Audio Mixing in Premiere Pro | Jyi Sim | Skillshare
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13 Lessons (1h 13m)
    • 1. EP0 Introduction

    • 2. EP1 Arrange and Rename Tracks

    • 3. EP2 Levelling Tracks

    • 4. EP3 What is EQ

    • 5. EP4 What is Compressor

    • 6. EP5 Crossfade

    • 7. EP6 Adaptive Noise Reduction

    • 8. EP7 Declipper (with Adobe Audition)

    • 9. EP8 Two Methods of Mixing

    • 10. EP9 Before Mixing

    • 11. EP10 Essential Sound

    • 12. EP11 Mixing

    • 13. EP12 Mastering

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About This Class

Would you like to up your game on the video that you've edited? Make your video sounds amazing and attracts viewers even more? Yes! This course is created for videographers and video editors to enhance their audio mixing skills in Premiere Pro. This comes in handy especially when your project budget is limited to hire an audio engineer to do audio post mixing for your video or short film production. After this course, you would be able to fix simple noise, edit, mix and also master your audio for your video!

I am a full-time audio post mixing engineer and have been in the industry for more than 3 years. Working closely with video editors allow me to craft this course to suit them best! After talking to them for a few sessions regarding this course, I produced this course with their feedbacks in mind.

I hope that you have benefitted from this course, and if you have bigger projects and needed an audio engineer to help out with your video project, do not hesitate to contact me. 

