Audio Mixing + Processing Voice in Adobe Premiere Pro CC

1. Welcome to this Class: hi there. And welcome to this audio mixing and processing voice class in Premiere Pro. So this class is for premier pro users who want to learn how to professionally mix and process the audio. So in this class you're going to learn the tools and techniques so you can mix your voice to a high standard. So this class is just under two hours long, and in this class, I'm going to teach you all about Gained on volume. We're then going to look at CQ essentials, and then we're going to look at mixing with EQ you in detail. We're then going to look at some noise reduction audio effects, including de Noise, Andy Reverb. We're then going to look at compression essentials, and after this we're going to have a deep dive into mixing with compression that I'm going to teach you how to use a de esa a limiter and also a loudness meter. So by the end of this class, you'll be a lot more confident at mixing audio on processing voice in Adobe Premiere Pro 2. How to Add Audio Effects to Audio Clips in Premiere Pro: Hi there. And welcome to this video on in this video. I just want to tell you a few things you need to consider before you start mixing your audio in Premiere Pro. So there's actually two different ways you can apply audio effects to your audio in Premiere Pro. So the first way is actually, by dragging and dropping your audio effects onto an audio track that you want to add audio effects, too. So right now on this audio track here, we can just go under effects and then go to audio effects. And here we can select the woody effect that we wish on Just drag and drop it onto this audio track. So just for this example, let's go on to filter on e que And now that select parametric eq you. And here we can just drag and drop it onto this audio track. And now you'll notice under the effects control tab. Here we scroll down. You can see Parametric eq you If I hear edit, you can see this eq you will appear we're going to look at Parametric eq you more detail later on. I just wanted to quickly show you how you can add Already effects on the other method is to actually apply the audio effects overall to the whole track. So it doesn't matter how many track should put their effect will be applied across every clip you insert and we can do this with the audio track mixer. So to access the audio track mixer, go to window, then go down to audio track mixer and here it will display our audio track on the audio on this track. Is this one here? Order one. So if I just play this truck back now, you'll be able to see signal coming through. Or do you want cut logic sampler? So in the logic 10.5 update and now to access the slots for our audio effects, we need to hit this disclosure triangle here and here. We can add up to five different order effects so I can hit this small disclosure triangle here and here. You'll notice we have Parametric equaliser as well. So you can just click on Parametric Equaliser and it will bring up this Blufgan. So no matter what clips we have on this audio track, it will apply this parametric eq. You you might be thinking that this second method could be more useful. However, unfortunately, in Premiere Pro, you can only add up to five audio effects to the mixer, and really, we want to add seven order effects on. In my opinion, five or the effects just isn't really enough to mix your audio professionally. However, if you just want to add up to five or the effects, then you can use this mixer to apply these order effects. I'm just going to click on the disclosure triangle again and select none to remove this Parametric equaliser. Alternatively, you can right click or control click on your audio and then go to Edit Clip in Adobe Audition on Adobe Audition allows you to add more than five or the effects in the mixer, but we're not going to cover this in this section. I'm just going to show you how you can make sure audio in Premiere Pro No in Adobe Audition , However, this is another possibility for editing your audio if you do have Adobe Audition. But for this entire section, the method I'm going to use is the first method where we're actually going to apply the audio effects on to eat clip. So we need to go to the effects control here and then slept audio. And then you can see we have the audio effects here. And of course, we can go to the effects tab, think of audio effects and then find the type of audio effects once adhere. So when I import my video, the first thing I do is actually apply the audio effects. Because, of course, you can edit the video and then apply the already effects afterwards. But if you apply the already effects to the audio clip before you add the tip, then if you cut up on move it around, the audio effects will still be applied. Let's just go over to the rays. It'll and I'm just going to cut this up for this example. Now if we select each of these clips, you can see the Parametric EQ. You is on each of these. Let me just undo this with command said or controls at on windows. And now if I used the blade tool again and then I'm just going to apply a parametric eq you onto the first clip on, not on the second clip so under audio effects filter and e que parametric eq you you can see that we have to parametric eq use for the first lip on the second clip Doesn't have that new parametric eq you so just bear that in mind A do recommend applying all of your audio effects before you add it Your video That way, Once you finished editing, you don't have to go back on apply All of the audio effects are already going to be there. We can, of course, however create presets. So, for example, if I right click on this parametric eq you here, I can go down to save preset. We can save this or we can actually copy and paste different order effects by just going down to copy and then pasting the audio effects onto other clips. So there are pros and cons for these free different methods for adding audio clips. Also attached as a resource is the different video and audio files that were going to be using in this class and you can access this resource by clicking on to project on resource underneath. Of course, player on then, from here you can download the zip file under Resource is so If you'd like to follow along , please feel free to download this resource and import it into your own premiere pro project . Alternatively, you can usually earn audio. Each voice is different, so you may not want to use the exact same settings as me. However, you can use the principles and theory that I teach you. Apply this to your own audio. Okay, so in the next video, we're going to look at gain. And in this video, I've just showed you the basics off adding audio effects to your audio in Premiere Pro. 3. Adding Gain/Volume in Premiere Pro: hi there, and welcome to this video where we're going to be looking at gain. So in Premiere Pro, they actually call gain volume. And if we select our track and go under effects, we can see here we have volume on channel volume. Let's just look at volume, though, So I'm just going to hit this disclosure triangle, and I'm just going to make sure any key frames are deleted for the volume. On with the slider, we can change the level. So the order we have our audio effects actually makes a difference on when you record your audio. I do recommend having some headroom so the audio won't clip or distort at the largest points and of our audio. We can turn this up. We have gain in this case is called a volume so we can turn up our audio with again, so it's louder before it goes into the over already effects. So going over to the mixer and we have these volumes sliders for the different tracks. The's volume sliders, however, will actually change the volume after the effects processing, but we've gained. We want to change the volume level before it goes into the audio effects. So let's just go back to the effects control and make sure we select our track to see these effects on later on. In the next few videos, we're going to be adding of audio effects. So actually going to be adding on e que a de noise plug in a compressor at the ESA a limiter on a loudness meter, and we want the level off the audio to be loud enough before it goes into these effects on . Like I said, we control this level with gain. So I just want you to know the difference between gain on volume. So gain is controlling the level before it goes into the effects on volume is controlling the level after has gone through the effects. So it does seem very similar, but it does affect how the audio is processed. Later on, we will be turning up the level again with limiter. But I do recommend setting your gains so your audio is around about minus six db It is already at that level. Don't worry, you won't need to add any gain, but for this example, I'm actually going to add 10 db off gain so to do this, let's go over to level. And here I'm just going to type in 10. I have had a 10 db gain. So if I play this audio back now So in the logic 10.5 update, they got rid of the excess 24 replaced it with this sampler so you can see that on this order Meter audio is around about minus 60 bay. And if I just bypassed this volume or the effect on play, this audio back has gotten updated user interface and is much easier to use. One thing to know our audio there is averaging around about minus 16 db. Which is why I added the 10 db off gain. So that's what I really recommend trying get you Audie around about minor six before it goes into the different audio effects. Like I said later, run, we will actually be adding more gain with a limiter. But now we have enough gain for our audio to be processed efficiently on. We also have enough headroom so the audio won't clip. Like I said, there is a distinction between gain and volume, and this is a step that people often forget, and it can affect the quality off your audio. In the next video, we're going to dive a lot deeper and have a look. A parametric eq you I'll see that. 4. Parametric EQ - Part 1 : An Overview of EQ and the Plugin: Hi there and welcome to this