Cleaning Up Voice Overs

1. Introduction: Hello, everyone. My name is Andre Angelo, and today I'm gonna show you guys how to clean up your voice overs. I first want to apologize for the location that I'm recording in. This is not ideal video or audio wise, but a lot of people have been asking me for tutorials on stuff. So this will be my my first go at it. I'd like to start off by telling you guys what this course is and what this course isn't It isn't going to be anything to do with voiceover directly as in delivery. I'm not gonna be telling you guys how to deliver your voiceovers so that they're more impactful or you avoid things or do make sure you include things this is going to be you have an existing voice over and you want to improve it. This course will be good for anyone who deals with voiceover. So maybe not necessarily a voice over artist. But maybe a video editor who gets voiceovers puts them into projects or whatever they dio. Or this can be voiceover artists who want to improve the quality of their voiceovers. Like I said, the audio conditions where I'm at right now aren't ideal. But I hope the audio sounds good enough so you can kind of trust. What I'm saying is accurate in this course, I'll be using Adobe Audition CC, which is part of the Adobe Sweet. But 95% of the stuff you see in this course can be done in almost any digital audio workstation. But I like Adobe Audition because it's you have a lot more tools to do what we want to dio in this course. I'm going to present problems that you come. You might come across in a voiceover. This could be like PLO sieves like hard P sounds that kind of blow out the audio. And I'm going to show you how I go about solving these problems, repairing it so it sounds to aim or, ah, acceptable state, and I'll slowly introduce more and more problems and show you how it handled them. You do not need any prior skills or knowledge to follow along with this course. This is very beginner friendly, So without further ado, let's start our voice over fixing journey 2. Exercise Files: for the project files. I will include for each one of the examples of a problem that we kind of worked through in this course in the project files will include a really good example of that problem happening. So watch watch the course. Watch the little thing I talk about cause in the course I try to make a live example of the problem, and sometimes we can't get it perfect. So in the project files, they'll be perfect examples of the issue for each one of the courses. So after you watch the course, figure out how to solve whatever problem we're talking about. Go into the project files and you'll find an audio file with the appropriate label and try it out yourself. So you really understand what's going on. If you just watch it and don't really do it, you won't grasp what's actually happening. So I encourage you to take the files and do what I say, but also just mess around. Try and try to put things out tryto do it better. Maybe for your specific audio. It requires something else. So just have fun. Mess around you in a sandbox. Just play with the sand mitt castles Do whatever you want. Just really ingrained. What? We're what we're learning here. And you should guys should be good to go. 3. Adobe Audition Setup: Okay, So before we get too far into this and start wrestling with some audio, I just wanna make sure you guys have the right set up that I'm looking at here. So when you open Adobe audition, there could be some windows open and some little things different than how you're seeing my screen right now. But all you have to do to set it back is click on this little three score lines here and click reset changes to this work or, ah, sorry. Reset to save layout this 1st 1 here and click that and it'll default back to the standard . I'm not gonna click it right now because it's slightly different. There'll be a window over here to the right that says, like, essential audio or something like that in a couple winners over here. But generally speaking, it's the exact same that you see right here, except for like, a window or to the only thing we're really gonna need, though, is this affects rack. So if you don't see the effects rack, click window or sorry, Miss click Window and go to effects rack. So Ault zero, If you I don't use that out key because mine's always open. But just make sure you got the effects rack. You got this big window here? Um, I'm in wave form. If you're in multi track. You could get really scared at all these things here, so just make sure you're in a wave form, and you should be ready to rascal. 4. High Pass Filter: So the first thing I want to show you guys is the high pass filter. And to be direct, it basically lets the high audio pass. So let's imagine. There's a dump truck that goes by your house on Tuesday morning and you know it's there because you feel that low rumble. So the arm goes out protecting Teoh and dumps the dumps the trash into the I don't know the garbage area of the truck. I don't know what it's called, so you have to imagine those pitches right. Those were so low that the human voice can't replicate those right. The human voice doesn't go that low, but these sounds can make it into our audio tracks because their presence around the microphone right? So what we want to do with a high pass filter is basically remove those pitches, and in order to do that, we essentially will set a threshold. So at this threshold, whatever it may be, we want no pitches below that point to be included into our audio track. So while there's no obvious rumbles happening around me right now, let's just record some blank room noise and we can see what it looks like. Okay, so now we have this little track here, and let me just highlight the part. We want to work with control t to trim it so you guys might not see this bottom portion down here. This is the spectral spectral frequency display and that button, or that this little window can be seen if you click this button here. The show Spectral frequency display shift D So shifty and that will just come up if you want to set it to maybe just make it a bit smaller. So it's not so, uh, in the way. Or maybe you want it in the way. I don't know. Whatever you guys want. You just said it. So where you guys want it and then just shifting will go right back to where you said it. But let's look at this. This spectral frequency display is showing us not just that there's audio that, but it's also showing us what pitches those audio that audio is happening at. So we can see that there's it might be hard to tell, but there's a basically a layer of purple over this whole thing, so there's a little bit of noise all over the place happening. But you can see a lot of it is down here and that's low rumbles that I can't even hear right. It's it's set up like lowest, highest. So these all these things down here are very low and you can see the frequent. My face is in the way. Let me turn my face off. You can see the little pitches or the frequency numbers right here. So if you just use your scroll wheel and zoom in and then use your mouse well, you can see exactly where these pitches are. And generally speaking, you the human voice won't go a lot below 100 hertz. This is this where my mouse is right here so you can see a lot of this is basically useless to us because it's not our voice. If you know, there was voice in this track. So let's zoom all the way out and let's see how we can handle this. Oh, let me turn myself back on. All right. One of the ways we can handle this is through an e que So in adobe audition, we go, We can go from the effects rack hit this little arrow, Go to filter and e que and open up the Parametric equaliser. So here, if we just hit play on this audio space, we can see all those little frequencies dancing around in here. Let me just put it on loop so I can show you what's happening so we can see up here. There's very little purple, which means something is being played. There's audio there so you can see the little little dots dancing around here. But the majority of it is down here and you can see here's 100 hertz, which is our voice does very little of our voices below 100 hertz. Most of it is not below 100 at all. So what we want to do is use the high pass filter and you can see this HP right here. So we click that on, you'll see a little Ah, little bowl shape get put on at the bottom. Now, this is a very light, high pass filter. You almost won't even notice anything changing if I if I do this. So let me pause this audio and let's talk about what's happening here. So to be safe almost anything you put a high pass filter on anything below 60 Hertz will not affect it at all. Basically, that will just remove audio that doesn't need to be there, which by itself this might not seem like such an impact. Full impactful effect. You can put on the voice something to filter, but you might be listening to this on headphones that aren't that high quality or monitors that aren't the high quality. And there might be, Ah, very low rumble in your audio track, but you just can't hear it on your speakers. So what you want to do is you always want to put ah, high pass filter on your voice over because let's say it sounds great on