Meet Your Teacher

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Jyi Sim

audio post,music & everything in between


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1. EP0 Introduction: Hello, everyone. I'm G a full time audio mixing engineer. Welcome toe odor. Mixing improbable. This cause is specifically designed for video editors and YouTubers to further enhance the audio quality for your video contents. In this course, you will learn how to fix problems that you faced, such as Noise and Clift. All your are creating a video contents. Besides fixing problems, we also learn how to better arrange your working files to make a workflow small, efficient. We also dive into the fundamentals of mixing use a choppy, says your sound and also wash it. Some of the concepts might be hard to digest if you're new, so you can always possibly you all. We watch it better. Unscented as for, Are you mixing? Always trust your ears and the what sounds best See you in the next few and popular any 2. EP1 Arrange and Rename Tracks: Hello, everyone. I'm G today. I'm gonna show you how to do simple audio mixing in Premiere Pro. So first, I would like to get the audio layout in Premiere Pro. This is because owner used audio track mixer that, as you can see here, it has all the automation needed for audio. Next, I would like to rename all the order tracks nicely, so I know what's going on. So the first rank. So this is a voice over from the mic source. So we just put voiceover, Then the second track is also voice over. But this is actually from another source, which is a camera source. And it's likely noisier. That's why separate the mop and then we have the track. Yes, this is a location sound, which is less important in the voiceover. That's why I group them together, throw in this system music. And then lastly, we have the fifth track. The fief trick is the zone effect. As you can see, I police all the tracks nicely. I group them nicely. All the voiceover in tow, one trick, and then the music in tow one and then the side effects into one. This is still make things easier in the future. So once we put one audio effects in tow, one track, all the relevant tracks that's in the same trick will be doing the same thing as well. So it's easier for us. So there are two ways into doing things thing one we can actually group, like the several tracks in tow, one into like a sub mix. But today I'm going to show you an easier way, which is to use here. That's pop this out. As you can see, I can actually put, like, order effects into this one channel like these individual channels. So all the elements that's in this channel say, for example, if I put an each you so all the elements will be under this same e que settings that I'm gonna put in. 3. EP2 Levelling Tracks: So after we get things neat and nicely next, we're gonna do like simple leveling before we even started mixing. Why are we going to do that? Is because we want to protect all these sounds from getting distorted. We're just gonna pull down all the levels. So for Vo, usually our put like negative tree according to my past experience, I know that view is quite important to get it sound clear and loud and then for locations. Son, we usually put back negative five for music because it's already mastered. I'll put relatively low about negative 10 or negative traf for sound effects. It's usually about negative six or five. So this is once again to protect all the sound from getting distorted in the master output . So on the master up, wow usually put a heart limiter once again. It's also to prevent it from getting like sound distortion. As you know, some destruction can be a very nest eating. And then that sweet for the heart limited. Come up right Here we go. We have, like the maximum employees to add negative, not 0.1 idea and do any input boosts yet. So this is how we are gonna make things work first. As you can see all these, it's minus tree minus five Afghanistan and minus takes. Everything is lower than zero is to make sure that the master output it's not distorted. This is very, very important. So this is a very Ralf starting point that we can start off with before we go into the next each 4. EP3 What is EQ: So after getting your tracks lee out nicely and naming them correctly, I'm going to introduce some off the concept that we're gonna use while mixing. I'm sure some of you have heard off e que compressor and also limiter. So first, what is e que each you or equalization? Is the process off balancing the frequency off the sun? As we know. Some consists off low meat and high frequency. So let's see. What are they? Each you we have in Premiere Pro. As you can see, we have two types on is the graphic equalizer. And the other one's the Parametric. They both do the same thing, but it looks a bit different only so let's see. What are they? First we have the graphic equalizer, and she can see the X exists is actually the frequency you can see on top here. The low frequency, um, it in the high. And then we have the decibel. Bebe is the loudness off the sound that you're gonna control for each off this frequency. I'm so far explanation. I'm gonna use Parametric as you'll see why I'm going to use this because it's very visual. Yes, you are. You're your video editors. So I'm sure that you'll appreciate this more. And then, as you can see, it's the same thing. You have X axis excesses. If the frequency and in the Y axis is the decibel, the lateness off the frequency. And then in EQ, you were going to do two things. One is actually boosting it and also cutting it. So we have each you, Bruce and also you. So for each you