video. But we're going to be looking on overview off the parametric eq you in premiere Pro So e Q stands for equalization on we ik you to alter the frequencies off our audio on the parametric eq. You is great because it allows us to find the frequencies we wish to boost or attenuate. So let's open up the Parametric eq you in premiere Pro So under audio effects, let's go down to filter and e que And if we scroll down here, you'll notice we have parametric eq you that I'm just going to drag this over to our audio clip here and then hit the disclosure triangle next to Parametric eq you on that select edit. There is other types of e que There is a graphic eq you in Premiere pro. The's have fix bands and the Parametric EQ. You allows us to choose exactly where we want to make changes, which is why I recommend using this type of e que for mixing audio. So let me just play back this audio now and you'll notice in this parametric eq you It has a real time analyzer. So we can visually see in real time what frequencies are being played in this audio. If you have used that year, access 24 in the past, this actually uses the same file type, so you'll be able to open up your old instruments in this new sampler. If you scroll down to where it says sampler, you'll be able to choose it. One thing I'm just going to do now is actually enable the loop. So you notice here we have the loop playback button. If you don't have the loot playback button here in this toolbar, just go over to the plus bottom. And here you can actually drag over the loot playback into your toolbar if you wish. And then we need to set their loot, Marcus. And then I just hit the X button on my keyboard to bring a blue markers. Or you can right click where you want to market and also where you want to mark out for your lube. So just right click mark in a market for your loop. So I'm just going toe loop this section here. Okay, let's edit on the parametric EQ you again on Bring this up so Like I said, we do have an analyzer on this e que. And it can be useful as a visual guide. But I do recommend not to rely on this analyzer too much because it is a good idea to train . Your ears are not focused too much on the visual analyzer. Um or listen to the audio, it's on this EQ. You here we have the low frequencies on the left and we have the high frequencies on the right. So the low frequencies start at 20 hertz all the way over to 30,000 hertz. So the smaller the number lower the frequency on the higher the number, the higher the frequency. And we have these different bands here in this e que of these allow us to boost or attenuate the volumes at different frequencies. So on the Y axis here we have decibels. So, for example, zero is zero db and if we go above zero db, we are boosting the signal and if we go below zero, we are cutting or attenuating the signal on this EQ. You actually has free different types of bands and they can be adjusted independently and we also have three different controls for each of these bands, which is frequency gain on cue. Like I said, we have free different types of bands. On them was 1 to 5. These are center bands on. We have l on Hey H and these are high and low shelves. We also have a high pass on a low pass filter which by default, are disabled. But we can turn them on with these buttons here. I'm going to go into these different band types in a lot more detail. In a few minutes. I'm just going to show you some more of these basic controls. So for these five bands here, you can set the center frequency. So, for example, on band number one for increased the frequency, the small number one move to the right, and if I decrease the frequency, you can see it move to the left and then going down. We have gained control, and this allows us to boost or attenuate the selective frequency on this is measured in decibels or DB on below. This we have the Q or width on. This is how wide or narrow the selected frequency band is. So if you have a larger cure amount. You will have a wider range of frequencies. Or if you have a smaller cure amount, you'll have a narrower band of frequencies. So let me just increase the game for this center band. Now I'm just going to decreased a que and you can see there. We have a really wide band of frequencies. Now, if we increase this Q, you can see it goes a lot narrower. They got rid of the excess 24 replaced it with this sampler is gone updated user interface and is much easier to use. One thing to know if you have used that year access 24 in the past. This actually uses the same file type, so you'll be able to open up your old instruments. In this new sampler, you can find this instrument. They got rid of the access 24 replaced it with this sampler. So what I was doing there was I was just adjusting the Q or the whip off this band. Then I was adjusting the frequency, and then I was adjusting the gain, so I'm just going to put this game back to zero db like I said before, we have L on Hey H. So these are low and high frequency shelves, and these work a little bit different to the center bands. So instead, off boosting or attenuating the center frequency, they actually boost or cut the center frequency and then continue boosting or cutting the center frequency. So let me just show you now. So if this high shelf as odd some gain, I'm just going to move the center frequency. Unless turn off this low pass filter and you can see there. It's boosting the frequency and continues to boost the frequency. And same for the low shelf. Let me just turn off this high pass filter. We look at these filters in the moment, just going to increase the gain that's increased the frequency you can see there. It boost the frequency and then continues to boost. We can also do this for cutting, so I'm just going to decrease the gain and you can see there. Let's cut the frequency and continues to cut. The frequency has gotten updated user interface, and it's much easier to use. One thing to note. If you have used that year, access 24 replaced it with their sampler is gone. Updated user interface. So the Q options for these shelves are actually slope controls, which determine how steep the slope should bay. So you can select this here if you want a steeper shelf. Okay, so now lets reset all of the settings. So if we go on to pre set up here, we can go down to four. Reset. There we go is completely reset. You will have to turn these bands on again by selecting the band button down here, and same for the low pass filter on the high pass filter. He will have to turn his on with these buttons down here. Okay, so now let's have a look at the high pass and low pass filters so you can only cut with these frequencies you can't boost, and they are designed to cut out or frequencies beyond the center frequency that you select . So the high pass filter allows you to filter out the low frequencies and allows the high frequencies to pass. Hence, the name high pass filter on the low pass filter allows you to filter out the high frequencies on allows the low frequencies to pass. Hence the name low pass filter. So the frequency here allows you to choose where the filtering will begin. It is much easier to use, I think 24 in the post. This actually uses the same file type on the gain control here. This allows you to choose the steepness off the slope. And these are a decibel per octave slope control. So the higher the number here, the steeper the slope will be on the lower the number the more gradual slope will be. Let me just show you. So if we change this to 60 be productive and notice. It's a very gradual slope. And if we change this to 48 db per octave or notice, it's a much steeper slope. Prince, In this new sampler, you can find this instrument. They got rid of the access 24. Okay, let me just turn off this high pass filter and I'm going to do the same with a low pass filter, so you would have noticed there the high pass filter was filtering out. The lower frequencies on was allowing the higher frequencies to pass on the low pass filter does the opposite. It allows the low frequencies to pass on will filter out the higher frequencies. So let me just adjust the frequency here and play this back and replaced it with this sampler just going to make this slope a lot steeper. You'll be able to open up your old instruments in this new some, so these filters can be very useful for removing any noise that isn't coming from the voice . For example, most voices won't really have any frequency content below around about 50 hertz or above about 20,000 hertz. So you can always filter out these higher frequencies or lower frequencies because it's just going to be noise and it won't actually be the voice. Okay, so that's a quick overview off this EQ you In the next video, I'm going to show you how to mix two different examples with this e que onda video. After that, I'm going to show you some more features and functions off this week. You Thanks for watching, and I'll see you in the next video 5. Parametric EQ - Part 2A: Mixing Examples - Example 1: Hi there. Welcome to this video. We're going to continue looking at the Parametric EQ. You in Premiere Pro in this video, we're going to be looking at some mixing examples, some going to show you two examples in this video, one has been recorded with a podcast microphone in a treated room and the other has been recorded with a love mike outside. So in the start up of the first example, which is the example that has been recorded with a podcast microphone in a treated room, the same piece of audio we looked at in the last video. So the first thing you should ask yourself when you're queuing is what in the frequency spectrum needs adjusting on. Is there anything that I don't like in this sound? So I'm just going to turn off this low pass filter on. Listen back to this audio. Now you can find this instrument. They got rid of the excess 24 replaced it with this sampler has gotten updated user interface and is much easier to use. One thing to know if you have used that year access 24 in the past, this actually uses the same file type, so you'll be able to