How to Mix Audio for Tutorials and Podcast in Logic Pro X | Tomas George | Skillshare

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How to Mix Audio for Tutorials and Podcast in Logic Pro X

teacher avatar Tomas George, Music + Audio Production Instructor

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

14 Lessons (1h 7m)
    • 1. Introduction and What You're Going to Learn

      1:32
    • 2. Noise Gate

      8:29
    • 3. Equalizer

      7:09
    • 4. De-Esser

      7:30
    • 5. Compressor

      10:49
    • 6. Another De-Esser after the Compressor

      0:52
    • 7. Gain

      1:55
    • 8. Limiter and Loudness Meter

      3:01
    • 9. Automation

      3:16
    • 10. Export Settings

      2:14
    • 11. Before you Mix, you must have good Audio

      3:10
    • 12. The Plugins I'm using for my Voice right now

      8:49
    • 13. Outboard Gear - The DBX 286s

      5:26
    • 14. The Equipment I'm using to Record my Voice right now

      2:56
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About This Class

The Beginners Mixing Guide to Creating Professional Sound Voice for YouTube, Podcasts, Tutorials and Online Courses

Start Mixing Voiceovers Professionally with Logic Pro X!

Logic Pro X is used by professional audio engineers worldwide. This course will teach you the best way to start making professional sounding voiceovers right away!

By the end of the course, you’ll be able to confidently mix a voiceover in Logic Pro X

I'll be teaching this course using the built-in features from Logic Pro X. There is also a lecture about 3rd party plugins, but it's not essential, you can mix voice in Logic Pro X with just the stock built in plugins!

What is this Voiceover mixing course all about?

In this guide to mixing voice and voiceovers in Logic Pro X course, you’ll how to mix audio for voice in a step-by-step easy to follow way

This course will cover everything you need to know about mixing voice, including:

  • Noise Gate

  • EQ

  • De-Essing

  • Compression

  • Limiting

  • Level Meter

  • Exporting

  • Outboard Gear

  • And much more!

Learn from practitioners who has deployed these techniques with real-life client material. 

I'll see you in lesson 1!

Cheers,

Tomas.

Meet Your Teacher

Teacher Profile Image

Tomas George

Music + Audio Production Instructor

Teacher

Hi, Tomas here. I'm a UK Music Producer, Audio Engineer and Composer I've been producing and writing music now for over ten years. 

I have a MMus Masters Degree in Music Production and a BA(Hons) in Music Composition.

I really enjoy creating and editing all types of music, but I especially love teaching it online.

 