your speakers. But when you put it up to high quality monitors, everyone notices this little rumble. And that's because you just couldn't hear it on your speakers. So it's it's always safe to at a high pass filter. It's never it's never a bad idea, so we're gonna put it this right here to 60 Hertz, which wouldn't affect a voice at all, so you can see it's it's backing it up. So if I move this round, it's it's scooting that little threshold around. So we put It's right here. I mean, you're cutting off most of the voice, but we just want to set it so it's removing just enough. All right, let's see if I can get it. There we go. 60 Now this gain down here, you can see 24 db slash o c t. And what that means is 24 decibels per active, so I won't go into like exactly what that means. But basically, what's happening is if this number is higher, the the, uh, it'll be. What am I saying? It'll be. It'll be a Morris. Uh huh. What? What's the word? What's the word? Um, a steep? There it is. The reduction will be steeper. So let's go to 48 you can see it's It's very, very harsh. But if I go down to six, it's almost nothing. So with this, you don't have to be, you know, we're about too much. I usually just put it at 48 because I wanted to be a pretty steep cut off. So let's see what happens now that I have done that. So let me then close this and we have the effect right here. But it's not actually applied, so we can't see it in the track. But if I had apply here, you can see that that very bottom layer is gone. It didn't affect anything else except the bottom layer to be more extreme, Let me show you. I just controls need to bring it back. Let's put that up way higher and you can see what's happening here. So you can see once we get to 200 hertz, there's there's no audio. Nothing should be there. So if we apply this, you can see right there there's all that low garbage is just gone and it leaves the ha higher audio there, right, a high pass. So let's put this in context of a voiceover now that we know what it does. So let me record a super high quality $10,000 voice over and we'll do this from the beginning. Oops. So I was recording here. Hello, everyone. My name is Andre Angelo, and today we'll be learning about the ah, high pass filter. Okay, so that was probably the most professional voiceover I've ever done. Hope let me deposit. So let's trim that to the meat and let's hear what it sounds like. Hello, everyone. My name is Andre Angelo, and today we'll be learning about the ah, high pass filter. That is pretty good if I do say so myself. So I don't know why I took these off. All right, so now what we're gonna do is we're gonna apply that high pass filter to remove this low rumble, but not affect our voice over. So if we look in right here, this little, this little portion right here, I'm gonna ault scroll wheel to to bring this up. You can see if I scroll in. Let me remove my face right here. If I scroll in hoops another make sure you're on here and it'll basically zoom in the frequencies. Now, if I use my amounts and just pull it all the way till I get to the bottom, you can see right here there's my voice starts. You can see right 100 hertz. That's where the real meat of my voice starts. There's obviously some little tones down there, but more often than not, you won't even hear those. And they won't be relevant to the voiceover. All you're gonna be doing is freeing up space. Still, the audience doesn't have to hear that low rumbly garbage. So let's zoom out. Okay? And we can now hear what's really happening because it's not just the room rumble. So let's do the same thing we did filter. Nick, you Parametric equaliser! Okay, we're back where we started. Now let's just listen to the voice over. Let me put this all gets on loop. It's blue and let's play everyone. My name is Andre Angelo and today we'll be learning about the ah high pass filter. Sounds really good. So now let's enable the high pass filter and do what we did before. Put it on 60. Put it on 48 d Be proactive. So back where we were. Now what I'm gonna do is I'm going to play the audio and using this little green button right here. You just click it on and it basically toggles off the effects. So it's no longer being a cute, and we're gonna go back and forth and you're going to see that you can't really tell or you can't all tell that that we're that we're doing anything right. All we were doing is removing audio. That doesn't need to be there. So let's play and I'll talk about on. Hello, everyone. My name is Andre Angelo, and today we'll be learning about the ah, high pass filter. Hello, everyone. My name is Andre Angelo. On today we'll be learning about the ah, high pass filter. Hello, everyone. My name is Andre Angelo and today we'll be learning about the ah, hype. Right, So we're not. You can see nothing's really happening. Ideally, you wouldn't want to put it this steep. I I am noticing some losing some some audio there. But with this you you save the risk. Are you don't run the risk of losing our adding audio. You don't mean to add just because your speakers aren't capable of producing it. And with this small little tip, this will be the first step in improving your voice overs. 5. Background Noise: Okay, so we removed the low rumbles in our audio, and now we want to remove any background noise that's still there. And Adobe Audition has some really good tools for doing this. So the first thing you're gonna want to do is select a little bit of audio that doesn't have any. Any voiceover in it, just simply room noise and you can see that exists here, and it exists here. Now. If you're working within existing audio that's been cut and trimmed so that it doesn't have any left, this might be a little more difficult to do when you might not be able to do it. But if you have these little portions where nothing's, nothing's being said or it's your own voice over and you can simply record more of the room , it's pretty easy. So what we're gonna do here is record some of the room. Okay, so you don't want to use this part. You want to use the flat ist part possible, which is this portion. So here's what we dio. It's pretty cool. So what? What the hell The tool works in Adobe Audition is you basically capture a noise print. You get a sample of the background noise and you do that by highlighting the audio like I did and hitting shift P so it doesn't look like anything happened. But if you look in the bottom left here, you can see capture noise print completed in 0.1 seconds. So I think if you do for the first time, a little window pops up, but I click the button that says, Don't show me again. So sorry about that. But we got the We got the noise print. So now we have the noise print de select everything or control A to select everything doesn't matter, and you're gonna want to hit control shift P. So what this does is it brings up the noise reduction effect, and we can see that, um, we can see here. We can see. Basically what's happening is we're removing that noise print so you can mess with the reduction, Hear the noise reduction percentage. So how much you're gonna room reduce? So if you want to reduce 100% of the noise print you captured, just put this 100%. And then the reduced by is how much we're reducing it by. So I was always set the noise reduction. If it's ah, high quality situation like we're dealing with right now to 100% and 16 decibels is is more than enough. This is way less than 16 decibels. You can see if we zoom in a way crazy here. We're only dealing with It's negative 66 decibels. This is pretty quiet for a for a loud room there for a room started a lot room. So what we're gonna do is apply this over the whole thing and you can see that these air completely gone. So 16 decibels was enough. If you can still see some, you might want to go over it again. But what's happening here is it's capturing the noise print and then running that that frequency sent that you captured over the entire audio track. And it's basically figuring out what's noise, what's not noise and removing it so you can see with the high pass filter and with the noise with the noise reduction, we just did. We let's apply that we can get a very clean room here, right? So even though there was noise in my room, it's completely gone. You see that? We can see if there's almost nothing. And so if we did the zoom that we did earlier, it takes a lot of zooming before we get to noise. And this is almost inaudible right here unless you crank your speakers up and you're just jamming to some noise. But let's scroll back to here. So now we're left with a pretty clean voice over in no work at all. 6. Plosives: So now let's actually get into repairing some problems in the actual voice over. Not just things around the voice. Everywhere we removed the diesel truck that went by, we removed the background noise, and now we're going to actually get into the meat of the voiceover, and this one will be repairing PLO sieves. And if you don't know explosives, are that's any any sound that you make out of your mouth hole that produces air. So any P sounds, you can get it on K. Sounds be sounds anything where air pushes out of your mouth. So, uh, peas, any of these sounds depending on how some people