open up your old instruments in the to be on this. This has been recorded well and there isn't really too many problems. However, there's still a few things we can do when you queueing this audio. So the first thing I would do is actually roll off any frequencies below about 100 hertz. Because for this audio, the voice doesn't really go below 100 hertz. So anything below that will just be unwanted sound such as noise. So we can just roll this off with the high pass filter. So I'm going to go over and turn on the high pass filter here that I'm going to set the frequency for this high pass filter to be 80 hertz. Andi, I want this a lot steeper. Let's try 30 db per octave. And now let's listen to this back. This new sampler you can find this instrument. They got rid of the excess 24 replaced it with this sampler. As you can hear there, this isn't actually ruining any of the audio. We're just filtering out any unwanted sound. It is quite subtle, but it can make a difference to your mix, uh, is gone updated user interface, and it's much easier to use one thing to note if you have used that year access 24 in the past, I was just a being the effect with this on off button for the effect here just to listen to this audio with the e que onda without the e que. This actually uses the same file type so you'll be able to open up your old instruments in this new sampler. Using this high pass filter is very subtle, but like I said, it doesn't ruin the audio and just gets rid of some noise that we don't need in this audio recording. And I'd also do the same with the low pass filter. So let's just turn this on. So let's try. This are 18,500 hertz and let's try the slope at 30 db per octave as well. Same again. I'm just rolling out some of the highest because for this audio recording, the voice isn't going above here. So this again is just unwanted noise that we don't need. You can find this instrument. They got rid of the excess 24 replaced it with this sampler has gotten updated user interface and is much easier to use. One thing to know, if you have used that year access 24 in the past, this actually uses the same file type, so you'll be able to open up your old instead. Okay, So what we need to do now is just less than back to this audio and just think Is there anything that we don't like, or how could we improve the frequencies? Okay. One thing I want to do is actually change the range. So down here we have range 30 db on 96 db so you can use the 96 TB range for more extreme adjustments. However, for this I want to make some more precise adjustments, so I'm actually going to change this range to 30 db. Okay, so let's have a listen back to this audio again. Instruments in this new sampler, you can find this instrument. They got rid of the excess 24 replaced it with this sampler has gotten updated user interface and is much easier to use. Okay, so the first thing I noticed is the audio is a little harsh in the high end, I would say around about 7000 hertz and a lot of this is to do with the harsh s sound. So the sibilant sound that you get from audio recordings later run. We will be using a plugging called a de Esser to reduce some of these harsh sibilant sounds . But we can also reduce it here in the queue. So let's use this banned here banned five. And I'm going to change this to 7000 hertz. So if you do want to attenuate certain frequencies, I recommend first boosting and then sweeping to find the harsh area and then attenuate so on Band five here, let's add some gain and listen to this back and then sweep the frequency. So just moved this frequency around to find that harsh, sibilant sound thing to know. If you have used that year access 24 in the past, this actually uses the same file type, so you'll be able to open up your old instruments. In this new sampler, you can find this instrument. They got rid of the excess 24 replaced it with this sampler has gotten updated user interface and is much easier to use. One thing to know if you have used that year access 24 in the past. This actually uses the same file type, so you'll be able to open up your old instruments in this new song. So it's so around about here. 7500 Hertz is quite harsh is quite SC. Let's just listen to this back again. Sampler. You can find this instrument. They got rid of the access 24 so I'm just going to change the queue. Let's put this a little bit wider and replaced it with this sampler is gone updated users Because the frequency isn't just at 7500 hertz. It's around this area, which is why I've made the Q a bit wider on now. Let's attenuate this. So we're going to reduce the gain just slightly, though, because, like I said, we will be using a de ESA later on the interface and is much easier to use. One thing to note. If you have used that year access 24 that's a bit nicer. It's less harsh now, so we can always turn this band on a rough to a B the changes that we made in the past. This actually uses the same file type, so you'll be able to open up your old instruments. In this new sampler. You can find this instrument. They got rid of the excess 24 replaced it with this sampler is gone. Updated. It's very subtle that does get rid of some of that harshness. Okay, another thing I'd like to do is make the low end sound a bit Fala. So let's use band number one for this example. I'd say it round. About 100 hertz. Same again. Let's make a boost and then sweep by 100 hertz. Then let's make a boost. Did user interface and is much easier to use. One thing to know if you have used that year access 24 in the past. This actually uses the same file type, so you'll be able to open up your old instruments. In this new sampler, you can find this instrument. They got rid of the access 24. Remember, you can click and drag to move these numbers. We can click and type in the exact amount that you wish and replaced it with this sampler is gone. Updated user interface. So around about 110 hertz is nice. This is a bit too extreme, though, so I will be lowering this gain in a moment, and it is much easier to use. We can hear their that Lauren just sounds a bit follow now. One thing to know. If you have used that year access 24 in the past. This actually uses the same file type, so you'll be able to open up your old instrument. That's nice, but it's a bit too much. So let's move this down, too, to debate. It's in this new sampler, maybe slightly more. You can find this instrument. They got rid of the excess 24 replaced it with this sampler has gotten updated user interface and is much easier to use. Let's just make this cute a bit narrower. One thing to know if you have used that you accepted, so we're boosting around a tighter area. Access 24. In the past, this actually uses the same file type so you'll be able to open up your old instruments. In this new sampler. You can find this instrument they got rid of the excess 24 replaced it with this sampler. I do recommend wearing headphones or using studio monitors for this because these changes are quite subtle. You noticed When we add all of these different changes together, it will make a big difference to your audio. So a lot of this is really training go here and listening to the different frequencies. Okay, so now I think it's a bit too resonant on ditz ringing out a bit too much around about 150 hertz. So after the boost, do you think it rings out a little bit? So let's use Band number two on Let's put this out. 150 hertz. Let's just make a boost so you can hear this ringing sound has gotten updated user interface and is much easier to use. One thing to know if you have used that year access 24 in the past. This actually uses the same file type, so you'll be able to open up your old instruments. In this new sampler. You can find this instrument. They got rid of the excess 24 replaced it with this sampler is gone updated user interface , and it's much easier to use one thing to know if you have used that year access 24 in the past. This actually uses the same file type, so you'll be able to open up old. So I found the area that was ringing out and then brought down the gain and then just adjusted the queue around this area. And remember, you can maybe these different bands instruments. In this new sampler, you can find this instrument. They got rid of the excess 24 on replacing. And of course you can maybe the whole plugging up here with this bypass bottom, baste it with this sampler has gotten updated user interface and is much easier to use. The next example I'm going to show you will be more obvious. I just want to show you this one first, because ideally, you want to be recording your audio in a treated room with a good microphone to really, this should be more similar to what you're going to be editing. Okay, it's starting to sound good now, however, I do want to reduce some of the mid frequency as it just seems a little bit too full in that area. So same again. Let's boost to find the area where it sounds a bit too full, I'd say around about 400 hertz so about this area here. So let's use band for move this over to about 400 and then boost here. One thing to know if you have used that year access 24 in the past. This actually uses the same file type, so you'll be able to open up your old instruments. In this new sampler. You can find this instrument. They got rid of the excess 24 replaced it with this sampler is gone updated user interface . And it's much easier to use one thing to know if you have used that year access 24 in the past, this actually uses the same file type. So okay, so I'm starting to like this now. There is a few more subtle changes that I'm going to make to this audio. For example, I think of attenuated a bit too much here, some going to use band free now just a boost here as well. So let's have this around about 180 hertz and I'm just going to abuse him. Gain here just to bring up a bit. Let's have a wider que, sir, If I bypassed number free, you can see there ever finish. Just pulled out a little bit too much. I'm just going to boost it up. With Band Member free, you'll be able to open up your old instruments in this new