Audio Production : Record & Mix Better Audio | Tomas George | Skillshare

Audio Production : Record & Mix Better Audio

Tomas George, Music + Audio Production Instructor

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34 Lessons (3h 14m)
    • 1. Introduction and What you're going to learn

      1:00
    • 2. My Recommended Budget Audio Recording Setup

      3:58
    • 3. Microphones for Video and Filmmakers

      4:35
    • 4. Different Microphones and their uses

      11:08
    • 5. Microphone Accessories

      4:35
    • 6. Boom Operating Tips

      3:21
    • 7. Microphone Accessories to Reduce Wind Noise

      1:58
    • 8. Audio Interfaces and Examples

      6:06
    • 9. Headphones and Monitors

      1:46
    • 10. Room Treatment Tips

      6:16
    • 11. Room Treatment Example

      2:56
    • 12. My Recommended Audio Travel Gear

      6:00
    • 13. Do you really need to mix your audio?

      1:46
    • 14. Which Audio Editing Software Should you use?

      2:21
    • 15. How to Install Pro Tools First

      5:13
    • 16. Recording Audio Setup and Getting Started in Pro Tolls First

      6:46
    • 17. Recording Audio with the Built in Mac Microphone - MAC ONLY

      3:06
    • 18. Importing and Editing Audio

      14:12
    • 19. Introduction to the Plugins and the Plugin Chain

      6:02
    • 20. Gain

      6:45
    • 21. Noise Gate - Part 1: Threshold

      4:52
    • 22. Noise Gate - Part 2

      6:58
    • 23. Noise Gate - Part 3

      7:53
    • 24. EQ - Part 1: Corrective EQ

      7:15
    • 25. EQ - Part 2: Creative EQ

      6:28
    • 26. De-Esser

      9:17
    • 27. Compression - Part 1: Basic Settings

      7:31
    • 28. Compression - Part 2

      5:26
    • 29. Compression - Part 3

      5:37
    • 30. Compression - Part 4: Advanced Settings

      5:28
    • 31. Loudness and Limiting

      11:08
    • 32. Automation and Master Fader

      5:57
    • 33. Exporting/Bouncing

      4:34
    • 34. Outboard Gear - The DBX 286s

      5:26
13 students are watching this class

About This Class

Learn how to record, mix & edit professional audio for video production, podcasting, music, course creation, YouTube+

So whether you're a video creator, podcaster, online course creator, YouTuber, musician or anyone else recording & editing audio, this is the perfect class for you.

What will you learn in this class?

  • Understand the equipment needed to record great audio on any budget

  • Know how to use microphones, audio interfaces, and accessories

  • Edit audio in a free application called Pro Tools First

  • Mix audio to make it sound professional with effects like Gain, Noise Gate, De-Essing, EQ, Compression, Limiting and more

  • Use the techniques learned in Pro Tools First in any other editing application of your choice

This Audio Production Class is a fast and effective way to improve your audio.

Start by learning all of the equipment you need. You'll learn about several types of microphones, including shotgun, lavalier and studio/podcasting microphones. You'll learn about the accessories we recommend to improve audio like windscreens. You'll learn about audio interfaces and how they work to record better audio. 

You'll learn the importance of monitoring audio with headphones so that you are certain that your audio sounds great.

Next, you'll learn about travel and location recording, including the equipment we use and recommend. 

Then, a major part of this course is audio editing and mixing. This is the part where you can do things like reduce background noise and make someone's voice sound like it's a professional voice recording. With effects like gain, noise gate, de-essing, EQ (equalization), compression, loudness and limiting, and automation, your audio will sound beautiful! 

Ready to record and mix better audio?

See you in class!