boost, how does he going to sound like and then for you Cut. How does it going to sound like we're gonna use pretty last song s an example posting it, cutting it as you can hear them when we are boosting it, we get more information off the frequency off this part off the sun, we are cutting it. We're losing the information. So you're gonna ask, why are we gonna cut it? We're losing information, right? But it's gonna be very, very useful when you have, like, a very problematic frequency in the audio track that you are having say, for example, you went up for an interview should and then there's something wrong in the process and you hurt like a very high piercing note. There's appearing in your audio track while you are hearing back the interview tracks. You hurt like a very high piercing sound e something like it coming out from a trip so I can do is actually you can cut the song. But as you can see, if you're cutting it right away using the presets settings here, you can see that you're going to lose a lot of information here. So what we're gonna do is we're gonna make these cough smaller. How are we going to do that? It's against you have this tree said things here, right? So the cue, the with is thing that we're gonna do it, You see, it's getting smaller now. The smaller it iss the most surgical you can be to the sound that you want. So now you can actually cut off the very, very high frequency that you might hear e those kind of sound so high. Gonna find which part of it you can. I should booze it for us to find the sound. And when it's the loudest and apart, you bring it down. No, it's gained right is in a positive skin. Supposed If you bring it down. So you're actually cutting, um, at about 8000 plies and then minus studies 31 or 32. And then this is the cuter with the Ben with off the cuff, as you can see, as compared to this is quite broad. And then this one is actually very narrow for 1 to 5. So this 1 to 5, we have, ah, bowel cough ship. So it looks like a barrel, right? And then for the low and high here is it looks like a shelf, you see. And then the high is to see Monsieur. It's the shelf, so it it looks likely different. It's like half off the bell shaped, but it does the same thing. Cut and boost. And then you can she make it different shape as well? This is more rough, a very steep cuff. And then this is a more gentle cough. See? So after knowing what each off thes does, you can actually apply the same concept toe whatever each you plant and you have in the future so improbably, you're gonna purchase a better e cubes begins next time, and you can apply the same concept to the beach. You plug in. Yet you have 5. EP4 What is Compressor: after learning each you. The next thing that I'm gonna introduce to you is compressor compresses. The plug in and compression is the process. What is compression? Compression is an audio signal processing that reduce the loud sound and increase the quiet son. So it's very hard for you to understand what's going on with compressor compression, right? So I'm gonna draw a very simple diagram here. Say, for example, you have a sound wave, so it is your sound wave. So what compressor does? Is it reduced the loud song? So this this part is allowed sound and this is the quiet sound. So it reduced the loud sound and increase the quiet song, right? So it reduce the loud so it increase the quite some. So it's compressing. You can see that it's smaller than the previous sound wave that we have. So that's compressor are compression the process. So let's look at two model compressor for basic understanding. We're going to start off with this compressor. So once you have must how it works, how a compressor works, you can go into the attitude, the single band and the multi band compressor. So for today I'm gonna explain to you the para Mido's in compressor. So we have trashed hope. We have output gin, where free show and attack and release, attack and release its how fuss the compressor works. So how far it's gonna start compressing and when is going to stop compressing? So attack is so when is gonna start working and where it is going to stop bookings for the release. So for today we're going to ignore this. We're just going to focus on this tree. The trash hole, the gain and racial trash hole is when the compressor starts working. When it's hit the db the decibel, the loudness off the sound. So I'm going to explain to you ratio fuss say, for example, we have 21 toda y racial. Let's see that we have a two times compression 2 to 1. We reduced allowed part by two and every increase the soft part by to Israel. What does it mean? That if we have 4 to 1 ratio, anybody can guess how is gonna look like yes, fall to one. It's actually reduce loud sound by four times the original. This is the original and increase the softer part. The soft sound by four times Israel. So this is 4 to 1, so you can see the sound is being compressed four times the lot part reduced by four times . The soft part is increased by four times. This is what 4 to 1 ratio does say. For example, we're doing Photo one. Now Let's hear when I reduce the trash hole to this audio clip that we have from pretty last interview and your face and promising official rising as you can hear, the more I pushed down further, the more the compressor is gonna work right. So it means that the louder part is being compressed even more so. That's why you hear that it's getting softer and softer. So why are we going to do now? We're gonna find the best, the best part when it sounds like it's been compressed a little, and then sounds good. Two years Israel and, you know, face under