See full profile

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Transcripts

1. Introduction and What You're Going to Learn: Hi, it's Thomas George and thank you for joining me. In this course, I create online courses, all about music production, on audio engineering. So from talking to other content creators, there's one thing that I see time and time again. That's a huge problem, and that is the mixing off their Oreo. Sometimes they even have a great microphone or great audio interface. But the audio is just not mix right. They don't understand the common key processes that you need to learn to mix audio correctly and professionally. From this course, I'm going to show you step by step. The exact processes are used to mix voice and audio, so we're going to start off by looking at a noise gate. Then we're going to look at e que. After this, we're going to look at DS ing compression limiting on metering. So let's just do a quick before and after of this audio that I mix in this course. So this is the audio before, and I think that's a very wise lesson to follow, especially for those of you that are looking for career growth and promotion. You've gotta have opportunity, so it's recorded with a fairly decent microphone and audio interface. It's recorded in quite a noisy room. However, we can go through and correctness and makes this the best we can. So this is what this audio sounds like after we go through. The process is that I teach you in this course, and I think that's a very wise lesson to follow. Especially for those of you that are looking for career growth and promotion. You've gotta have opportunity. So thank you again for taking this course. I'm really excited to show you how you can improve mixing voice in logic Pro TEM. So I'll see you in the first lecture. 2. Noise Gate: Hi and welcome to this lecture where we're going to be looking at the noise gate Plug in in logic pro TEM. So to access the noise gate, just go onto the audio effects slot here on, then go down to dynamics on, then go down to noise gates on stereo. So I've got this audio from my friend Jacob, who creates tutorials about business and management. Let's just have a quick listen to this audio. So I've made some settings with a noise gate. I'm just going to bypass this now on. What we need to do is just lesson. Find any mistakes in the audio on, then see if we can correct them later. Run. Of course, the most important thing is to have high quality audio before we even mix. But if this audio track Onda mixes for him, hopefully make it sound a bit better on the first step in this chain is going to be this noise gate. So before we really add any process and we want to get the audio's who want to get rid of some of that background sound some of that home you might get some electronic sounds when you record any audio in any room. Really, even if it's treated, the will be some background sound. So the gate really is just to get rid of some of that hum, get rid of some of that room sound the best we can. So let's have a quick listen. First of all on, then just here if there are any problems. So in this very first lecture, we're gonna talk about probably the number one issue for so many of you. And that's your email volume. If you work in a large corpora. The first thing that I noticed in this audio is it's quite roomy. This will be quite difficult to correct. However we can do our best. There is a lot of room sound, obviously the room. His recorder then has not been treated. You can tell by the sound. It's just so big and roomy sounding. The mic actually sounds pretty good. I know he recorded, but for sure, sm 57 on the audio interface. Waas focus right Scarlett to I, too, so that she'll signal of the audio is good. It's just it's a very roomy sound. His voice. I was great, but I would recommend for him rather than trying to correct the audio and post toe, actually, try and treat his room or try. Is Mike in a different position of the room? That's the first thing that I hear when they hear this audio is it's just to really ready. But we're gonna do our best. We're gonna train mix this audio best we can. So I've got the gate settings here that I've created, and I'm just going to go over some of these settings for this. Plug in on the ones you might want to use when creating a voice. So this is with the gate plug in on. So in this very first lecture, we're gonna talk about probably the number one issue for so many of you on this is with the gate plug and bypassed. So in this very first lecture, we're gonna talk about probably the number one issue, So it's very subtle. I'm just trying to get rid of some of the rooms, sound the best I can Any kind of noise that's in the signal. So what the gate really does, It just cuts out signal. That's below a certain level. So if you have a really quiet hum. If you have some electrical sounds, anything quite in the background. If you cut that out also on the microphone, you might make some knife noises or anything. Quietly wash your speaking on the gate can help cut that out as well. So let's just go over some of these settings. I wouldn't worry about DACA. If you're getting your audio on these gate settings on, then here we have the fresh old. So this is where the gate starts to. Actually, Doc, the signal down is kind of a reverse of a compressor. So if you pull the fresh hold all the way down, is going to let everything through the gate. So anything that's above zero decibels. So as we increase the fresh hold is going to let less things through the gate. So say we increase this to say, minus eight db. Anything below minus eight db is going to get cut out and gated, so if you listen now, it's going to sound really choppy. So what we need to do is use are here and find a good balance. Their few other settings we canoes with the threshold, but for Now let's try and find a good balance where we're cutting out some of that background sound. However, it was still letting the words be heard. So in this very obviously, it's all cut out here. Then, when we increase the threshold working a large corporation or you can see here the open and closed the open means is cutting out its opening the gate and the clothes means the gate is closed and it's letting the audio free. So in this very first lecture for one, so in this very someone, it means closed. This means to gate is active, and it's causing the audio outs. When it's open. It means the gates open and it's letting the audio free. So right now it's all closed. So as we actually turned down the fresh hold, your noticed the open light will start to blink. Rationing Heck, even a small flick to closed when the gates actually working. So we need to find a good balance. I had it before I think around. So in this mighty force lecture, we're gonna talk about probably the number one issue for so many of you, and that's your email volume. You work in a large corporation or heck, even a small corporation, your products kind of in between him speaking where there could be some breath sounds, really could be any pauses were just getting that out at the moments. And then we have the reduction if it's set to 100 db. So in this very first lecture, we're going to be all reduced. And then we're gonna have a blend of the signal if it's going to be all the way to zero debate. So in this very first lecture, the Gates not actually going to do anything you can see it's just set to open so we can have a nice blend. So we've got the aggregated signal with the original signal. So we're letting some of the original signal through, so it sounds a little bit more natural as well. So in this very first lecture, we're gonna talk about probably the number one issue or so many of you, and that's your email volume. Be working a large corporation or heck, even a small corporation. You're probably getting a lot of moment for this with just really gating out in between where he's speaking, we're getting out and he pauses the audio in the background. The best we can really like I said, This audio is a very roomy This has a lot of room sounds. However, let's try mix it the best we come. So you notice we have this hysteria? Assists? I think the forehead is down here, so if it's all the way up, it will sound kind of choppy on. If we bring it down, it will get a little bit smoother. So this is essentially in knee off the compressor, so it sets the difference between the fresh hold that opens and closes the gates. So, yeah, I'd recommend bringing it down so it sounds less choppy. So in this very first life during the opium notice is going to be a little bit more choppy . So in this very first lecture, we're gonna talk about probably the number one issue for so many of you. And that's your email volume. If you work in a large corporation, so get kind of a smoother gate sound. When we adjust this stare assists as well. Okay, going along. We have attack, hold and release. So attack is essentially how fast the gates starts toe work. When the signal goes below the threshold, then we have hold. So this sets the time. The gate remains open after the signal falls below the threshold normally have quite low setting here as well. Then we have released. So this is how fast the gate opens again once the signal returns above the fresh hold level . Okay. And then we have look ahead. This essentially looks ahead. So it looks at the signal beforehand so we can get a slightly higher quality signal. However, it will use up some CB power, so I don't recommend having it too high, but it's good to have a little bit of luck ahead. So that's basically the gate. We have the fresh hold. So whatever is actually above that will be gated out. Then we have the reduction. Do want to blend this with the original signal to make it sound less choppy. We have their history cysts. I believe it's called S O. This will make it sound a little less choppy than we have the attack. Hold release on. Look ahead. So that's the gates are recommends going through and testing out these settings. This may take a little bit of time. It's just about really trying to clean up the audio the best you can. However, I've said it before, but I'm going to say it again. Your audio recording and how well you record your audio is more important than the mixing. However, let's try mix this audio the best we can. So thank you for watching this lecture all about using the noise gates in logic protest. 