speak, you might get some on certain letters, and some people might not produce as much air and others. But peas are usually the go to, and I have this little pop filter right here to reduce some of them. But even if you use a pop filter, they can get into your audio. So let's rule remove the old recording we had and let's make a PLO city track. So let me remove my upside. Remove my pop filter and let's hit some Ah Pi's Peter Piper picked a peck of pickled peppers, a peck of pickled peppers. Peter Piper picked Now I'm sorry for you guys that had to hear That s o b. Put my headphones on so I can hear it myself. Peter Piper Peter Piper picked a peck of pickled peppers, a peck of pickled peppers. Peter Piper pick. So let's just let's just get to You can see this. Whenever there's a PLO sieve, you're going to see this wavy line. So right there is the PLO sieve. Okay, so let's look, let's find a good one. Peter Piper picked a peck of that, so that's a that's a heavy one right here. But let's keep peck of pickled peppers, pickled peppers pickled. So So let's just let's just look at this one right here. We're going to focus all of our It's actually just take this phrase here so we have pickled peppers so pickled peppers, and you can see this huge, wavy line. And if you're listening real carefully and you have good speakers, there's actually a little rumble. Pickled pepper. There's a very low rumble. Basically, what's happening is air is coming out of the microphone, hitting the capsule and the castle's going Oh, woe and creating this very low frequency. So if we do what we did earlier and let me remove my face once and scroll in on these frequencies, go to the right spot here and push our way. Detto, let's zoom out. So you go faster. Okay. We can see once we get down here that before remember how the voiceover didn't There was pretty much no information below 100 hertz. And now all this information is here. And the reason is because you're creating a low frequency from air hitting the microphone. So let me put my face back on. And this is a very similar fix to removing the the low rumbles that we had earlier. So let's first just highlight this portion. This is You can see the bottom is the meat of this dispose of here. It's all lit up because it's very bad. So lets us know what we have. Pick, pick, pick, pick, pick. Sorry about that. It's Han River feed again. Let's just here at once. Pickle. So we have that low air push. So what we're gonna do to fix this is it's pretty simple. Highlight the entire PLO sieve. So it's pretty much the end of the of the wavy line right here. And you can if you really want to be scientific about it, you can go down and see where this little low red bar ends. But let's zoom all the way out or no, we're gonna keep it there while we fix it, and we're going to go to effects we're going to go to. Where is it? Filter, Nick, You and this FFT filter. Now there's one hope Authority set up. Spoilers. There's one on here called Kill the My Crumble. And what this? What's happening here is pretty much the same thing is the e que but a bit more extreme so we can see the 100 hertz right here that we're talking about where a lot of our below the point where none of our voice over is really happening. So what this is doing is a bit more extreme version of that e que. And if you go to kill the my crumble right here in the presets, you can adjust it yourself, right you can you can mess with if you want to customize it. But this one will pretty much work fine. So again we highlight this little spot here and do kill the my crumble so we'll just do apply and we can see all that Big chunk is gone. It's gone. So if we zoom out and you could see the wavy lines, Ghana's Well, because it's not getting that big, crazy, crazy, uh, air hit. So let's listen to it now. Pickled pepper. It's almost better. Pickled pepper pickled, pickled, pickled. So let's undo. And let's copy this control, see, and then click right here and paste it. So we have two examples. Now, what I'm gonna do is highlight this one and do that. What? I just did one more time so we can just hear the difference. Okay, so ft FFT filter killed my crumble. Apply pickled pickled. So you see that the big air hits completely gone. Pickled, pickled, Right, So but what? I first started doing this let me just controls you down, away. It's if you have a voice over track that has a lot of PLO sieves in it. It becomes ridiculous to constantly go down to that menu. So what you can do is this you highlight the thing as if you're doing it for the first time and go to filter any Q FFT filter killed my crumble and you're gonna want it. Just click this star. Okay, so let's just call this close. Let's call it is that's happening. Okay, So already that's what I called my last one. Okay, so let's override it because I am uncreative and used the same names and let's close it. So now what? That what happens is if we highlight that we can go to our favorites here and we can see puffed right there and we click it and it does that right. Does it just how we did it in how we set the how we set it up, but through even faster is this Siegen See? Wait, hold on. Let's go to edit keyboard shortcuts and we have this nice interface. So once you make it a favorite and label it something, you can go to this little search menu and type in what you called it so puffed and you can see I already set mind to five, and what you can do is just click on it and drag it to a key want. So, in my case, to drag to the five. So let me just, uh can I remove this, or how do I show you guys an example? Clear. Okay, there. So then click. Drag it onto, uh, what key wanted on. And just so you know, this little interfaces brand new used to be a used to be horrible. There was no visual. So you guys are in for a treat with That s so it's on five. So now it's a simple is just doing this. Highlight five highlight, and we could see it there. Five. Uh, that's those are fine. So now we have this pickled peppers. So now that we have this ready to go hot key, we can do this so we can go through. Let's zoom this out a bit, so it doesn't look so crazy. We could see here five because he here five and you're gonna get used to seeing these wavy lines. Let's so in this case, it's all over the place. So let's just listen to it. Picked a peck picked so even the t at the end. So we have here five, five, five. Ok, All right. Oh, let's see what is a pickled. Okay, that's about one. I think it's when we did earlier pickled peppers and let me just go through and do all these. But while I'm doing this, um, I just want to say that all include practices of all these things. So I didn't say it envy in the in the high pass or in the background noise. But all include files with, ah, low noise that you can try and edit out yourself and back our noise that you can remove. So look for those in the project files will be an example of each video. So you can you can work on what I'm showing you. So here we go. So announced. Done. So now let's copy this. Okay? And I'm going to you actually undo all those changes. So we have ah, bad one. And then let's remove this. Remove this and then paste recipient. So now we can hear the bad version and in the good version, playing all at once. So let's listen to Peter Piper picked a peck of pickled peppers, a peck of pickled peppers. Peter Piper picked Peter Piper picked a peck of pickled peppers a peck of pickled peppers. Peter Piper picked. And just like that, you're not blowing the ear drums out of your audience, and you're saving a lot of time. So But you have to remember, though, in if you're a voice over artist and you have a voice over that sounds like this 1st 1 God help you. Ideally, you want to re record instead of just doing this little this little killed of my crumble thing. Because if you're in the situation to re record, it's always better to have good audio out the out the gates rather than have bad, bad audio and try to make it better at the end. So don't rely on these things. If you're a voice over artist, really, you want to work on your technique postive pose a postive. You don't want to have a good pop filter, but if you just received an audio file or for some reason you recorded it and this is a way later date and you can't record, this is how you got to do it. This is the best way to do it. It's It's pretty straightforward, pretty easy. Once you haven't set up in the favorites is just, um, it's hard is pressing a key on your keyboard, so let's move on to the next thing. 