promising official casing, there should have been given the way that you can see that that's a here right in our face . So this re thing is an indicator off how much reduction again reductions going on. So let's hear it again and general face under promising. If it's like I sitting there, I should have given it away because that the original clip the loudest place at around native 12. So the treasure that I'm setting here that I find it, it's nice. Two years is about negative 21. So I'm compressing on starting to compress at about negative to anyone. So I'm confessing a bit here, right, because this is allowed now this part and they left. Only one is where my trash hole off compressor works and your face and promising official casing there I should have given, you know, when they go title. But being truly believe, the gain reduction is that about 94 or five like that. So a general rule of Tom when compressor works, we can actually reduced again at about 4 to 6. Like that, it was sound quite OK, and in the noise level, it's not to lower when we are gaining it. So the next thing and we'll talk about is gain the output. Gin, as you can hear that seems, were compressing. The lower part is getting soft already right because we are decreasing. We're reducing the lower part So what we're gonna do is next. We're gonna gain it. Gin it is. We're going to increase the volume, the whole thing, this whole chur we're gonna increase it. So let's see. I'm gonna increase by six db This means that I'm pushing this whole chunk up by 60 b. So this is 60. Be up. The lower part is getting louder. The soft part is getting louder. Israel right by 60 b. So we're pushing the holding up. Why are we compressing it? This is because the performance off the voice are say, for example, the the VO increased the soft apart and also reduce the lower part so that the whole thing sounds clearer and more up front. Tow us. That's what the compressor does. So you were so more professional in a way, so you can hear what it does after 60 be here and your feet on a promising official casing there any houses that haven't gives it away. And then let's compare without compressor. But it's and your face under promising official casing that I should have given it to you. You can listen to it right away that the whole interview, it's sounds clearer and more upfront to you being truthful. Eat. And so this is what compressor Thus then we're gonna learn more things and how it works with music mixed and also side effects mixed together. 6. EP5 Crossfade: Now that we have understand the concept off Q and compressor, we're going to dive into fixing the problem before actually beautifying it. I always start off with is actually to do, like, cross fit in between all these audio that the video editors have cut. So you can see that there are law far cuts in between here, right? So some of them can be quite abrupt. So I'm gonna cross faded and make it smoothed. Let's add a constant power fate. In between this, you can do it smaller so that it doesn't affect much off the audio. Yep. They can do the same for all. And always listen to it after you applied effects. Okay, nice. So we do the same for the rest. You can always going tothis smaller section to do more detailed cross feet over here. So let's check the rest. Okay. So everything sounds nice now for this track. We move on to the next. No, As you can hear that, every cross faded, um, like, very broad. The sections are very big, right? If we're gonna hear, like, overlapping, so make it small and tiny here. Let's listen to it again. Yep, so it sounds away better right now, so we do the same for the front and back, All right, so we have done for the next trick as swell. That's her for listen, as you can hear this part also the fit. It's not that natural. Let's make it smaller. The smaller it is the feet, the more natural it sounds, because there's no not much overlapping into audios. So we do the same for all of the tracks in the last trick, the the reason why I used constant power or constant gain. It's still make sure that the loudness that you few between these two audios are the same. So that's the reason why I used a constant power. So for exponential fate, usually you can use it at the beginning or the end. Off each audio class, the order chunks 7. EP6 Adaptive Noise Reduction: after we get all the cross fates done next, we're gonna look into noise reduction. I will try to reduce the noise off an interview are like a location. Sound as much as I can without hurting the quality off the sound itself. Because sometimes you reduce the noise too much. You're gonna affect the quality of the sound like the interview. Or perhaps the the person who's stalking you can hear clearly anymore if you reduce the noise too much. So Premier Prue, or what it has in the plug in is called the adaptive noise reduction. I'm applying thes plucking to the sound of location, son. Let's see. Okay, it's applying toe the location soundtrack and then this. Look at a adept teeth noise reduction What it has. Okay, let's go through one by one. The controls that we have here So the 1st 1 is reduce noise by how maney db So the default It's by 20 db So this is the number of decibels that we are going to reduce unwanted noise and then the next one Mr Noisy nous. So this is the amount off the audio that we believe have how many percent off noise in it then the next one is stuff. Find to noise floor. So this is the level below which Premiere Pro will reduce all the audio. So once it hit below two db all the noise. Where is she going? Toe. Um silent. The next one is signal treasure. All this is