Tomas

Transcripts

1. Introduction and What you're going to learn: hi and welcome to this class. In this class, I'll be showing you how you can record a mix. Better audio. So this class is for video makers, audio engineers, YouTubers, podcasters, voiceover artists, online course craters or for anyone who wants high quality audio in this class, I've got loads of stuff to show you. I'll start off with teaching you all about audio gear, said things like microphones, audio interfaces on. Also, microphone accessories will then look at treating your room of professional India. Why methods? So you can record high quality audio at home and after this will look at my recommended travel audio gear. Then we look at pro tools first, which is a free professional audio editing software. Well, then look at recording and editing audio in this software on. Then we're going to look at mixing in this software so we look at things like a noise gate e que compressor on DS ink. So if you want to learn all about recording a mixing high quality audio today, the make sure your role in this class 2. My Recommended Budget Audio Recording Setup: Hi and welcome to this lecture while I'm going to show you what equipment you can use to get high quality audio on the budget. So you'll notice here. I've got a few different pieces of equipment. I've got this microphone, which is a sure sm 58. I also just applied this foam cover. The shore, sm 58 does have a built in pop shield for live performance, but at home it is best, really to try and get the best quality audio at source. Having a pop shield is a better option. But a phone cover like this can still do a great job against some of those plus of sounds, which is a blast of air you can get from certain words. These phone covers as well only cost a few dollars. Okay, moving on. We also have this box here. This is an audio interface. This allows you to record the microphone into the computer. The one I recommend here is the focus right to I to this has two inputs on this. Really great. If you're starting out, is quite inexpensive around about $100 and allows you to record your audio into your computer, and also you can hook up your monitors or your speakers via this audio interface as well. There's also a solar version, which has one microphone pre amp so you can just plug in one microphone, which is even more inexpensive if you want to say even more money. If you do want to record more than one microphone, though, do you recommend getting there to input version, which is called the Focus right? Scarlett to I t. Another thing you'll notice is this Microphone death stand. These are great if you want to do podcasts or voiceover work at home, these are around about $20. The next thing we've got here is an XLR cable. To connect this microphone into the audio interface on XLR cable will cost you around about $10 and the next thing you'll need is a pair of speakers to monitor your audio or a pair of headphones or effects. Also, if you want to save even more money, you can probably get all of their second hand for under $150 1 more thing to mention is, if you do want to recall this audio, you will need a computer or a laptop with some audio recording software, so this microphone actually is an analog signal. We need to convert it to a digital signal with this audio interface, and then we need to record it in a laptop or computer to just be aware that you will need to record this with Eva, a laptop or a computer. If you don't have a computer or laptop that you can use, there are two alternatives. One is You can get an audio interface that records onto your phone or tablet or two is. You can use a handy recorder such as this one here, which is the zoom hate five that actually records onto an SD card so you don't need a laptop or computer. You can plug the microphone directly in one of these inputs on record onto an SD card will go over handy recorders in more detail later on, so you may not think this equipment is the most inexpensive. However, it will give you the best quality audio at source for this price points. I do recommend having a look at this microphone, this shore sm 58 or a similar dynamic microphone and also this audio interface. The focus, writes Scarlett. Try to or if you just want to record one, input the solo when mixing your audio A. Recommend using a pair of speakers or high quality headphones. However, when recording, I do recommend checking good audio to make sure it's not distorting or that there's too much background sound. So for this, a cheap pair of earphones can get started for recording. But I don't recommend this for mixing. So just to show you what you can achieve with this equipment, I have been recording this entire lecture with this microphone and audio interface. I'm sure you can hear that sounds pretty decent. There are other alternatives to the set up, including a USB microphone, which is at a similar price on doesn't actually require in order interface. However, I do feel having a separate microphone and audio interface gives you more options. For example, you can use this microphone in over situation such as location recording or even on stage. Having a separate audio interface also means you can upgrade your microphone or even use a different microphone, such as a shotgun microphone, which be looking at later on so thank you for watching this lecture. Hope you found some useful information. The next few lectures were going to go into even more detail about microphones on audio interfaces. 3. Microphones for Video and Filmmakers: Hello and welcome to this lecture where we're going to be looking at different types of microphone. You can use four film. So when recording films, sometimes you might not want to have the microphone in shots. However, the audio is still very important. So in this lecture I'm going to go through four different types of microphone that you could potentially use when recording audio for film. So the first microphone I'm not actually counted. It's the built in microphone on the camera, so this is the audio from the built in mic on camera. As you can hear, it doesn't really sound that good. This could be OK if you're filming a vlog, wake up close the camera or in situations by all here isn't that important, However, if it's the film, if you want to do something professional, definitely don't recommend using built in mic on your camera. Next type of microphone is a dynamic microphone, so this type of mike is great for any voice, servers or podcasts. For this example, I'm using the shore sm 57. However, if you want to film video, have Mike out of shocked. This may not always sound the best. This is an example of the audio from the shore sm 57 right now. And it's not the best for situations like this because it's just too far away. However, for voiceovers, this is an excellent mike for beginners. Moving along. We have a shotgun microphone. This is the type of microphone you want to use for film because you can have it out of shot because of hyper directional, so you can point out your subject from a distance. Obviously, the closer you are, the better it will sound. But it's still much better than using. A dynamic microphone had much better than using the built in mic on your camera. So this microphone amusing right now, is actually the road video Mike, and it sits on top of your camera. Sophie using a DSLR or a mere less camera where camera that allows you to plug in a microphone. This could be a great option so you can plug it in, and it will actually record the audio onto your SD card so you can plug it in and it will add the audio onto your SD card so you don't need to sink the video and the audio. In post, however, it does sit on top of your camera, and if you have any shots where you really are from a distance, it's still not going to sound that good because you want the Micah's close as possible, even with a shotgun microphone. But for vlogs or situations where you're up close to the camera, this could be a great choice for recording audio. With Phil on, the audio you can hear right now is actually being recorded on this microphone to run about four feet away. Still sounds OK. Could be best if the mikes up close. So if I was a lot closer to the camera on the microphone, it would sound a lot better. What we really want is a shotgun microphone up close, which is where a boom standard comes in handy right now. The audio you can hear is recorded for a shotgun microphone on a boom stance, so you can't see in shock right now. But if you swap to the other camera, you can see this microphone. So this is great for situations where you don't want the microphone, your shop, but you want them. Mike as close as possible. So if you're going to be moving around, you will need someone to operate. This boom stands. You can get Mike stands and have a shotgun mic on a mic stand if you're going to be stood in the same place. But if it's a conversation between two people or someone's going to be moving around, you'll need someone to operate boom sand. So using a microphone like the one you can hear right now is a great shotgun microphone for recording audio for film. You don't have to use this microphone. I do recommend they're having a shotgun mike and having as close as the actor as possible to get the highest quality audio. If you don't want the microphone in shop on recording audio for film on the next type of microphone is a lavallee, a microphone. It's actually recording onto my phone. You can get Love Mike's that plug into power packs, and you can plug them into your camera or into an audio interface or portable recorder. But for this it just lets you record onto your phone, which could be super useful If you're recording for film, I do recommend using a love Mike as well as a shotgun microphone as a backup on it can be useful for certain applications. This could be useful for really wide shots or when the actor is really far away from the camera on the boom. Operator can't get into the right position without being in shocked. So let's just do a quick test off the different microphones now. So this is an example off what the audio sounds like. This is an example of what the audio sounds like. This is an example of what the audio sounds like. This is an example of what the audio sounds like. So I hope you realize, now that using a shotgun microphone does make a big difference. You want the Michael's closest possible on out of shot, really when recording audio for film. And I do also recommend using a love Mike as a backup mike. And definitely don't use the built in mic on your camera unless you really need Teoh. And it's in situations where the audio isn't too important. But if you want to take this seriously, just remember, audio is very important. So thanks for watching this lecture. I hope you found useful. I'll see you in the next one 4. Different Microphones and their uses: Hello and welcome to this lecture where we're going to be looking at microphones. So if you want to record any kind of audio, getting an external microphone is very important. Of course, On a lot of cameras and laptops, you will have a built in mic, but it's never as good as having an external microphone. So here, right from 2 May I have a selection off different microphones. I'm going to quickly go through them now so you can hear what they're each individually sound like. So the 1st 1 here is the electro voice. Ari 20 Mike Number two is the shore, sm 57. The 3rd 1 is the zoom hate five. They're moving along. We have the shore sm 58. And then we have this microphone here, The blue Yeti. They're not here. I've got a rode NT G one. This is a shotgun microphone and then down about two lapel mikes. This is the first lapel mike, which is the road link and then below this I have the road. Smart laugh. Plus on. Now let's go into a lot more detail, starting with this first Mike, the Ari 20. Okay, so this first microphone is the electro voice, Ari 20. It's this microphone here, as you can probably hear it sounds great. The sound you can hear right now is the sound recorded into this electro voice, ari 20 of no processing apart from gain, because all of these mikes will be at the same volume level, because sometimes if you hear audio louder, your mind will play tricks on you and you think it's better. So it's a great clear microphone you may have seen it before is very popular for podcasts, for radio shows for voiceover work. Very classic microphone hasn't changed in such a long time. There are different models similar to this, but this is the one that I like. The electro voice Ari, 20 as you can see as well, is quite a large microphone, and it is quite heavy, so it may not be ideal for location recording, but it does sound great if you hear this microphone compared to the built in microphone on my laptop right now. So so much different on the built in mic on the camera. It's so much better than any built in microphone, but it is quite expensive, Mike It's a great one. If you want to consider doing a podcast work and the voiceovers or any radio shows, the next microphone is this one here. This is the Shure SM 57. This is another classic microphone. It's instrument Micah's. Well, you go to any big recording studio. There will always have plenty of these microphones. It's we kind of go to jack of all trades entrant microphones great for snag drums. Great for guitars. Also fantastic for live performance, you'll notice, though it doesn't have a built in pop shield. So we'll have to have a pop shield or pop filter. We may get some close ifs. It is very durable, though on it can withstand a lot of life performance. So someone knocks over laxed and it probably won't break. I don't ever recommend dropping the microphone, but these two microphones, especially the 57 58 we look at later very durable, so going back to the 57 you can hear now has a great tone. It's also being used for voiceover work. It's also even being used for presidential speaking, so it's a very good jack of all trades microphone, but especially great for instruments for a microphone is also quite inexpensive. It's around about $100 new. Or you could buy it second hand for a lot less as well, although it may not be the number one mike for voice overs, if you can find a great deal, it's a great my toe have as a backup, or it's a travel microphone as well. So if you're just starting out with microphones and you want to save some money and not spend too much on the mic, I do recommend having look at this all the one jack of all trades instrument microphone, the shore sm 57. Also, be sure to check out the PdF attached this lecture. Want more information about these microphones? Okay, going along. We have the zoom hate five in the middle here. This is actually a handy recorder, so it's more than just a microphone. We have this microphone on top this X Y pattern. This stereo Mike actually allows you to attach different types of microphones that up on the Boston we have two inputs, so you can actually recall two different microphones into this at the same time and record this one on the top. So this is great for filmmakers. Location recorders you want to be out about, But you don't want to actually take a laptop with you. This you can all record just on this one. Device on what you can hear right now is actually been recorded onto an SD card. There are various different handy recorders out there. Zoom on the main ones that actually create them. There's a zoom H one which is similar to this without the inputs. This is a zoom hate five. There's also the zoom hate six, which is very popular, which has four different mic inputs. So if you recording our location, you don't take a laptop with you on audio interface. I definitely recommend having a look at the Zoom Hedge. Five on moving along. We have the shore sm 58 similar to the short s and 57. However, this one has a metal pop shield, which is why it's very popular for life performance. So you don't read a pop shield like these over the top has one built in, so it's very durable, which is why it's also used for live performance. If you see your favorite rock band, a swing in the microphone around the cable. It probably be OK if it's the shore sm 58. It's also quite inexpensive, around about $100 on a great microphone for life performance similar to the 57 but mainly for vocal live performance. So if you want to sing or you don't do a conference, I recommend having a look at the shore sm 58. So for the short sm 58 actually all of these microphones here that I'm going to talk to you about there are over alternatives. Thes are really just the classic Go to Mike's. If you want to check out of a company's, please feel free to do that. Also, be sure to check out the PdF attached this lecture for more information about these microphones. If you can't quite remember everything that I'm saying, okay, going along, we have this USB microphone, which is the Blue Yeti microphone. It's a USB microphone because we don't need on audio interface on analog to digital converter. It's got one built in all. We need to do it. Just plug in the USB and we're good to go this microphone has different polar patterns, and it can be used in different situations. If you just wants to a voice over there like this, I do recommend using cardio, which would just pick up really the front off the microphone. If you are recording a band or room, you can use the Omni Polar Pattern on. It also has a figure of eight pro Lopata, which might be useful if you're recording to vocalists or two singers at the same time. In the PDF document attached to this lecture, I have included more information about polar patents. So this is a great, inexpensive microphone. If you just want to plug in and play and not have any audio interfaces you can use. This microphone is very popular for online course. Creators also live streamers. It doesn't quite sound as good as having a dedicated analog to digital converter or an audio interface. The XLR microphones, like these ones here will sound better, but it is good to start with. And if your brand new you don't to spend too much money on audio gear, I do recommend having a look at a USB microphone such as this one. The blue Yeti. Okay, and next is a shotgun, Mike. It's actually a condenser shotgun, Mike by road. This one is great for any video makers on. They don't want their mike in shot. So it's actually super cardio ID, which means it has a very directional pattern, so you can actually use it from a distance as long as you pointed in the right direction. So it's very popular to use a condenser shotgun, like in the movies, films TVs, but they don't want the microphone and shot. So this one's actually quite inexpensive for one of these types of Mike's So Ryan, about 100 to $200. But in the big movies, big TV sets there will spend a lot of money on these kind of microphones. So this one actually requires phantom power or additional 48 volts. He can turn on phantom power or the plus 48 V button. Normally on your audio interface or sometimes inside your computer, just make sure the gains all the way down before you turn on Phantom Power on gradually increase it. So this is a great mike. If you want to actually record audio for video and you don't want to have the mike in shot . Okay? The next microphone is a lavallee, a microphone. The notice Here I've got these two Clipper Mike's the top one here is the road filmmaking kit or road link on. This is great if you want to record audio video, so you'll see these clip on likes on a lot of new shows. A lot of interviews. So if you can't actually get a shotgun, Mike there or you want to have a mic closer to you can use one of these love Mike's. So this first microphone is the Road Link filmmaker kits that has two of these power packs . One of them attach is to the microphone, and the other one can attach to your camera or to your audio interface. So these are great if you're out and about and you want to record audio with video. These are quite expensive around about $300 on the next level. Air Mike is a lot more inexpensive I'm going to tell you about now, so there's microphone below. You might be able to hear the difference. This is the road smart love plus, and this actually attacked us to your phone so you can record audio into your phone, fusing iPhone. You might have to have a double, but it works absolutely fine. So if you're out on, all you have is your phone review that have a camera or on audio interface or a zoom H five . A handy recorder, for example. You could just grab this microphone on your phone and start recording high quality audio and even use the camera on your phone if you want to create a flog. So these are useful for YouTubers vloggers who don't want to take much gear with them you need. It's a small microphone on your camera. Okay, so I've gone through a selection off my favorite microphones here, and they all have different uses. It really depends what you want to record audio for. If you recording audio for podcasts or voice overs, you may want to consider this ari 20. If you want to record instruments or for live performance, maybe have a look at the shore s and 57. If you want to record vocals live or for conferences, maybe have a look at the shore sm 58 for a USB microphone This is a great one, This blue yeti. It's a lot more inexpensive than actually buying audio interface. However, it may not sound as good. Zoom hate. Five. This handy recorder is very useful for video makers who don't want to take laptops or order you interfaces with them. We need to take is this small little recorder. If you're recording for video and you do want to capture high quality audio, do you recommend having a look at shotgun microphones? This can be more expensive, but they do get a much better sound than generally one of these love Mike's, which is still great, though. So if you do want to clip on Mike, if you're doing an interview, that kind of thing I do recommend having their look at love Mike, the wireless power pat ones. This film making kit will generally sound better. The ones that go into your phone, however, is still very useful, and I actually carry this little smart left plus in my pocket at all times. So in case having an idea or a video American film it wherever I am, okay, just for another quick comparison. Let's go through what these microphones sound like So the 1st 1 here is this electro voice , Ari 20. The next one is the shore sm 57 going along. We have zoom hate five. Then we have the shore sm 58. Then we have the blue Yeti USB microphone up here we have the road nt do one shotgun microphone. Then we have these two lapel mics. The 1st 1 is the road link. This is the filmmaker Kit on the one blow is the road smart laugh plus then just for comparison, we have the built in mic on our laptop and then we have built in mic on that camera. So hopefully now you should realize not to use the built in mic on your laptop or camera and to definitely get an external microphone. So I hope you've enjoyed my selection of different microphones. We understand a little bit more about what they sound like and how they can be useful. So thank you for watching this lecture. I hope you found it useful. And I'll see you in the next lesson. 5. Microphone Accessories: Hello and welcome to this lecture. We're going to be looking at some recommended microphone accessories, so if you have a microphone and audio interface, you might want to consider getting some accessories for your microphone to help you improve the quality off your audio. This fierce accessory here it's kind of all in one package is a mic stand, a shock mount on the pop shield so this Stan could be useful when recording audio on your desk. So for a podcast or even a voiceover on the shot, Married helps reduce some vibrations. For example, bumps on the desk all movement of your feet on. Then we have a pop shield, so this is very useful for reducing some of the close of sounds. So these are blasts of air that come from saying certain words. One thing to know is this does not come of a microphone, however, is great for lightweight microphones such as the shore s and 57 or the short s and 58. But if you want to use a bigger, heavier microphone like this one here, the electro voice Ari 20. I don't recommend this mic stand this microphone stand package however, is great fuel beginner as it really is all the one device accessory. If you want to record podcasts or tutorials on next, is this one speaking into right now, which is the more deluxe and far superior version of what I just showed you? This is a lot sturdier allows you to move. The microphone, however, is a lot more expensive, but it doesn't allow you to hold much heavier microphones. I do you recommend this for podcasts, voiceovers, or if you want to record audio on your desk, these are excellent, but do cost a lot more than the first package that I showed you. So it only really recommend this. If you want to take recording audio seriously, if you're beginning, the first package is great for a lightweight microphone. If you're just starting out, though, I do recommend spending the extra money on the better quality microphone than just a boom stand like this. Okay, and moving along. We have this death stand here. This has a solid metal base and allows you to actually have much heavier microphones on this stand. This death stand is quite heavy, though I don't recommend it for traveling but it doesn't allow you to hold much heavier. Mike's such as this one, the electro voice Ari 20 and can be useful for podcasts or any work in the studio where you want your microphone on the desk moving along. Here we have this large reflection filter. This is great if you have a room that has a lot of reflections, and you want to make the room sound a lot better without actually treating the room. You can use a reflection filter like this, so this will reduce some of the reflections in the room. These can be quite expensive, but they can be great if you're using a certain type of microphone, such as a condenser microphone, which is more sensitive, then a microphone like this, which is a dynamic microphone but only really recommend having a look at a reflection filter. If you do have a room that doesn't sound the best and has a lot of reflections, I'd always recommend trying to find the best place to record audio. However, if it's not quite possible and you're still getting a lot of reflections, a reflection filter like this could be a great addition to your recording audio set up moving along. We have a pop shield here, so this could be very useful for reducing some off the close of sounds to These are the blasts of air that you may get from speaking into the microphone. Certain microphones, such as the Short s and 58 also the electro voice Ari 20 do have a built in pop shield, but it can be great to double up to actually reduce some of those Pelosis sounds. If you're using a condenser microphone rather than a dynamic microphone like these, I do recommend getting a pop shield as condenser microphones can be a lot more sensitive to blast of air. There are other types of pop shields as well, such as this, which are made from a tight light material. So these basically do the same thing, but they're less durable. They are, however, less expensive than the metal pop shields. If you're on a budget, though, or maybe even if you're traveling and you want to be lightweight, I do recommend getting one of these foam microphone covers, which can help reduce some of those place of sounds as well. It won't sound quite as good as a pop shield but could be better than not having a pop shield at all. So if you recording outside and using a shotgun microphone, do you recommend using a wind muffler so these could be very useful for reducing any wind sound? There are of a microphone accessories available thes of the main ones that I use. If you're just starting out, I do recommend getting this first accessory packs that talked about the stands for shock mounts on the pop shield. But this will only really work with a more lightweight microphone, however, is great for podcast or tutorials or voice overs, and it is quite inexpensive. So thank you for watching this lecture. Hope you found it useful. We understand now just some of the accessories you can use for microphones from recording audio. 