3. Equalizer: So next is Channel E que. So we have the gates, the first in the chain on Ben. Normally, we would use any kid the logic pro generally cute. To be honest, it's really great. Actually, I use this CQ in my own work, So let's go ahead and use this. So let's go over to the effects slot here on, then go down to e que on channel e que and then pick stereo so well, it really is. Is this access here? This X access is a different frequency, so that lower the number that lower the frequency, the higher the number, the higher the frequency And then we have different bands here. We can kind of a scoop the frequency out so you can shelf out of this one here. Andi cannot make points as well. It's just a really simple way of putting this. We can create bells. We can change, drag these around with a mouse, or we can change. Or we can adjust the hurts we want here the frequency on the amounts with the DB so you can have negative on positive amount and then we have the queue. So how wide its That's just a really simple way of putting this. Okay, we also have this analyzer button down here, which will, if we have this enabled, we can see the frequencies in real time, which is really useful. So if you're new to actually mixing audio, I do recommend using the analyzer. However, after a while you will get used to actually hearing the audio, and you probably won't need the analyzer. So the main thing we need to look for when you queuing is mistakes. There's no point changing the frequency for the sake of it. If the audio sounds great, we might not even need to add in the queue. But it's a few common things we can do when you keeping audio on one of them is just looking at the spectrum, looking at the frequencies that coming through the CQ. And then, for example, if he's not speaking below yeah, 100 hertz. We could always scoop out 100 hertz because that's just going to be room sound. So let's just have a quick listen to this audio. I'm just going to see what we could do with e que. So in this very first lecture we're gonna talk about probably the number one, so you can see he's not really speaking the below 100 hertz. So we could add on the shell fear and just scoop it out so you could make it a little bit tighter like this on a scoop out here. So in this very first lecture, So let's just bypass this. It might just take out some of the lower rumbles, maybe some broom sound. So in this very first lecture, we're gonna talk about very, very subtle. We could do the same of the hide correct shelf and scoop some of this out to me. This sounds quite harsh, especially right about this frequency here about about free K. So in this very first, I'm just going to create a dip here. I'm gonna make the Q a little tighter on the easiest way to actually find the problems is to just make a really over the top bell like this and just scoop along until you hear something that sounds not very nice. When you find something that doesn't sound very good, Boom. We take out That's easiest way of doing it. Thank you. So in this very first lecture we're gonna talk about probably the number one issue for so many of you. And that's your email volume. If you work in a large corporation or heck, even a small corporation from about him. I just stepped this out a little bit. So in this very first lecture, we're gonna talk about those credit. Never. Bella's. Well, just turn the sunlight Here, make a tight case. I just dropped this tighter. But also in this very first lecture, we're gonna talk about probably the number one issue for so many of you, and that's Yuri. I just think it's a little bit too harsh sounding at that frequency anyway, Just just a diary. First lecture we're gonna talk about probably the number. I think he has really nice harmonics in the low end of his voice. I'm just going toe boost the low around about 500 up a tiny bit as well. So in this very first lecture, we're gonna talk about probably the number one issue for so many of you, and that's your So in this very there is quite a harsh s sound as well. So you could try and find where the s s E sound is in the frequency or turns of Lee. We could use a de esa which is really designed to do this as well. So if you have a go through here and try and find the S signs with this about So in this very first lecture, we're gonna talk about probably the number one issue for so many of you and that's your email volume. If you weren't so I think it's around about five case. Who was correct? Dip here with the bell if we wanted to ds it in the Ikea. But generally I would just use a de esa. So let's just have them applied around. And just quickly there's it's just show his example how seeks to in this very first lecture , we're gonna talk about probably the number one issue for so many of you. And that's your email volume if you work in a large corporation. So I think I'll just grab it quick. A little bell dip around five K. It's the bigger que here and just want a dip out. Some of this this harsh are higher frequencies on. I think the harmonics and is lower and some really nice. I might just add enough. What Here is well, just a tiny little boost in this lower voice because I think he's got really nice Lauren and his voice. So in this very first lecture, we're gonna talk, and that's just bypass the CQ now and then turn it on and just hear the difference. I could have got this wrong is a good idea to not get too emotional about you hear your plug ins or effects just to go in on Just tweak it. Practice. Listen on different platforms. Listen in headphones. Listen on, speakers get over people to listen to on. Then try and perfect you audio the best you come. So in this very first lecture, we're gonna talk about probably the number one issue for so many of you and that's your email volume. If you work in a large corporation or heck, even a small corporation, you're probably getting a lot of email every day. And a lot of people even get hundreds of emails every day. And so that's this is with that youku settings I just create. So, in this very first lecture we're going on, this is bypassed So in this very first lecture, we're gonna talk about probably the number one issue. Obviously, if we scoop out too much of the Lohans Well, well, the middle. And here we're gonna actually ruin the order we're gonna take at the frequencies of his voice first. So it's very first lecture we're gonna talk about probably the number one issue for so many of you, and that's your email volume. If you work in a large corporation or heck, even a small corporation, you're probably getting a lot of email every day. And a lot of people even get hundreds of emails every day. And I see, for a lot of corporate professionals, this is probably one of the biggest challenges. How do you manage all of this? And I'll tell you how a lot of people are trying to manage and what they're doing is working. That's just a quick, greater IKI. All they've really done that's found some kind of problematic areas in the frequency. Great. A little dip around around this frequency as well, because I think it's kind of a bit too overpowering and just added a small boost around the lows on taking out some of the frequencies. He's no actually speaking because this is just pointless audio. Really. It's just adding to noise. So I've taken that IRA and same again with the heist. So that's it. That's just a quick crash course. Teoh, Use the channel. Eq you in logic pretend thank you for watching. I'll see you in the next lecture. 