the level above which Premiere Pro will not touch. So it will not reduce the noise at all above 2.5 Devi as the default settings. So next one is spectral decay rate. So this is how long, in milliseconds the premier pro will hold this noise reduction so used to remember the compressor We have a tag and release. It's like the same as the release in compressor. So how long is gonna noise reduce? The plugging is gonna take effect until it doesn't have any effect at all. Then we have the next one brought them preservation. So this essentially sets a window. Which Premier pro Go target several sambo These before it's that 100 huts. So a window off 200 hertz. So we know it's like in the middle. You have 100 huts here and hunt hurts the other side. So you have 200 total a wing go off 200 huts. It's removed and all other sounds. So safe. Example. Hundreds greater or 100 hertz quieter. It will be safe. Fence out. There's no A noise reduction happened. So next we look at the F F T size, this is actually called the fast Fourier Transform. It's soft like algorithm that usedto nice reduce. We'll just keep it as default. For now, we're going to look into how this nice reduction gonna play out. So without the noise reduction, Yeah, as you can hear, there's a slight, um, noise reduce very slight on that's achy enough for locations out. And then for the clipping, we're gonna fix the later in the next video. So for this video, we're just going to focus on reducing the noise. So let's see the next chunk where this setting is fits. Um, the whole track on that we look at ah, more, uh, this part, maybe. Okay, okay. Say, for example, if we edit, like, very extremely, I'm just gonna treat to you and this is like too much off, right? Noise reduction? No. No. So you can hear that A lot of things are being suffered, so you cannot hear the the proper conversations anymore. So we're gonna leave it at around 35. Maybe so. 35%. So you can actually play around with how many decibel you want to reduce by. Or maybe you want to fine tune the noise floor. Or, like the trash us. Well, we can just play around with it and then to see which one fits. I think this one is pretty decent for this trick on. Then let's check the next chunk. Yes, it sounds perfect for the whole track. We're going to use this settings. Okay? Everything sounds clear. No for this trick, we're gonna move on to the next track. Which is this one? The V o. With a lot of noisy here. Let's listen to it without yes, we can hear, like, their low noise behind. Right. I think this is from a camera sauce instead. Off mike sauce hens. You have a lot of noise. Okay, let's see. Um, I think this is slightly noisier. We can put it higher bit. I'm just off freedom. It in my hurt The quality off the interview, So am I not hear clearly. what she's talking about they are talking about. So, let's see, reduced slightly more. Okay, we owe it a bit too much now, so I think maybe 20 and that he, too, made me. I think the best we can do it's like that. So that's why it's always good to have more takes when you are doing production during production. So because there's so much that we can only do during the older post or doing a video post production, Wait, don't This is with I think this is the best that we can do for using the noise reduction, plugging and then the next one is my source interview. So this one would be easier to fix. No other. Okay, this one we just need, like a light noise reduction. Probably you can play with the preset See Israel, see what are the same things. Come up. Okay, so as we can see, the noise reduces slightly lesser. It's only 15 and stay off 20 db. And then the noisy nous is training its same. Everything else it's the same. And then this one, it's slightly faster. Release faster. So let's hear. Yeah, this one sounds good. That's where you can always saw play with the presets and then change from the presets on words. Yes. It should work for the rest. Israel. A woman. Okay. As you can see, after applying the adaptive noise reduction, we can reduce the noise on all the tracks. And this will actually help us in mixing later on because it will minimize all the defects . And it will give you less problem in the future. So see you in the next video. 8. EP7 Declipper (with Adobe Audition): in the previous video, we mentioned that we're gonna look into how to fix, clip or distorted audio. So here we have a clip. Audio. Let's listen to it. Okay, here we have a negative five because I push it down the volume for the location soundtrack . So to listen to it fully, we can do it in Adobe Audition. Why we are gonna fixing other be auditions. Because currently there's no plug ins to fix clip or the started audio in Premiere Pro. So we are going to do it in audition. So let's edit clip in Adobe audition. Okay, let's listen to it in zero db. Then just now I mentioned that the whole tracts in negative five, right? So now we're gonna listen to it in your DB. As you can hear that these part is the worse you can see from the way fest. Well, it's ah, street line. There's no waves. Um, form, as you can see at the beginning here, there's like away form right by here is only a straight line. So this is a clear sign that this is a clip audio. How are we gonna recreate the waves first? We are going to call up this dino stick window. So how to call it up is going toe windows and take this diagnostics. So it was previously untech. So do call it out. You just need toe. Take this. So it's out here and then next we're going to the Clipper because you were gonna declare the clip audio, right? So click on this and then for presents. You just pick