6. Boom Operating Tips: Hello. Welcome to this lecture. I'm going to show you a few tips operating a boom stand, so tip number one is toe. Have the microphone as close as possible to the subject, ideally about two feet away, if possible. You also want to make sure that the microphone is pointing at the subject's mouth, not just in the direction you want to point out their mouth because this is hyper directional, and it will sound a lot better pointing at the subject's life, then just kind of in their direction. You also want to make sure that the distance is always the same. So if the subject is moving, make sure you keep the same distance between the microphone on the subject. This is important because it may affect the sound quality if the distance changes throughout the shot. Next is the know the script. So if there's a part of the script where the subject stands up or if they're moving or if there's two or more people, you may have to change the position of the microphones. We really need to know the script. Some top boom operators actually know the script as well as some of the actors. This is very important because you need to make sure that the microphone is in position before the actors start talking. It's also very important to remember that small movements can cause vibrations that will be picked up by the microphone. So using a big understand that allows you to put the cable inside can really help with this . Otherwise, cable will be on the outside and might actually bash against the stand to cause additional unwanted noise, moving your hand on a boon Stanick and cause additional unwanted sound. Do you really want to keep movements as minimal as possible? There is a technique, though, to actually move the mic without causing too much sound. So if you hold the boom stand between your thumb and index finger on twist with your other hand, you can rock the mic. This will cause minimal sound of allies. You're moving your hands around calls a lot of noise, which may ruin the shots. My next tip is about being aware off lighting. So if you controlling the boom, just be careful where you actually have it. You want it close a subject as possible. However, you don't want it causing any shadows. If you cause a shadow onto one of the actors faces, for example, you completely ruin the shot. So work where the camera operator and find the best place to have the boom mic without causing any shadows. Also, you may want to be more careful of the lights when you're in the studio rather than natural lighting outside on. The next tip is trying not to be too distracting to try not to make any sudden movements or noises that may distract the actors and also try not to be in their eye line or making the eye contact as it may distract them whilst they're speaking. Also, be aware of what kind of shoes you're wearing. Make sure they're not noise issues, or he may add some additional noise to the shots. There is something you can use called Hush heels, which is patting material which sticks to the bottom of your shoes to kind of mitigate any foot movements. One more thing to mention is I'd look at getting a shock amount as well, like this one here, as this will reduce vibrations on any unwanted noise. On the next tip is to learn some camera lingo. Maybe learn about lenders because you will be working with the camera operator. And you really want to know the language about filmmaking. We might embarrass yourself and not know where to actually go or what to do. For example, no in different types of lenses and how wide they are that you know how close you can get to the subject without being in shot. So these are some of my top tips for operating a boom stand. I found this lecture useful, and I'll see you in the next one. 7. Microphone Accessories to Reduce Wind Noise: Hello. Welcome to this video. I just want to show you some outside audio recording tips. So out now in the big park is a little bit windy, and you might be able to hear on the shotgun microphone. Now some of the wind sound. This could be very distracting when you're recording a video, really don't want the wind sound, especially if you outside there's a few different things you can do. So we can get is some wind noise reduction foam in sickness onto a shotgun? Mike, we should get rid of some of the wind sound. So let's add this now. We might be able to hear that it's reduced some of the wind side. If you're having a lot of wind sound, you can get a wind Mufleh, so it's a lot bigger. It's also called a dead cat. Not really sure why, however, Let's to touch this now, and you might be able to hear the difference, and hopefully it will reduce some of the wind sacked. If it's really, really windy, though it might not reduce. Also, just be careful and find a good location. Maybe that's surrounded by trees or isn't in a really windy location. Okay, now I've added the window flower you might be able to hear. That's reduced some of this wind sound. Remember, this is a shotgun, Mike. If you do want this out of shots, you can keep it further away. But just be careful with wind. Sound way you are Maybe not record audio on top of a hill or some of super windy, maybe by the beach. It's not going to get rid of all of the wind side, but will reduce it. Also notice here I've got a lapel microphone and level there, Mike, and this has a small wind muffler as well, so you can get these wind mufflers for this small clip on love. Mike's as well. I just want to make this quick video just to give you a comparison off the wind. Sound with and without any kind of wind reducing foam or even a win Mufleh. Another quick thing is, if you recording outside, try and point your microphone in the same direction that the wind is traveling so reduced that breeze sound 8. Audio Interfaces and Examples: I welcome to this lecture where we're going to be looking at audio interfaces. So in front of me now I have four different audio interfaces that each have their own advantages and that each at different price points. So in audio interface has a few different functions. And I'm going to quickly run through them, though. So this microphone here, this is plugged in Irvine XLR Cable on this will send an analog signal. So we plugged this XLR cable into our audio interface on Then we can increase the gain with the microphone pre ampere. Then after this, we're going to send the signal. So this analog signal into our computer so the audio interface actually convert cyst analog signal to a digital signal so we can record the audio with that computer. So this actually works that of a way to as a digital to analog converter so you can send us recorded audio to a set of speakers because the audio interface does convert digital to analog as well. It also can be high quality than the digital to analog converters on your computer. With an audio interface, you can also control the amount of volume being sent up to your speakers with unmonitored I'll also most audio interfaces will have a dedicated headphone output as well. So this first audio interface, this is the focus, right? Scarlett to I to I recommend this audio interface for anyone starting out. It's quite inexpensive around about $120 there are various different versions. This is a to I to so it gives you two inputs. There's also the solo, which is one inputs, and you can even get four on the eight input version. So the audio you're hearing right now is actually being recorded on this focus, right, Scarlett to I to So the microphone preempt might not be quite as good as the more expensive audio interfaces that we're going to look at later on, however, is still great. And if you're starting out, this is a great audio interface. To consider on the next audio interface is the Shore X to you. This is great because it's so small. The audio you can hear right now is being recorded into this audio interface, so it does have a lot of the same functionalities as the over audio interfaces. It allows you to control the game level On output level, however, is only one input, and you can only record on XLR cable of this. So if you want to record, say, a guitar or maybe a keyboard, it may not be able to do this with this short X to you. However, if you just recording a voice over or maybe a podcast, this could be great. One thing to mention as well is it doesn't have a dedicated speaker output, however, it does have a headphone out. It also has phantom power plus 48 volts, as do all of these over audio interfaces. So for certain microphones, you may need an additional 48 volts to power the microphone. This microphone, however, is a dynamic microphone and does not require phantom power. However, it's there just in case you're using a microphone that does require phantom power. So this is a great lightweight, inexpensive audio interface around about $100. The pre amp. May not be quite as good as these other audio interfaces, however. It's a great one to consider if you want to record audio whilst you're traveling, okay, and the next audio interface is this one here. This is the Apogee duet. So the audio you can hear right now is recorded through this order interface. So this is quite small. Obviously not a small lightweight as a shore X to you. They compared to this audio interface here it is very lightweight. So the main thing I like about this order interfaces how clear the mic pre amp sir, And you can actually add a lot of gain, which could be very useful for certain microphones that require more again, such as the electro voice Ari 20 to keep this audio interface slim line. The audio inputs aren't actually on this interface itself. On these breakout cables thes are combi XLR jack inputs. So you concert even XLR cable or a jack thes breakout cables also have monitor outs so you can plug this audio interface into your speakers. There's also a headphone out at the bottom off this order interface if you want to monitor with headphones whilst recording audio. So this apogee duet is a great audio interface. If you want to have some clean pre amps that can give you a lot of additional gain and also have an audio interface that isn't too big and bulky. It is quite expensive, though it can be up to $600 but it will give you a better sound than, say, the focus right to I two or the Shore X to you on the next audio interface is this focus, right claret for pre. You can get this with two pre amps. Four preempts on. There's also an eight preempt version. So out of these four audio interfaces, the focus right. Clara is the only one that requires mains power, so for the studio is great. But if you want to record when you're traveling on location, I don't really recommend it. The microphone I'm speaking into right now it's being recorded through this focus, right clarets, and as you can hear it sounds great. This audio interface has very clean and clear microphone pre amps. This focus right claret is a bit more expensive than, say, the scarlet. It is around $550. However, it has got really high quality microphone pre amps. So if you don't want to spend a bit more for a really great quality audio interface for the studio, I recommend having a look at the focus, right? Correct. One more thing to mention is the claret does have additional line level inputs at the back , which can be useful if you have any additional pre amps. Let's now have a quick comparison off these four different audio interfaces recorded with the same microphone using the same processing. The microphone I'm speaking into at the moment is the shore sm 58. The microphone I'm speaking into at the moment is a Shure sm 58. The microphone I'm speaking into at the moment is the shore sm 58. The microphone on speaking into at the moment is the shore sm 58. You may have noticed there that the more expensive audio interfaces give you a higher quality sound. However, the cheap audio interfaces a more than adequate for most applications. So each of these four audio interfaces do offer different features, and they do have different quality pre amps. There are different price points as well, so it really depends on how much want to spend. But if you're starting Garrett, I do recommend having a look at the focus right to I, too. If you want to spend a bit more money for the studio. A recommend having looked at the clarinet. And if you want to be more portable, I recommend having a look at the apogee Gerets. But if you want to save a bit more money and you still want to be portable than I recommend , having good look at the shore X to you. So thank you for watching this lecture. Maybe understand a bit more now about audio interfaces on. I'll see you in the next lesson. 9. Headphones and Monitors: Hi and welcome to this lecture. We're going to be looking at headphones on monitoring. So for headphones, you get two different types closed on open back headphones so the majority of headphones will be closed back. So this is where there's no sound coming out of the back of the head phones. Open headphones is where the sound also comes out. The back of the head phones. These can be useful for some mixing situations, but if you want to record audio that I definitely recommend getting closed back. Headphones, studio monitors and studio headphones are ideal as they don't have any built in e que, which adds color to the sound. However, if you have a pair of headphones or speakers that you're completely used to, then you can always mix on these as you know what they sound like. Let's now talk about reference tracks. I do recommend finding an audio example that you want your recording to sound like So. For example, if you're mixing a podcast, find another podcast that you want yours to sound like so regularly. Listen to it while you're mixing yours, so you know that your mix is always going to be in the right direction. It doesn't have to sound exactly the same, but using reference tracks is great for training your ears. I also recommend checking your audio on different systems, So whilst you're working on your audio and you've got it to a standard that you're happy with, it's worth checking this on different speakers, so make sure you check your audio on three different types. One mini set of speakers. For example, a blue tive speaker for your phone, one standard set of hi fi speakers and also your built in computer or phone speakers. Different speakers sound different. So if you're mixed sounds good on all of these different varying types, then it will probably same great everywhere. Okay, so that's just a quick overview of headphones and speakers. Hope you found this letter useful, and I'll see you in the next one 10. Room Treatment Tips: hi. In this lecture, we're going to look at some room treatment tips. So first of all, when the sound is created, for example, your voice, the audio will project out in all directions. The direct sound will travel in a straight line into the microphone, and the rest is reflected sound, which means it bounces between the surfaces off the room. A short time later, though, this will bounce back into the microphone, so the time it takes for the sound to bounce back and hit the microphone really depends on the size of the room. The number of times it bounced back into the microphone also depends on the shape of the room and how the room has been treated. Unless the room has been designed tohave pleasant acoustics than the reflective sound in the room will likely add unwanted room sound. Different materials can also change the frequency. Balance off the reflective sound, however, unless you're in a room that's being designed to sound good than it probably won't. For example, recording studios have some natural room reverb, but they have been designed carefully to sound that way. Another example is a cathedral they've bean designed like this to create a certain sound for the choir, as it can be very expensive to design a room in a certain way. An alternative is to treat the room in the way that reduces the amount of reflections. Now let's have a look at some top tips to treat your room of her any specialist equipment. It is important to realize that there's a difference between soundproofing on acoustic treatment. There are two things, though you can do to help improve the sound off your room. Number one is removed, the natural reverb off the room, and number two is to diffuse the sound of the reflections. The worst thing is to be sat in a small square room, which has hard surfaces all around it, such as walls windows, because the sound will just bounce back and forth between each off the surfaces. This will create a sound, which is a flutter echo, and it's not what you want. The rosters and things you can do to reduce this room selection is important. So try and choose a room that's an odd shape if possible. This way, the sound will bounce in different directions around the room and doesn't go back and forth directly between the four walls. Some rooms, however, just sound more pleasant and others just completely by chance. But try different rooms in your house or recording location and see which sounds best. First of all, remember, different positions off the room will have an effect on the sound I recommend against the common idea that covered with egg boxes is any good, because due to the walls being so close, the reflections will be much stronger on egg. Boxes are so thin that almost all frequencies will simply pass through them. Your best option is a medium sized room. Ah, good way to test the room is to just clap your hands in some bad sounding rooms. You will hear a heart wringing sound, which is flutter Echo on. This is common in small square rooms. Alternatively, in larger rooms, you're more likely to hear a pleasant reverb, which won't causes many issues when recording audio. So once you've chosen a room that sounds reasonable or you have no choice over the room, there are some things you can do to help. You can look at absorption so soft materials can help absorb some of the sound that bounces around the room. Also, you can close the curtains off your room or hang up a do they on one of the walls. You can also try leaning a mattress against the wall, and also try putting an extra rug down. You can also try having a sofa in the room, because this can help absorb this out a bean bag and generally anything soft can help. Also, thicker material can be great for absorbing those lower frequencies. Also, packaging foam on any insulation you confined could help absorb some of the sound that's bouncing around your room. The next thing you can do is diffuse the sound diffuses work by scattering the reflections off the sound so it doesnt reflect right back into the microphone so this can have a more natural, pleasing sound. There are different things you can use to scatter the reflections, which include furniture so cabinets, chairs tables. Also, bookshelves can be great if you also have a wardrobe full of clothes and shoes and toys, and open that up aswell. These things can help. The cheapest and easiest thing I recommend is actually hanging a do they are behind you and also putting up a mattress in front of the microphone against the wall. This could make a huge difference and improving the sound of your room. A combination of absorption on diffusion is really the best. Alternatively, you can buy acoustic treatment. So many companies sell foam acoustic treatment packages, which can make a huge difference when mixing and recording music based traps are probably the most important form of acoustic treatment. This will help treat the lower frequencies in the room. However, If you're working with audio just for a voice, you often cut out some of the lowest frequency. So these the ones that would have bean attenuated by the base traps. If you have the budget, I would definitely recommend getting based traps. But if not, I would spend your money on other acoustic treatments. Acoustic panels could be the most cost efficient way to treat your room. It won't give you an acoustically perfect room, but it will heavily reduced the amount of audible reflections in the room or elects make some great acoustic panels. But they can be quite expensive. I recommend having a look on eBay on when purchasing. Make sure you get the most dense ones you can find on. It's measured in kilograms per meter, cubed on around about 25 meters. Cubed is great. The other way, which is slightly more expensive, is using fiberglass insulation. Acoustic panels. Companies like Prime Acoustic make these. However. It costs a lot of money about $1000 for a full room treatment kits. You can, however, make some of these yourself by building within frames and purchasing the insulation material yourself. Realistically, if you're just starting out, you probably won't want to spend a lot of money on this. However, the sound of your room will make a huge difference. So do what you can with D i Y methods. But if you're still unhappy with the sound, a recommend looking into professional acoustic treatment. So there's just some tips about Reum sound hoping found this useful and I'll see you in the next lecture. 11. Room Treatment Example: Okay, so this is a standard kind of room that you may have to use for recording audio or mixing audio is far from perfect. It's a square shape, has a odd shape ceiling. Let's hear what this room sounds like. Now I'm just going to clap three times. You may have heard some flutter echoes there. It's not ideal. But what we're going to do now is apply some acoustic treatment. As you may imagine, not everybody can have their own specialist room just for recording audio podcasts. So for this, we're going to try and transform this room. Make it as good as possible for recording and mixing audio. Okay, Now, let's have a listen to a podcast microphone in this untreated room. Okay, So what you can hear right now is recorded through this dynamic microphone here on. This is very suitable for podcasts or voice overs. Now she can hear. It doesn't sound amazing in this room. On defy. Stand back, the quality you will get worse. So what we really need to do is be quite close to the microphone and also treat this room. Okay, Now, let's have a listen to this podcast microphone after we treated the room. Okay. Now, on speaking into a dynamic microphone, this electro voice, ari 20 on average distance you could use for voiceover or a podcast in this treated room on when I go back, you can tell the quality is not gonna be quite as good. But in the treat a room like this, it still sounds fine. Okay, And now we've treated this room. Some of this is professional acoustic treatment on some of this is D I Y. Now let's hear this room again. I'm going to clap again, and you should notice there would be less flutters than without this treatment. As you can hear, it's made a big difference. The room is no longer ringing out and just sounds a lot more suitable for recording and mixing. As you heard before. This room did sound quite bad, and now it's a lot more usable. So this is what you can do to your room with some simple acoustic treatment to treat this room. I use, um, d i Y methods, which included a large piece of foam. I also added some beanbags into the room on also put down a rug to help absorb the sound of the room as well. I use some professional acoustic panels which are hung on the wall also onto the ceiling. Okay, now, let's just do a quick comparison again between the untreated room on the treated room. So I hope you can hear that treating your room can make a big difference to the quality off your audio. So thank you for watching, and I'll see you in the next lesson. 