sampler. You can find this instrument. They got rid of the excess 24 replaced it with this sampler is gone. Updated user interface. Do you think I've boosted the base a little bit too much? So I'm just going to bring this down and we can actually do this with the shelf. Some guns, but the low shelf on 110 again, I'm just going to use this ready just to bring it down. Of course, you can do this with band number one. I just want to show you how you can use the lower shelf as well. Let's try minus 1.5 db. Let's make this a bit steeper with the whip button here, so if I turn the shelf on enough, you can see I'm just bringing down this boosted area. Let's listen back now, it is much easier to use one thing to note. If you have used that year access 24 in the past, this actually uses the same file type. So you'll be able to open up your old instruments in this new sampler. Okay, I'm actually going to just make the high end a little bit brighter on. We can do this with the high shelf as well. So round about 15,000 Hertz just going to boost just a small amount. Let's try half a DVD. You can see that. I've just boosted this high and slightly. If I bypassed this, you can see. So this is very subtle as well. But you can use thes shelves just to make some subtle adjustments to audio. Let's listen to this back. Now I'm going to bypass this plug in with the light passports on up here. You can find this instrument. They got rid of the excess 24 replaced it with this sampler is gone updated user interface and is much easier to use. One thing to know if you have used that year access 24 in the past, this actually uses the same file type, so you'll be able to open up your old instruments. In this new sampler. You can find this instrument. They got rid of the excess 24 replaced it with this sampler has gotten updated user interface. That is much easier to you can hear. That's very subtle, but we've boosted the base were taken at some of the resonance. I have also reduced some of the load muddiness. I have also boosted the high ends on also taken out some of the sibilant sounds. Like I said, this is very subtle, but when it's combined all together, it can improve the quality off your audio. 6. Parametric EQ - Part 2B: Mixing Examples - Example 2: So let's now have a look at this second example. The second example isn't recorded as well. It's recorded with a much cheaper level ear microphone is actually being recorded outside. So this audio will not sound as good as the previous audio recording. I've also added some gain before this e que Just 3.8 decibels. And here again, I have a parametric EQ. You have also created a look before this audio. Let me just zoom out so you can see this here. Okay, so I'm going to have a listen back to this audio Now on. I'm just going to ask myself, Is there anything that I don't like in this sound? And what could I improve with this? E que If you're going to make any technical videos trying to have a bit of energy, try and have a passion when you teach in on that, making videos a lot more interesting to also the first few videos put online all about a piece of software called Logic Pro 10. I've been using this software many years prior to making any videos on YouTube, and I thought it might be interesting to put a few videos online kind of help. A few people are about logic, pro 10. It can be quite difficult to use. Andi. I really enjoy making videos about logic, Protect have a lot of passion when I'm using the software. It's really fun to make music on there. And I think that comes across in my videos because, yeah, some of these technical videos that can be a little drop. Okay, so for this order example, there is quite a lot we can do because, to be honest, it doesn't sound amazing. And it wasn't recorded the best. The first thing I do is filter out any frequencies below around about 100 hertz. So I'm going to turn on the high pass filter and change the frequency to 100 hertz. Of course, we can sweep this back and forth to find the exact point. I think about 100 should be fine. Dry, a little boring trying, have a give and try and have a passion when you're teaching on that, making videos a lot more interesting to also the first few videos put online all about a piece of software called Logic Pro 10. I've been using this software many years prior to making any videos on YouTube, and I thought it might be interesting to put a few videos online on kind of help. A few people are about logic pro 10. It can be quite difficult to use on. I really enjoy making yes, about 109. Hertz is fine. I'm also going to make this a bit steeper. Let's try 48 db per octave. Videos about logic, protect have a lot of passion. When I'm using the software. It's really fun to make music on there. And I think that comes across in my videos because, yeah, some of these technical videos that can be a little dry, a little boring. So do you recommend? Okay, so I do believe it's sounding a bit too resonant around about 150 hertz, so it sounds a bit too ringy. So let me just find you that frequency now that should be around about 150 hertz and then I'm just gonna boost so you can hear this frequency if you're going to make any technical videos trying to have a bit of energy, try and have a passion when you teach in on that, making videos a lot more interesting to also the first few videos I put online. And now I'm going to cut this frequency bind all about a piece of software called Logic Pro 10. I've been using this software many years prior to making any video. Okay, I just want to make this Q a bit tighter. It's put this around seven on YouTube, and I thought it might be interesting to put a few videos online on kind of help. A few people are about logic, pro 10. It can be quite difficult to use Andi. I really enjoy making videos about logic, Protect Have a lot of passion. When I'm using the software, it's really okay. I'm just going to use the low shelf. Just the boost this area a bit more. So let's boost this around by 220 hats really fun to make music on there. I think that comes across in my videos because, yeah, some of these technical videos that can be a little dry, a little boring. So I do recommend if you're going to make any technical videos trying to have a bit of energy try and have a passion when you're teaching and that making videos a lot more interesting to also the first few videos put online all about a piece of software called Logic Pro. 10. I've been using this software, okay, so that's starting to sound a bit better, I would say Now, in the midst around 600 it's a bit too boxy and a bit too harsh, so I'm going to make a cut here as well. It's round about 500 Hertz. I'd say Let's just make a boost so you can hear this. But many years prior to making any videos on YouTube, and I thought it might be interesting to put a few videos online on kind of help. A few people are about logic, pretend it can be quite difficult to use on. I really enjoy making videos about logic, Protect have a lot about here around about 600 Hertz. So let's make a cut here a lot of passion when I'm using the software. Oh yeah, definitely. Here. That sounds better now. It's really fun to make music on there, and I think that comes across in my videos because, yeah, some of these technical videos that can be a little dry, a little boring. So I do recommend if you're going to make any technical videos trying to have a bit of energy, try and have a passion just made the Q a bit wider as well. About free. When you're teaching on not making videos a lot more interesting, it's also the first so you can hear that really gets rid of that. Harsh boxes sound in the Mids First videos put online all about a piece of software called Logic Pro 10. I've been using this stuff where many years prior to making any videos on YouTube, and I thought it might be interested in to put a few videos online on kind of help. A few people are about logic, pro 10. It can be quite difficult to use. Okay, some good to attenuate around about 6 to 8000 hertz now, just to get rid of any harsh S sounds to help reduce in any semblance. So let's use number five. Put this around like I said, 6 to 8. We will have to sweep to find the exact area. Andi, I really enjoy making videos about logic protect have a lot of passion when I'm using the software. It's really fun to make music on there. And I think that comes across in my videos because, yeah, some of these technical videos that can be a little dry, a little boring. So I do recommend if you're going to make any technical videos trying to have a bit of energy, try and have a passion when you're teaching, and that making videos a lot more interesting to also the first few videos put online all about a piece of software called Logic Pro 10. I've been using this software many years prior to making any videos on YouTube, and I thought it might be interesting to put a few videos online on kind of help. A few people are about logic pro 10. It can be quite difficult to use. So about their 6750 on I Really Enjoy. So that's cut here. Making videos about logic, protect have a lot of passion. When I'm using the software. It's really fun to make music on there, and I think that comes across in my videos because yes, some of these tentacles let's make this Q A bit tighter, so that's increases. Q number pickle videos that can be a little dry, a little boring. So I do recommend if you're going to make any technical videos trying to have a bit of energy, try and have a passion when you're teaching on that, making videos a lot more interesting to also the first few videos I put online all about so you can hear that's a lot more nasal on boxy when I bypassed Kiki, a piece of software called Logic Pro 10. I've been using this software many years prior to making any videos on YouTube, and I thought it might be interesting to put a few videos online on kind of help. A few people are about logic. Pretend it can be quite difficult to use on just going to make a few adjustments here as well. Make a cut around 1500 and then of one around about 3000 or so. I really enjoy making videos