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5

The most obvious answer is using compression on the input signal. The sound volume will be controlled and will stay below chosen threshold without loosing the character or sounding distant. Not using a too sensitive microphone will help as well. The best choice here will be a good dynamic mic like Shure SM58 or SM57, but of course any other one will ...


3

There are a few types of clipping. Microphones can physically clip if they are forced to vibrate too far, but this would generally take some pretty intense sound. Clipping can also occur if the pre-amp gains the audio up too much. Generally, you will want to reduce the pre-amp until the audio you are sampling does not clip. If you still get a distortion ...


3

I've had decent luck experimenting with making a "distant" sound with just processing: A bit of lowpass filter (not too aggressive, but obvious enough) to dull it, and leave other sounds in the mix more prominent. Reverb with a semi-long initial decay and dense reflections. The idea is to suggest that there was plenty of space between the sound and the ...


2

Pointing the microphone will also help a lot with recording high volume sources. Point the diaphram off center (like at the forehead of the subjects). This is specifically to deal with distortion that happens at the mic. Used the same technique for recording vocals with a subject that could "bury the needles".


1

Great answers so far. I suppose if you have the chance to Worldize it that might be worth a go too!


1

There's a balance between proper editing of the dialog tracks and proper use of the processing that Jay mentioned, but also the effects of masking when you introduce atmospheres, walla, foley, roomtones, and reverb/early reflections. For instance, even without EQ or compression, the acoustical variations, small amounts of background noise, level differences, ...


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