12. My Recommended Audio Travel Gear: Hi and welcome to this lecture where we're going to be looking at portable travel recording equipment. So whether you want to film a podcast in Thailand or video course the other side of the world or maybe even you want to film travel vlogs having high quality audio still important . But when travelling, though really don't want to take too much. So I'm going to show you some of the recording equipment I take when traveling. So, first of all, I've got this here. This is a love mike, a level air mike by road, the road smart love plus and it literally plugs into your phone and you can record great quality audio off your phone. So let's have a demonstration there off. What? This audio actually sounds like this is a test off the microphone. Having high quality audio whilst on location can be very useful. And also here I've just got a portable power brick and just a plug for my phone so it doesn't run out of battery. And that's all you can literally take if you just want to be super lightweights. So you can actually film videos and it will record the audio onto your video for your phone . So if you on the budgets and you want still want great quality audio recommends Just getting a microphone that plugs into your phone. This one's around about $50. Okay, and now I've got packed number two. This all fits in this small bag. It is a bit more expensive, a little bit heavier than the previous level air Mike. However, it doesn't allow you a few more possibilities when recording audio. So festival here. I've got some closed back headphones. So when recording audio really want closed back headphones? These air Sennheiser hates due to five mark two. There are plenty of of a headphones available. These are just the ones I like when travelling. Okay, and then I've got a handy recorder. This is a zoom hate five. This has a built in mic on the top X Y microphone and allows you to plug in two different microphones here. The bottom and then the microphone are used with zoom hate. Five is the shore sm 58 because it's really durable. When traveling in May, drop your bags and yeah, this is built really well. You can hold it like So if you wish, a lot of people do hold, that s and 58. It's great for stage performance. Or you can use a little stand. Okay, so this is a travel stand with a shock amount on a pop shield, like said, within a short s and 58 you might not need a pop shield is good as well. Just in case you have any more PLO sieves, it will mitigate that as much as possible. So you can really put this on your desk and you can record voiceovers or podcasts just with the shore sm 58. That's the second option. And of course you'll need a cable which plugs into the bottom of the handy recorder. So let's have a demonstration there off. What? This audio actually sounds like this is a test off the microphone. Having high quality audio whilst on location can be very useful. Okay, And pack member free is a bit heavier and, to be honest, a lot more expensive. And this is what I'm currently using right now to record a lot of my podcasts and voice overs when I'm out of the main studio. So let me show you What's inside? So first of all, we have another power off closed back headphones. The's at the Sennheiser is hasty. Two fives on when we open this up. It's actually this microphone here that I take with me, but without the pop shield. So just the microphone. This is the electro voice, Ari. 20. Okay, and then I have a stand. This is a man photo stand. It's actually a camera tripod, but I've got this attachment here. Changes it from basically camera tripod into a microphone tripod. So this is useful if you just want a small lightweight tried. But then I've got a map but charger because I will be recording within that book. Then in here I've got my cables for my audio interface. On the audio interface I like to travel with is the apogee. Juliette. This has a really amazing signing pre amp. And you can still travel with this audio interface. It's not the smallest, however. It's still quite lightweights, and in here I've got the cables for this audio interface. I've got the XLR cable for the microphone and then I've got these breakout cables, so this allows you to actually input to different XLR microphones and that has some speak out cables here on then, in the back of this bag, I keep my map book. So let's have a demonstration there off. What? This audio actually sounds like this is a test off the microphone. Having high quality audio whilst on location can be very useful. Okay, so I've got free, different options here. It really depends on how much you want to spend, how much weight you have. Despair. And also how serious you want to take recording high quality audio. Option one is literally just really this love Mike. Option number two is the short s and 58. This dynamic a vocal microphone with a zoom hate five handy recorder on a pair of headphones and option than the free is this microphone you can hear right now. However, with this stands this audio interface, the apogee Juliet and it never pair of headphones. Let's hear what these free options sound like again. This is a test off the microphone. Having high quality audio whilst on location can be very useful. This is a test off the microphone. Having high quality audio whilst on location can be very useful. This is a test off the microphone. Having high quality audio whilst on location can be very useful. Okay, so you can probably hear there is a difference between the free options. However, they also much better than just using the built in mic on your camera or the built in mic on your phone. So these are my free options for recording audio when you out of the studio, it really depends on how much you want to spend. I'm really how much weight you have Despair because option than the free is quite heavy. Obviously does sound the best out the free, but it is heavy. Option number two it is a lot more lightweight. And this was my old travel recording set up an option number one actually have with me at all times. I make sure I've always got this microphone in my pocket. So if I want to record some audio, that microphones always with me. So I hope you found this lecture useful, and I'll see you in the next one 13. Do you really need to mix your audio?: Hi and welcome to this lecture where I want to talk about mixing audio. So, to be honest, I think mixing audio is exceptionally important, especially if you're making videos, podcast, tutorials, anything, really where people are going to be listening to the voice. Ah, lot of content creators, A lot of tutorial makers, a lot of podcasters that head in the past don't actually mix the audio. And to be honest, it makes a big difference. Some people may not be able to tell straight away that the audio was mixed. However, if they compare it to a mixed piece of audio, it could make a big difference. For example, right now, this is the on the mixed voice. This is me speaking into this microphone on. There's no mixing on this amusing no processing, no plug ins on right now. I am using plug ins so you could probably hit a difference. It to sound a lot more professional sounds a lot clearer, so I think people will take you more seriously if your orders makes professional because it proves that your professional, it proves that you take stuff seriously. It proves that you want to have the highest quality thing possible. Obviously, it's not just about mixing audio source about what microphone use. It's about the room treatment. It's about the audio interface. It's about the pre amp. On the audio interface. It's about how you speak into the microphone. It's about the talker. It's about the content, however, the audio so important. So here's never example off the audio on mixed, and here's an example off the audio, mixed with a warm or so here is an example of the audio unmixed. So this is just the voice right now captured without any post production processing. And here is the voice now using some plug ins, and they're going to be going over these plug ins. Plug ins such as gain E. Q. B s ing noise gate and compression show Exactly how you can use them to improve the quality of your audio. Make it sound professional because audio is super important. On by the end of this course, you'll be able to mix your audio so it sounds professional, too. So thank you for watching this lecture on. I'll see you in the next one. We're going to be mixing audio 14. Which Audio Editing Software Should you use?: Hi. Welcome to this lecture. I want to talk about software for recording editing a mixing audio so you want to record audio and mix it and also edited inside your computer. You will need a piece of software to do this. You do get free ones, and you do get paid once you also get professional level ones on. You get ones generally that quite similar but have a few subtle differences. For example, in the next few lectures I'm going to show you pro tools. First, which is a piece of software, is professional standards. It's the free edition, which is called Totals First. Pro Tools is used worldwide issues by professional order engineers, sound engineers and musicians, and it's fantastic for recording, editing and mixing audio. I personally use a piece of software called Logic Probe. That's my preferred software for recording on editing a mixing audio. However, it is Mac only Proton's first protocols is Mac and PC, the right of the workstations or audio editors you can use, such as Q Base able to life on also Studio One. And these were also digital audio workstations, which means you can make music in them as well. There's also a piece of software called Adobe Audition, which is part of the day. Be sweet. So if you used to use in the David products such as Photo Sharp or Premiere Pro, Adobe Edition might be a good one to choose as well. However, all these professional standard ones, they are very similar. They have a few subtle differences, but they essentially do the same thing. You do want to use a piece of software that does have professional standard plug ins, and there you want to be able to use e que compression and noise gates and also gain, And I'm going to show you how to do this in pro tools. First, however, the skills applicable in any other professional level workstation a de recommend getting one that is a high quality standard workstation where you can go inside these plug ins where you can edit your audio properly. Because if you just get free piece of software that hasn't really got much functionality, it will limit your ability ready to record at a mix audio. However, Proton's first is free. It does have a few limitations compared to the paid full version, but it's still mourn enough to get you started recording, editing and mixing audio. So really, it depends which workstation you want. It depends on your budget. It depends if your Mac or PC that you recommend if your brand new start off with pro tool for pro tools first as it's free and it's for Mac and PC. So thank you Fortunate Lecture. Just about different pieces of software for four recording, editing and mixing audio. I'll see you in the next one. 15. How to Install Pro Tools First: Hello and welcome to this lecture where we're going to be looking at safely installing pro tools first from the official avid site. So if you go over to Google and just type in pro tools first, the top search results should be from avid. Make sure you click on the link. That's by Avid, which is the official site. The exact link here is avid dot com slash pro dash tools. Death First on this will direct you to the official site and now in the top, right? It will say, Get it for free and click on that. If you already have an average account, you can click Sign in here. If you don't have an account, just click on. Create an account. Just add your name country on the email address. You want your download leg to be email to. Then just click the verification box. Go for the verification check and then hit. Submit. This may take a moment to load. Okay, next is the airlock account. If you don't, haven't I lock accounts? Just check this box here agile, avid password and hit create, or if you do have an eye lock account, just add your luck. I d and then hit Submit. But for this example, I'm going to create a new I lock account and then add my avid password. Then it may take a moment to load. Okay, Next is a multiple choice wake and select some boxes. I wouldn't worry too much about this. The 1st 1 is what music creation software have you used? I'm just going to put none for this example on what type of projects we create. Okay, so I'm just going to put audio production podcasts on mixing. And now I'm going to click email my download links, and this may take moments. Okay? And now the email has appeared. So I'm going to go over to my emails and then click on the latest one. On here. You can download the link for even Mac or Windows. I'm going to slap Mac, and this will download the DMG file. Depending on your Internet speed. This could take up to 10 to 15 minutes. Drawing this time average should send you another email where you can update your email preferences if you wish. I'm just going to click on update your email preferences. And for May I'm going to unsubscribe from any marketing emails by hitting the unsubscribe link down here and the reason I'm going to put other Okay, the DMG file has downloaded. I'm just going to click on this. I have sped this process up. It may take a few minutes. Okay, Now the install pro tools first P k G file should appear just going to click on this. Okay, Now I'm going to go through the installation quickly. So first I'm going to click on, continue on, then continue again. I recommend reading through the software license agreement, And if you agree, it continue. And if you agree to their software licence, make sure you hit. Agree? You can always read the license if you wish. This is quite a big file, almost a gig. So make sure you have enough space on your hard drive, then him stall. Then you may have to add your computer password to install the software, and then it may take a few minutes to install. The installation was successful on pro tools. First should now appear in your applications. And I'm just going to click on this. You may have to add your password again. And then you will have to sign into your average account. And then it may take a few minutes launching on loading pro tools first. Okay, Then you should get this pop up box. And if you're okay, a playback engine will appear. If you're using an audio interface, you can select it here in the playback engine. I have quite a few audio interfaces plugged in. You may not have as many as this, but just select the one you want for your playback engine and then slept the outputs on. Then the sample rates for the sample rates I recommend 44.1 or 48 doesn't make that much difference. But I normally use 48 and then we have optimize engine four record or playback totals first is very powerful, even is fine. But I'm going to select record because we will be recording in Proton's first soon and then here. Okay, then you may have this pop up box asking if Brittles first can access your microphone. I'm going to allow this just in case I want to quickly. But some ideas, Dan, with the built in mic on my computer. So I'm going to hit. Okay, then this create new project will appear. I'm just going to name this new project on hit Create, and it may take a moment or two to load the project, and then you will get this pop up box asking you to create an average profile. But we from close this and always create a profile later on, if we wish. Okay, so Proton's first is all set up in the next lecture. We're going to look at recording audio, so thank you for watching, and I'll see you in the next one. 16. Recording Audio Setup and Getting Started in Pro Tolls First: So we've just opened up pro tools now, and I'm going to create a new session. So let's go to file and create new now over here, where it gives you the option to create from templates. Make sure you uncheck this and then type in the name for your project with the free version Pro Tools. First, you can only have up to free active sessions or projects on your computer. This can be an issue if you're doing lots of music recordings. However, if you're just working with just one microphone, for example, for calling voiceovers or podcasts, then for each session you have up to 16 audio channels. So it's important to note that in protocols first, you only can have a bit of free active projects or sessions saved on your computer. However, if you update to the full version of pro tools, you can have unlimited projects or sessions. If you're working on podcasts or anything that only involves a few audio tracks, then protocols first should be fine, as you can save different plug in chains on each of the 16 tracks. Therefore, you can have up to 16 different settings for each podcasts in each project. When you've used up your free projects, you can always delete ones you don't need or export audio from these different projects after you've mixed them for podcast, though, is quite rare that you'll go in and edit them because you were usually post these online. Therefore, protocols first is an excellent version, as it's got some very powerful features for editing audio. You could always update to the paid version of pro tools later on, however, the recording and mixing techniques you can really do in any audio editor or digital audio workstation. This isn't a pro tools course. I just want to show you some essentials for recording and mixing your audio. However, Proton's first is a great free way to get started as it has industry standard editing plug ins. If you've recorded your audio in a different digital audio workstation or with a separate standalone recorder, you can always import your audio to mix in pro tools. So now let's hit create. If this is the first time you've used pro tools first you may have this pop up window that profile, but you can close this. You don't have to fill the Senate if you don't want to. Now I'm going to go over some basics that you may need for setting up on recording audio in pro tools first. So let's first go over to set up and then go down to playback engine. Under here, you'll be able to see the selected input on output device. So here you can slept your audio interface or your USB microphone. So when you select your audio interface or USB microphone, pro tools will always close and reopen as this is just a process, they needs to do so. So let the interface that you want and let pro tools restarts. So I've already got my interface set up, so I'm just going to hit council now. Select the output that you need usually allergies. I put one and two, but for recording this tutorial, I don't need to use output nine and 10 and now we can optimize the engine for record or playback. Right now, we're going to be recording, so I'm going to optimize this for record. Pro Tools is very powerful, though, so you wouldn't really need to optimize it for playback. But is there just in case you do. And now let's hear. Okay, okay, so now we're going to change the timeline. So is displaying in time rather than bars and beats. Bars and beats is great for music. But if you're not recording for music, you do want this in time. So if we get to this display here and click on the small down arrow, then we can select minutes and seconds. So this is time going from left to right, and when we record our audio, we will see some waves appear, which will be the audio waves. So what we're going to do now is set up a new track. So let's go to track at the top and go to new. This pop up box will appear if you're recording with one microphone or a mono microphone who want to choose money, some microphones, maybe stereo. But the one I'm speaking into right now is a moderate microphone. Now, on this next box, make sure audio track is selected as we're going to be recording audio from the microphone on now, moving along, we can choose samples or ticks, and it doesn't really matter which one you choose. So I'm just going to choose ticks. And now let's hit greats And this will create our audio track. I also recommend naming the audio track. To do this, just double click on what says audio one. And here you can type in a new name for the track. This will also name the audio file. And then Okay, if you're using the microphone with an audio interface, make sure you have it plugged in via X ella and then turn up the game to an appropriate level. If you're using a USB microphone, make sure you turn up the gain to an appropriate level as well. Now we can hit the record. Enable button this button over here. When you click this, it will light up red to make sure you have your audio at an appropriate level. You really want to have this green meter at around 75% at the largest part of your dialogue . As you can see now, this bar is not reaching the top, because if it would, it will be clipping on ruining the audio. So once you've got your level set, you are ready to start recording. So to record, need to go up and press the record icon at the top. This has now record enabled the session, but it's still not going to be recording. So once you press play, the session will begin and you can record your audio. Okay. And now we're going to recall some audio. This is an example off the audio recording. This is an example off the audio recording. This is an example off the audio recording. This is an example off the audio recording. Once you've recorded your audio, make sure you uncheck the record. Enable button on your track as this will allow you to listen to your recorded audio to send the play head back to the start of this session so you can listen to your audio here, enter then to play just hit the space bar. This is an example off the audio recording. This is an example off the audio recording. This is an example off the audio recording. This is an example off the audio record, then to stop the playback. Just hit the space bar. Okay, so now we've recorded in this audio in the next lecture, we're going to be looking at some basic editing in pro tools first, So thank you. Fortunate lecture. We understand that a bit more about recording audio in this digital audio workstation. Pro tools first. 