7. Low Pass Filter: Okay, so we removed the diesel truck. We removed the background noise. We fixed the PLO sieves that blew out your ear drums. And now we're going to talk about a low pass filter. So it's basically the opposite of a high pass filter. Let's let's put my headphones on and let's record something. Sicily seek Hirsi sneaky snake. Sneaky snake. Sicily. Sneaky snake. So you can hear these harsh s sounds that are in there. Well, this microphone, I'm talking. I'm talking in a Norman T l m 102 which is very good for controlling that high end. So these might not sound that Sicily or crispy or wherever you want to call them. But other microphones, like the Norman T L m one oats 23 or the road. What's the popular one? NT I A. I remember, but those microphones were really hot, and by hot I mean, they were really big presence in that higher end. So just like before, how the low frequencies read on here? These these s is You can see our all looking the same because they're all the same frequency. So we can see Here is an s sound who? Sicily. So let's remove this first part. Let's remove this little in part. Seek Oops. Six. No hitting. Delete Dario. So let's listen to this. We'll fast seek nurse. I sneak hopes. Let's remove that sneaky snake. Sneaky snake, Sicily Sneaky snake. Okay, so we can hear the s is there And the reason I did it like this so we can really get an example of the high frequencies so you can see these s is hitting all the way up above 15 k So see, 20 cave is this Frequencies go really, really high way higher than your normal speaking voice. So let's let's figure out how we can control that. And you don't want to do this to drastically or you can sound like you're you're talking out of a cone, but we're gonna go the same way we did before the little drop down filter any Q Parametric Equaliser. So this is a low pass and write it lets the low pass. It's the opposite of the high pass we talked about earlier. So if we click on this little lp low pass filter, it will do the same exact thing, right? It will start trimming away the high end. So I'm just gonna play this on loop. Sorry for your sensitive years. Those that sounds but sneaky snake. Sneaky snake. Sicily. Sneaky snake. Now, what I'm gonna do is going to start pulling back on that frequency. You can see it's a 20 k and this isn't really removing anything. But as I pull it away right, we're going to be hearing the S is slowly go away and eventually it'll affect the voice. Sneaky snake. Sneaky snake, Sicily. Sneaky snake. Sneaky snake. Sneaky snake, Sicily. Sneaky snake. Sneaky snake. Sneaky snake civilly. Sneaky snake. Sneaky snake. So we got to We got about 1700 hurts right there. Which is you would never you would never cut this much, but we can see that you don't even hear the SS anymore. Listen right here, civilly because the frequency just aren't there anymore. So in my case, I don't even touch the high end. Ah, it just sounds fine to me. On my personal microphone are my specific microphone, but on some microphones you'll hear a very Sicily sound. It'll sound almost like while someone's talking, someone in the backgrounds wants like that very high frequency. And if you do this very lightly, so I would I would even go below 15 k and I would probably keep it a little. A little more subtle. Like this is a very subtle tae profit at the Top Inc Sicily. Sneaky snake. So just listen to this example so we could bring it off even more. Let's see, you can tell the difference, but the the s sound is basically getting tapered off, right? So in again. In my case, I wouldn't do this to my voice over because this microphone is very good at not being Sicily and crispy. That's why I got the microphone, cause it's a bit more warm, but you'll definitely hear voiceovers. It might be your voice over a forced over your working with that. Sounds like someone's going t while the whole voiceovers happening. And this is how you go about handling that again. In my case, I wouldn't do this, but for your specific voiceover, you might. This is just a tool you might use 8. Compression: Okay, Now we're gonna talk about compression and people if you've never used compression, or I heard people talking about compression. People tend to freak out about compression like it's some crazy. I mean, it could be the difference between you sounding like a ah, someone on the radio versus a light conversation. It's It controls a lot of what's going on in the voiceover. Basically, what compression does is it reduces the dynamic range of the voiceover. So let's say this is your loudest, and this is your quietest. So ah, highly compressed voice over those air closer together. If voiceover isn't compresses much, its way farther apart. So let me show you I'm talking about so I'm gonna talk loud and I'm gonna talk really quiet . Hello, everyone. My name is Andre. Angelo. Okay, so we have this here. Hello, everyone. My name is Andre. Angelo, So we can see this drastic change in volume here. So let's just trim that control T so we can see what's happening here Now. Uh, compression will let me delete this for the fast. Okay, So compression will Ah ah, highly compressed voice over. Will. They'll sound almost identical because the the the high. The what we call it the loudest part of voice over will be crushed down. Um, until it matches the other one pretty much, you'll see what I'm talking about. So let's just open up a single bank. Impressive, and we're going to set the threshold. Or first, let's just put on Ah, let's just hear some of these presets really fast. So let's just do the one called voiceover ever gets here. What's happening? And without me explaining anything, let me just show you what's happening. Hello, everyone. My name is Andre Angelo. So foam enough. So let me copy this. Paste it here and we can just see like a to be comparing what's happening. So if I highly support portion and hit apply it will apply the effects only to the selected area so you can see this portion gets louder and this one gets lower. Let's let's let's see, let's see what's happening. So let's look, um, at the one on the right. So just pay attention to the quieter area right now so you can see that this portion is brought up a pretty good amount and let's go back. And now Let's watch the left area. This portion doesn't really get louder. You see, like the peak right here, doesn't it? Doesn't get louder, but it gets, you know, beefed up a little bit. Let's hear the difference. Hello, everyone. My name is Andre Angelo. Hello, everyone. My name is Andre Angelo. So what's happening is it's making stuff louder, right? Well, crushing it down. So let's look okay. So let's let's start messing messing with this one now. So let's bring up that single band compressor again and let's look what's happening. So the threshold, the threshold is where the compressors kicks on. Okay, so we look here, Okay, if we zoom in here, we can see 18 decibels. So this is 18 decibels. This line right here. Photo so we can see this Big chunk is pretty much the only thing over 18 decibels. So let's just put that at exactly 18 decibels. It's 18 and we're going to set the ratio, which basically what the ratio is is it takes in X amount of decibels. Okay, so let's say it takes in 10 decibels. And let's put this to let's with us 5 to 1. Let's put it 10 to 1. That's what we'll do. Okay, so this is 10 to 1 if it takes in 10 decibels. Okay, it'll output one. Okay, so we'll see what's happening with that in a second. And we're gonna put the attack and release to very low numbers, and I won't. I'll talk about those in a second, but so all we all we did was, uh, 18 decibels. This line right here, 10 to 1 ratio. And let's sit up. Let's it apply, and we'll just apply it to this portion right here. So you can see the only thing affected was that one portion of 18 decibels. See that? Because that's where the compressor turns on. See that Now we can see this part is still, like, a little bit louder because it's out putting, you know less. But let's see if we up this ratio to in 30 doesn't say infinity, but, um, we can see now it's good who it's not. Ah, let's see what we're doing here. Let's see. Let's let me hold on one second. Let me up the ratio twenties. So we have a little more clearance. So now let's see what's happening. Who So now we're almost strictly at 18. Let's see, let's keep up in it lets up it. So what we're gonna do here is we want to find a position in the voiceover where it's about the middle. Okay, so let me undo all of this and let's put the let's put about the average right. We're gonna try to find visually with the averages, and that's about here. It's about 18. So we're gonna put this back at 18. We're gonna put the ratio usually for voiceovers you wanted between three and five. Just so it's not too extreme. So let's put it 1/4 right now and the attack and release our need to be quick because the attack is how fast the compressor turns on. So if it if you have the threshold 18 and your audio hits 18 and this is why we were getting that little snag earlier because it's five milliseconds before it turns on. So if I did the thing I was doing earlier, remember where it wasn't working? And then if I put it 30 and then put the attack a zero right, so now we won't get that snag right? Watch so see that before it was given that little piece and I was confused at why that was happening. I just forgot to adjust the attack. So the attack is how quickly the compressor turns on. Okay, so we want that relatively fast and voice over because you don't want you don't want a loud noise to happen. And then it would basically sound like you scream And just after you scream, someone cranks it down. It wouldn't sound like it's quieter. It would sound like it would just sound strange. Like someone going Oh, like that instead of just ah, like a quiet, steady pitch so you could leave it zero. And you can leave the release zero and it's very, very