4. De-Esser: Hi. In this lecture, we're going to have a look at the de esa plug in. So this plug in, I'm going to put after the channel eq you Andi. It's technically a dynamics processor. So go down to dynamics and then choose de esa and stereo. So what it really does is it compresses a certain band of frequencies. So we really want toe lower the S sounds or the tea sounds of the F sirens because it can sound a little harsh on the microphone if it's too s e So the DSS really just gets with these esses or F sortie sounds. So we want to kind of reduce the civil. It's essentially just the high end hiss produce from the S silence. A lot of this also depends on the voice itself. So what kind of voice are you mixing and also depends on the placement off the microphone. If you're kind of at the side of the microphone slightly, it will be less s E then if you're directly in front of the microphone so the placement can help of this as well. So if you do have a lot of essays, maybe consider having a microphone offer a slight angle on dish should help of some of their civil INTs. Also, the distance will make a difference with the civil INTs. If you're right up close, that maybe more semblance than if you're far away. Obviously, you might not want to be too far away from the microphone, though, because you will capture some off the room sound which don't really want for voiceovers or podcasts. You want quite a dry sound generally. So let's have a look at this. DS. Sir, we have a few different sections. The detector, the suppressor, the monitor on this moving over here. We also have thes visual graph displays as well. We also have a few different presets. But for this I'm just going to go on recall default. And then let's work from here. So this detect over here. So this is basically what the de esa is going to detect. So this is basically the sibilant You're gonna look for this This graph here, So move it over. It will choose the certain frequencies obviously low on the left and going higher to the rights. Generally, I'd have this above about five or 10-K you will have to use your ears. It depends on the voice you're mixing as well. And below this as well. We have the sensitivity. So the more you pull up the sensitivity, the more sounds will come through on will end up being suppressed. If you pull it down, less less signs will be suppressed. So I'm gonna have it in the middle about halfway. But like I said, it really depends on the signal. So once I've shown you the basics off this de esa, we're going to have a look of it in context with this audio. Okay, Going along, we have the suppressor, so this will control this bottom graph here. So the suppressor is what frequencies are being suppressed and below here we have the strength. So this is how much are they being suppressed by? Be careful not to do this too much, because if you use too much ds ing, it might sound like the speaker has a bit of a lisp. You do want some s sirens, but obviously, if it's too harsh, we will need to use a de esa. Also, you can use a de esa before the compressor or after the compressor or both. I generally like to use a de Esser before the compressor, but sometimes if it's a really s e recording our will use a de Esser before Andi After the compressor, I'm going down here. We have smoothing. So this is how fast the de esa is going to come in and out. You don't want it to short because it will immediately take the S away, which can make the audio sound a little choppy. Also, you don't want this to slow or it might not react in time. So it's somewhere in the middle. Might be good. So I'd say bit below 20 be fine and then going down. We have monitor, but let's have a listen to the audio. Now that's first of all, bypassed this plug in. Then we'll have a listen to the audio with the plug in enabled. So, in this very first lecture, we're gonna talk about probably the number one issue for so many of you in that you can have already it's quite messy. So I'm going to enable this de esa. So in this very first lecture, we're gonna talk about probably the number one issue for so many of you. And that's you can see when the D S A. Is working activity light is flashing. So in this very first lecture, we're gonna talk about probably the number one issue for so many of you. And that's your email volume. If you work in a large corporation or heck, even a small corporation, you're probably getting a lot of email every day. And a lot of people even get hundreds of emails every day. And I see, for a lot of corporate professionals, this is probably one of the biggest challenges. How do you mean? I'd probably say about there's good for this voice. Now let's go over to monitor, to check on this as well. And we have four different monitor modes. Off is what we're hearing right now. So this is the signal after is being digest and then we have detector. So detector will play you the detection off the frequency band. So let's have a listen to this and we can go free this frequency dial here, Andi, with this detector mode and monitor, we can really find Tune on, find the band of frequency we want to do Yes. So in this very first lecture, we're gonna talk. Obviously, if it's too low, it will pick up the other frequencies of the voice. We just want the SS and the tease on the EFS. So let's try and find that frequency here. I'd say probably about here, but let's have a listen. One issue for so many of you and that's your email oration aeration. You're probably lot of email. We'll even get that sounds about the right region on. We have over monitor mode as well, says Suppressor will actually play just this suppress band. So in this very first lecture, we're gonna talk about probably the number one issue for so many of you. And that's your email volume. If you work in a large corporate, okay, and then sensitivity. So this is playing what's being cut out. So obviously in the mix, we don't want any of these Freeman ultimos we want on off. But to find the right band of frequency or to find what you want to get suppressed or cut out thes monitor modes can be useful. So let's put this back toe off. So in this very first lecture, we're gonna talk about probably the number one issue for so many of you and that's your email. Go to lower the sensitivities slightly because if we're DS ing too much, it can sound like a bit of a less. So in this very first lecture, we're gonna talk about probably the number one issue for so many of you. And that's your eat. I think that's about right. Let's just disable this plug in. I listen to it again, enabled. So in this very first lecture, you can hear right to start this quiet. So in this class, So when he says so in this very first lecture, he says, the S is very harsh, so let's just have a listen to this with their de esa activated. So in this very first lecture, we're gonna talk, going to lower the sensitivity even more so in this very so I think, for this voice, I've got the right settings. Obviously, for your own voice can be quite different or you mix it. Someone else's voice can be different for female voices. Well, the frequencies maybe a little higher, but yeah, this is basically how use a de esa It's quite easy to use, but it can make a big difference. We're mixing voice. So thank you for watching this lecture on. I'll see you in the next one. 5. Compressor: Hello and welcome to this lecture where we're going to have a look at the next step in our chain, which is going to be the compressor. So if we head over to the plug ins here, let's go down to dynamics choose compressor on stereo. So the compressor in logic Pro is actually really fantastic. So many features in the hair and for a stock plug in, it's really awesome. So going up here, you notice we have this blue won the platinum digital. So this is actually the most transparent sound, which means it's not going to really add any color If we go along. We have a few of the ones and these men to emulate unlock style compresses, which means they might change the settings a little bit. There might add a bit of color, which can sign really cool, actually for a voiceover, but for this example, I'm going to start off with the platinum digital, and then we'll have a look at these over types here and then going down. You notice we have a meter or conflict graph. If you're new to compression, graph may look a little complex, so let's start off of meter. However, the graph has some great functions in there as well, which we will explore later on. Let's choose meter and then we have a few different dials down here. The 1st 1 you notice is the input gain. So when we play the audio, So in this very first lecture, we're gonna talk him out and see that obviously the audio come through here could increase input gain. I'm just going to leave that on zero. We don't really need to play with this input gain right now. We could always turned him put up later on when we using the limiter. So the first thing over here, you notice, is the fresh hold. So when we compress and what we're doing is basically turning down the loud parts turning down the peaks and with the fresh, whole dialled weaken decide where we want to turn it down. So if anything goes above 20 decibels, this is where the compressor would kick in and we will start to compress. If we lower this to say, minus 30 decibels, anything that goes above minus 30 decibels will start to be compressed. So basically going to make anything that goes above here a bit quieter on them of the ratio . We can decide how much we want to compress it, by so to to ones the default here I recommend. For a voiceover, choosing between two and 5 to 2 to one means every two decibels that goes past