about logic. Pretend I have a lot of passion when I'm using the software. It's really fun to make music on there. I think that comes across in my videos because Yeah, some of these technical videos that can be a little dry, a little boring. So I do recommend if you're going to make any technical videos, try and have a bit of energy, try and have a passion when you're teaching, without making videos a lot more interesting to also the first few videos put online all about a piece of software called Logic Pro 10. I've been using this software many years prior to making any videos on YouTube, and I thought it might be interesting to put a few videos online on Kind of. Okay, that's good. Do you have this band here that's freed Number two so you don't necessarily have toe have them in order, you can use number one or number two, even if you want to adjust some of the higher frequencies help. A few people are about logic Pro 10. It can be quite difficult to use Andi. I really enjoy making videos about logic. Pretend I have a lot of passion when I'm using the software. It's really fun to make music on there, and I think that comes across in my videos because, yeah, some of these technical videos that can be a little dry, a little boring. So I do recommend if you're going to make any technical videos trying to have a bit of energy, try and have a passion when you're teaching on that, making videos a lot more interesting to also the first few videos put online all about a piece of software called Logic Pro. 10. I've been using this software many years prior to making any videos on YouTube, and I thought it might be interesting to put a few videos online. Kind of help. A few people are about logic pro 10. It can be quite difficult to use on. I really enjoy making videos about logic. Protect. Have a lot. Okay, that's starting to sound better now. I want to add a low pass filter, just a roll off any other frequencies above around about 10,000 Hertz, because we can't really hear the voice above this passion when I'm using the software. It's really fun to make music on there, and I think that comes across in my videos because, yeah, some of these technical videos that can be a little dry, a little boring. So I do recommend if you're going to make any technical videos, trying to have a bit of energy, try and have a passion when you're teaching and that making videos a lot more interesting to also the first few videos put online. Okay, let's make the slope gets steeper. Let's try 36 db per octave. All about a piece of software called Logic Pro 10. Okay, great. I'm just going to boost the highs a little bit on. I can do this with the shelf, so I'd say around about four K, I'm going to boost. I've been using this software many years prior to making any videos on YouTube, and I thought it might be interesting to put a few videos online on kind of help. A few people are about logic pro 10. It can be quite difficult to use Andi. I really enjoy making videos about logic. Pretend I have a lot of passion when I'm using the software. It's really fun to make music on there, and I think that comes across in my videos because, yeah, some of these technical videos that can be a little dry, a little boring. So do OK. So now let's bypass the plug in and hear the difference after the e curing on before do you recommend if you're going to make any technical videos trying to have a bit of energy, try and have a passion when you're teaching without making videos a lot more interesting to also the first few videos put online. Obviously, this example is a lot more extreme compared to the 1st 1 so you can hear that's very boxy and nasal when we bypassed this e que line all about a piece of software called Logic Pro 10. I've been using this software many years prior to making any videos on YouTube, and I thought it might be interesting to put a few videos online on kind of help. A few people are about logic pro 10. It can be quite difficult to use Andi. I really enjoy making videos about logic. Pretend I have a lot of passion when I'm using. Okay, so that's the basics off mixing audio with a Parametric equaliser Next video. We're going to look at some more settings and features in this e que thanks for watching and I'll see you there 7. Parametric EQ - Part 3: More Settings + Features: Okay, So in this video, we're going to look at some more functions and features for the parametric EQ you in premiere pro. So these are just some of the functions off this CQ I haven't covered yet, so the first thing I want to mention is presets. So if I click on presets up here, you can see we have this list of different presets. We have vocal enhancer, for example, in the software. It's really fun to make music on there, and I think that comes across in my videos because yes, and there's a few other ones as well. To be honest, I'd only really use the full reset preset if I do want to reset all of this and start again so presets can be a good starting point. But every voice is different, and the way you recorded it on the equipment use can be very different as well. So don't really recommend using presets unless you're going to start off with a preset and tweak from there. So I'm just going to undo this by hitting commands at a couple times, or controls that if you're on windows. So for mixing audio, you really have to critically listen and just spend some time to get it right. So for this video, I'm obviously mixing the audio really fast. But for a project, you should spend a lot more time on this to mix your audio just to get it right. Luckily, if you make any mistakes, you can just press undo, and you can always go back to the full reset and try again. I also recommend using a decent power off studio monitors or a good path headphones, because you will want some good quality monitoring gear so you can mix this the best you can. So going down at the bottom of the e que. We have a few settings here. We've only looked at range, but I just want to explain Constant on ultra quiet. So constant allows us to choose what values we have for the Q or with. So the key value here will be the whip off the center frequency weaken slept with, and it will change this value to hurts. However, Q is the most common setting for constant, then going across we have ultra quiet. This will actually remove some noise is a very subtle setting and it does require more processing power. Some of these technical videos that can be a little dry, a little boring. So I do recommend if you're going to make any technical videos trying to have a bit of energy trying. So if your computer is struggling, I recommend uncheck ing ultra quiet. Otherwise, you might as well leave this enabled as it will help you remove some unwanted noise and artifacts, then going across. We have range, which we looked at earlier, and it just allows us to view the graph in Eva a 30 db range or a 96 DB range so you can use the 30 DB range for more precise adjustments or the 1960 b range for more extreme adjustments. Okay, so now let's talk about the master gain on the left. So, for example, with this EQ you setting here, we're actually cutting a lot of frequencies. So if we're cutting, a lot of frequencies were going to be making the overall level quieter. So if you are making the overall level quieter, then you will want to increase them gain. That way, you can properly gain stage the audio on match the level of the EQ you turned on on e coup turned off. So when we hear the plug in enabled and disabled a level is the same because if it is louder, it can trick us to make us believe is better. So let's just play this back now on disable the plug in. Then I'm going to set again level. So it's the same level of the plug in, bypassed and on bypassed passion when you're teaching and that making videos a lot more interesting talk for the first few videos put online all about a piece of software called Logic Pro 10. I've been using this stuff where many years prior to making any videos on YouTube, and I thought it might be interesting to put a few videos online on kind of help. A few people are about logic pro 10. It can be quite difficult to use Andi, I really enjoy so you can listen back to balance again on the level meter. Over here can be useful as a reference to making videos about logic, Protect have a lot of passion When I'm using the software. It's really fun to make music on there. I think that comes across in my videos because, yeah, some of these technical videos that can be a little dry, a little boring. So I do recommend if you're going to make any technical videos trying to have a bit of energy, try and have a passion when you're teaching, and that making videos a lot more interesting to also the first few videos I put online all about peace. So they're about 5.5 db is the same level of the plug in, enabled and disabled. Also, if you're boosting a lot of frequencies in your e que, you're going to be turning up the overall level off the signal. So in that case, you will want to turn down the master gain, so the level is the same of the plug it enabled or disabled. That way, we can quickly bypass a plug in the helpers mixer audio the best we can. Okay, so in the last few videos I've covered this eq you in detail and have showed you some different examples. I hope now you're a lot more confident at using this parametric eq You. I remember you can always practice with the audio files that provided or you can use your own audio. But remember, your own audio will sound different to this. You can use the tips and techniques have taught you and apply this for mixing your own audio of this parametric EQ you. So thanks for watching on in the next few videos. We're going to continue mixing audio in Premiere Pro. 8. Noise Reduction - Part 1: DeNoise: Hi there. Welcome to this video. I'm going to talk about the D noise on also the D reverb audio effect in Premiere Pro. So these audio effects are only available in Premiere Pro Sisi 2000 and 19 and above. So if you have a version off Premiere Pro before C. C. 2000 and 19 than these plug ins may not be there. Okay, so