17. Recording Audio with the Built in Mac Microphone - MAC ONLY: Hi. And welcome to this left jail where we're going to be looking at using the built in mic on your Mac and pro tools first. So if you want to quickly record some ideas that are using the built in mic can be quite useful. The way begins. Do this is by using the protocols Aggregate. This is only available in Mac, though. So if you're using Windows or PC, then you might not be able to do this. So to set this up, just go over to set up and then go down to hardware. So this will actually bring up the audio midi set up. It may not have as many items at the side of May, but just go down to where it says protocols aggregate and then make sure built in output is checked on. Built in microphone is checked. Also, make sure the sample rate is on 48 now your Mac has automatically change this. If you look in this Iot section and totals, you can't actually select your built in microphone yet because we need to go back over to set up and then go down to playback engine. So in the playback engine. We need to select Podles aggregate as well. So if you go to where it says pro tools aggregates and slept this, then we have this pop up box, which is basically saying that this is going to save and close your project. So let's hit. Yes. Then we will get this of a pop up box that says you're changes have not been saved to the cloud. I don't want to say this to the cloud, so I'm going to hit close and then okay, and then we will have to open up totals again. So if you go over to file or Brittles go to open recent and we can choose our project here , we may get this pop up box as well. That says, some inputs or outputs may become inactive because your audio hardware device has been changed. Would you like to save a detailed reports? I'm going to say no, and now you'll notice it says, built in microphone on built in output. If you don't have headphones plugged in, do not hit the input monitor button. Do not hit the I button over here, so this is going to monitor the microphone. If using a Mac book, for example, and using the built in speakers, it's going to give you a lot of feedback, and it's going to give you a horrible sound. So do not hit this I bottom if you don't have headphones, plugged them. So I'm going to hit the record label button and you can see here. We're getting some audio coming through and I'm going to hit record on play. So this is an example off what the built in mic on my Mac book sounds like. I'm going to hit Stop on. Let's just play this back now. So this is an example off what the built in mic on my map book sounds like on the Iot section. Here, you'll notice that inputs is in the interface on built in microphone on the output, as in the efforts built in output. If you want to swap it back, remember you can do this. We've set up with hardware on playback engine, so that's how you can just quickly use the built in microphone on your Mac. Remember, it's not going to sound as good as using an external microphone on an audio interface, however. this can be quite useful for just throwing in some ideas quickly. Like I said, this pro tools aggregate will not work on windows. This is just how you can do it in Mac. So thank you. Watch this. Quick lecture. I don't see you in the next one. 18. Importing and Editing Audio: hello and welcome to this lecture, or I'm going to show you how you can import a file into pro tools first. So if you recorded in a different audio editor or digital audio workstation or even in a handy recorder, I'm going to show you how you can import this into portals first. And then we're going to look at some basic editing. So first, to import your audio head over to file and then go down to import and now select the audio that you wish to imports. So it's like this and hit open, and they take a moment to process, and here we can see our audio file. One thing to note that the example audio we recorded was a monarch file. On this new audio file is a stereo file. We know this because the new one has to waves on the old one just has one wave in the middle. This won't cause any difference when editing, but it's important to know that there is a difference between mono and stereo, So stereo has the left in the right channel. Amano is just one channel, however, for this situation there left and the right channel for this stereo track are exactly the same, so it will sound the same as being mono. If your audio is being exported from another digital audio workstation, it is likely that it will be stereo. However, don't worry, because the process of editing stereo onda model file are exactly the same. One thing to note is you commute or solo different tracks. So for this lecture, we're going to be looking at the new audio file that we've just imported. So I'm going to actually mute the old audiophile from the previous lecture so we can do this by going over to the track header and hit in the M button for mute. Now, when we press play or space bar, we will be able to hear this new audio that we just imported. This is an example sentence of a voice, which you might need to edit for a voice over are going to talk quietly and then rather louder, different points to show you some issues that you might encounter when working with audio SS and tease cause civilians which needs to be tamed background noise, such typing and tapping. Can we take you now if needed. Some of the noises will have to be etude out. Some of the noises will have to be e queued out. Some of the noises will have to be etude out. Sometimes when people speak their make, sometimes sometimes people make mistakes when they speak, so you need to cut, so you need to cut up the audio to correct it. So as you can hear, that order file was far from perfect. But there's plenty of things we can do to help improve it. First of all, we're going to look at basic editing, which includes cutting audio and creating fates. So let's now go over there edit tools up here. In this highlighted section, we have the free editor calls. So the first tool is the grab it'll so this is used to grab and move audio files. The second is there, select it'll, and this is used to select portions off the audio. On the other One is the trim tool this is used to trim or just a lump off audio files. On the last option is the smarter, so this actually combines all free tools into one. So depending on where your mouse is, different tools will be active. So if you're near the bottom off the audio file, it is the grab. It'll towards the top is the select. It'll and if you go to the ends, it is the trim Tal. Okay, so now I'm going to listen back to this audio again and just make a few mental notes about what editing I actually need to do. This is an example sentence of a voice which you might need to edit for a voice over. I'm going to talk quietly and then rather louder, different points to show you some issues that you might encounter when working with audio s s antes cause civilians which needs to be tamed background noise, such typing and tapping Can we take you now? If needed, some of the noises will have to be e queued out. Some of the noises will have to be etude out. Some of the noises will have to be etude out. Sometimes when people speak their make, sometimes sometimes people make mistakes when they speak, so you need to cut. So you need to cut up the audio to correct it. So you may have noticed there that I actually zoomed in the audio. So in the bottom, right off totals there is the zoom control where you consume in horizontally and also on the right You can zoom in vertically if you wish. Another thing you may have noticed is I made some cuts or edits whilst I played back this audio. To do this, I use the select it'll and actually collect, impressed, be whilst audio was playing to make different sections or cuts. What you can also do is highlight a certain section of your audio and then press be on your keyboard. And this will also measured cuts at the start and at the end of why this audio is selected . Okay, So I'm just going to use the grab tool to select the bit of silence at the start, then just hit backspace or delete to delete this silence at the start. So I'm just going to select all of the audio now on with the grab tool just going to drag all this audio back so we can get rid of some of that silence that we had the star. This is an example sentence also towards the end off the audio file than the Reiter was making a few different mistakes. So I'm going to try and edit that now and tidy up the best I can just going to isolate this small section here by using the grab it all on. We even get along on. Now let's have a listen back and find the parts that needs correcting and editing. Sometimes when people speak their make, sometimes sometimes people make mistakes when they speak, so you need to cut, so you need to cut up the audio to correct it. Sometimes when people speak that make, sometimes sometimes people as you can hear, the narrator made a few mistakes right at the start of this section, so I'm actually going to delete this part completely. It can be useful to see the way form in more detail, so also make sure you use the zoom in controls. So to zoom in on just the waveform, go up to the small icon appear and if we click and drag on this small way form can actually increase the waves so you can see what we're doing a bit easier. Sometimes when people speak that make now, let's use the trim tool and actually trim this along. So we delete the first part, which was a mistake. Sometimes sometimes people, sometimes sometimes, sometimes sometimes sometimes people make mistakes when they speak, so you can hear when the narrator repeated the words. Sometimes they started that word again very suddenly. So we'll have to zoom in to find the exact start of that word to deism in on this certain parts. Just click with a select it'll and then zoom as this will zoom in on that particular part. So it looks like the new words started here and now we can actually create a cut by using the letter B. So to do this, select with the select It'll and then press B to delete the part before highlight the part before with the grab tool on, then hit delete or backspace to delete this. Now I'm going to zoom out again and have another lesson to this. Sometimes people make mistakes when they speak, and that sounds better now when editing audio. Sometimes it can cause a click or a pop, so I do recommend using a fade to create a fade. Just go over to the top corner off the audio file on the Fade Icon will appear The Fade icon will look like this small square icon on to fade. Just click and drag onto the way form, and you can actually see the way form adjust in real time when you apply the fade. But this situation, I just want a really short fade at the start. Sometimes people make mistakes when they speak, so you need to cut, so you need to cut. Let's listen through the audio again just to hear if there are any more problems that we need to fix with editing. Sometimes people make mistakes when they speak, so you need to cut, so you need to cut up the audio to correct it. Sometimes people make mistakes when they speak, so you need to cut, so you need to cut to cut so unique. So you need to cut. Also, one thing to note, the play head will actually go back to the last thing you selected. No matter where the audio actually is. If you'd like the play had to stop at the point where you actually stopped. Play back so you can actually resume from that location, go over to this icon in the top left. Sometimes people make mistakes when this speak, so you need to cut, so you need to cut. However, in this example, it's actually easier for me to go back to where it waas, but so you need to cut up the audio. Another way to zoom horizontally is to use the keys on your keyboard R and T too quickly. Zoom in and zoom out so you need to cut, so you need to come, so you need to cut, so you need to cut. One of the thing to note is, if you highlight a selection of audio protocols will only actually play that highlighted audio. So you need to cut. There's a section here that I wish to delete, so I'm going to highlight this and then hit the delete or backspace bottom. That's now he's grab and drag this audio file back in this speak, so you need to cut up the make mistakes when they speak, so you need to cut up the audio, make mistakes when they speak, so you need to cut up the if possible, try and arrange this audio so it sounds as natural as possible bakes when they speak, so you need to cut up the So when editing, just be aware of the tempo of how people speak. The next thing I'm going to show you is a cross fade, so how to fade to audio files together. One thing to note is that the to order files don't have to be overlapping toe actually create a cross fade. So to create cross fade, go to the bottom corner off the audio file and then you will see the cross fade, square appear and then dragged across on. This will create a cross fade. Also, be sure to listen back to make sure it sounds OK. Mistakes when they speak, so you need to cut up the mistakes when they speak, so you need to cut as you can hear in this situation, it's a bad edit mistakes when they speak, so you need to cut up mistakes when they speak, so you need to cut. You can adjust the audio files by just dragging them closer or further away six when they speak, so you need to cut up when this speak, so you need to cut up the make mistakes when they speak, so you need to cut up the audio. And as you can hear there, it sounds a lot more natural now. Now let's listen through and see if any more mistakes that we need to fix with editing. Sometimes people make mistakes when they speak, so you need to cut up the audio to correct it. I'm now going to actually create a fade at the end so I can fade the background sound off this audio recording to silence. Sometimes people make mistakes when they speak, so you need to cut up the audio to correct it. Okay, let's go over and never example of when you might want to use a fade to reduce click or a pop. Let's just have a quick listen to this part here. Some of the noises will have to be etude out. Some of the noises will have to be etude out. Some of the noises will have to be etude out at the end of that audio file. You may have noticed there was a clicking or popping sound. Okay, let's just use the Select it all now on. Highlight this part on their press beef to cut it and now highlight using the grab tool on delete the two parts of audio at each end. Now, if we listen again, we hear clicking or popping. Start on the end off the audio fall, some of the noises will have to be etude out. So here is a good example of when you want to use a fatal. So I go to the top corner of the foul and then click and drag and IV aside, click and drag the other way to create a fade at the end as well as the start. Some of the noises will have to be etude out. Okay, so that was an introduction into editing audio files with pro tools. First, I hope you found this lesson useful and I'll see you in the next lecture. 19. Introduction to the Plugins and the Plugin Chain: Hello. Welcome to this lecture where we're going to be looking at a few of the plug ins that you may want to use for mixing your audio against. Look at these plug ins more detail later on. However, the order of the plug ins is also very important. Have begun to look at that as well in this lecture, So the signal of audio actually travels through the computer in a particular order. So when we play some audio, this is an example sentence of a voice, which you might on the left. Here you can see a volume meter, and this is actually the meats off the audio after is being treated or gone through any audio plug ins just to show you an example. Now I'm going to play you the audio. This is an example sentence of a voice, which you might need to edit for a voice. And you can see this Mita is the volume. I'm just going to add a plug in for this example, which will turn the volume all the way down. Now you can actually hear anything or see anything on the meat. Eva. That's because the meter is showing the audio after is passed through the plug ins. It's also important to know that the signal goes from top to bottom through the plug ins. So it goes from plug ins 81st and then goes through plug ins after J. So say this plug in here at the bottom of 80. This goes after the plug in before it, So the signal goes through these plug ins in a set in order on really the order we have. These plug ins can affect the sound as well. If you're using pro tools first and you can't see insects after J. Don't worry. We'll be looking at this later on and most D. A. W's and audio editing tools. The signal goes through the plug ins from the top down to the bottom. One thing I'm going to show you now is how a compressor behaves differently when you're just avoiding before or just the volume after we're going to be looking at a compressor on the plug ins. We used for this voice a lot more detail later run, but I just want to quickly show you how this compressor behaves differently when we change the volume before or after for this situation, the volume has been lowered before it goes into the compressor on here. Keep an eye on this meter, which is the gain reduction meter, and it'll flash orange, which means there is gain reduction. This is an example sentence of a voice, which you might need to edit for a voice over. Now we look at turning the volume down after the compressor. This is an example sentence of a voice, which you might need to edit for a voice over. You can see there's a lot more game reduction when we turn the volume down after the compressor, and you may be able to tell it's actually effective. The sound. This is an example sentence of a voice, which you might need to edit for a voice over. This is an example sentence of a voice, which you might need to edit for a voice over. This may seem quite complex right now on this compressor plug. It may be a little overwhelming at first, but we're going to look at this in a lot more detail later on. I just wanted to show you that the order of the plug ins does make a difference to the signal. Now I'm just going to go step by step over a few of the plug ins that we're going to use for this voice. So first of all, we have a trim plug in. This is also known as a gain plug in. The reason we're using this is very simple. It's literally just to adjust the volume off the audio so we can turn Oppel down. Using this plug in next is the e Que plug in EQ. You plug ins like this are used to sculpt the sound of the audio. So instead of just turning the volume up all down, you can choose certain frequency ranges, which would like to adjust the volume off. For example, here I turned down the volume at 970 hurts and up here I've turned up the volume at 4.9 8000 hertz. This allows you to dramatically adjust. The sound opens up many possibilities for mixing again. We'll be going over this in a lot more detail on. I'll be showing you how you can use this to mix your audio. The next thing we're going to be looking at is a de Esser. This helps reduce harshness and civilians in audio. I just play a snippet of audio now so you can hear what it's doing. S isn't ease cause civilians, which needs to be tamed on the play the audio without this plucking SS and tease cause civilians which needs to be tamed. This is a very powerful plug in makes vocals sound a lot less harsh. Next we've got a noise gate. This plug in is great for reducing any unwanted background sounds. Let's just have a quick listen to this snippets of audio that has some background noise, background noise, such typing and tapping. Can we take you now if needed? Now let's listen to the same snippet of audio, but with the noise gate on background noise, such typing and tapping Can we take you now if needed? This is again a very powerful tool on. We'll be looking at how to use this in a lot more detail in a noise gate lecture. Next is a compressor, which actually looks very similar to the noise gate. So what's the compressor essentially does is turned down the loudest points and turn up the quietest points off the audio. This will therefore make your audio sound far more consistent, and this is also a great way of making your audio much louder. This compressor also doubles up as a limiter, which will be looking at later on as well. So the limiter is essentially a compressor with some extreme settings, which basically allows you to put the audio as loud as possible without clipping or distorting. So these are the plug ins that we're going to be looking at in this next few lectures. For making your audio sound professional. We'll be going over these plug ins in a lot more detail later on, and I'll be showing you exactly how you can use them to make sure audio to a professional standards. So thank you for watching this lecture on. I'll see you in the next one where we're going to be looking at mixing our audio 20. Gain: Hello and welcome to this lecture where we're going to be looking at the game plug in in pro tools first when mixing, it's important to have the audio at a consistent level because it means processes such as compression work in a more predictable manner. So, for example, when recording audio if you're pre amp won't go any louder on your audio signal isn't that high? You can use digital gain toe, actually boost this signal. We can do this in pro tools first by using the trim plug in, which is actually a gain. Plug in on this will allow us to boost or attenuate the gain off our audio. So it's important to know that this is actually different to turning up the volume fader off the track. That's because the volume fader on pro tools actually comes after the plug ins. So with the game plug in, we can actually turn up the audio before it goes into another plug in, such as the compressor. We'll be looking at the compressor in the future lecture, but for this one, we're just going to look at gain. So now let's have a listen to this top segment of audio and also pay attention to the voy a meter on the overall level when we play it back. This is an example off the audio recording. This is an example off the audio recording. This is an example off the audio recording. This is an example off the audio recording. You may have noticed there that the volume meter was actually reaching the light green area on the meter. So this is really an optimal level for mixing audio. You can also notice that the way form on the top track is a lot larger than the way form on the second track. Now let's have a listen to the second track so we can compare the difference. Also, pay attention again to this volume meter. Sometimes the volume of the audio is being recorded isn't loud enough and needs to be turned up. You can hear and also see that the ordinary level is quieter than the top track. On no point does the meter reach the light green area. Sometimes the volume of the audio is being recorded isn't loud enough and needs to be turned up. So now what we're going to do is actually 10 volume off the track and have a listen again. Sometimes the volume of the audio is being recorded isn't loud enough and needs to be turned up. Notice that the volume still isn't reaching the light green area on the meter, even though it's been turned up louder. I'm now going to put the volume back to zero, and now I'm going to add a gained looking So click on the Grey area, the insects area here and then go to plug ins. This is actually a mono track, so it's only giving me the option off a mono plug in. But if you're working with stereo track, just choose multi channel plug in. So under plug in, go over to other on choose trim, which is a game plug in. So when you open up the trim plug in the maximum, you can turn the audio is six db or six decibels. If you click on the 12 db tap, it will double the amount you can turn the gain up moving. This failure left will give negative values on right will give positive values for the game . So for this example, I'm going to turn the game all the way to the right, and now we've applied 12 DBS off gain. Let's just have a listen to this back. Sometimes the volume of the audio is being recorded isn't loud enough and needs to be turned up. Let's have a listen back again and pay attention to the volume meter, and you should see that is reaching the light green area. Sometimes the volume of the audio is being recorded isn't loud enough and needs to be turned up. Okay, so now the audio is at a more appropriate level for mixing. It's important to note that if your audio was recorded too loud, you can also use this trim plug in to turn the game down to bring your audio toe optimal level. One thing to note as well as if your audio was recorded way too quiet, you can always add another trim plug in to add even more gain. It is always best to record your audio at an optimal level, but sometimes mistakes happen. So just for example, I'm just going to add a never trim plug in. So let's go over to the inserts go on, plug in and then go down to other on select trim. So this is actually another Trump Logan. And here again we can select plus 60 B or plus 12 DB. Now I'm just going to play this back and turn up the gain as it's playing. Sometimes the volume of the audio is being recorded isn't loud enough and needs to be turned up. Sometimes the volume of the audio is being recorded isn't loud enough and needs to be turned up. So have a look now at the voy a meter on the track. Sometimes the volume of the audio is being recorded isn't loud enough and needs to be turned up. As you can see now that the audio is reaching the orange level near the top as the audio isn't actually reaching, read any points, which is a sign that the audio's clipping this is actually quite an appropriate level for audio. That's because this audio is almost the loudest it could be without clipping or distorting . Sometimes the volume of the audio is being recorded isn't loud enough and needs to be turned up. Just be careful, though, because this audio is quite high. If you're adding an e que after this on boosting. You may actually make this audio clip, so just be careful when you apply the trim or gain plug in. One thing to mention is that all professional audio editors, such as Protocols Logic, Pro Adobe Audition will all have again, Blufgan. But it may not be called trim the make all that gain instead. Okay, so in this lecture, we've gone over the game plug in and how you can use it to get your audio toe optimum level . So thank you for watching. And I'll see you in the next lecture. 21. Noise Gate - Part 1: Threshold: hello and welcome to this lecture. But we're going to be looking at removing unwanted sound or background sound from your audio, so the plug in we're going to explore is called a noise gate. This is especially useful for voice over recordings on audio recordings for podcasts. So let's have a listen to this section off audio that has quite a bit of background sound that isn't wanted. Background noise, such typing and tapping. Can we take you now if needed? In that snippet, there's some kind of typing background sound. Let's now insert a noise gate plug in onto this audio, so let's go over to insects, then go down to plug ins for this small to channel plug in. Because this is a stereo track, let's go to dynamics and then go on to Expander Gate. If you're not seeing the insects in pro tools, first move over to the window view selector and click this on. In this drop down, you'll be able to check inserts 80. So what gate does is it mutes any audio that's underneath specified fresh hold and expand. The is similar, however, it just turns down rather than mutes the audio that's under this fresh hold expander can be a good option rather than the gate. As it's less dramatic. This plug in can look quite complex at first, but the main thing you need to worry about is the fresh hold on this plug in is the dial at the bottom, right, this orange one. So now I'm going to play the audio with a fresh hold turned all the way to the top background noise, such typing and tapping. Can we take it out if need, because digital audio can only go to zero db, none of the audio is actually reaching this fresh hold zero db, which means it won't open up. The gates, therefore will reduce all of the audio rather than just the background sound. However, at the moment is on an expander setting, which is why we can faintly hear the vocal. Now I'm going to change this setting all the way around, so it's a gate. If we move the star all the way to the left, it will now become a gate and it's actually removed all of the audio because none of the audio is going above zero db so of this orange bar. Over here, you can see how much game reduction there is, and it's taken out all of the audio. So what I'm going to do now is lower the fresh hold. So it gets to a point where the vocals will actually open the gate so we can hear the vocals on It will remove some of the other sound that isn't loud enough, such as a background sound, and we take, you know, if any background noise, such typing and tapping and we take, you know, if needed so you can hear their that it sounds very unnatural, as only the loudest parts of the vocals open the gates and they're actually audible. Let's bring this down a bit more. Some or off The vocals will open up the gate background noise, such typing and tapping. Can we take it out if needed? As you can hear, there is getting better but still sounds a little bit choppy, so notice this game reduction meter is actually moving upwards, so there's less gain reduction when the vocal is present, which means we can hear more off the vocal background noise, such typing and tapping. Can we take it out if needed. Let's have a listen now to the audio with a gate plug in bypassed background noise. Such typing and tapping Can we take you now if needed? And now let's activate this plug in background noise. Such typing and tapping. Can we take it out if needed? You can hear their when. Then the rate of stops talking. It goes to silence. It is still a bit harsh, so I'm just going to reduce the fresh hold. Even more background noise, such typing and tapping. Can we take it out if needed? Okay, so that was an introduction into gate in the next lecture. We're going to have a look at the other controls for this plug in. Thank you for watching, and I'll see you in the next lesson. 