the threshold that starts to be compressed. We're only going to let one decibel out. So it's going toe half the volume coming out basically of what's compressed. So we're gonna turn down the louder stuff by half. We have it 5 to 1. What we going to do is every five decibels that comes through the compressor. So anything that's above the threshold, we only have one decibels come out. So simple way of putting this from high the number for the ratio, the more it's going to compress it by. But for a voiceover, we also want to make it sound quite natural, so I don't really recommend going past 5 to 1. Of course, it depends on the type of oyster after. If you want a more radio style, highly compressed voice, you could always increase it over five. So when we basically turned down the loud parts with the compressor were making the overall volume or the overall gain lower. So what we need to do is turn it back up again, which we can do of makeup gains. We do have auto again. I recommend turning that off, Andi adjusting by ear. So when we do compress, it's basically going to make everything sound a bit quieter. So we will need to increase this makeup gain, which will actually make the quieter stuff, Larita. So the nutshell compressor really does is turns down there, there'll arid parts on, then turns up the lower parts, making a smoother style audio, which is great for voice overs. So with these free dolls here, let's just quickly go through and start to compress. I'm just going to play the audio now. So in this very first lecture, we're gonna talk, So anything above 30 decibels is going to be compressed. Let's turn this down to about 20. So in this very first lecture, we're gonna talk about probably the number one issue this needles just flickering when Jacob speaks very loud. So let's just turn it down even further. So in this very first lecture, we're gonna talk about probably the number. I'm just going to increase the ratio just to compress the even more just for this example. So in this very first lecture, we're gonna talk about probably the number one issue for so many of you and that's your email volume. If you work in a large corporation or heck, even a small corporation, you're probably getting a lot of email every day. And a lot of people even get hot so you can probably hear already starting to sound a bit more consistent. Let's just turn off this plug in and here it without the compressor. So in this very first lecture, you can hear more of a fluctuation in void now of the compressor on. So in this very first lecture, we're gonna talk about probably the number one issue, for we should also balance the overall level. So let's just bypass the plug. So in this very first lecture, we're gonna talk about probably the number one issue for so many of you, and that's your email volume. If you work in a large corporate, so you can see that's flickering around minus five. So which means it's reducing minus five db which is why the makeup gains also five d because we need to add one of the five debate. So, in this very first lecture we're gonna talk about, probably then I quite like that. Set him for that If we switch over to graft mode. So in this very first lecture, we're gonna talk about prophecy in real time, where the peaks are on what's actually being reduced on the side. Here we can see the gain reduction. So in this very first lecture, we're gonna talk about probably the number one issue for so many of you. Okay, let's have a look at me now. This is easier to describe with this graph here. You may have heard the term Sophonie on hard knee, So if we look at the graph now, if I move all the way down to zero, that's the hard knee you can see it's a sharper angle there. Then if I increase, it gets a bit softer. So hard knee means as soon as the level goes above, the threshold is going to compress straight away, and if you make it softer, it's actually going to compress a little bit before and smooth after a soft any for voices like this is probably going to sound a bit more natural. So with the neo D recommend increasing gets and then this will create a soft knee. But for stuff like drums are hard hits where you want to compress instantly. Really, you would want a hard knee, but for vocals, I'd say a soft Ernie is more appropriate. So with the knee, it just makes it a bit softer on that. Make the compression sound a bit more natural. Okay, let's have a look at attack and release now. Notice Release has auto setting. To be honest, the auto is pretty good. I normally just leave the auto one. However you can turn this off on did use manual really settings as well. So the attack is basically how quickly does the compressor react to the audio once it goes above the threshold. So once the audio starts compressing, how long will it take? Is it going to be instant is on zero. As soon as it goes above the threshold, it's going to start compressing. If we increase this, it will take 200 milliseconds, which is still a very short amount of time, but it's not gonna be instant. It might not be as soon as the start speaking, I would say to normally have the attack time around 10 milliseconds for voice. So you don't want the of compression toe happen straight away, but you want it to be pretty quick. So in this very first lecture work so we've released. If you turn this up, this basically means is going to keep compressing because the time between the compressor releasing on the attack will be close to none. When you have a really high release is basically compressing all of the time. I would normally choose auto. However, you can do this by ears. What? So in this very first lecture we're gonna talk about, you can see when they have this down on zero, the gain reduction or the meter flicker down quickly. So in this very first like and if I increase, the race release will go down slow. So in this very first lecture, we're gonna talk about, you can say is basically compressing all the time to needles, always there the whole time when they're released, its very first. So it depends. Really. If you want it to compress all of the time. I would generally choose Auto for release, but it's completely up to you. Then on the side. We have a few more settings limiter. We're going to look at limiter later on. I prefer using a separate plug in for limiter. Yeah, there's a limiter here as well, if you want to use it here and then distortion, which I wouldn't really recommend for spoken word. And then we have mix, which will allow us toe have parallel compression, which basically means we can blend this compressed signal with the dry signal. But for voice like this, I would normally have it on 100%. And then we have output gain, which we're going to leave as it is, because we're going to actually increase the gain later. Run. Make it louder with the limiter, so that's a quick crash course off the compressor. The last thing I want to talk about is going through the different types because sometimes this can sound night concerned that we're going for an analog compressor. But do this by ear, flick through and see which is most suitable for the voice you're mixing so in this very first lecture, we're gonna talk. You also noticed that the may not be as many settings in some of these. The name may disappear or the attack and release my disappeared. So in this very first lecture, we're gonna talk about probably the number one issue for so many of you and that's your email volume. If you work in a large corporation or heck, even a small corporation, you're probably getting a lot of emails. I quite like this studio VT. So in this very first, I'm just going to tweak the settings further. So in this very first lecture, we're gonna talk about probably the number one issue for so many of you and that's your email volume. If you work in a large corporation or heck, even a small corporation, you're probably getting a lot of email every day. And a lot of people even get hundreds of emails every day. And I see, for a lot of corporate professionals, this is probably one of the biggest challenges. How do you manage all of this? And I'll tell you how a lot of people are trying to manage and what they're doing is working their email every day like it's instant messenger. So they just kind of sit in front of their computer, and they're sending and receiving is a practice like That's just all they do all day long, and that takes away from their ability to manage projects to go to meetings and all of these other things. And one of the things that I have learned from the Lea other leaders that I've worked with in my time and corporate is that you have to schedule time. So in this very first lecture, I think the hair is a good setting for this voice. I've but the fresh hold quite low. The ratio of put five to ones that compressing quite a lot on because of this, the needles bouncing around just under five so have added four decibels off makeup gain. I've left the release on Auto on. I've got quite a low attack. So that's it. That's the compressor on. That's how I were compressed this voice in logic. Pro TEM. Thank you for watching this lecture. I hope you found it useful and I'll see you in the next one 6. Another