surgical. Um oh, the release I is how long it takes the compressor to turn off. So once it senses, something is below the threshold how long it takes to turn off. So you want to have these fairly low for voice over because you don't want this pumping effect to happen of it cranking on enough at a delay. And the output gain is, since this is crushing the audio, you want output gain to basically make up that that loss. So Okay, so let's do. Let's now, let's use this. So we have 18. Is our threshold okay? And this And this will vary depending on the audio, and we'll set the will set the ratio of four. Right? So pretty good compression voice over again. The highest you probably want to go with voiceover is five or otherwise. It would sound like a It would sound crazy. I'll show you get sounding crazy in a second. We have the attacker little real quick. You could sell these both of five if you want. That's usually a good good spot to sit out with voiceover and then let's. But let's leave the output gains zero so there won't be any gain at the end. So now let's apply. That's all of this, and you can see that this didn't get affected at all because there's no output game, right? There's nothing. There's nothing, you know it. All it's doing is crushing down this portion. It's not since it's below 18 decibels. It's not affecting this at all. So now with this, you wanna you wanna have some output gain. So since we have such extreme differences here. So let's put the upper gain it about seven. And since we're putting seven, let's crush the audio. But more so let's have it start working at, let's say, 24. So what we can see after we do this is that the volumes will be pretty similar. So you see this. It's not too much because right, it's it's not the same, right that say, if you if it was the same, it would be something you hurt You would hear on the radio where everything is so crunchy and compressed. So let's listen to this. We'll make it a bit quieter, so we're not blowing out your dreams, but we consider but closer. Hello, everyone. My name is Andre. Angela. So it's It's closer, right, which is what you want. So now let me show you what I'm talking about with that radio, that radio voice over. So with with you, some people do the voiceovers like this, and it they don't realize it sounds terrible, but let's set the threshold to the a lot quieter. So this it's hard to tell what this is that Let's see that zoom in here. So we're looking at about 30 decibels. So now if we put minus 30 okay, which is basically the loud like that, the loudest it is right here and then put the ratio to, let's put it as eight. Okay, and then we'll leave everything that's saying we won't Let's not adjust the output game so that everything is just cut. Nothing's added. Let's zoom. So now look, everything's the same, right? Everything's the same. We have it quiet. So let's just leave this little button here. We could bring everything up and you can see it's very close to being the same. Actually, let's do it a little more extreme than that. Even let's put the ratio to 15 and the threshold of 31 Earth. That's right, not 31. That's 35 you'll get. So now we have this. Let's apply it. So now these air virtually identical in volume, you can see that they're both the same thing. So let me turn this up a bunch and what will happen here since it's crushed so much and I'm turning up a bunch, you can see the background noise right here is through the roof because it's also being brought up so we didn't do the background noise reduction beforehand. So you want to do that beforehand? But let's listen to what's happening here. Hello, everyone. My name is Andre Angelo, so you can see that sounds insane. And some people do the voiceovers like that. You do not want to do that. Uh, you wanted to just be subtle changes, So there's more consistency. Basically, the reason use compression is so that if you're listening to something you don't know what's he saying? Oh, it's too loud. What's he saying? Oh, it's too late. What's he saying? Oh, it's still out. You're basically fixing that. So for this again, I would put it about 18 cause that's about the middle. I put the ratio to about four, said the attack release fairly even. And you don't really have to add output game right? And the reason you don't is because you can always fix that later. So let's just close that, apply this, get him closer together, okay, Then we can bring them both up and for voice over. It's good to not go too far above, um, three decibels of I zoom out here, you can see that three right here and there's a little quick in the favorites is Ah, normalized three, which basically brings everything up until the loudest point of the entire voiceover, which would be pretty sure right here hits three decibels. It doesn't change the audio at all. It just scales up the whole thing. So let's hit. Normalize the three and there we go See the three. It's exactly right there. So now we have a bit closer. It doesn't sound overly compressed like the radio, but it's more consistent. Let's listen to this. Hello, everyone. My name is Andre Angelo Syria, and that's very brief intro to compression. 9. Limiter: Okay, now let's talk about a limiter. Ah, limiter Is is ah, gate, Right. What's happening is let's say this arbitrary hand position is the loudest you want your audio to be. And let's say the average audio of your audio is right here. So a limiter will basically boost up all of your audio until it hits this threshold. And then it just it just hits, right? It's so it's a form of compression where you're bringing it up, you're bringing it up and it won't go past this. It won't go past this. This blockage right here and it will keep bringing everything else up. So eventually, if you keep boosting and boosting it, you just have one big rectangle. So let's the record something. Hello, everyone. My name is Andre Angelo, and this is my limiter. Demonstration, demonstration. So I threw a little extra assassin there because I want to show you how the limited works. Eso So let's go here and let's go here the little arrow amplitude of compression and a hard limiter. Okay, so So first. What you want to do is is set your maximum amplitude so again for voiceovers. I never It So it's usually people want them no louder than three decibels. Eso We're gonna set it at three. So if we just leave it like this, nothing will happen because there's no imp abuse. So if I go right here and apply right, nothing happened because nothing's being triggered. Nothing's being cut off if this was louder. So let me use this little, um, decibel control thing here and put it above three decibels. So see, that's this little piece right here is above three. Now, if I had apply and since we have the threshold right here, set to three, it will cut that off to see that. Let me undo that. Succeed again. I've had apply everything. Say the same except that one little spot. See that right there? That's the only thing is changing. Okay, so now let's make this actually do something. So let's put this back to where it was before. Okay? Oops. I deleted my limiter. Parliament, So this again, this is very similar to compression, but it will. It will, um Migas. So you're not clipping at all. You don't want to boost things out of control. So let's set this. The three and let's set the input boost to so you kind of you kind of eyeball it here so you can see this is kind of your loudest spot of your normal not screaming audio. So we have. It's about negative 15 decibels. That's per that's about where the lines going. So we know the difference between that is 12 right? 15 right? Is that right? Ah, what is 15 minus 3 12? Yeah. Okay, so if we boost this up 12 decibels, right? Exactly what? That Waas. Let's hit. Apply And we can see that it's brought up and nothing's going over three. And this still isn't going over three. So let's listen to this. Hello, everyone. My name is Andre Angelo, and this is my limiter. Demonstration, Demonstration. Hello, everyone. My name is Andreas Hagan. See how everything starts sounding this. So let's listen to them. Including these two segments here. Demonstration, demonstration so that rigorous excitement is still there. But the volumes of the same. So let's let's do it. Before demonstration demonstration was much louder. So this is again another form of compression. But you could do this at the end. So let's say you have every all the effects done. You have everything the way you want it. But you just want to make it louder. Make sure everything's loud enough. You're constantly hearing it. But if you have one huge loud port portion like this, you don't want that to affect the whole thing. So you can see how I normalized it before. If I were to normalize this the negative three, it would just bring this up to negative three. But this is also quiet, so you can use a little bit of you. Can use a little bit of ah hard limiter here to fix that. So let's just put this at five. And you can watch the compare it, watch the difference between this peak and the rest of the audio. That's it. They're so see, this pretty much stays the same. This portion will still be louder, but this will basically catch up to the loudest port portion. So