22. Noise Gate - Part 2: Hello. Welcome to this lecture where we're going to be looking at more features for this gate plug in. So this plugging can look quite complex, and it does have a lot of features for musical applications. However, we're not going to go over all of them, as it's not really essential for a beginner of the mixing voice. So by just using fresh hold on range, you'll be able to get your audio and remove the background sound, which is sufficient for most spoken word recordings. So far, we've got the sound to this level background noise, such typing and tapping. Can we take it out if needed on defy increase the range background noise, such typing and tapping? Can we take you now if needed? So if I increase the range isn't actually doing anything, that's because it's no longer gating the audio that's below the threshold. That's because it's in the expansion mode rather than gate mode, and it's merely just turning down the volume rather than getting out of the audio. You can see here on the meter. That was a very small amount of gain reduction as I pulled the range down. You can see on the meter that increases the amount of gain reduction. Let's now play this audio back with two extreme settings. Background noise, such typing and tapping. Can we take it out if needed? Background noise Such typing and tapping? Can we take you now if needed? In the previous video, we've got the fresh hold to an appropriate level. So we got to a point that the gate was opening whenever the voice was speaking. It did, however, still sounds a bit harsh. Background noise, such typing and tapping. Can we take you now if needed? There are a few things we can do to help reduce this harshness, and at the moment we're going to look at range so you can simply increase. The range of the gate is reducing the background noise less so. Let's now have a lesson with this medium setting background noise, such typing and tapping. Can we take it out if needed? You can still hear that there some background sound there, but it's turned down, so this could help make the gate sound more natural. I'm going to put this back to an extreme setting and then show you another way. You can make this sound more natural. Let's now have a look at the attack. The hold on the release times. So the attack is how quickly the gate opens once the audio signal has reached the threshold . So it's basically how quick the plug in response. Once the audio is loud enough, the hold is how long the gate stays open. Once the threshold has been reached, Analogy you could use is someone actually opening a gate for you. So the attack is how long it takes for the gate to be opened. The hold is how long the person holds the gate open for you, and the release is how quickly the gate swings shut. So to make it sound more natural, you can increase the hold and release time. Now I'm going to show you how to make the gate sound less harsh by using the hold function . So let's have a listen to this audio as it is background noise, such typing and tapping. Can we take it out if needed? One thing you might notice is the gate is trying to close between the words typing and tapping such typing and tapping. So it just sounds a little bit choppy. That's because the audio has fallen below the threshold before. The next word. What we can do is increase the holes to the gate stays open for longer once the audio has gone below the threshold. Such typing and tapping such typing and tapping such typing and tapping Can we take you now if needed. Such typing and tapping such typing and tapping? Now I'm going to reduce the hold now so you can hear it with an extreme setting. Such typing and tapping can we take, you know, if need such typing and tapping. And now let's increase the hold. Such typing and tapping can such typing and tapping, so see how it sounds a little less jumpy in that phrase. So you want the whole to be at its shortest setting without it sounding jumpy between words such typing and tapping such typing and tapping such typing, such typing and tapping such typing and tapping such typing and tapping? Can we take it out if needed? Now let's have a look at release, so like we said, that's the amount of time it takes for the gate to swing shot. Can we take you now if needed. Background noise such typing and tapping. Also, the game reduction meter is a good visual aid as it shows you how the gate is behaving. So let's just short in the release so the gate will shut a lot quicker. Background noise, such typing and tapping. Can we take it out if needed now, just for this example, Let's make a really long release. Can we take it out if needed? Sometimes can we take it out if needed? So have a long release. You can hear how the background sounds slowly fades out. Obviously, they're setting four seconds is far too slow, so let's make this a bit quicker. Background noise, such typing and tapping. Can we take it out if needed? As you can hear the longer hold and release time, the gate sounds a bit more natural. So as you can see, you can have a lot of control over how the gate behaves. So if your gate sounds too choppy and a natural, I'd recommend adjusting the range. The hold on the release times. This should make your gate sound a bit more natural. So thank you for watching, and we'll have a look at the other features for this gate. Plug in in the next lecture 23. Noise Gate - Part 3: Hello and welcome to this lecture where we're going to look even more settings for this Kate plug in. So previously we looked at hold and release in detail, but we didn't really talk about the attack setting. So being able to control the attack time off this gate could be very useful. So let me show you with a slow attack time. So let's just increase this attack dull on. Gonna play the audio back now grow noise, noise a noise As we've increased the attack time to 300 milliseconds is taken almost 1/3 of a second for us to hear the audio once the fresh hold has been reached. So let's have a listen and you can hear the start of the words being cut off or a noise. Such typing and tapping. We take you now if needed. This consigned. Quite strange. Now let's listen with a really fast gate. The other extreme setting background noise, such typing and tapping. Can we take you now if needed? Background noise? Such typing and tapping Can we take you now if needed? So listen. I hope for the pops of background sound before any of the voice commit. You can hear a bit there and also just here towards the end. Can we take it up? So have a fast attack time such as this one. Small pops of background noise could make it through the gates, which is not really what you want. However, if we increase the attack time, we can get to a point where that short burst of audio doesn't make it through the gate and also start that pop doesn't exist anymore. But it does when we have a very fast attack time, background noise, such typing and tapping. Can we take you now if needed? So being able to adjust the attack time gives you a lot more control over the gate. Next, I'm going to look at the ratio. So I'm just going to add another gates. Just so can show you this ratio of mawr extreme settings. So let's go over to most channel plug in dynamics and gate. Okay, So I'm going to bypass the of a gay plug in to bypass a plug in in protocols, just hit command and click on this allows you to bypass this plug in without opening it. Background noise. Such typing and tapping, and we take it out if needed. The ratio behaves in a similar way to the range, and you can see the angle of this white line changes when I adjust the ratio, so the ratio at once one. There is no noise reduction, background noise, such typing and tapping and with the ratio at 100 to 1 background noise. Such typing and tapping can we take, you know, if needed. A So you can hear there. There is a lot of gain reduction ratio determines the amount of audio that can pass through the gate. That's under the threshold. As you can see here, the white line is almost matching the orange line, so nothing below the fresh hold comm pass free. And as I reduce the ratio, the gates allows more lower level audio to pass free again. This just gives you more control over how the gate is acting, but that's a showed you. In the first few noise gate lectures, you can get some usable results without actually using the ratio dull. The ratio tall is very useful and musical applications, especially when you use the gate in expanded mode. However, if you're editing the audio of a voice. I wouldn't worry too much about the ratio control. It's really a last resort if you can't get to the setting that you desire, so I'm just going toe or click this style to send it back to its default position. Going up, we have the look ahead button. I would always leave their switch down, as all it does is allow the plug in to analyze the hors d A before it passes free. This allows the gate plug in to act in a more precise way. The last thing I'm going to look at in this gate Logan is the side chain section. So let's have a listen to this audio, which has a low frequency rumble. Some of the noises will have to be e queued out. Obviously, we don't want that low frequency rumble to open the gate, so what we can do is actually tell the gate to ignore certain frequencies that go above the threshold. So we're going to activate the low frequencies side chain filter. So let's hit this in bottom. So now we can increase the frequencies and anything below this. The gate will ignore some of the noises will have to be queued out. Some of the noises will have to be queued out. Some of the noises will have to out. Some of the noises will have to be cute out. Some of the noises will have to be cute out. As you can hear there, the low frequency rumble isn't opening the gate. The gate only opens when the vocals enter. The high frequency side chain filter does the same, but with high frequencies, however, is quite rare that you will need to use this high frequency side train filter. We have spoken word or voice. The low frequency filter can be useful for things like footsteps on the floor above you that you don't want actually opening obligate. There is also a band pass option here, so this could be useful if there's one particular frequency that you want the gate to ignore. For example, the humming off an electrical device So all you need to do is select this band pass and then choose the frequency that you wish to ignore. Obviously, you may not need to use all of these settings, however. This has covered the majority of controls that you will find on any noise gate. So if you have any background sound, knowing how to use a noise gate properly can be very useful. So I hope you found these lectures helpful, and I'll see you in the next one. 24. EQ - Part 1: Corrective EQ: Hello and welcome to this lecture where we're going to be looking at E que or equalization , which is one of the most important things you can use for mixing audio. So if we listen through to this audio here, you know, just in the last snippet of audio, there's a lot of noise. Let's just play this back. Sometimes people make mistakes when they speak, so you need to cut up the audio to correct it. Some of the noises will have to be e queued out. As you can hear, there's a lot of unwanted sound in this recording, and we're going to try and remove this the best we can with e que So dr the section at the end onto another track down here and now I'm going to add an E, keep plugging on the inserts, click on the gray box and then go on to multi channel Plug in because this is a stereo file on. Then go on to e que And here we're going to use e que seven button. Now let's listen to this recording again. Some of the noises will have to be etude out as you might be up to here. There's a very allowed, low rumbling sound, which we really want to get rid off in real life situations. It's unlikely it will ever be a severe is this. But in real life situations, you may hear a hum from electrical devices that you may want to seek you out. First of all, I'm going to use this high pass filter. High pass means it will cut out some of the lows and will essentially allow the high frequencies to pass on. I'm just going to press this button in and then play this audio back. Add some extreme setting so you can hear what the E que is doing. Some of the noises will have to be e queued out. Some of the noises will have to be etude out so you can hear there that all of the low frequencies of sound are being cut out or filtered. So let's just bring this back down again to a more realistic point. Some of the noises will have to be e queued out when trying to cut out low frequency sounds . I recommend turning up a Q factor as this will make the slope steeper for this high pass filter, therefore, putting out some of these low, unwanted frequencies more dramatically. There's a bypass putting up here. I'm just going to play this audio again and then bypassed the plug in. Some of the noises will have to be. Some of the noises will have to be. So if you listing on monitors or headphones, you'll be able to notice that these lower frequencies have been cut. Act some of them. Some of the noises will have to be etude out, some of them some of next. I'm going to find the higher frequencies. With this EQ, you plug in the ones that are ringing out. To do this, I'm going to select one of these nodes. I'm going to choose this orange node. A good way to find a problem frequency is to boost the gain off one of the notes and then reduced the key factor or the tightness off this area, which you can do by clicking underneath the node and dragging or alternatively, using this top Q dial. Some of the noises will have to be etude out. Some of the noises will have to be etude out. You can hear it this point that the frequency has become extremely harsh. So let's now listen to this. Bypassed. Some of the noises will have to be etude, and you can hits far where. So here is a problem frequency now using the gain doll, Let's pull this down until we can't hear this problem frequency anymore. Some of the noises will have to be etude out. Now let's listen to this bypassed so you can hear how much better it sounding already. Some of the noises will have to be etude out. Some of the noises will have to be e queued out. Some of the noises will have to be etude out in some situations, such as a warming just looked at you. Queueing with a really tight Q can be ideal because you don't want to cut out too many frequencies. If I just play it now with a wider key, some of the noises will have to be e queued out. You can hear there that a lot of the frequencies of the voice have been cut out. Some of the noises will have to be etude out in some situations. However, you will want to use a wider que setting. If you listen here to the higher frequencies, some of the noises will have to be e queued out. There is a lot of frequency content that sounds quite harsh. Some of the noises will have to be etude out. Some of the noises will have to be etude out. Some of the noises will have to be etude out. Some of the noises will have to be e cute out in these situations. Get a medium sized cube on, then sweep around to find out where the problematic frequencies are. Some of the noises will have to be eating in this recording. It sounds like they're round here. Now let's pull down the game off the node By using the game dial. Some of the noises will have to be e queued out. I can hear that some of the voices being affected, so I'm going to make the Q a bit thin. There again, some of the noises will have to be e cute out. Now let's have a listen to this. Bypassed. Some of the noises will have to be etude out on now. Back home, some of the noises will have to be etude out Obviously this is quite an extreme example and ideally, you wouldn't want as much background sound is this this type of you queuing is correct of you queuing on, We're going to be looking at creativity queuing in the next lecture, some of the noises will have to be etude out. Some of the noises will have to be etude out. Some of the noises will have to be e cute out. Okay, so that's just a quick overview of queuing on corrective eq Ewing in the next lecture, we're going to be looking at creative e queuing, so thank you for watching and I'll see you in the next lesson. 25. EQ - Part 2: Creative EQ: Hello and welcome to this lecture where we're going to be looking at e que in even more detail. So let's now insert e que So if you click on the gray box and then we go on multi channel Blufgan because this is a stereo file rather than the mono file and go to e que on let's choose seven patent Now what we want to do is actually Kiku the voice in the way that makes it sound more pleasant. So let's now have a quick lesson to the voice. This is an example sentence of a voice, which you might need to edit for a voice over. I'm going to talk quietly and then rather louder, different points to show you some issues that you might encounter when working with audio. This audio is quite a high quality recording, but we can still manipulate the sound to make it sound better. So for a voiceover like this, the third thing I do oven e que is cut out some of the low frequencies so again to activate the high pass filter, which will cut out some of the lows and allow the highest the bus. Now I'm going to increase the steepness off the slope and then bring up the frequency. This is an example sentence of a voice, which you might need to edit for a voice over. It's important not to contact to many of the low frequencies, or you may affect the voice in a negative way. I find starting get around 120 Hertz is a good place. This is an example sentence of a voice, which you might be. So let's bypassed this plug in to hear the difference. This is an example sentence of a voice, which you might need to. This is an example sentence of avoid, so it's not making it worse. But on my studio headphones I can hear is cutting out some of the fundamental frequencies of the voice, so I'm just going to lower the frequency a bit. This is an example sentence of a voice, which you might let's now hear this bypassed. This is an example sentence of a voice, which you might need. This is an example sentence of a voice, which you we can hear now that this isn't affecting the voice in a negative way. On this high pass filters actually going to be cutting out. Some of the sounds are picked up by the microphone that weren't produced by the voice. This could be background rumbles, footsteps or any sound. Really, that isn't the voice. Now I'm going to increase um frequencies to try and emphasize certain parts of the voice. So to do this, I'm going to use a medium Q and then move the node around to an area that sounds pleasing. This is an example sentence of a voice, which you might need to edit for a void. This is an example sentence of a voice, which you might need to edit for a voice over. I'm going to talk quietly and then rather loud. A different. This is an example sentence of a voice, which you might need to edit for a voice over. A good to talk, quite as you can hear there is made the voice sound a lot more powerful but emphasizing some of thes lower frequencies. This is an example sentence of a voice, which you might need to edit for a voice over. This is an example sentence of a voice, which you might need to edit for a voice over to me that's sounding a bit better, so I'm going to leave it there. One thing to note when boosting frequencies always use a wide acute, because this will make it sound more natural. I'm just going to play it with a narrow que just so you can hear. This is an example sentence of a voice, which you might need to edit for a voice over. This is an example sentence of a voice, which you might need to edit for a voice over. This is an example sentence of a voice, which you might need to edit for a voice over. Having a wider Cuban boosting could make it sound more natural and pleasing. Like this, however, just be careful that you're not having the cues so wide that it's affecting all the frequencies around it. This is an example sentence of a voice, which you might need to edit for a voice over. The next thing I'm going to do is boost some of the higher frequencies to give the voice some presence, so I'm just going to use one of these nodes up here on boost gently. This is an example sentence of a voice, which you might need to edit for a voice over. This is an example sentence of a voice, which you might need to edit for a voice over. I'm going to talk quietly. This is an example sentence of a voice, which you might need to edit for a notice that boosting the voice around 7000 hertz makes it sound closer and brighter. Next, I'm going to use another node to make the cut somewhere in the middle. This is an example sentence of a voice, which you might need to edit for a voice over. I'm going to talk quietly and then rather loud, a different points to show you some issues that you might encounter. We're working with audio. This is an example sentence of a voice, which you might need to edit for a voice over. I'm going to talk. If you're wearing headphones or using studio monitors, you may notice there's an unpleasant nasal sound around about 1000 hertz. Let's just bypass this and brother in amount. This is an example sentence of a voice. This is an example sentence of this is an example sentence notice how much worse it sounds . Obviously, on boosting this to an extreme setting, but the area does some worse than the others. So using a medium to think, you pull out the frequencies by a few decibels. This is an example sentence of a voice, which you might need to edit for a voice over. I'm going to talk. This is an example sentence of a voice, which you might need to edit for a voice over notice how the voice sounds different and in some ways more pleasant. Also, make sure you listen to the majority of the recording when you queueing to ensure that the settings are appropriate for at that's bypass unturned this plugging on while listening to different parts of the audio background noise, such typing and tapping Can we take you now if needed? Sometimes people make mistakes when they speak so you need to cut up the audio to correct it s s antes cause siblings which needs to be tamed SS and tease cause civilians which needs to be tamed. Okay, so that's an overview of creativity queuing. I hope you find this lecture useful and I'll see you in the next one 26. De-Esser: Hello and welcome to this lecture where we're going to be looking at very important process of mixing voice on that is taming some of the harsh sibilant sounds that you may have your recording. So let's first of all, have a listen to this section of audio that has quite a lot off civil. It's background noise. Such tough SS and tease cause semblance, which needs to be tamed. You can hear there. That s sounds so I'm quite harsh and the sticking out one of the reasons is doing this is because we have the IKI on this EQ. You has a boost of the high frequency, which is a similar frequency of where those harsh s sounds are. So for most of the spoken voice, it sounds quite pleasant with the high frequency boosted. But when the speaker is saying those s sounds or those sibilant sounds, it just sounds a bit too harsh. So let's just play a section there that doesn't have as much civil ints and then rather loud at different points to show you some issues that you might encounter when working with audio s s antes cause civilians which needs to be tamed. As you can hear, the higher frequencies occasionally sound quite harsh. So if the demonstration purposes, I'm just going to make the setting a bit more extreme. So I'm going to boost the highs even more. And now let's have a listen to this back with this more extreme setting s s antes cause siblings which needs to be tamed s s antes cause siblings which needs to be tamed s s antes cause siblings which needs to be tamed so you can hear there. That sounds quite harsh. So to help combat this, we're going to load a d s a plug in. So if you go over to the inserts Andi, select a blank inserts and then go down to multi channel plug in because this is a stereo track on. Then go to dynamics on here. Select de esa. So the S a plug in can help reduce some of those harsh sibilant sounds. So this DS a plug in looks quite simple, but it's actually quite powerful. So the two main controls for this plug in are the frequency on the range. The frequency dial allows you to hone in on the frequencies that causing most problems. So it's default is