq-item\">\n      <button class=\"fa-faq-q\" aria-expanded=\"false\" aria-controls=\"faq-1\">Why are dialogues re-recorded in the studio?<\/button>\n      <div class=\"fa-faq-a\" id=\"faq-1\" role=\"region\">\n        <div class=\"fa-faq-a-inner\"><p>Because the original sound from the set is often not clean enough. Street noise, wind, air conditioning, or the film crew itself end up in the recording. Even after editing, an emphasis might no longer fit. Actors then re-record their lines in the studio; this process is called ADR.   <\/p><\/div>\n      <\/div>\n    <\/div>\n\n    <div class=\"fa-faq-item\">\n      <button class=\"fa-faq-q\" aria-expanded=\"false\" aria-controls=\"faq-2\">What does a foley artist do?<\/button>\n      <div class=\"fa-faq-a\" id=\"faq-2\" role=\"region\">\n        <div class=\"fa-faq-a-inner\"><p>They specifically record everyday sounds for the film while the scene is playing. This includes footsteps, doors, rustling clothes, or a glass being set down. Various floor coverings and a large collection of objects are available in the studio for this purpose. The English technical term for this work is Foley.   <\/p><\/div>\n      <\/div>\n    <\/div>\n\n    <div class=\"fa-faq-item\">\n      <button class=\"fa-faq-q\" aria-expanded=\"false\" aria-controls=\"faq-3\">Why does film music so often overpower speech?<\/button>\n      <div class=\"fa-faq-a\" id=\"faq-3\" role=\"region\">\n        <div class=\"fa-faq-a-inner\"><p>Music can overlap with the frequency range of the human voice and often plays exactly when dialogue is present. The difference in volume between the two is a creative decision made during mixing. Some films deliberately aim for a realistic impression and accept that speech may be less distinct.  <\/p><\/div>\n      <\/div>\n    <\/div>\n\n    <div class=\"fa-faq-item\">\n      <button class=\"fa-faq-q\" aria-expanded=\"false\" aria-controls=\"faq-4\">Is mixing for television different from mixing for cinema?<\/button>\n      <div class=\"fa-faq-a\" id=\"faq-4\" role=\"region\">\n        <div class=\"fa-faq-a-inner\"><p>In many cases, yes. A cinema mix is intended for a large, quiet auditorium with many loudspeakers and uses a wide dynamic range between quiet and loud passages. Therefore, separate versions with reduced dynamics are often created for television and streaming. Whether such a version is broadcast depends on the channel or provider.   <\/p><\/div>\n      <\/div>\n    <\/div>\n\n  <\/section>\n\n  <aside class=\"fa-sources\">\n    <button class=\"fa-sources-toggle\" aria-expanded=\"false\" aria-controls=\"sources-list\">Sources &#038; References<\/button>\n    <div class=\"fa-sources-list\" id=\"sources-list\">\n      <ol>\n        <li>Audio Engineering Society. AES TD1009, Improving Dialogue Intelligibility in Media. <a href=\"https:\/\/aes2.org\/community\/technical-council\/aestd1009\/\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">aes2.org<\/a>. <\/li>\n        <li>European Broadcasting Union. Speech Intelligibility in TV. <a href=\"https:\/\/tech.ebu.ch\/publications\/speech-intelligibility-in-tv\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">tech.ebu.ch<\/a>. <\/li>\n        <li>European Broadcasting Union. EBU R 128, Loudness Normalisation and Permitted Maximum Level of Audio Signals. <a href=\"https:\/\/tech.ebu.ch\/publications\/r128\/\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">tech.ebu.ch<\/a>. <\/li>\n        <li>European Broadcasting Union. EBU R 128 s4, Loudness Normalisation of Cinematic Content. <a href=\"https:\/\/tech.ebu.ch\/publications\/r128s4\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">tech.ebu.ch<\/a>. <\/li>\n        <li>International Telecommunication Union. Recommendation ITU-R BS.1770, Algorithms to measure audio programme loudness and true-peak audio level. <a href=\"https:\/\/www.itu.int\/rec\/R-REC-BS.1770\/en\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">itu.int<\/a>. <\/li>\n        <li>Academy Digital Preservation Forum. Fully-Filled Effects Stem. <a href=\"https:\/\/academydigitalpreservationforum.org\/fully-filled-effects-stem\/\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">academydigitalpreservationforum.org<\/a>. <\/li>\n        <li>Fraunhofer IIS. MPEG-H Dialog+ for improved dialogue intelligibility. <a href=\"https:\/\/www.iis.fraunhofer.de\/de\/pr\/2025\/pressemitteilung-mpeg-h-arte.html\" target=\"_blank\" rel=\"noopener noreferrer nofollow\">iis.fraunhofer.de<\/a>. <\/li>\n      <\/ol>\n    <\/div>\n  <\/aside>\n\n<\/article>\n\n<script type=\"application\/ld+json\">\n{\n  \"@context\": \"https:\/\/schema.org\",\n  \"@type\": \"FAQPage\",\n  \"mainEntity\": [\n    {\n      \"@type\": \"Question\",\n      \"name\": \"Was passiert bei der Tonmischung eines Films?