again we have here my limiter. Demonstration, demonstration. Okay, so now let me show you that rectangle thing I was talking about. If I do this like before and I'll be like a modern day d j. And we'll bump this up 50 decibels. Now it won't be loud, right? It won't be loud. It will be at three decibels. The whole thing. Pretty much. But what's gonna happen is you're gonna lose so much dynamic range that you can't tell if I'm whispering. You can't tell if I'm yelling so you don't want to ever do this. But for the sake of example, let's see what it looks like. So you can see this. This looks like some cool ADM song, but it's actually me talking and you'll see it's not loud because it doesn't go over three decibels and but at the same time, it sounds insane. Hello, everyone. My name is Andre Angelo, and this is my limiter. Demonstration, demonstration. So you see that my my breath is just as loud as me talking, So I sound like a lunatic demonstration. Jesus. Like a monster. But again, this is just another tool you can use to help fix the voice over So you can do compression . You could do the hard limiter depending on what you're doing. So let's do one last example. Hello, everyone. I am Andre. Angelo. Hello, everyone. I am Andre. Angelo. Okay, so we have a little thing here. And let's say we did our cool effects. We remove the background noise. We did our, um, high pass. We're a little past. We need it. Uh, and now we're at the end. We go. OK, this is all good. Sounds good. We just want to make sure everything's loud enough. So let's let the threshold to negative three. Let's set the, uh um input. Let's just something arbitrary like six until we see what it looks like in a second. And then, OK, we got here and we could see nothing actually reached. So what? Actually, in this case, what I would do is bring everything up to negative three. So with the North with the normalized, bring it up to three. I know we could go. Actually, this part's a little bit too quiet, and we can just very easily catch up those quiet parts by Let's just boost them three decibels. Nothing too crazy. And there we go. So we now we have Hello, everyone. I am Andre. Angelo. Hello, everyone. I am Andre. Angelo. Hello, everyone. I am on Cool. A sound Fantastic. So let's go into the next thing 10. Debreath: Hello, my fine pupils. And in this lesson, we will be looking at D, breathing deep breath ing what people say deep breathing. We're going to remove the breaths from the voiceover, and people get a little insane about this. So I'm going to record some breaths, Um, in in honest way. Not like like some crazy way. Um, and let's do the pack. Let's do the back of a bicycle playing card. Let's see, every time you open a fresh deck of bicycle playing cards, you're handling 125 years of expertise. We probably craft each deck using custom paper and coatings so you can trust bicycle performance hand after hand. Okay, just like other recording. Okay, so we have this very professional voiceover and let's do it in hand after hand. All right, so let's delete this. Let's delete this little blank area the beginning. Let's let's do a little Ah, let's do a little ah, call back to what we did earlier. Let's do a 60 hertz tapered off low pass. Let's do I don't really need to do this, but for the sake of ah, remembering what we're doing, this is basically not doing anything. But just remember this exists will do that. We will do a will. Do you some compression here? Ah, single band compressor. And let's put this. So this is I didn't This is a little quieter, so let's put this at. Ah, about I'm just eyeballing it right now. Let's put it about 20. It's with the ratio four, but these worth of five, it will be slight, but you'll see these bigger areas get reduced. Okay, we got that. So now let's bring this up to hope. Let's remove some background noise while we're here. Remember all these things we learned? Okay, let's capture that noise print with shift P. Now we use control. Let's control a select everything. Control shift P. And we'll move the background noise. Okay, there we go. So now we're we're we covered everything. We just did no PLO sieves in here. I don't think so. We can't touch on that. But now let's, um, normalize this three decibels. So we have this now. Every time you open a fresh deck of bicycle playing cards, you are handling 125 years of expertise. OK, so and again, these this where I'm recording is not the best. So you can hear some little rumble is in the back. But we're gonna talk about breath. And I recorded this whole thing basically for this one breath here, this breath here and this breath here and you could tell their breaths because the kind of like footballs and that's what Brits always look like. So let's listen of expertise. We probably There we go. And there's a bit of a formula that I don't believe in that I'll share with you, people say, and people being obnoxious people on the Internet say if you're removing the breath from a voiceover, you want to, um, just delete the breath first ball and then you're going to add in half the duration that was originally there, and that'll make up that space for the timing. So basically what they're saying is, if you remove the breath, it'll be a bit too quick. It's like if you just cut it out, it will be too quick into the next word. So the timing will be kind of thrown off, and you're gonna want ad in half that time. So let me show you were talking about to remove confusion. So this so you can see this right here is the breath. So what you would do is you would delete this or you could just delete if I didn't delete key. Or if you do in that little formula that we talked about earlier. Let's just lower it so we can't hear it anymore, and then you're gonna remove half. So that's about half. So then this is what people say is the best thing to Dio. So let's hear the let's hear the flow. Let's go. Let me go back a little bit so we can hear what we're talking. 125 years of expertise. We probably craft each deck using contrary natural rights. Let's of bicycle playing cards you were handling 125 years of expertise. We probably craft each deck using cuddle. In this case, it works pretty nicely, But I don't like the idea that you have to remove the breath and then add in half the duration of the breath. Like I think that's a bit too rigid. So something is very fast paced. Our fast paced, fast paid Yeah, paste. Sorry. I forgot how to speak English. If something's fast, fast paced, often times you can get away with just removing the voice or the breath completely. So if I'm going, come on down to Ford Auto Show. Sunday, Sunday, Sunday, Sunday. Did I breathe in there? I don't think I did, did I? I didn't really get along. Come on down to the Ford Auto Show Sunday, Sunday Sunday, right? So sorry for Peking. There. Let's see. Come on down to the Ford Auto Show Sunday Sun. So in this case, since the voice over so fast, right, if I remove this completely, you won't even tell us. Come on down to the Ford Auto Show Sunday, Sunday, Sunday. I have a little abrupt. Cut it off. Kind of bad. Sorry. Let's get our Ah, there Ord Auto show. Sunday, Sunday, Sunday. So there it almost sounds like there's too big of a gap. Come on down to the Ford Auto Show Sunday, something so I would even cut that out. I would remove more than the breath. I would remove this little spot here to order Auto show Sunday, Sunday, Sunday, right there. It sounds fine. So what? I'm basically saying is Don't let this arbitrary rule control how you d breathe yer deep breath. I don't know. There's a term deep breath. I think people say how you d breath your audio. So in this case, I would go a little less than half, so I don't move about there now. There's a few things you can do to make this process little faster. So for this one, let's see, let's on paper and coatings. So you control So this is a little a little little side a little Not so much of, ah, stand alone project here So you could do this. You could lower it till you can't. There's no audio anymore. Then you could remove half. You can do this so you can trust, but But what I like to do I find that a little tedious. So I you like to use Insert silence. And if you go to your eye, I'm unfamiliar with the actual location of But I think it's in here, though in so you edit insert silence so you could go. You could select this. You go edit, insert silence and then you can type in. I usually is about 0.2 seconds for my breaths so you can see it's about right there. It's a little it's not quite half butt's definitely small paper and coatings, so you can trust by and the length of your breath well usually depend on the project. So you could almost say that for this project I'm gonna have breath this long. So in this case, it's a little It's a little too long. So in this, I might have the whole project to be 0.1 2nd spaces between words. Um, so let me show you. So for example, I go like this Insert 0.1. You don't do this every single time, but there's my breath, like paper and coatings so you can trust there. That sounds that sounds awesome to me. But let's make that a little quicker. So we're gonna do the same thing. We're going to go edit keyboard shortcuts, and I already added it from