seven kilohertz, which is quite a particularly harsh sounding area of the voice. Different voices may have different frequencies where the semblance is causing issues so you can change this lower or higher. If the audio you're working with is problematic, frequency range isn't seven kilohertz. You can see when I move this dial, the vertical white line moves on. This graph on the next style we've got is the range. So this range dial controls the amount of reduction that this de eso will apply. So zero db is the least amount of bs ing on. Minus 40 db is the maximum amount of DS Inc we can apply. Now let's play the audio back with the de esa activated Esus and tease cause civilians which needs to be tamed. So as you can see on the gain reduction meter, it's already applying a fair amount of DS Inc s s antes cause civilians which needs to be tamed. So let's listen to this bypassed and also active Esus and tease cause semblance which needs to be tamed s s antes cause civilians which needs to be tamed. So notice how it doesn't sound quite as harsh. So now I'm going to use an exaggerated setting just for this example. S and teeth cause civil inst which needs to be tamed as you can hear its ducking the volume almost every word and doesn't sound very natural us all. Now I'm going to show you another option that this de esa has. So when this hate chef or high frequency only button isn't selected, the DSS will be reducing all of the frequencies off the voice rather than just the higher frequencies where the sibilant sounds will be. So when this button is de selected, the whole frequency area is orange on. When we click this button, it's just the higher frequencies that orange. So let's have a listen to it. But now, with this high H f only button selected esus and tease cause civilians which needs to be tamed, so that already sounds much better than it de selected. So, for the vast majority applications for voice, who would have this hate F button only selected on below this we have the listen button. This is good for choosing the frequency they would like to reduce. So I'm just going to increase the range back to zero db on Listen for you SS and tease cause civilians which needs to be tamed. So with this listen, button selected, I was able to find the most unpleasant frequency of the voice that was causing those harsh , sibilant science. Obviously only want the listen button selected When you're trying to find the harsh sibilant sounds after this, of course, you can de select this. Listen bottom. So now I have the correct frequency selected. I'm going to bring the range back down s s antes cause siblings which needs to be tamed s s antes cause civilians which needs to be tamed. I'm now going to have a lesson to another portion of the audio which doesn't have as many harsh sibilant sounds. This is very important to do so because you don't want a DS activating on sounds that aren't harsh sibilant sounds as it can ruin the clarity of your audio background noise, Such typing and tapping Can we take you now if needed? As you can hear and see there the DSL only active on the words of the letter s or tea background noise. Such typing and tapping can we take it out if needed. Now the voice sounds quite bright present without being overpowering on some of those sibilant words. So let's have never listened back on. We're going to bypass on on bypass this DSP plug in and let's see if you can hear the difference. This is an example sentence of a voice, which you might need to edit for a voice over. Go on now let's bypass there. This is an example sentence of a voice which you might need to edit for a voice over are going to talk quietly and then rather louder, different points to show you some issues that you might encounter when working with audio s s antes cause civilians which needs to be tamed. And let's turn on the DSR again. Esus and tease cause civilians which needs to be tamed on that particular section of audio that is very similar. You can hear it sounds much more pleasing with the DS are active a case I'm just going to quickly run over the features off this DSR again. So we have the frequency dial which helps us select the frequency that we wish to attenuate . Then we have range, which is the amount of Bs ing reduction that will be applied. We have the high frequency only button which will tell the D s a toe only reduce the high frequencies and then we have the listen button which allows us to listen back toe only the frequencies that we wish to attenuate. Then we have the game reduction meter here which shows us how many decibels of being reduced by the de ESA. And then we have the levels meter, which shows us the amount of volume coming in and out of the plug in s s antes cause civilians which needs to be tamed s s antes cause semblance which needs to be tamed s s antes cause semblance which needs to be tamed background noise, such typing and tapping Can we take you now if needed just for this example, I've actually applied some quite extreme settings Wouldn't really recommend reducing more than 12 db as it can make the voice sound a bit unnatural hand if you apply to Mr Guessing , it can make you sound like you've got lisp. So I hope you understand now how DSF can help improve the quality of audio for a voice. So thank you for watching. And I'll see you in the next lecture 27. Compression - Part 1: Basic Settings: Hello and welcome to this lecture where we're going to be looking at compression. So compression is one of the most important things you can do to treat your audio. If you could only use to plug ins on your audio chain, I would use e que and compression these two handed hand of the most powerful tools for editing audio. So simply put, what a compressor basically does is turn down loud portions off audio. Let's open up a compressor on pro tools first and talk about this a lot more. So if you go over to insects and then go to multi channel plug in because this is a stereo track on, then go to dynamics and then go to compressor slash limiter. So this is a compressor on also a limiter. If you've seen the noise gate lectures, you might think it looks quite similar to the gate expanded plug in. That's because thes both dynamic plug ins that have very similar processes, so we have an expander or gate. Any audio below the fresh hold is turned down, however, with a compressor and audio over, the threshold is turned down, so they are pretty much opposites son Expander makes things louder and expands the audio when it's over. The threshold on the compressor makes things quieter when it's above the threshold. So the reason we use a compressor is because audio recordings, usually very dynamic on vocals, are especially dynamic. So when listening to audio, we don't want some parts of it to be much louder than others on over parts. To be so quiet, we can barely hear it. So an example could be someone on the podcast whispering and then moments later burst out laughing. So the dynamic ranges that extreme. It's not really going to be the best listening experience. So what we're going to do with the compressor is turned down those loudest parts and also turn up the quietest parts. So this intent will reduce the dynamic range. Okay, so let's just have a listen for the audio now of the compressor bypassed. I'm going to talk quietly, then rather louder, different points to show you some issues that you might encounter when working with audio s s antes call civilians, which needs to be tamed background noise, such typing and tapping. Can we take it out if needed as you can hear there. The voice has quite a dynamic range. There were no outbursts such as laughter. However, this audio could still be a bit more consistent. I'm going to talk quietly, then rather louder, different points to show you some issues that you might encounter when working with audio. So the first control I'm going to talk about is the fresh hold. As mentioned previously, any audio that exceeds this point will be turned down. If the fresh hold is at zero db, no audio will be turned down because zero DB is the largest point for digital audio. On def, the fresh hold has turned down to minus 60. Any audio that is above minus 60 will be compressed on this recording is almost all of the audio. So let's just have a listen to this with a fresh hold down all the way to minus 60 db, I'm going to talk quietly, then rather louder, different points to show you some issues that you might encounter when working with audio s isn't ease cause civilians which needs to be tamed background noise, such typing and tapping. Can we take you now if needed? As you can hear almost every word is turned down on the overall level is much quieter. Let's now listen to this compressor plugging bypassed on, then activated. A good to talk quietly, then rather louder. Different points to show you some issues that you might encounter when working with audio. Obviously, this is an extreme setting and doesn't sound very good. There were no strict rules on compresses settings. This is because the compressor will act differently depending on the level of audio going in. So what we're going to try and do now is set the fresh hold to an appropriate level. So let's turn all the way to zero DB and then gradually bring it down. There were no strict rules. A good starting point is to get around 60 beat of compression at the largest points. I'm going to talk quietly, then rather loud, a different points to show you some issues that you might encounter when we are going to talk quietly, then rather loud, a different points to show. I'm going to talk quietly, then rather louder, different points to show you some issues that you might encounter when working with audio esus antes call civilians, which needs to be tamed. I would conceive the amount of gain reduction on the game reduction meter. I'm going to talk quietly, then rather louder, different points to show you some issues that you might encounter when working with audio. If we listen to this now, you may realize that loud points don't jump out as much going to talk quietly, then rather louder, different points to show you something, bypassed then rather loud. A different points to and enable this again then rather louder, different points to show. And let's activate the compressor again. Then, rather loud. A different points to show you bypass Rather allowed a different points to unable to compressor again, then rather louder. Different points to they're at the loudest points were getting around six decibels of compression. I do believe this has improved sound a little bit, but I want to compress it more just to hear what it sounds like, then rather loud at different points to show you some issues that you might encounter when working with audio. As you can hear there, almost all of the words are being compressed again, which is something we don't want, then rather louder, different points to show you some issues that you might encounter when working with audio s isn't ease, call civilians, which needs to be tamed. Background noise, such typing and tapping. Can we take you now if needed, then rather louder, Different points to show you some issues that you might encounter when working with audio s isn't ease. Call civilians, which needs to be tamed. So we have a piece of ordinary like this, such as a voiceover or a podcast. Using a fair amount of compression is suitable as long as you don't hear it pumping. This is an example sentence of a voice, which you might need to edit for a voice over. I'm going to talk. Quite. This is an example sentence of a voice, which you might need to edit for a voice over. So, as you can hear, it just sounds a lot more consistent. Now, this is an example sentence of a voice, which you might need to edit for a voice over. Okay, so that's the end off this part. One lecture for the compressor in the next lecture, we're going to be looking at more controls for this compressor plug in. Thank you for watching, and I'll see you in the next lesson. 28. Compression - Part 2: Hello. Welcome to this lecture where we're going to be looking at some more features for this compressor. So previously, we listen for it to the audio and then adjusted the fresh hold. So there's a reasonable amount of game reduction, so this has helped bring down some of the ladder points of the audio to make it sound more consistent. So let's have a listen free. This is an example sentence of a voice, which you might need to edit for a voice over. I'm going to talk quietly, then rather louder, different points to show you some issues that you might encounter when working with audio on this is without the compression. This is an example sentence of a voice, which you might need to edit for a voice over. I'm going to talk quietly, then rather louder, different points to show so you can hear that some of the louder points jumping out. So when we have the compressed active, you may notice that the overall level is slightly quieter. This is an example sentence of this is an example sentence of a voice, so to compensate for the amount of game reduction we can actually turn up the gain by using the makeup gain. A good way to start is to look at the amount of gain reduction you've got on the track. This is an example sentence of a voice, which you might need to edit for a voice over. I'm going to talk quietly, then rather louder. Different points to show you some issues that you might encounter when working with audio s isn't ease. Call civilians, which needs to be so in this track we have around 5 to 6 decibels off gain reduction at most, so I'm just going to turn up the makeup gain to around five decibels as the compressor has reduced the overall volume off the track. The makeup gain is therefore used to compensate for this, so let's just have a listen to it again. This is an example sentence of a voice, which you might need to edit for a voice over on Bypassed. This is an example sentence of a voice, which you might need to edit for a voiceover on Bypassed. This is an example sentence of a voice, which you might need to edit for a voice over. You can hear that bypassed on one bypassed or approximately the same volume level. But the compressed signal has less dynamic range background noise, such typing and tapping. Can we take you now? If needed? The next thing we're going to look at is the ratio. So the ratio is the amount of compression that's applied to the signal Once is exceeded the threshold, so have a ratio of 2 to 1. For every two decibels of audio that passes, the threshold I really want is allowed through. So if we increase this to a much higher ratio, for example, 10 to 1 for every 10 decibels that exceeds the threshold, Lou one decibel is allowed through. So basically, the more we increase the ratio, the more we are compressing the signal. So just to recap, the fresh hold is the point of the signal whether compression begins and the ratio is how much compression is applied once that fresh hold has been reached, we can also see this visually on the graph. So if we decrease the ratio, you can see the slope is not too steep on the graph, so it wants a one. No compression will be applied, so let's just have a listen to it at 1 to 1 background noise. Such typing and tapping Can we take you now if needed? You can also see on the game reduction meter. There was no game reduction being applied on, therefore, their compression being complied. This is an example sentence of a voice, which you might need to edit for a voice over. And if we increase the ratio, this is an example sentence of a voice, which you might need to edit for a voice so you can hear and see that compression has been applied. Let's put this more realistic ratio. Let's try 4 to 1. This is an example sentence of a voice, which you might need to edit for a voice over. So the most spoken audio, a ratio of around 4 to 1, is normally appropriate. So to get you started with compression, I recommend adjusting the fresh hold, the ratio and also the makeup game. So, just to recap, turn the fresh hold down so there's a fair amount of gain reduction. This is an example sentence of a voice, which you might need to edit for a voice over. This is an example sentence of a voice, which you might need to edit for a voice over and then going over to ratio for voice A. Recommend trying a ratio off 4 to 1 and then finally turned up the makeup gain to compensate for the gain reduction. So let's just have a listen to this. Bypassed. This is an example sentence of a voice, which you might need to edit for a voiceover on. Now activate the compressor. This is an example sentence of a voice, which you might need to edit for a voice over. So notice how the voice sounds more powerful, more front and generally more controlled. Okay, so in the next lecture, we're going to be looking at more features of a compressor. I hope you found this lesson useful and I'll see you in the next one. 29. Compression - Part 3: Hello and welcome to this lecture. In the previous lecture, we added a compressor onto this audio track, so let's have a listen to this. Bypassed. This is an example sentence of a voice, which you might need to edit for a voice over are now active. This is an example sentence of a voice, which you might need to edit for a voice over. So previously we managed to get the audio sound like this by just adjusting the threshold ratio and makeup gain in this lecture, we're going to look at some more features off the compressor. But first of all, just so you can understand what compress it does, I'm going to play the snippets of audio that has a lot of background noise. I'm just going to bypass the gates in this plug in chain, and I'm also going to bypass the compressor background noise, such typing and tapping can we take, you know, if needed. And now let's listen to this snippet with the compressor, active background noise, such typing and tapping. Can we take you now if needed? Notice how the breaths background noise is actually quite a lot louder. This is because when we use a compressor. We turned down the loudest points and then turn up the overall level off the audio. So if we apply a compressor to the audio recording that has a lot of background noise, it's really going to make this background noise a lot louder unless we apply a noise gate before this compressor. I always use a gate before a compressor, as it's easier for a noise gate toe work on a more dynamic signal because what the compress it will do is make the signal less dynamic. Let's just turn the gate back on background noise. Such typing and tapping can we take it out if needed? Although you'll be able to dramatically improve the quality of your audio just with the fresh hold ratio, a makeup gain, there are some of the features in the compressor that you might want to consider using. So the next ones we're going to look at our the attack on the release times. So the attack is basically how long it takes for the compression to kick in. Once the signal has reached the threshold for voice over, I'd recommend having medium attack time. So when I say medium attack time. I mean start around 30 milliseconds. This will actually make the compression sound a little less harsh than if the attack time is really fast on. This could make the vocals so more natural. Next is the release time. So the release is how long it takes the compressor to deactivate once the signal has fallen below the threshold. So just for this example on came to make some extreme settings. Just so you can hear this is an example sentence of a voice which you might need to edit for a voice over. You might be able to notice their or even actually see on the game reduction meter has taken quite a while for the game reduction to go back to zero. You also noticed there because of the fast attack time that the compressor is acting very fast. This audio, therefore, has a very limited dynamic range. This is an example sentence of a voice which you might need to edit for a voice over. I would not recommend setting anything like this for a voice. Let's now turn this to the opposite extreme settings. So we're going to heart slow attack time, Onda fast release time. This is an example sentence of a voice, which you might need to edit for a voice over. So here the attack time is so slow that the compressor isn't actually doing anything. So let's make this attack time really fast again, and I'm also going to adjust a release between fast and slow. This is an example sentence of a voice, which you might need to edit for a voice over. This is an example sentence of a voice, which you might need to edit for a voice over. This is an example sentence of a voice which you might need to edit for a voice over. You may notice there that there is some distortion which can occur when you use a really fast attack time. So I'm just going to hear bolt and click on Set the attack time. But to default. This is an example sentence of a voice which you might need to edit for a voice over. I'm going to talk quietly, then rather louder, different points to show you some issues that you might encounter when working with audio s isn't ease cause civilians which needs to be tamed. This is an example sentence of a voice, which you might need to edit for a voice over. I'm going to talk quietly, then rather louder, different points to show you some issues that you might encounter when working with audio. Different audio will have different dynamic ranges. However, settings like this will generally be good for compressing a voice. Okay, in the next lecture, we're going to look at the last few settings for compressor, so thanks for watching, and I'll see you in the next lesson. 30. Compression - Part 4: Advanced Settings: hello and welcome back. And in this lecture, we're going to be looking at a few more features for compressor, so some compresses may not have as many settings is this. Once you learn and understand the fundamentals of compression, you should be able to apply this very and knowledge to basically any compressor. So, as I said before, the most important parts of a compressor is the fresh hold, the ratio on the makeup game. So of the protocols compressor, you can quickly get inappropriate setting just with the fresh hold and makeup gain. When you're a bit more confident of compression, though, you may want to go through. And they're just some of the other settings to find June your sound. So one of the final things we're going to look at now is the knee setting, so softening the name allows you to gently apply some compression just before the threshold . So when the knee is all the way to the left, this is a hard me, and when we gradually turn this to the right, it will become a soft knee. You can see by the graph that's moving out so a soft knee will give the compressor and less aggressive sound, which could help it sound a bit more natural. It may or may not be able to hear the difference that it makes as it is quite subtle. This is an example sentence of a voice, which you might need to edit for a voice over. This is an example sentence of a voice, which you might need to edit for a voice over. This is an example sentence of a voice, which you might need to edit for a voice over so softly, basically slightly lowers the fresh hold so you can begin to apply compression or gentle e on when we have the knee all the way to the left. This will create a hard knee, so this means full compression will be applied when the audio reaches the threshold. So one of the final things we're going to look at now is the side chain filter. So, of this, we can tell the compressor not to let certain frequencies trigger the compression. So, on this audio track, down here, we have a low rumble. We may not want this to actually trigger the compression. So on the inserts, I'm going to go down to alter Channel Blufgan because it's a stereo track dynamics on, then compression slash limiter. So can hit these in buttons here to turn on the side chain filter. How many have that low frequency and a high frequency that's first of all, turn on low frequency. So for this example, we're going to use low frequency. This is an example, unless just solar this, some of the noises will have to be e queued out. Even before you can hear the voice the compressor is active, some of the noises will have to be etude out. Some of the noises will have to be etude out. It's unlikely that you'd have to use this when working of a voice. However, if you're recording a voice with a microphone on the mic, stand on the mic stand was kicked a few times. The low frequency rumble could trigger the compressor toe work when you don't want it to. So I'm going to tell the compressor to ignore any low frequencies. Some of the noises will have to be etude out. Some of the noises were so any frequencies below this number will be ignored by the compressor. Now Let's have a look at the gain reduction on this compressor. Some of the noises will have to be etude out and noticed the compressor is only active. When the voice enters, some of the noises will have to be etude out on Let's listen to this with side chain filled to bypassed. Some of the noises will have to be etude out. And when the side chain filled is bypassed. Notice that game reduction is constant. Some of the noises will have to be etude out. And let's activate the side chain filter again. Some of the noises will have to be etude out. It's unlikely that you'd ever have to use this function. However, If you do want to tell the compressor to ignore certain frequencies, you can do with side chain filter. We also have eruptions as well. We can use a band pass if there's a certain band we want to filter out on. There's also ah, high frequency filter. Okay, so that's everything you need to know to get started of compression. Like I said, using a compressor correctly can really improve the quality off your audio. Some compresses, maybe easier and simpler to use in this offers may have even more functionality, but this is the basics of compression. On knowing how to use a compressor properly will really improve the quality of your audio. If you're overwhelmed by some of the settings on this compressor, I recommend just starting out of the fresh hold on the makeup game. So thank you for watching this lecture. I hope you found it useful, and I'll see you in the next lesson. 