\",\n      \"acceptedAnswer\": { \"@type\": \"Answer\", \"text\": \"In der Mischung f\u00fchrt man alle Tonelemente zusammen und legt ihre Lautst\u00e4rke zueinander fest. Dialoge, Ger\u00e4usche, Atmosph\u00e4re und Musik laufen bis dahin auf getrennten Spuren. Ein Mischtonmeister entscheidet dann, wie laut jedes Element im Verh\u00e4ltnis zu den anderen liegt. Dieser Schritt geh\u00f6rt zur Postproduktion und findet nach dem Bildschnitt statt.\" }\n    },\n    {\n      \"@type\": \"Question\",\n      \"name\": \"Warum werden Dialoge im Studio neu aufgenommen?\",\n      \"acceptedAnswer\": { \"@type\": \"Answer\", \"text\": \"Weil der Originalton vom Drehort oft nicht sauber genug ist. Stra\u00dfenl\u00e4rm, Wind, eine Klimaanlage oder das Filmteam selbst landen mit auf der Aufnahme. Auch nach dem Schnitt kann eine Betonung nicht mehr passen. Die Schauspieler sprechen ihre S\u00e4tze dann im Studio nach, dieses Verfahren nennt man ADR.\" }\n    },\n    {\n      \"@type\": \"Question\",\n      \"name\": \"Was macht ein Ger\u00e4uschemacher?\",\n      \"acceptedAnswer\": { \"@type\": \"Answer\", \"text\": \"Er nimmt allt\u00e4gliche Ger\u00e4usche eigens f\u00fcr den Film auf, w\u00e4hrend die Szene l\u00e4uft. Dazu geh\u00f6ren Schritte, T\u00fcren, raschelnde Kleidung oder ein Glas, das abgestellt wird. Im Studio stehen daf\u00fcr verschiedene Bodenbel\u00e4ge und eine gro\u00dfe Sammlung an Gegenst\u00e4nden bereit. Der englische Fachbegriff f\u00fcr diese Arbeit lautet Foley.\" }\n    },\n    {\n      \"@type\": \"Question\",\n      \"name\": \"Warum \u00fcberdeckt Filmmusik so oft die Sprache?\",\n      \"acceptedAnswer\": { \"@type\": \"Answer\", \"text\": \"Musik kann sich mit dem Frequenzbereich der menschlichen Stimme \u00fcberschneiden und l\u00e4uft oft genau dann, wenn gesprochen wird. Wie gro\u00df der Abstand zwischen beiden ausf\u00e4llt, ist eine gestalterische Entscheidung in der Mischung. Manche Filme setzen bewusst auf einen realistischen Eindruck und nehmen daf\u00fcr in Kauf, dass Sprache weniger deutlich hervortritt.\" }\n    },\n    {\n      \"@type\": \"Question\",\n      \"name\": \"Wird f\u00fcr das Fernsehen anders gemischt als f\u00fcr das Kino?\",\n      \"acceptedAnswer\": { \"@type\": \"Answer\", \"text\": \"In vielen F\u00e4llen ist das so. Eine Kinomischung ist f\u00fcr einen gro\u00dfen, ruhigen Saal mit vielen Lautsprechern gedacht und nutzt einen weiten Abstand zwischen leisen und lauten Stellen. F\u00fcr Fernsehen und Streaming entstehen deshalb oft eigene Fassungen mit geringerer Dynamik. Ob eine solche Fassung ausgestrahlt wird, h\u00e4ngt vom Sender oder Anbieter ab.\" }\n    }\n  ]\n}\n<\/script>\n\n<script>\n(function(){\n  document.querySelectorAll('.fa-faq-q').forEach(function(btn){\n    btn.addEventListener('click',function(){\n      var expanded=this.getAttribute('aria-expanded')==='true';\n      document.querySelectorAll('.fa-faq-q').forEach(function(b){\n        b.setAttribute('aria-expanded','false');\n        b.nextElementSibling.style.maxHeight=null;\n      });\n      if(!expanded){\n        this.setAttribute('aria-expanded','true');\n        var panel=this.nextElementSibling;\n        panel.style.maxHeight=panel.scrollHeight+'px';\n      }\n    });\n  });\n  document.querySelectorAll('.fa-toc a').forEach(function(a){\n    a.addEventListener('click',function(e){\n      var target=document.querySelector(this.getAttribute('href'));\n      if(target){e.preventDefault();target.scrollIntoView({behavior:'smooth',block:'start'});history.pushState(null,null,this.getAttribute('href'));}\n    });\n  });\n  var srcBtn=document.querySelector('.fa-sources-toggle');\n  if(srcBtn){srcBtn.addEventListener('click',function(){\n    var expanded=this.getAttribute('aria-expanded')==='true';\n    this.setAttribute('aria-expanded',String(!expanded));\n    var list=document.getElementById('sources-list');\n    list.style.maxHeight=expanded?null:list.scrollHeight+'px';\n  });}\n})();\n<\/script>\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Film sound is constructed, not simply recorded. Dialogues are re-recorded in the studio if needed, foley artists specifically record footsteps and doors, and music is added last. The final volume of speech relative to all other elements is a decision made during the mixing process.  <\/p>\n","protected":false},"featured_media":83284,"template":"","ratgeber_kategorie":[59],"class_list":["post-83283","ratgeber","type-ratgeber","status-publish","has-post-thumbnail","hentry","ratgeber_kategorie-understanding-television"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Film Sound Mixing<\/title>\n<meta name=\"description\" content=\"A film&#039;s sound is created in separate parts and only mixed at the end. This mixing process determines how well the dialogues are understood.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/faller-audio.com\/en\/guide\/understanding-television\/film-sound-mixing\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Film Sound Mixing\" \/>\n<meta property=\"og:description\" content=\"A film&#039;s sound is created in separate parts and only mixed at the end. 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