before, but let's clear it. So you guys Ah, had a clear last time. Oh, it insert stepping. Tempers are not Insert seven. Silence. Silence. So started. Okay, it sounds to me clear it so again instead, silence and I just put mine on four and five. The close it and the It's a silent. So now we all we have to do. Is this. So before we had at this 0.1. So I hit four and it brings up a little menu. I've been 40.1, and that's it. It's done. And then to make it even faster is because if you were to do that, if you if you highlight something in it, for it gives you the duration of how much you highlighted. But let's say, for example, I always want to use this this length right here, so I could just copy that. So it's on my clipboard, Um, you know, control, see to copy and then paste it with control V. So let's undo both of these breaths. Oops. Let me undo my Sunday Sunday, Sunday, Out of the way. So now this right here is the original breath we edited for T's. We probably. So now we'll have to Dio is click here, highlight the entire window of the breath, which is this whole section here and hit control V. And it'll pace that 0.1 seconds in there that I made earlier. So then this is easy. It's similar to the PLO subdued earlier. You just highlight the breath hit control V and it deletes the breath and at the same time as a 0.1 2nd silence or whatever duration you want to add. So let me just do this without even listening to it. And now we've proved all the breaths. Let me actually ruled this ending. Learned Oh, after hand learned. Oh, I cut something off there. Treatments hand after hand. Okay, so this is just me cut off talking or something. Let me add a little OK soon. Alice doesn't do it after I just went through and pasted in silence is every time you open a fresh deck of bicycle playing cards you were handling 125 years of expertise. We probably craft each deck using custom paper and coatings so you can trust bicycle performance hand after hand every time you so in these you, Ellen, let's say I want these two space to be consistent right here so that it sounds like a little sorry. It's bicycle performance hand after hand. So that's little more consistent. The spacing there. But now you can see how easy it is once you know how long you want your breaths to be. It's just a matter of pasting in all of these little windows of time as you're listening to it. So I mean, that's pretty much it. There's just don't be restricted by that rule, I guarantee you. If you look if you google anything about removing breath from voiceovers, they're going to give you that formula that take the breath, delete it and roost, reduce that time in half, and sometimes that's not enough space. And sometimes it's too much space. So use your ears with this and in some cases, for a lot of commercial voiceover. You do want to deep, deep, breathe, deep. Breathe. I think so. For short commercials that you see on the TV, those will never have breaths for audiobooks, long form narration. Those will almost always have breaths, but yeah, that is D breathing 11. Mouth Sounds: So this last thing I want to talk about is removing mouth sounds and by mouth sounds I don't mean speaking. I mean, gross. Little sticky sounds. Your mouth makes as you're talking. And this happens when you have it could just be happening because someone has some weird way of speaking. Or it could be because your mouth's dry. There's there's a good amount of reasons why this might happen. But I'm gonna record a gross voice over so you can see what I'm talking about. It's similar to smacking your lips. Are you talking? Hello, everyone. What we're gonna do today? That's about Holland. That was you. The best example is doing it while I'm talking. So let me try that one more time. So what we're gonna do is it's hard to do. It's not happen organically. Um, um okay, so now I just recorded the weirdest voice over, and you'll see why did. Right now, let's zoom in. So what we're gonna do is it's hard to do. It's not happen organically. Um, um, okay. Okay. So we hear myself sounding like I don't know, a dumb s, but we can see these little these little vertical lines and mouth sounds will always be vertical dotted lines like this. So you can see this sound right here is I think me hitting my teeth together. Think organically. It's kind of to see if you if you can hear it, turn it up because these sounds here, this one's a little more obvious, but it's me hitting my teeth together here and hitting my teeth together here. Think organically now, if you wanted to remove this in almost any other digital audio workstation, it is very difficult. But in Adobe Audition that we have specific tools to handle this. So you might think I'm going Teoh zoom in times 10,000 and delete this little portion of audio or something like that. But what you're actually doing is since it's happening in the voiceover, you might not tell here, but it's removing some of the voice organically. You're messing up the timing. You're messing up the voice over, right? So if we look at this, um, so we can see, um, starts here. But if you remove this whole area, we're cutting off some of my, um um so let's see how we handle this. Now. You have to have the digitals or what is it? The special frequency display open. And if you've done any drawing or any drawing in any digital programs like iPhoto, shopper, flash or illustrator, you'll be familiar with this. If you put your mouth in here, you could just select things right. There's nothing really to do in here except there. Nothing you can do. You can't do that. You can't do up here. So if we look here, this little tool here, this spot healing brush is very similar to the healing brush in Ah, Photoshopped. So you cook this brush. Now, when you get on here, you see, it doesn't do anything here, right? Because it wouldn't make sense. This is just volume down. Here is the frequencies. So if you take your mouse and click and drag here, weaken, highlight this little frequency this or this little mouth noise and you can see it just gets removed without touching any of the other audio. And you see this little piece down here and if the brush is too big or too small, you can adjust the pixel size here. So if we have some big noises, are it helps if, like if you zoom out, the brush doesn't change, so you can see it's if I zoom in like times. Even this far, this is appropriate size brush, but you kind of have to do it to how far zoomed in you are zoomed out. You are so you're kind of 25 is a good a good spot for, you know, about right here So you can see this is me hitting my teeth together and let's say this is me talking and I want to remove. I want to keep this breath in there, so let's listen manically um, So I'm breathing in through my mouth and nose at the same time, like a disgusting animal, But I'm also hitting to get my teeth together, so let's go over this enough. If you hold shift, it'll keep it perfectly straight. So look, if I don't hold shift, it's all over the place. But hold shift. You can't even write. You can't mess it up so you could see that's a good thing that what just happened since is a healing brush. It's making assumptions. It's it's thinking what you want to dio. And since I wasn't accurate with my my line. It's thinking I want toe. I don't know what it's thinking. It's thinking I want it louder. I don't know. So you want to make sure you're very precise with what you're doing. So it's right on there. So now it removes it. Otherwise, you can get little artifacts Like what I just did. So let me try to do it little by miss. So thinks I want almost ADM or to it. But if I do it directly on it, it's like, Oh, you want to remove that gross sound? Um, so you see, that whole teeth sounds grammatically um, so there, let's remove that one to move this. Um, so this this is very common. You can see this big group of vertical lines. This is oops, foaming off. This is before I talk. I go like that, and sometime in this case, you could just delete it. Um, but sometimes that'll happen mid word, and it's kind of hard to do because my voice isn't, um, like my mouth isn't dry right now, so I I'm not sounding like that, but you'll come across these in the middle of words and they'll always be vertical lines, always so you can go here and let's make the brush a bit bigger. And you look at you get is paint these away. You just paint your fears away and you can see it's not messing with the voice of, um Okay, so it's not happen, so you can see we go through. And we could just paint over all these So again, these, I mean, with these ones you could just delete. Like, you don't have to do it like that. You could just go like this, right? And it's not, um okay, but if you want to keep the timing the same and you don't want to affect other audio, you can just paint over specific things. Now, let me show you a different example. So this, uh, okay, let me delete this. And let's bring up another example. Um, you might have a whistle E sound in your words. Let me try to create one for you this Friday, This Friday? This Friday. So what I'm trying to do is make a little squeaky sound on that F and you can see it happen here. So these lines going up if it might. It's very hard to hear this over