De-Esser after the Compressor: one thing I've seen a lot of people do is actually add a de Esser as well after an compressor. So we have a de Esser before and after the compressor. Of course, it depends on the audio recording. If it still sounds quite s e, I would add on a DSL, because the compressor well, that's doing is compressing the audio. So sometimes is making these SC sounds or these tea sounds or f sounds even allowed it. So it's making the civil inst louder. So it really depends. I do recommend going through listening to audio. You don't necessarily have to added the asset here. It really does depend on your audio, certain microphones, certain speakers, certain people they will Adam or seven cents than ever. So that's just a word of warning. You may need another TSA here in the chain. We might not For this, I'm not going to add another di essere. So thank you for watching and I'll see you in the next lecture 7. Gain: Hi and welcome to this lecture where I'm going to talk about gain. So we're actually not going to use the game Plug in to our They'll take away any again. We're going to use the game plug in to turn this stereo signal into mono. I know that this signal is just being exported slightly wrong, and he has exported. This is two identical mono signals, but just in case, I think it's good toe. Have a game plugging on the output bus. Just in case you have to stereo signals. You can summit toe one mano signal. Most of the time it's fine, but I just leave this armor output bus all the time. When working with voice to say there, listening to this with one earphone wanted to be an identical signal on both earphones. So let's go over to the output bus. So just this plug in next to here on with the eye. Or if you go over to the mixer in Logic Pro TEM, it's just the one that says stereo out, Okay, and then let's go down to utility. And then it goes to gain on stereo. So if you've got one channel going through here in the middle. That means it's mano If you've got to like this, that means it's stereo. I just leave this on all the time. All I do is switch this little mono, but and like this on what this means is this signal will now be monitored. So these two signals will be summed in tow. One signal. I'm not actually going to touch the game here. I'm going to increase the gain with the limiter. So let's have a listen to this now. So in this very first lecture, work on this bypass the signal. So in this very first, let's sounds exactly the same because I know these air two identical model signals. However, if someone gives you a stereo track like this, they could be slightly different, and you could confuse. The listener could sound a little bit strange with stereo spread or some kind of stereo image. So I just like to have gained on here. Just have mono enabled all times. So thanks watching. I'll see you in the next lecture where we're going to look at limiting 8. Limiter and Loudness Meter: Okay, Now let's have a look at limiter on metering. So we're gonna add this to the stereo outs of the stereo track. Obviously, there's only one track here. However, it's good practice to put this on the stereo track. We could even do this in the mixer here. Or we could just do this on the side with the inspector on, click down on the plug in slot here on, then go down to dynamics limiter and stereo. Okay, so here we have a few different things. You have the input which will show us the gain off the inputs, the reduction. So what we're limiting. So what's being reduced by how many decibels on the output the new output signal wants is being processed. So we have a few different things here. We have to gain. So basically just increasing the gain or making it louder. We have the release. So this is the time it takes for limiter to stop processing after the signal falls below the threshold level. So, basically, when it stops limited, how long will it take for the limiter to stop working? I'm gonna leave this on 250 milliseconds leave on the default. Then we have output level. I'm going to put a little lower 0.1. Because for digital signal like this, you will want a small amount of headspace just in case. So they leave this on negative 0.1. So look ahead. This is where the signal analyzes in advance. It is a good idea to have some luck ahead. However, you don't want to use up too much CPU power something and leave it on the back five milliseconds as well. Then we have mode which can choose precision or legacy recisions kind of the new away. I'm going to leave it on precision on Most are going to leave true peak detection on So all the raid against the now it's just increased this game. But the question you might be asking is how loud we want this single to bay on. What we need to do now is actually set up a meter. So if we're putting a video or podcast or audio recording on the site such as YouTube or another video site or audio site, you want it kind of minus 18. That's the rule we normally use for online digital audio like this, so I'll explain the moment. Let's click on empty plugging slut here. Go down to meet a ring unless choose loudness meter. See integrated. We want on the back minus 18 and this will appear below this s so let's just play this correct again until it's rain minus 18. And that's generally a rule of thumb about getting a good level. So in this very first lecture, we're gonna talk about probably the number one issue for so many of you. And that's your email volume. If you work in a large corporation or heck, even a small corporation, you're probably getting a lot of emails around his good get hundreds of emails every day, and I see, for a lot of corporate professionals, this is probably one of the There's plenty of space in his audio. We're not really reducing it too much or limiting it too much on. We've still increased the gain on we've got a good level. So this is generally what I would do with a limiter on a loudness meter just to find out how loud it should be. So thank fortune this lecture just about limiting on metering in logic, Proton 9. Automation: Hello and welcome to this lecture where we're going to talk about automation. Automation allows to change a parameter from our plug ins over time. For this example, we're going to use a volume, but you can actually change almost all of these settings for the plug ins over time. So there's a certain section where you want to change the settings. You can do this with automation, open automation, even use the short cut A or go over to this automation button up here. So what we're going to do now is just see if there's anything that might stand out, maybe a really large breath sound, something that sounds uncomfortable because this has being compressed. So the quieter stuff has now become a louder through makeup game, so there could be some quiet audio that isn't really part of the voiceover. So I'm just going to listen for you now. See if there's anything that might need changing, and if it does, I'm just going Teoh, automate it. The best way to do that it's just a click four dots on whatever is in the middle. Hey, distract down. That's really what I do when mixing voiceovers, Listen through, see if there's anything that doesn't quite sound rights than automated down. There's no point automating everything. Okay, so let's just go through and see if there's anything that just stands out. Obviously, when you're mixing a voiceover, you want to spend a lot more time than this. But this is just for this example. For this tutorial, you're probably get maybe that breath sound that sounds a little strange to may. Heck, even a small corporation, your and just Duckett dime, say five db Small corporation. You're probably maybe slightly more, maybe 10 even a small corporation. You're probably all sounds natural. It's not as obvious because that breath Sam was probably quite a because we compress the louder parts and we turned up effectively. The quieter part. These quieter breath sounds now have become a lot louder because of the compressor. The gate might reduce some of this, but not always. So do you think is a good idea to go for your audio and check it if this is an important recording, if you're going to publish this online, I do recommend going through and cleaning up your audio as best as possible. I have done records before have corrected every single breath of the recording, and it's taken forever. But just the bits that stand out, just the bits that don't sound natural I do recommend going through and automating. Like I said, you can automate over parameters so you can automate different settings for different plug ins. So if we click on this volume drop down box here, you could see we can choose different settings. For example, we could go to the compressor on. We could automate the attack. So say there's a certain part, for example, where you want the attack to be quicker or shorter. You can automate this as well. But generally, though, I believe the plug ins as they are just ultimate the volumes. That's just a quick overview of automation, so I wouldn't worry too much about this. I won't automate everything but this. Anything that stands out of do you recommend just giving in. Basically, just creating four dots by clicking. Find what you want to reduce and just talking. Get here by ear. Don't look it too much or it might sound unnatural, but just a small amounts. It can always help your recording sound a bit more professional. They're sending and receiving is a practice like That's just all. So that's it. That's automation in a nutshell. Thank you for watching. And I'll see you in the next video. 