any off it because we're going to tweak it later. You're see why I will just pick heavily clip first, and then you can scan the holding as you can see that zero problems detected. Even though you try the rest, it's 20 Why is because of this? Let's say we put again auto let the audition to do the algorithm. This because the tolerance settings the scanner didn't began. Any problems? Detector. Although it's like street lying here, Why? Because off the tolerance, let's see what's tolerance. You can hover on top. It will tell you what it is. Okay, as you can see after we hover around, the tolerance say's that it specifies how much amplitude variation is allowed in the signal before it is determined to be clipping. So as you can see, there's no variation at this part, right? If you put a 0% which means that there's no amplitude variation. So how are we gonna do it? We are gonna increase the tolerance above like, say, 15%. And then we scanned it again. As you can see, there are more problems detected already, right? And then we can trick it more and see which one will give us more. Um, problems. Okay, now on 95 just know 15 59 maybe more. Okay, We have about 99 problems now the rest it's OK. Minimum clip size tree samples is flying the pollution ist algorithms. So it's finally too sleepy that it iss And then let's see, we have 99 problems with scan already there you could repair all recreates away form for us . So lets you. Theo, this is a bit too much, right? As we compared to the previous one, the no, we listen to it again. Ah, so this is a bit too much. Maybe we we clear the clipper again and then we change the settings and then scan it again after any night problems and then repairable. No, I think I should go back to this one. Yes. And then scan it again. 59 problems we pay all. Yes. So this one's do sound. Okay. I like the previous one. That where it dick leap too much? Where some Off the, um, sound. It's, like, blurred out. We compared to the non equipment originally. Oh, and then with the D Clipper. Theo. Thesis on sounds good. Probably can try to scan it again and see whether it fits. Ah, if fix better. So that's about 75 problems. Ah, so I'll be too much if we go back toe the previous one, and then they let this one. Okay, so this is the one that you can do a bit more. Yeah, skin. Okay. And then this one, I think this is OK. I stood in this one. It's better because the it's nothing explode up. I think we just stick to this one and they let this one. We are good with this. And then we'll just go back to our adobe premium. Safe changes? Yes. And then it show what? No. Yeah. You see this, like, away from forming here already. So This is how we fix clip audio using Adobe Audition. So in the next video, we're gonna look into how toe makes the whole thing together. 9. EP8 Two Methods of Mixing: There are two ways to approach mixing in Premiere Pro. The first way is by essential sound selection over here, so we can assign the older type to the selection. We have dialogue, music, sound effects and also Indians to select the audio type. We simply just click on the elements and then we select, say, for example, this is dialogue. So we just click on this day for this part is actually music. We just click on this music. So for now, I will clear the orders. Hype are showing the next video how to apply it According to the situation that we are facing, the second method is a vier putting plug ins into the individual tracks. The biggest difference between using this method and the previous method is that the plug you never actually affect all the elements that are available in the track say, for example, this V or track. It has all these elements. That's insight. So once you put a plug, it's inside. You were actually effect the whole trek. All the elements are affected. That is the biggest difference between using plug ins and also using essential sounds. So in the next video, I will show you how to use thes two methods in the most effective way, according to the situation 10. EP9 Before Mixing: So before we go into how toe makes this audio, let us listen to what we have done in the past. So in the past video we actually set like a leveling for the O location zone. And so music at a certain level, which is negative tree negative five. Now with Dan and negative six. So let us listen to the whole thing together and see what are the things that we need to fix. - Way . - No way. Okay, so after listening to it, we can actually spot like a few things that we might wanna do Some fixing. First we can see that the V o noise, which is the two girls that's talking here. Casita is peaking. This means that there's distortion in the noise, although we have actually, um, it made it like negative three d b lesser than original audio. So this is the part of any fixing and secondly is very obvious that when crystallized talking, you cannot hear clearly what she's trying to say. So this partner fixing Israel so the rest we can actually make like the whole vo track where the interviewee is talking, we can make it some even clearer against the music. So these are the three things that we can do to make your audio sound more professional and to make your video look and sound even better. 