the over the this tutorial, but if you listen close, you can hear a little squeaks out this Friday. You hear a squeak sound. It's this. It's this Friday, and if you just go like this and remove that, it'll be gone. But the timing is all wack. A doodle Listen this Friday, so it's it sounds not better, but it sounds like there's no squeak happening, but it sounds like I'm a robot now, like missing some of my teeth. Listen, this Friday, so that's not really affects. Now he If you try to use the brush here and see these little lines going like this, that's the squeak. This is not be you. Anything that's an air usually looks weird in this. In this specialised play, let's bring up the brush again. And if we try to paint these away, you see, I think they don't really you can kind of work him away like that. That's a little better this Friday, and it sounds a lot better, but sometimes that won't work, and it's that is a bit a little bit T. Oops. Let me die out there. Okay, so I zoomed out. Okay, so one easier way to do this is since most of that sound is up here, it's kind of like an s sound. You can actually just remove these. And the way you do that is with this tool here, this the little selector tool, you click here or hit e Oh, I forgot to say earlier, the brush is be and the selected tools eat. And with this, you can just you could just make a little box and delete it, and you might think you're gonna lose some crazy. It's gonna sound crazy, but you have to remember that your only removing the frequencies that are around that mistake and most of the sound you're hearing is up up here. So let's listen to it this Friday. So the Friday is still there. It's the timing still there, but the squeak is gone this Friday, This Friday, This Friday. So now let's for example, let me show you. What if I move this now? It sounds insane. This Friday now isn't like an alien. But you see, since I'm only removing these frequencies, right, the let's see fourth at our four K to about maybe 500. This little window, That's no, that's not the sound we're hearing anyways or what we want to be hearing. It's kind of just unnecessary sounds, but since it's a mistake in there, we can easily remove it. Let's go to the next one this Friday, Okay to really squeak that are on this Friday. Ah, these aren't that these aren't that bad, But if you ever see one of these, it'll it'll look like a wavy lines. You can get it on Friday on Thursday and not the days, but you can get it on those kind of sound like you might get it on. Those kind of were, like with Is the word with gets a lot of those. Let's let's record some real fast with Thursday this Thursday, this Friday this Thursday. So again, it's it's really hard for me to recreate some of these sounds again in the in the project files. All include example really good examples off these things happening, and you can go through and try Teoh, edit them out yourself and post them so I can hear make some comments on it. You know, I'll help you out of this if you have issues real fast with Thursday this Thursday this Friday. OK, so this has got a bad. It's not necessarily squeaky, but there's a lot of just weird mouth noise happening here this Friday, this Friday in my mouth, like loses itself. So let's see. Let's try to fix this a little bit this Friday, so this whole area is just a mess. Let's this is removed and see what happens this Friday. That sounds insane. So this is what we might not be able to fix that well this Friday. Yeah, this is kind of because it's, you see, like this E removing a lot of this might not just fried it, you know, it's like with these it's these are instances where you just want to re record it like we fixed the squeak earlier. But this one is not. It's not is obvious to fix another one to fix. That's very similar to this is a whistle on the S sounds, and I'll try to recreate one of those right now. Um, swimming, swimming. It's kinda hard to get it. I got a little bit here so you'll know you'll hear it first because the S will sound like a whistle. And this is a good example. You'll see a very bright little mark in there and again, this isn't that good of an example. But it will look like this. Let's listen to it worse. It's It's a bit hard to create. Let me. Ah, let me. Actually, we're going a little a little jump here. I'm gonna pause the video, create a good sound, and then we'll come back. Okay? I took me a 1,000,000 takes, but I got a fairly accurate example. So sometimes you hear a voice over the hidden s sound and a combination of how their teeth they're formed and how their lips their form for that specific s sound, it'll make a whistle the sound. So let's listen to this one here. It's very subtle, but in this voice over there's a whistle and that whistle can easily be removed. You can see these yellow portions here, me, unp in this and move this. That's the way. Okay, so she just strip right here and this little notch right here, those are the whistle sounds. So let's go. Let's listen to it again. It's a s. But it turns into a whistle almost, and we can use our selector tool hitting E and just remove that little part that gets really loud. So just like I had delete, and if you don't want to delete it, I'll show you. I'll show you a way around that in seconds, but it doesn't do it. So which was almost completely gone. Let's listen to it with it. Actually lets those are on my ass is Ah, let me just copy this and face this and let's remove that one like we did like this. And let's let's do the whistle and then the no whistle. See, that's gone. Now let's remove this one, too. Okay? So you can see it's away and they'll be like, in this case, you might not want to fix it because it's not that big of a deal. But some voiceovers you get will have a really hard a whistle sound in them. So let's let's if it sounds too much, this reduction you're doing, you can highlight these and just turn them down as well. So, using this little tool, let's just take it down five decibels and you can see it's still there, but it's not as harsh anymore. So you might. You might be able to select this whole area cause it's all generally harsh and just lower this specific area by 33 decibel. Let's go a little more. So now it'll still the whistle will still be there because before we removed it, But in this instance, it'll be way more tame. So it's so it's I would move it more. So let's let's get this whole area and you can see what I'm doing here, Okay? And I would I would even still just like this portion and ruin a lot more. Okay, And this is more like fine tuning. If it's like, you know, a commercial voice over you're gonna want in your thousands of dollars of being transferred around to get this done. You're gonna want to take the time to do this. So let's see. And that's a way more pleasant sound. That whistle's gone. This is gone, but again, ideally, if there is a whistle and you have the voice over artists or you're the voiceover artist, re record the thing. It's not that hard to go. And you know you could even you could even go and then add in that s sound. You know, you could just record this sound That sounds good and just go over the your current that sounded. Just paste it in. And it will sound fine if you match the tone the right way, but that is removing the mouth sounds. 12. Closing Thoughts: So this was my little course on fixing little trouble areas of voiceovers Again. Individually, these little changes aren't that big of a deal. So if you just do a high pass and remove the rumbles, it won't. You know the voice, everyone sound that different. But if you do the high pass to remove the rumbles u ruv the background noise, you compress it. So the volumes are a bit closer together and it's not so all over the place. Dynamically, you limited. So everything's the right loudness. You go through in a just a breath, so the timing's right And you what we do at the end. We so, uh, took out all the mouth sounds all of these combined. If you look at the voiceover before and look in the voiceover after it is completely night and day, so in the projects files I will include a voiceover from myself that has all of these mistakes. Has all of these mistakes in one little track. And that'll be your project, right? He listen to the thing will be low rumbles. They'll be decent background noise will be mouth sounds. I'll get my mouth nice and dry. There will be PLO sieves. There will be everything that we talked about in this, And if I ever ADM or fixes in the voiceover, I'll make sure to update the final little voice of a project I give to you guys so that it includes what we learned. So good luck with that. This is my first course doing this kind of stuff. So any feedback is is appropriate. Um, and much needed. Ah, I don't really know what I'm doing with all these courses. So thank you for taking the time to take my course. I'm assuming eventually I'll redo this course so that it includes all the feedback you guys give me. And I'm sure I can once I get a better place to record and you know, a better camera that this will be a pretty clean course. So thank you for taking the time to learn what I have to teach you. I hope your voice over sound really good and no one hates you. Have a good day