let's first talk about D noise, so I will be putting the d noise plug in after the Parametric eq E. As we might as well filter out the sounds that we don't need with the eq you before we apply some more processing, such as removing background noise. Because some of the cuts we did with the EQ you will remove some off the background noise so the D noise tall can help you remove some background noise. However, this will only really work with constant noise that doesn't change in frequency for our time, such as fan sound or hiss. If you want to remove, say, traffic sound or people talking, then you won't really be able to do this with this audio effect. So if your audio was recorded outside for example, then you can't make it sound like it was recorded in a treated room of this plug in, So just be aware of that. So in the previous video, we looked at gain on e Que And now let's add this do noise plug in after the Parametric EQ you. So I'm going to show you the D noise and the river. Plug in on two new audio clips on. By the way, you can download thes audio files in the resources. So if you want to follow along with what I'm doing, please feel free to download those audio files. So I have one audio file that has some background noise recorded in quite a reverberated room on another audio file that has more background sound that's recorded in the Even Mawr Reverberated Room. So let's have a listen back to this first audio clip. Okay, so I'm recording now in a room. This room has not been treated and, to be honest, isn't the best location for recording. It's quite a large room. We are getting some reverberate sound in this room. There's no treatments. Sometimes you can't always control the environment that you recorded so As you can hear, there is quite a noisy recording on the second audio clip, which we're going to look at a bit later on is even more extreme. So let's go ahead and go over to the effects tab and then go to audio effects. And now we're going to go to noise reduction restoration that's first have a look at de noise. So let's click and drag this over to our audio clip and then hit the disclosure triangle on select Edit. Okay, so this is actually quite a simple plug in to use. First of all, down here we have the amount slider on This controls how much off the D noise effect you want to add all the way from 0% to 100% on above. This we have processing. Focus on this allows us to choose in the frequency spectrum where we want the D noise effect to focus on. So by default it will be on all frequencies. However, if the noise is a lower rumble sound, for example, you could select focus on lower frequencies. There's also focused on mid frequencies, focus on lower and higher frequencies and also focus on higher frequencies. So maybe if it's a high pitch noise in the recording, you may want to choose this option. So it really depends on the noise as not all noises take up the same frequency. But by default, the process and focus will be on all frequencies. So right now, I'm just going to play the audio clip back, and I'm going to adjust the amount so you will be able to hear the background noise being reduced. Okay, so I'm recording now in a room. This room has not been treated. And, to be honest, isn't the best location for recording. It's quite a large room. We are getting some reverberate sound in this room. However, I recommend using this effect sparingly, as if you add too much of this effect can ruin your audio. So I wouldn't really have the amount slide set too high. So for this, I'm going to select focus on all frequencies on the audio that you're mixing. Just have a listen back to the noise and try and work out where in the frequency spectrum this noise is happening. If you do have noise that covers a lot of different frequencies and recommend using the default focus on all frequencies. Okay, so I'm recording now in a room you can hear there when I have the amount down to 0%. All that background hiss sound room has not been treated on. When I increased this, you can hear it slowly disappear. We can't completely get rid of it, unfortunately, but we can remove quite a lot of this background noise Did. And to be honest, isn't the best location for recording. It's quite a large room. We are getting some Okay, going across. We have a check box here that says output noise only. So this allows us to just hear the noise that the D noise plugging will be removing in this . So you noticed when I increased the amount you will hear more of the voice because as we increased, this amount is going to be taking out some of the voice as well. Isn't it in this? Okay, so I'm recording now in a room I'm going across. We have this gained dial. So if you're removing a lot of background noise, then you may be bringing down the overall level off the recording. And if you are doing that, you can add some more gain here. This room has not been treated. And, to be honest, isn't the best location for recording. It's quite a large room. We are getting some reverberate sound in this room. There's no treatments. Sometimes you can't always control the environment that you recorded. So I'd probably have this reduced fair amount, maybe to about 10%. Okay, so I'm recording now in a room. Obviously, we can't reduce all of that noise, but it does make a big difference compared to before. I'm just going to turn on this effect on bypass it. Seeking here before and after we applied this d noise effect. This room has not been treated. And, to be honest, isn't the best location for recording. It's quite okay, Great. Let me show you the more extreme example. Now I'm just going to move over this loop. Let's have a listen back to this more extreme example, but I'm talking into the microphone right now in this quite large reverberated room. There is some back so you can hear there. There's actually a fan sound. This is quite a common problem because a lot of people who record videos next to a computer may actually pick up the computer fan sound on. We can remove some of the fans sound with this D noise plug in so same again under noise reduction restoration. I'm just going to drag over the noise onto this order clip. Let's hear edit on, play this back ground sound And it's also a fan sound. Sometimes this is not always possible, so that's bypassed this plug in. There is certain tools and techniques we can do in post, though, to help reduce some. I'm talking into the microphone right now in this quite large reverberated room. There is some background sound so you can hear there that does make a big difference. I'd probably have this around about 10% as well, because if we increase it any more than this, we are going to be ruining the quality off the audio. However, even at 10% we are dramatically reducing a lot of this background noise, and it's also a fan sound, so it is a good idea, ready to try and eliminate these background sound. I would also increase the gain here slightly just so the level is the same with the effect bypassed on enabled since before you record. Sometimes this is not always possible. There is certain tools and techniques we can do in post, though, to help reduce. 9. Noise Reduction - Part 2: DeReverb: Okay, so now let's have a look at the D River. Plug it. So I'm also going to show you on these two audio examples because on the previous audio clips, we looked out for gain on also, e que one of them was recorded in a treated room. On the other one was recorded outside. I would normally use the D River Blufgan if I'm in a reverberated room. Not really. If I'm in a treated room with minimal reverb or outside and with these two audio clips, one of them has a small amount of reverb. Any of one has quite a lot. Let's first have a look at the clip that has a lot of reverb. So this plug in is under noise reduction restoration, the reverb that's click and drag this onto our audio clip and then under the reverb edit. This is a very similar looking plug in two D noise, and it just has a few settings. I'm actually just going to bypass T noise. Fanara, let's play back this audio clip someone talking into the microphone right now in this quite large reverberated room, there is some background sound so you can hear there. There is a lot of reverb, and it's also a fan sound and same again, we can choose the amount. We also have the processing focus on all frequencies, lower frequencies, mid frequencies, lower and higher frequencies and also higher frequencies. So it is a good idea, ready to try and eliminate these background sounds before you record. Sometimes this is not always so same as the D noise plug in. You don't really want to apply too much of this effect. We can ruin the quality off your audio possible. There is certain tools and techniques we can do in post, though produce some. I'm talking into the microphone right now in this quite large reverberated room. We also have auto gain checked over here, So if you are removing reverb from the recording, then you may be bringing their in the overall level off the recording so you can add more. Gain here manually, or you can have auto gain checked, which will add gain to your recording automatically. If this Blufgan is reducing the level of your audio, there is some background sound that's also turned on the D noise. Plug in and have a listen to these together and is also a fan sound. So it is a good idea, ready to try and eliminate these background sounds before you record. I'm just going to bypass, spoke for these bludgeons and then turn them on against. They can hear the difference. Sometimes this is not always possible. There is certain tools and techniques we can do in post, though, to help reduce. So I'm talking into the microphone right now in this quite large reverberated room. This is quite an extreme example. I don't recommend you record in a room that was noises this or has as much reverb. Let's now apply the D reverb effect on to this first, less extreme clip. I'm recording now in a room. This room has not been treated and, to be honest, isn't the best location for recording. It's quite a large room. This