11. EP10 Essential Sound: finally, we at the mixing stage. So first we are going to categorise each and every one off them into the older types that's available on essential son. So all these are actually, um, voiceover or like, interview sound. So which is on dialogue site? So we just click on this dialogue, we're gonna look into them in detail after this and then necks. It's, um, this part this is actually location sound. Ah, for location sound. I'm just gonna leave it as it is, because if we select these Indians audio type as Indians, the selection of we can do is actually to create space for the elements here. As you can see river and then you have presets off latch room Indians a room, Indians and all this. So this is actually to create space to make you feel like you're in a certain dimension. You are in certain space. So for this one, we're just gonna clear all your type and leave. It s it is. And then for the front part where they are singing happy both say so for this part is actually dialogue. So we're gonna pick dialogue and then the music we're gonna pick music. Then we have sound effects. Decide its own effects. As you can see, sound effects, the choices that we have. It's also on river, which is also space and also panting, panting. It's like you panned your sound to the left or to the right. We're gonna take sound effects for now because I'm going to show you when you click on music. There's a ducking feature over here. So if you look into docking, you have that against dialogue, music or like side effects or Indian. It's so for this one. The music. I wanted that against the dialogue and also the sound effects. This means that whenever there is dialogue and also sound effects, the music is gonna duck. So how much is gonna duck is? It depends on what we set. By thes the sensitivity. We're just gonna leave it at six for now. And then the reduced by is whenever there is, like a sound appearing say dialogue or like some effects appearing, the music is gonna duck by native 18. This is the default setting. But to mean activating is to be too much. However, usually do the six or negative three in between these numbers, it depends on the music we have as well, because some off the music available from the start music it's mustard very lovely. If it's very loudly, we can go like negative eight. Perhaps if the music is very soft in nature, so probably negative three it's enough. And then for the fates is how much it's gonna come up or go down. It's 800 milliseconds writing for I think it's a bit too long. Probably about 500. It's enough. So after setting all these that against we're gonna generate the key frames for music talking. Okay, let's see. Generating key frames. As you can see, it will take some time. All right, you can see here. There's like music ducking over here. You can see it also generates for us. So this is how we are gonna use the music ducking and also, um, the features in essential som 12. EP11 Mixing: after we set the music ducking. It's time to see rich up heart that we can actually end Hans off fixed on Make it sound even better for a music docking. It is just a reference. Always trust Your years does decide what changes that we need. So say, for example, this part now what's not like. We can't hear clearly that Priscilla's voice is sort off like covered by the music here, although we have already dug the music. So what we can do is that we can use the EQ you and compressor toe make. Ah, voice sounds even clearer and up front tow us. So let's go into essential sound. So for this part, we click dynamic dynamic. It's soft like a compressor in essential sound. So over here you can see it's natural and focus. So let's say we going to the extreme. I just wanna let you guys hear the difference. Hold a candle to be in a TC. You can see very clearly that it's already coming up and then with us. However, when you click into like the extreme focus dynamics, we are compressing it very, very hardly. So it sounds very unnatural the hell with them. You can feel that her voice is like coming in and out in and out. Very unnaturally. Click the reanalyze. Um Okay. Okay. So we clicked reanalyze and then we put probably about four and listen to it again. Way At least it is not that unnatural. So we are going into eq you to bring up her voice Even better. Here are different kind of presets can see that the presets is showing here in the comments . Very extreme. I don't think it was should this, but we can't have it. Sounds very on that. You're also we are most probably going to use either port cars, voice or the sub taboos Female, as you can see here, let's listen to them both in podcast voice. I don't like Yes, this one and this above are fine. I think I would prefer this. What? You don't wait? Is that And then there's an Han speech. This is like a combination off these both and then you can have Listen. No, you wait 500 B c. Yep. This sounds way better. However, I still think that we can compress lightly will be even more for this part? No, you go under. It's a bit unnatural now, so probably we're just going to stay about four point something. No, you go way under. Okay. What we can do ISS for the V o part in this track, we can add another compressor. Okay, you can pick either compressor that you like. And then for this one, let's have a listen. You've been a CEO. Okay, so for the trash hole, I've said about 15. This is the reduction and consider ratio of 4 to 1 after compressing it can raise the no way is lithe. So with this something, we can hear that Priscilla's voice It's clearer, and it's more up front to us, however, always be reminded that once we put in a plug in over this track it, we're gonna affect the rest off thes as well. So let's listen to them and see whether the effects it's okay to be applied way. No, you don't. As we can here it's a more consistent now for all the voice over or interviewer sound for this part. All these elements I have only applied the dynamics which I push all the interviewees sound even more up front. It's