10. Export Settings: Now let's have a look at exporting or bouncing your audio, so now you've edited your audio. If you're happy with sounds, you can explore this so there's a few ways to do this. The easiest way is to click on your audio track and then hit command and be on this will bring. Got this bounce window. The other way is to create a cycle region. So if you want to have bit space before or after you audio, you can always do this with cycle region. Complete this cycle button up here or click on the gray bar, and then drag this to the desired bounce area that you wish then even hit command and be or go file bounce Project or section said that the two easiest ways click on the region or create a cycle area and then bounce project or section. And here we have this pop up box. So we have a few different settings here. PCM is un compressed and be free will compress you. Comtech Embry Frias Well, if you want to make lower quality recording just to send to your friends or to check. But generally I would just use PCM for the high quality on compressed audio? No. Do you want offline? Because real time will take a bit longer. You won't normalize off because we've actually limited this so we don't need a normal Isar file format wave is the industry standard. So let's choose wave resolution. We're going to choose 24 bit because this is standard for any video work. If you're using this with video sample rate, we're going to choose 4800 as well. File type. We're going to leave into leaved on differing guns. Choose power one. Okay, that's it. And then all needs do is hit OK on this Will Bantul track and this bounce window will appear. Save this in a location you're happy with. It does save it in a default of bounces. So maybe changes to a different folder. So it's easier to find on when you've selected that folder just hit bounce and it may take a few moments and that's it. That's your banks. Once your audio has bounced, you have all their file, so you can use this to upload online. You can use this with video applications such as Premier pro final cut pro on This Is it this about story? Oh, this is our mixed work. Thank you for watching 11. Before you Mix, you must have good Audio: hi. In this lecture, I just want to talk about some pre production processes you should be doing even before you mix your audio. Obviously, this is a mixing course. However. It's difficult really to mix audio if it's not high quality to start with. If you're trying to fix stuff in post production, if you're trying to mix audio that honestly doesn't sound that good. Mixing is not really gonna make that much difference. The most important thing, really is to get a clean signal that's high quality in a room that sounds good, doesn't have to be treated with a microphone that's decent. That's not picking up too much room sound. I've had people before send me mixes where they've literally recorded the audio on their phone and they think they can clean up in post. They think that mixing could magically say, if the audio when in reality that's not the case. The most important thing is to have clean, good quality audio before you even next. If the audio sounds good, it doesn't really need that much. Mixing. Mixing isn't the savior. Mixing isn't the answer. The recording process is the answer, so I want you to really think about how clear you speak the microphone. You're using your pre ampule audio interface, the real me, recording him before you think about mixing. Because if you're just going to recall this on a really low quality microphone or in a noisy room or no even speak clearly, then mixing is not really going to save you. I just want to say that before we dive into mix and really because I don't want people to try mix a really bad or noisy recording, I want you to think about getting the best quality recording you can doesn't necessarily have to be on a $1000 microphone with a $1000 pre amp. You can get a great recording on a shore sm 57 on You can get a great recording, for example, by using a scarlet to I to audio interface. It doesn't have to be the most expensive thing in the world. It just has to sound high quality and, of course, not peak. So if the audio goes above zero decibels, it will clip, it will peak. There are a few things we can technically do to fix this, but it's not a good idea. It just involves a lot more work on. It still will ruin the audio. So just think about getting clean. Audio have lots of head room. So, like this audio here, there's plenty of space we can turn up the audio. You hear a lot of the time in the audio seen fix it in post, which I don't want you to do our way to get a high quality recording first. And then when we mix it, we can get a really high quality audio recording. So I just wanted to make this quick lecture just to tell you that you can't fix it. Really, it's not, or definitely not advisable to fix your audio If its hands bad to start with, try and get the best quality audio recording you can on. Then when you mix it, you're gonna make a fantastic audio recording. So thank you for watching this lecture. I just wanted to just quickly say this before we jump into mixing just to let you know that mixing is not the answer. The answer is the recording process beforehand. So thank you for watching. I'll see you in the next lecture 12. The Plugins I'm using for my Voice right now: Hi. In this lecture, I'm going to show you the effects on the chain I'm currently using for mixing my voice right now. So I have a few different plug ins Free of them are no included with logic, pro and are paid plug ins. However, the rest of them are just the stock ones that come of logic properly that I use all the time. So this is the order. I use it. I'm just going to walk you through quickly. Some of the settings that I used to get this voice right now. So the 1st 1 is an S one, which is ah, noise suppressor. It's kind of similar to a gate, so this will get rid of some of the background noise. The next one is a channel E G, which I usedto mainly get rid of some of the lower frequencies when my voice doesn't actually reach. And also some of the higher frequencies which can reduce some room sound as well. And then I've got a de Esser to get rid of some sibilant. So it's not too s e. And then I have a c l A vocals, which is kind of a lazy plug in. You can do a lot of this in logic probe. I like this because it's just all the one vocal kind of amplifier effect, so you can add compression and over effects with this as well. Then I've got a gain plug in. The reason I've got this is because for some reason I exported this stereo you can see here there's two tracks when it's actually a mono microphone, so this just puts it back to mono. It's not really needed because they're identical signals. However, I've got that gained plug in just to make sure it's mano and then on that boat bus have a limiter to basically make this a bit louder. And then I've got a loudness meter so can check the loudness level because I normally like to have it around about minus 18. It's kind of a level I like to have the loudness meter out. Okay, so that's just a really quick overview. I'm going to go in there and show you the settings I actually use. You can take a screenshot of these. However, it really does depend on your voice. It depends on the market for on it depends on the placement. It depends on your audio interface, and it depends on the roomy recording in. So probably don't copy my exact settings You can if you want, but I do recommend going through at home or wherever you're recording and listen to the room and a lesson to the microphone lesson to your audio and then come up with your own settings. And you can always click on this button up here and save Channel Strip setting as civic. Click on the button above the Channel strip. Here you have saved channel strip settings us. This is where you can save your preset. You can see here I've made quite a few different presets. I'm constantly changing and tweaking my microphone sound on updating my gear as well. So I'd always look for constant improvement on always trying to improve your audio because there's always ways you can improve. Its a slight changes that probably don't make that much difference to most people. But this slight changes do actually build up over time, so the 1st 1 is this and this one. So it's gonna sign pretty similar to this voice in this recording right now. I'll give you a little warning before I play because it could be a bit confusing. It's gonna be my voice again. However, this is, Yeah, this audio mixed with these plug ins. I do recommend as well when she do have people in your audience. You do have people who are fans who are in your email less to send them, maybe weekly or monthly newsletters just to