one sounds a bit more usable. We are getting some reverberate sound in this room. There's no treatment. So this is with the effects bypassed mints. Sometimes you can't always control the environment that you recorded. Okay, so I'm let's turn these effects on recording now in a room. This room has not been treated and to be honest, isn't the best location for recording. It's quite a large room. We are getting some reverberate sound in this room. Okay, that sounds usable to me now, and compared to before, it is a lot better. So we have the previous clips that we looked at before one where I'm outside apart online all about a piece of software called Logic Pro 10. I've been using this software many years prior to making any videos on YouTube, so you may notice that this audio clip has a lot of bird sounds. So if there's any sounds that change in frequency, they're not constant. Then you may not be able to remove these with the D noise plug in. So if I go over to D noise and dragged us over to this clip, and I thought it might be interesting to put a few videos online on, let's just output the noise only e passion when I'm using the software. It's really fun to make music on that. I think that comes across in my videos because you can hear there we are removing some of the bird sounds Onda, as there are multiple birds are making noises at different frequencies. It can be quite difficult to remove these. So just be aware that the Romney sounds of people talking traffic bad sounds You may not be able to remove this with the D noise. Blufgan on the first clip here sampler is gone. Updated user interface and it's much easier to use. I may just add a small amount of D noise here in cases, any hiss sound or any computer fans sound. But to be honest, this was recorded well, but it may add maybe 5% or so off this do noise plug in. One thing to note, if you have used that year access 24 in the past, this actually uses the same file type. So you just in case there's any room sound there. But like I said, this isn't the most obvious example. Which is why I showed you with these more extreme examples. So I only really recommend using the D noise plug in if you have to. Ideally, you don't want to use too much off this plug in, or you can ruin your audio, but small amount can just get rid of some of that background, sound, background hiss or computer found sound. And for the D reverb. If you are recording in a large reverberated room, I do recommend trying to treat your room on, make it sound less reverberated. However, if you can't do that or fuel recording on location, you can use this D river plug in. But again, I recommend using this sparingly on Don't use to much or you will ruin the quality off your audio. So thanks for watching this video. I hope you found it useful, and I'll see you in the next one. 10. Compression - Part 1: Introduction: hi there. And welcome to this video where we're now going to talk about compression. So in Premiere Pro, there are a few different compresses to choose from. However, the compressor I'm going to choose is actually part of the dynamics plug in. So let's go over to the effects tab and then go down to audio effects. And here we can go down to dynamics and click and drag this over to our audio clip. Now, if we had it, we can see this dynamics plug in, and we will need to check this box here to enable the compressor. The reason I like this compressor is because I can visually see the gain reduction so we can see how much we are compressing with this meter here. Some of the other compresses don't have this gain reduction meter, which is why I don't really use thes. Also, this compressor has all of the essential settings I need for compressing, such as fresh hold ratio, attack release on makeup gain, and I'm also going to tell you what all these essential settings due in the next few videos . So a compressor is an audio effect that changes the dynamic range off audio. So what we're doing is basically affecting the volume off audio overtime, like compressing it down and then pulling up the overall level of volume with makeup gain. So a mix and vocals or a voice compression is really one of the most basic falls, so every audio editing software or digital audio workstation will include a basic compressor block him on. Some compresses will also have some more advanced features than this. But this compressor really has the essentials that you need for mixing vocals. So if you play this audio back now, you'll notice there's no compression. One thing to know if you have used that year access 24 in the past. This actually uses the same file type, so you'll be able to open up your old instruments and you'll notice here as well. There was no gain reduction, which means we're not getting any compression. So if we drive the fresh hold all the way back and we increase the ratio, you'll notice we will get some gain reduction here, and this will compress our audio. In this new sampler, you can find this instrument. They got rid of the excess 24. That's quite an extreme amount of compression. To be honest, I wouldn't have the fresh hold all the way down to minus 46 TB. But I just wanted to quickly show you that the compressor is working. So we're going to look at this in a lot more detail in the next few videos. I just quickly wanted to introduce you to this compressor. So in the next video, we're going to be looking at fresh hold on ratio in detail. See there. 11. Compression - Part 2: Threshold + Ratio: so the most important controls for any compressor on the fresh hold on ratio. So the ratio is how much compression you are applying on is actually a factor of how much you are applying, so lower ratios means there will be less. Compression on higher ratios means there will be more compression. However, the ratio isn't enough. You will also need to adjust the fresh hold on the fresh whole determines when the compression is actually happening. So the fresh hold allows you to select a specific level where the audio will be reduced or compressed. So if we increase the fresh hold all the way up to zero DB, then there won't actually be any compression because the signal cannot go above zero db because it will clip and replaced it with this sampler is gone updated user interface and is much easier to use. So you could hear there The compressor was doing nothing because we have the fresh hold set too high. But now if we pull the fresh hold down, this will allow signals to go past the threshold. So here, for example, minus 25.3 d b. Any signal that's above this number will be compressed at ratio off 3.6 toe want. So only signals that are above this fresh hold will be compressed on the amount of compression is to do with the ratio. So if we increase the fresh hold even more say to minus 8.5 db, This may only be the louder parts off the audio that will be compressed. So let's just play this back now. One thing to know if you have used that year access 24 in the past, this actually uses the same file type, so you'll be able to open up your old instruments. In this new sampler. You can find this instrument. They got rid of the excess 24 replaced it with this sampler so you could see there at minus 13.7 db only the louder parts were compressed. If you remember, previously in the Game video we have given ourselves around about minus 60 b of headroom, so the audio isn't really going to go above 60 b on the amount of compression is to do with this ratio that we set. So just for this example, I'm going to put the fresh hold all the way down on increase the ratio and you notice we will have some very extreme compression. It has gone updated user interface on is much easier to use. One thing to know, if you have used that year access 24 in the past, this actually used. We're mixing vocals. I will normally have the ratio around Frito One and wouldn't really have it any higher than 5 to 1 because I still want their vocals to sound natural and not to compressed. Also, I wouldn't normally have more than 60 be off game reduction at the loudest parts on compressing a vocal. So just have a look at this meter as well. I don't recommend this meter going above 60 b, which is around about here. This is the same file type, so you'll be able to open up your old instruments In this new sampler. You can find this instrument. They got rid of the excess 24 replaced it with this sampler. So this sounds like a suitable setting for the fresh hold on ratio. Here I have minus 16.7 db a ratio off 3.7 to 1. So remember the ratio is what's actually being compressed. So only audio signals above minus 16.7 db will be compressed. And then the ratio is how much is compressed. So if your signal is not very loud, remember, you do want to add some gain before this compressor, which we did in one of the previous videos with this for you Audie effect here. Okay, so that's fresh. Hold on ratio. Just remember, when you're compressing a vocal, you don't want to compress it too much. You still want to preserve some of the dynamics, but some compression can help you level out your dynamics and tame some of those louder parts. Okay, so in this video, we've looked at fresh hold on ratio. In the next video, we're going to look at makeup gain. 12. Compression - Part 3: Make up Gain: okay. So previously we looked at fresh hold on ratio. Which of the two most important controls for compression on Now in this video, we're going to have a look at makeup gain, so make up gain or makeup, as it's called in. This compressor allows you to add gain to the compressed signal. So when you're actually reducing the gain or compressing the loudest parts off the signal, you're going to be turning down the overall level off the signal. So of makeup gain, you can turn at the level off the signal. So it's similar to the UN compressed signal. Obviously, the dynamics will sound different, but when you're working with audio plug ins, I recommend having the signal bypassed on on bypassed the same level. That way, you can a be the plug in, and it will be the same level, because if one of them is louder, your brain may think