like a compressed slightly more for all for these elements so that it matches Priscilla's voice over better. So as you can hear its small consistent now. So the next part is actually this small beat over here way for me. This part probably. I won't do much processing because I can hear that the noise level is very loud because the source probably it's not from my thought. It is from a camera source as compared to this one. It is clearly that this one is a mite sauce and this is a camera sauce. So because off that if I compress these parts even more, the noise is gonna be louder. So I'm just gonna leave it. Let's listen toe form the front way. No, you weigh 500. Find out they've been a team. See what I mean? All of the's voice over sounds very clear right now. So the next step I'm gonna fix the docking. So from the docking, its earlier. So if you site hopes for these two talking and most probably gonna move it backwards, Theo and then for the fit in pro B m gonna do it longer. This part. This one make it longer. Okay, I think this one, this role, the fate for this part we're gonna make it of the okay. Make this so that if it's smooth and then for this part because there are no people who is talking and pure religious music, we can Ida create create extra part and bring up the music like this here. Okay, this is a bit extreme. Let's pull it down. It's lately. Okay. Tree? Yep. Let's listen to it. Not again for this part. Remove it backwards so that if it's better, same goes What is No, you go. No way. We are gonna do this part. That's real. Okay. Okay. So the fit in and out, it's more than a Okay, Let's listen to it. - Way . No way is lithe. You won't get way. We're going to move into the next step, which is mustering 13. EP12 Mastering: Finally, we are at the mustering stage. So in mustering, there's a plaque in In pre approved, it's called mustering. So in this plucking we can see that there are a few presents. So for the present, states, most suitable for videos is actually sub to clarity. Sumpter clarity as an Hugh boost at around 2 to 3 K, this is the frequency that our conversations are about. So this is the best for videos. Oh, that's heavily based on like people talking to each other or like this interviews going on . So for this case, up to clarity is the most suitable for this video. So let's have a look at reverb. Reverb is like a re creating space for the audio. So for these case, we actually donate river. That much per begin, put it around 5% to create a little space for the whole mix and then the exciter. They are three types retro tape and to, um, they have slightly different color, depending on which tastes you like better for your mix so we can take a look for this purpose. I would like toa boost it more so they can tell the difference between the three exciter, So let's have a listen way. So for me personally, I prefer the tapes sound, and then we will bring it down to slightly about 15 to 20% because this is to give, like, a slightly taste to your home X. So it's like you adding, like your Ajinomoto to your cooking. So it's something like that in audio mixing. So next we have wide enough you are pushing your mix to left and right makes it even wider . This will help very much when we mix songs. But for this case, be as she don't eat so much. Widener, you can bring it down as well. Probably about 10% will do. Yep and then for the loveliness and maximize er what it does this. Actually, it makes your home makes a louder let's say we put a zero, and I will push it more and more as the mixing goals. Let's have a listen. Can you listen toe how loud it gets when it gets 200 But whenever its 100 the mix starts to sound like very unnatural. It's pumping in and out. So for loveless, maximize er, I was suggested since we have already makes our mix and actually have like, a compressor because when we use compress over as she gain like the not we increased the volume off the the whole mix already, like Safeways on board this part, we actually used like a compressor. So for the mustering, we don't need that much off largeness maximize er, probably about 20% Max for most off the case. But some case, maybe more extreme, but generally speaking, between 15 to 20% ISS the safest bet. So for your videos probably put it about 20% maximum to make it loud so that you can compete with the rest of videos that's out there. So we put at 20% for loudness maximize er and here for listen, yes, this loudness is just nice. And then, for the output gain we put at zero db, make sure that you don't actually push it through 10 because that were actually make the audio again clip so you can put zero or probably negative 0.3, which is you want you will never hit, though, sealing off zero db we just the safest. And then for this part there's a ticket picking any boat, which is this part? The subject clarity has actually has a boost off the issue. If we put like low shelf enable, we are able to actually create another e que shelving over here. But for our purposes, we just leave it as it is, because I think the mix will just need, like a sub doubles in this area and that will do the job. So let's listen to it with and without this mushroom and then you can tell the difference way to be in a T that commodity. You can truly tell that the whole make sounds so polished em professional radi So we are ready to go after this mustering. Let's listen to it all the virgin and see what we have done in all these video tutorials. Theo Theo Way Wait, wait 500 b. C. You won't get more way and thank you everyone for taking part in our video tutorial series off odor mixing and premier pro