tell them about your music. Tell them about some of the stuff you've got going on. Okay, that was the recording there. You noticed? I have used automation just to get rid of some of the loud, loud breath sounds that just naturally Camara, especially when I'm compressing this audio. It will make some of the smaller signals that aren't actually gated out louder, so some breath sounds can become quite loud when you compress them. Obviously, there is a gate, but this doesn't get rid of all of the breath sounds. This more gets rid of some of the smaller sounds that are less noticeable. So I like to do that. Not for every breath, just if there's a really loud kind of obnoxious sound, so I just like to get rid of that. So let's have a look at the first plug in. This is the N s one. Just a small 2.2 setting. I do recommend as well. When she do have people in your audience can see there it's suppressing or getting the sound. Let's just turn this off. You might have to turn this up loud. That might be a slight hum in the background. Let's just see if you can hear this. I do recommend as well. When she do have people in your audience, you do have people, and then with it on, I do recommend as well. When she do have people in your audience. Very subtle. It just gets rid of a bit of the rooms owned on the next. I've got the channel EQ. So with the analyzer run with this button here, I do recommend as well. You can see the frequencies of my voice. So this is going to be the audio recording now. I do recommend as well. When she do have people in your so you can see, I'm not really speaking below that. That's just pointless noise. Some scoop out on above here as well not really saying that. And the rest of it are just ah, made a few dips just by ear because I thought it is. Yeah, a little bit harsh sounding. The DSS sounds up here. Okay, going down. We have the desa again. This is the way of the SS. Unfortunately, this does not come of logic. Pro. The reason I like this it's just so simple. It is basically you just find the frequency you want to. Yes. Take down really on. Then just pull it down a fresh hold. You can pretty much do this in a logic one. I just like this one personally, because it's easy. I do recommend learning logic One before you go and actually purchase fared party. Plug him. You can do all inside logic pro Inside the box provides spending money on plug ins. I do a lot of voiceovers. I make a lot of tutorials. So for me, it's worth spending a bit extra money to buy these plug ins, but completely up to you. So I just pulled it down to here. Let's just turn it off so you can hear it without the de esa. I do recommend as well when she do have people in your audience. You do have people who are fans who on your email lets you could hear there. There's a fans, fans who are fans know, Just turn on onto on your email. Leslie, who are fans who are you just makes it a bit softer. The S sounds Dresses are important. You can have a DSL after the compressor as well as before, but for this audio, I just have it before Then we have this one called a C L A vocals, and I kind of just use it as a compressor, Really? So I've got it set on push. The early ones I've got set here is troubled. Just add a bit more trouble on a compressor to add a bit more compression, just a kind of lazy way of adding brightness and also air compression. So this is the recording without this plug in email, less to send them, maybe weekly on them, and this is it with or monthly newsletters just to tell them about your music, tell them about some of them. You could probably hear the compression. There just makes it a bit brighter. It's easy quick weight as compression and brightness and then below here have got gain. That's not actually doing anything. I just have Mother switched on. So it turns a stereo track back into mono and then on the output. I have a limiter to kind of make it a bit louder really on. I've got the help but level minus one db to stop it clipping, because if it goes above zero db yeah, it's gonna ruin the audio. So you need the output level below zero db. The reason it's minus one served a little bit of head room because digital audio, you might want to tiny bit of head room like this. Now, just based again, that's pretty much it. Obviously, when I bypassed this, it's going to be a lot quieter. I went higher. It's in the blood and back on. It's gonna be a lot louder. So this is the audio without their limiter, then them, maybe weekly or monthly newsletters. And here's audio with the plug in and then maybe weekly or monthly newsletters and then to go along with the limiter. I have a loudness meter, so want to get this about minus 18 on the 2nd 1 work says s here the LFs. So about minus 18 Standard. So wanted averaging about minus 18. So that's it. That's my chain. That's what I'm using right now to mix this audio, I thought. I just tell you, of course, the equipment is important as well. So if you want to know about the equipment I'm using right now for this voiceover, be sure to check out my lecture about the equipment amusing right now. So that's the plug in. That's the change to noise suppressor. Eq you. It's a de esa. It's a compression on kind of a trouble boost, and I've got gained to make it mano a limiter, basically make it louder on loudness meter just to check that levels are about minus 18 LFs . So that's it. That's my chain. Like I said, you can screenshot some of these plug ins. You can copy the sound, but it does depend on the mic. It depends on your voice. It depends how loud you speak. It depends on your pre amp. It depends on your audio interface. It depends on your rooms. There's a lot of factors, and you really have to analyze the audio. Listen carefully. I'm not just copy over people's presets. And then once you really great sound, you can say that as a preset it can just drag the arm. And every time you record audio, you could just use the same preset, which can save you so much time. So thank you for watching this lecture, and I'll see you in the next one. 13. 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 14. The Equipment I'm using to Record my Voice right now: in this lecture. I'm going to walk through the equipment I'm using right now for this voice so the equipment could make huge difference when recording through a few different factors. One of the main ones is of course, equipment. And then it's how well you speak, how clear you speak the room, you recording them and, of course, how you mix your audio. So I dont just think mixing is the answer. Remember, there's many factors, but in this lecture, I'm just going to go over the equipment amusing right now. If you don't have this kind of equipment right now, don't worry to start with a few items and build from there. So the most important thing, of course, is having a computer that can actually record into a digital audio workstation or be able to capture your audio. So I'm using a Mac book pro right now. However, I do sometimes used a zoom handy recorder, which could be useful if you want to record audio on the go. And this also works as an audio interface. So moving on to audio interface is the one I'm using right now is a claret for pre, So this one I really like. I used to use the Scarlet, too. I too, which is great as well. But I upgraded to the clarets because I really like the pre amps on this audio interface. So this is the audio interface, basically just converts the analog signal. So the microphone into a digital signal Sukhum recorded into your computer and then going into this audio interface is my microphone that I'm using right now. This is an electoral voice, Ari 20. It's a broadcaster microphone, so this is a very standard microphone that you'll get in broadcasting zippy tutorials, podcasts, radio shows. A lot of people will use this microphone of tested lots of Mike's before, and I just like the way this sounds of my voice. Another popular one is the shore s M. Seven B. You've probably seen this on podcast shows. It's a very popular microphone as well, and to support the microphone, I use a shock amount. The reason I use the shock mount is to reduce any tapping sound. For example, if I accidentally tapped the mike stand or if I'm tapping of the mouse, it will reduce these sounds because the microphone will be cradled in this shock mounts. And then I have a pop shield to try and reduce any pop up breath sounds and implosions. I also have the microphones slightly to the side to try and reduce some of these breath sounds as well. From speaking into the microphone. Have the microphone about four inches away from my mouth so I can capture the audio because this is a card oId microphone, so it's going to pick up basically just what's in front of it, so I don't want to be too far away. However, I don't want to be too close or it's going to pick up too many quiet sounds, such as a lot of breath sounds. So that's what I'm using to record my voice right now. I've used loads of different microphones and audio interfaces in the past, but this is what I like right now to record my voice. So thank you for what's in this lecture. I hope you found it useful, and I'll see you in the next one