31. Loudness and Limiting: hello and welcome to this lecture where we're going to be looking at limiting. So limiting is a form of compression where we can make the track as loud as possible without losing any of its quality in pro tools. First, that isn't a specialist dedicated limiter Plug in, However, there is an easy work around that I'm going to show you in this lecture. So to make some space for some more plug ins, we're just going to open up some more inserts in pro tools first. So to do this, we need to go up to the edit window view selector icon, and then I'm going to check the box below, which is inserts after J. As you can see, this has created some or inserts so you can add some more plug ins just to let you know that the plug ins do run in a certain order. So they go from top to bottom, starting from the left and moving over to the right. So what we need to do to make the track louder is toe add a trim plug in. Okay, so let's go over to one of these inserts, and if we go down to multi channel plug in your notice. There is no other section. However, on the multi mono plug in, there isn't of a section, so we need to go down to this and then go down to trim the trim is the same as again plug in. So if using another workstation, this may be called gain, All it does is literally just change the volume. If you're working on a stereo track, make sure this link icon up here is selected as this will adjust the gain on left and right channels equally on a mono track. However, for example, on this money track, if we go on trim, there isn't this link button because it is simply mono. So if you're working on the mono track, don't worry if there isn't a link bottom, Okay, going back to this stereo track on default, you will notice It only allows you to add 60 B or six decibels of gain. However, you can click on the 12 DB button if you want to add up to 12 dbs of gain. So what we want to do is turn up the gain. So the track is almost reaching the top at the largest points. However, do not worry if occasionally clips or goes into the red because we're going to use a process after this to stop that. Okay, let's just play the track back now on 10 up. The game s isn't ease. Call civilians which needs to be tamed. Esus antes cause civilians which assistant teas, as you can see There, the orange light lit up, which means we have clipped. You can also see in this trim plug in There is a red indicator over here and this means we've clipped as well. Okay, the truck now is very loud on is at a suitable level for broadcasting. I'm just going to have a listen for now to the other sections off this audio. This is an example sentence of a voice which you might need to edit for a voice over. I'm going to talk quietly, then rather louder, different points to show you some issues that you might encounter when working with audio s isn't ease cause civilians which needs to be tamed background noise, such typing and tapping. Can we take you now if needed? As you can see, it only clipped a couple of times, but we do not want this. So after the trim plug in, we're going to add a compressor slash limiter. So let's go over to the insects thing, go onto a multi channel plug in, and then go to dynamics and choose compressor slash limiter. This time we're going to use a preset, so forget to the presets here and click where it says factory default and then we're going to go over to Wet says gentle limiting. So this is a good way to set up a limiter in pro tools. Once it's set up or you need to do is just adjust the trim beforehand. So as we're using the trim plug in to control the amount of gain, weaken therefore turned down the makeup gain on this compressor to zero. It's on the presets or you want to do is just the gain. Setting down to zero DB. Now let's have a listen back to this audio s isn't ease. Call civilians which needs to be tamed. So notice how this track isn't clipping at this point s isn't ease. Call civilians which needs to be tamed, and we can also see how much gain reduction that is in his blood in with the gain reduction meter s isn't ease cause civilians which needs to be tamed. As you can see, there's quite a lot of gain reduction on this track. Isn't clipping that all now? That's because the fresh hold is at minus eight, so any audio that goes above minus eight d BCE will be reduced. So this limiter is just a compressor of a ratio of 100 to 1 on with a very fast attack time . So that means any audio that is exceeding the threshold is being very heavily compressed. So what I'm going to do now is just increase the fresh hold until it starts to clip. At this game level assistant teas, assistant teas. As you can see from the meter on the track, on the red lights on the compressor, plugging this is now clipping, which is not what we want. Even though the compressor has a ratio of 100 to 1, some of the audio is still making it over the threshold, and therefore making the audio clip while recommend doing is changing the fresh hold to roundabout minus five db or so you can reset these red tops by just clicking on them s isn't ease cause civilians which needs to be tamed when we now apply this back there's less game reduction that is also not clipping s isn't ease cause civilians which needs to be tamed. I'd also recommend checking a reference audio track that you want your track to be similar to. So maybe a podcast, the voiceover or whatever audio you're working with. Find a track that similar and check the volume levels to make sure it's similar level. So when you have this limited set up, you want to, ideally up to about free decibels of gain reduction any more than that, and it can damage the quality of your audio s isn't ease cause civilians, which needs to be tamed. In this situation, though, the audio is still a little bit too loud. You can hear that the esses and tea sounds are quite harsh now. So what I recommend doing is going back to your trim plug in also in pro tools. First, if you want to open to plug ins at once, just hold down the shift key when you're opening up the plug in as this is a bit loud, I'm going to take this down to plus eight db. And now let's hear this back s isn't ease cause civilians which needs to be tamed There is still almost no game reductions. So I'm going to add on another decibel. So I'm going to change this to plus nine. Db s isn't ease. Call civilians which needs to be tamed. Background noise, such typing and tapping. Can we take it out if needed? Now it's only reducing the gain on the really Laird parts of the voice. So what we've done is turned up the majority of the audio and the really loud bits are actually being turned down suddenly. So this just allows us to make the overall volume off the track louder. And that's basically what limited us. One thing to note if your audio just still isn't loud enough but is clipping at certain points such as, for example, someone clapping in the room. So what you can do is add a brick wall limiter after this to clamp down on those extreme overloads, so I'm just going to add one of those now. So let's go to the inserts below these plug ins and go to a multi channel plug em, then go to dynamics and choose compressor slash limiter. Again, again, we're going to use the presets, but a different preset this time. So that's click on presets and then go up to brick wall. So what you want to do here is adjust the gain down to zero. So the plug in isn't turning up the volume of the track after the compression and then adjust the fresh hold. So it's almost that allowed this points I'd recommend going to minus one db. Now, this plug in has an even faster attack time of a very fast release. So this could help shut out any extreme overloads that may have been missed by the previous compressor. However, in this occasion there were no extreme overloads so actually getting no gain reduction. But if you are getting any extreme overloads like a sad, you can use a brick wall limiter as well. Just to help with this, just remember tender gain all the way down to zero on. Have the fresh hold at minus one. Also, be sure to use a reference track, so your audio is a similar volume to this. So I do recommend finding a high quality audio recording that you want yours to sound like . And just make sure yours is at a similar volume level to this. For this example, this audio is actually slightly too loud, so I'm just going to change this to plus eight db. This is an example sentence of a voice which you might need to edit for a voice over. I'm going to talk quietly, then rather louder, different points to show you some issues. Okay, so I feel like this now is at an appropriate level. So I'm just going to play how loud it was before we started the limiting process. This is an example sentence of a voice which you might need to edit for a voice over. Now let's turn on the processing that we use for this limiting. This is an example sentence of a voice which you might need to edit for a voice over. As you can hear, it's much louder now on. Is that a suitable level for broadcasting? As you can hear their those, Sometimes that s isn't tea sounds become or harsh. Once the track has been limited. What you can do is either reduce the amount of gain going into the limited plug in or simply just go back to the de ESA and increase the range. This is an example sentence of a voice, which you might need to edit for a voice over. This is an example sentence of a voice, which you might need to edit for a voice over so sometimes third down the chain. When mixing, he may have to go back to the other. Blogging is just to slightly tweak them to get a great overall sound. Okay, some happy of this results. We've learned a few things about limiting. It can be quite complex process. But really, if you do want to get high quality audio, you do have to understand how these processes work. If using a never audio editing workstation or a digital audio workstation, you may have 1/3 party plug in specifically for limiting on. It may be a more simple process than this, however, in pro tools. First, this is the work around to get high quality, limited audio. So I hope you understand now how to adjust a loudness and limit your audio, so thank you for watching and I'll see you in the next one 32. Automation and Master Fader: hi. In this lecture on going to be showing you automation automation is a way to adjust a certain parameter over time. But for this example, we're just going to be looking out volume automation. So on the track that you want to add automation to click on the small little arrow at the bottom left of the track, this will open up on Automation Channel. To make things easier, just click on the gray, bet off the track here and change it to medium or large. This helps as it just zooms in a little. So let's have a listen to this audio now, which we want to automate the volume for. Sometimes when you're talking to Mike Phone, you might need to take a big breath, which you might want to automate out. As you can hear, there's a very harsh breath sounding here. So one thing to know is this. Automation is going to be adjusting the volume off the outputs of the track. So this is after all of the different effect plug ins you can see when I click and adjust the volume here, also adjust it in this automation channel, so to draw automation or you have to do is click on this automation channel. If there's a whole section of audio that you wish to change, just click on this audio track. And when this icon appears by the automation, just click and drag, and it will automate the volume for that section. However, if you'd like to automate more precisely, for example, just for this breath you can just zoom in on draw where you want automation toe happen on. The shortcut for zooming in pro tools is t on our so select the area you want to zoom in on using the select, it'll and then press teeth. Zuman on art is, um, out breath breath. We can see this wave. Here is the breath sound breath. So what I'm going to do is press the command key on the keyboard and click on the line to draw a note. A node is a fixed point on the automation line. I'd recommend adding four notes, so you know, just in the automation before or after the specific point you want to automate so one before one is it's just starting. Once was the end on one. When you want the automation to be back to the normal level. Now you can drag down the nodes appropriately breath, breath, which you might want to. We'll zoom back out again. I Sometimes when you're talking into Mike phone, you might need to take a big breath, which you might want to automate out. If we completely remove the breath that it may have sounded natural, so still wanted to leave some of the breath sound out. There's also a knocking sound later on the out that we might actually want to remove completely. So in this plug in chain, the knock was loud enough to exceed the fresh hold off the gate so we could even take the volume down to zero. At this point, suddenly like this out occasionally, that might be knocking, or we could draw it in a similar way to last time. Let's just zoom in by using the select. It'll impress anti and then add the nodes on. Bring this automation down both my out, occasionally the now the knock is still there, but it's just very quiet. This might be a bit more natural sounding than removing all of it. Automation can be very useful in reducing breaths and knocking sounds. But if you've got an audio recording where one part is louder than another, you can use automation to a justice. One quick reminder is that automation is the final output volume. So if you were to automate the volume above zero db on your limiter had been used to stop any clipping. It's now likely that you will clip your audio. So when automating volume, I recommend automating down. Alternatively, if you need to automate something louder, you can always add a master track in pro tools. First, this will just send the audio through another set of plug ins. This will send the audio basically through a new track which you could then put the limiter on. I just quickly now show you how to add a master track. So go up to track, then go to New. And let's change this to stereo. I'm here. We have audio track and we can change this to Master Fader. Then leave it in ticks and hit create For this recording, I need to change the output to nine and 10. But yours should be one and two and now you can move the limiter onto the master track and the automation that we've drawn on the previous track will be before the limiter. Just for an example. Let's draw some automation in and just make a certain section quite a bit louder. Sometimes when he talking into Mike Phone, you might need to take a big breath. Let's just open up, limiter. Have a listen to this and you'll be able to see their some game reduction on this section. Sometimes when you're talking into Mike Phone, you might need to take a big breath and it stopped it clipping. But if this limiter wasn't on the master track, this would be clipping. Let's just move the limiter back onto the original track on. Have a listen to this. Now. Sometimes when you're talking to Mike Phone, you might need to take a big breath and you can see and hear their I clipped. So I just wanted to explain this again. So you're aware even of automation that signal flow is very important. So thank you for watching this lecture about automation on the hope you found it useful 33. Exporting/Bouncing: Hi and welcome to this lecture. I'm going to be talking about the settings that you would want to use for exporting your audio. Well, first of all, recommend just soloing the track that you wish to export. So in pro tools, first just go over to the S button to solo this track. This is really just to ensure that no other audio will be bounced out at the same time. Just in case are usually mute, that of attracts which already have done in this case and you commute by hit in the M button. So now you need to select the audio that you wish to export. So to do so, click on the first part of audio that you wish to export. Then hold the shift key and select the last part of audio that you wish to export on. This will select all of the audio in between. So this will be bounced out or exported as one stereo file. Now what we want to do is go over to file and then go down to export and then go to audio mix. And here we have a few different settings. I do recommend leaving this as the default. I'm just going to quickly run through what some of these things actually mean For your project. You are more likely be listening to output one and two as this is the left and right speaker of your outputs for mine, it says nine and 10. That's because I'm recording this lecture. However, you would want more than two down here on my track, you can see the output says nine and 10 which is the mixed down that we want. Okay and going down. We actually have the export settings totals first has these default settings, and these are usually the ones that you will want to use. However, let's just have a quick look at some of these. 1st 1 is file type Here we have wave or a I F f. So wave on a I F F are both un compressed audio file types. However wave. It's more commonly used. So would use wave. You may be thinking why MP free isn't here. The reason why we wouldn't want to use MP free is that's actually a compressed file type, and you may lose some quality in your audio if you use MP free. These file types may be larger than the MP free file. However, they will be higher quality and you want to use one of these. But for this recommend using wave under format. We have inter leaves. Multiple mono on mono into leaved is a standard stereo file type. Oh, jeez into leave Unless on House has specifically asked for another format, Multiple mono is simply the left and right channel separated into two audio files Among those Some people bounce the signal out as a mono track. If you've just used one audio track on a mono microphone, you could select mono here as it will give you a smaller file. However, it almost never cause you an issue using into leaved. So to save any confusion, I would usually just leave this on inter leaved. Okay, going down. We have bit death 32 bit. Here is the highest quality, so I'd always go referred to two bit and going down. We have sample rates when working with video. 48 kilohertz is the standard sample right to use, so I always recommend using 48 kilohertz. If you decrease this sample rates, it will decrease the quality off the audio. However, if you use anything else rather than 48 kilohertz, it can cause issues. If you want to sink your audio with video, leaving this on 48 kilohertz means should usually not have to convert this later run. So I recommend leaving this on 48. If you'd like, you can check the import export of file box and this will import your bounced audiophile into your session. Going down with how file name where you can change the name off the audio files that you're bouncing by default. It will use the project name. But you can always change this if you wish. Okay, next, we have directory. And if we slept this we can choose. We want our file to go by default. It will be under the Bounce Files folder in the Pro Tools folder on your computer. But you can always select a different location if you wish. And below this also show you how to navigate to this folder. And then we have this offline check box. If you uncheck this offline box, it will bounce the track in real time. So I would leave this checked because offline will be quicker. And then when you're already to bounce, just hit exports and it may take a few moments to bounce. So now, if we go to our bounce location, we can listen to this stereo or their file. You can see here the location off the Bounce file on the Mac is under users, documents, protocols on banks, files. And let's just play this back. Now. This is an example sentence of a voice, which you might need to edit for a voice over. I'm going to talk quietly, then rather louder. Different points to show you some issues. Okay, so that's how we can bounce out audio out of portals into an audio file. Thanks for watching. 34. Outboard Gear - The DBX 286s: in this lecture. I want to talk about a microphone pre amp on process er to. This is a piece of outboard gear that could be used to actually process on change ineffectual voice before it's even recorded. So the signal goes from the microphone into this pre AMP this process and then into your audio interface and then recorded in your d aaw, such as logic pro. So this allows you to actually make sure microphone before is recorded, so this could be very useful. Four situations such as live streaming way, obviously can't mix your audio. This could also be useful for people who don't mix the audio for creators who want to have the audio mixed just to save time. Effort. Energy. So I've got video here of my friends Sonny, who is an animator. He creates tutorials about animation, and he uses this mic pre amp process er, just so it doesn't have to mix the audio because it's not an audio engineer on. He just wants his audio to sound as good as possible without mixing. So I'm going to walk through the settings he uses so his audio can be mixed before it's recorded so I'm going to show on screen now. The settings were used for this pre amp. Just in case this is something that you might want to think about, especially for situations such as live streaming. I do personally prefer mixing my audio in post. I do think I can get it sounding slightly better then free this pre amp. However, for situations such as live streaming. Do you think this is an amazing bit of gear? So let's have a listen to this. So as I was going into the phone is, I was going into the far subjects. Motion design is in between graphic design special effects on here is their pre on bypassed . This is what is audio sound like before I think separate pass. So obviously has you can hear there's a lot of gains, so we have input gain here. Think of design is like the graphic design and the special effects. Some microphones might not provide that game as the Ari 20 so this could Adgate. We also have a compressor. Part of Martian design is much more so you can adjust the drive and also the density off the compressor is the sort of things that we don't really have an opinion on. It's kind of how we think we also have a high pass filter, the graphic design and here again, is the pre on bypassed. So this is the original signal off the microphone. Beefy. How we see things, how we like certain colors we might like set of fonts, lights. Just adjust the dancer to again. Maybe Gotham. And maybe you want to clean up the turning off. And also, let's adjust this Dr graphic side of motion design. Socialize the demotion design side, she'll say. So really drive this compressor if you want a more radio sounding voice, how during a long we have a de ESA where we can adjust the frequency. Also, the threshold Number eight signal a number eight motion. Obviously, that's quite extreme setting. So let's just reduce. This was the number eight. You wouldn't have an opinion on it. You don't have a thought on it because there was nothing for you to see. For you to be able to see something you, for you to have an opinion, something. Then we have enhancer, which is similar to a Q. As you have a low frequency enhancer motion is the number one thing the human brain sees above everything else. The number two thing the human brand sees is lighting of brightness. We also have, Ah, high frequency and having cinema. Unless you said, there's a slight little light on on the cinema screen and everything else is black. Your eyes will immediately. What? Look at that, Andi. The third thing, our faces and going along, We have a gate. Sorry on the fault. So let's just adjust. The threshold here has on a picture on a screen on. Then we'll look at that face is something that we always and also the ratio. Obviously, this is quite extreme gate setting. Let's just dial it back to bring some of the audio for again, actually recording this in quite a noisy room. So this gate is very handy because there's a sound of his computer. I can actually hear the sound of a road on this. Also output go listen to. So let's get back to the unconscious site, which is the animation on DA then I like to think that as if design and special effects were like the clothes that you wear, motion designed the actual margin part will kind of be like how to turn the lights on in the room. I thought this was the microphone were sounded like four. We went through this pre empt. You need to have the lights on in the room to kind of show you off. And that's how I think of motion design. So this is just a really handy way to add some processing to your audio before it's actually recorded. So if wants to live streams or kind of a short cut in recording audio, this mic pre amp process is very useful. Like I said, I do think you can get a better sound overall if you mix your audio in a digital audio workstation such as Logic Pro. However, this is a great alternative. So do recommend having looked at it, especially for situations we can't mix your audio. It streamed out lives such as live streaming podcasts, YouTube live that kind of think so. Thank you for watching this lecture. I hope you found useful and I'll see you in the next one