it sounds better just because it's louder. Some compresses have an auto makeup game function, but for this compressor we have to do it manually. So if we play this back now on, we have a look at how much game reduction we're getting this is approximately how much gain we want to add. With this makeup gained, I'Il is gone updated user interface and is much easier to use. One thing to know, if you have used that year access 24 in the past. This actually uses the same filed, so you can see that we're getting around free to four db off compression. I also recommend you bypassed the effect on Then turn it on again and then try and level out this signal with the makeup gain type so you'll be able to open up old instruments in this new second here that is louder. When we turn off this plug in you sampler, you can find this instrument. They got rid of the excess 24 replaced it with this sampler is gone updated user interface and is much easier to use. One thing to know, if you have used that year access 24 in the past, this actually uses the same file. You can also have a look at this level meter on the side bile type and try and make sure the level bypassed on on bypassed is about the same level, so you'll be able to open up your old instruments. In this new sampler, you can find this instrument. They got rid of the excess 24 replaced it with this sampler is gone. Updated user interface. It is much easier to use. So about their 3.2 db off makeup gain Now the bypassed on on bypass signals arm or at a similar level. Okay, so that is makeup gain. And just remember, you will have to manually do this for this compressor. So I recommend having a look at how much game reduction you're getting with this meter, then turning on enough the effect. You can also turn the compressor on enough here with this plug in one thing to know if you have used it and then adjusting the makeup gain. So it's about the same level with the compressor enabled or disabled. You can also have a look at this level meter over here and try and get a level about the same. So when you're mixing allows you to turn on, turn off these plug ins and there'll still be at the same level. So in the next video, we're going to continue looking at this compressor on. We're going to look at the attack on release styles. See there 13. Compression - Part 4: Attack and Release + 2nd Example: Okay, so now let's have a look at attack and release. So both of these are in milliseconds. Let's first have a look at attack. So the attack is how long it takes a compression to kick in after the signal has gone above the threshold. So if we increase the attack time, we will actually hear some of the front transients, and we'll start to sound similar to the original audio because at the start of the transient, we may not hear the compression because it will take a bit longer to kick it. So if we have a very fast attack time, for example, let's put this all the way down to 0.1 milliseconds. It means the compression will start after 0.1 milliseconds. After the signal crosses the threshold, you can find this instrument. They got rid of the excess 24 replaced it with this sampler. And if we increase the attack time, you may hear some of the original material. Let's just use 10 milliseconds, for example, is gone updated user interface and is much easier to use. One thing to know if you have used that year, access 24 in the past, This is quite subtle, but for spoken voice like this, I will normally have my attack time between about five and seven milliseconds. So we want the compression to kick in for each syllable. But we don't want to quick, because we still want our voice to sound quite natural. This actually uses the same file type, so you'll be able to open up your old instruments. In this new sampler, you can find this instrument. They got rid of the excess 24 replaced it with this sump. Like I said, it is quite subtle. I would have this around about 6.5 milliseconds. Okay, so now let's talk about release. So this is also in milliseconds on the release is basically how long it takes the signal to stop being compressed. It's easier if we look at the meter up here, so I'm just going to pull the release all the way down to 10 milliseconds, and you'll notice that the meter will jump back quite fast. Plus is gone updated user interface and is much easier to use. Let's just make some or extreme fresh hold on ratio settings just so you can see this a bit easier. One thing to know, if you have used that year access 24 in the past, this actually uses the same file type. So you so you can see there. This meter is jumping back rather fast. However, if we increase this release to, say 500 milliseconds up old instruments in this new sampler you can find this instrument. They got rid of the excess 24 on replaced it. You can see that the gain reduction doesn't snap back as fast with this sampler. It's gone. Updated user interface on is much easier to use. One thing to know if you have used that you access 24. Obviously, these are very extreme settings and you probably do not want your compression to be like this. So I'm just going to set it back to what it was before. So I would normally have my release time around about 200 milliseconds in the past. This actually uses the same file type so you'll be able to open up your old instruments. In this new sampler. You can find this instrument. They got rid of the excess toe. The setting allows a compression to sound natural without being too slow, because if it's too slow than the game reduction will still be applied on the next word. Let's now have a quick look at the other audio clip on same again. I'm going to drag on the dynamics, plug in onto this audio clip and then enable compressor. And for this clip, I'm just going to also just the compression settings. Yeah, some of these technical videos that can be a little dry, a little boring. So I do recommend if you're going to make any technical videos trying to have a bit of energy, try and have a passion when you're teaching on that. Making videos a lot more interesting. Talk for the first few videos put online all about a piece of software called Logic Pro 10 . I've been using this software many years prior to making any videos on YouTube, and I thought it might be interesting to put a few videos online kind of help. A few people are about logic pro 10. It can be quite difficult to use, so you can see there. I set the essential settings are fresh hold on ratio, so we're only really compressing that louder parts. Andi. I really enjoy making videos about logic, Protect have a lot of passion when I'm using the software. It's really fun to make music on there. And I think that comes across in my videos because, yeah, some of these technical videos I'm just going to increase the attack on release can be a little dry, a little boring. So I do recommend if you're going to make any technical videos trying to have a bit of energy, try and have a passion when you're teaching on not making videos a lot more interesting to . Also, the first few videos put online all about a piece of software. The voices a lot faster in this video, so may use a slight quicker attack on release time. They're called Logic Pro 10. I've been using this software many years prior to making any videos on YouTube because we want to make sure we have compression eat syllable of the word, and I thought it might be interesting to put a few videos online on kind of help. A few people are about, and it is quite a bit louder when we disable the compressor, so we will need to add some makeup gain. That logic pretend it can be quite difficult around about four db seems to use Andi. I really enjoy making videos about logic, Protect have a lot of passion when I'm using the software. It's really fun to make music on there. And I think that comes across in my videos because, yeah, some of these technical videos that can be a little dry, a little boring. But there's good. So just quickly set the threshold ratio attack release on makeup gain. And now this levels out the dynamics and tame some of the louder parts off the audio. Okay, so in the last few videos, we've gone over the essential settings for the compressor. So this is really quite an important compressor to use. We've gone over the essentials, really? Off gained, e que compression. In the next few videos, we're going to continue looking at mixing voice in Premiere Pro. Thanks for watching, and I'll see you there 14. DeEsser in Premiere Pro: hi there. And welcome to this video where we're going to be looking at the de esa in Premiere Pro. So the ESA is actually a fast acting compressor, the only compresses at high frequencies or a certain band of high frequencies. So essentially a de Esser reduces that high end hiss from the S F or T sounds. Sibilant also depends on the voice itself and also depends on the position off the microphone. So if you're at the side of the microphone slightly, it will sour unless SC than if you're directly in front off the microphone so Mike placement can help with civilians as well. The distance could make a difference with semblance. So if the person is talking right up into the microphone, then there may be more siblings. And if they are, favor away from the microphone. However, you may not wish to be too far away from the microphone because you may capture Mawr off the room sound, which you may not want but feel recordings you can use a de esa toe help reduce some of the semblance. Be careful, though, when your DS ing, because if you use this effect too much that it may sound like the person talking has got a bit off a less, but the correct America could make the vocal recording sound less harsh. I'm also going to put the de esa after the compressor because sometimes the compression can call sibilant. So let's open up this de ESA in Premiere Pro. So let's go over to order effects and then go down to amplitude and compression. And here we have de esa and I'm going to click and drag this over to our audio track. So let's hit the disclosure triangle next to the de esa on here. Edit. So this TSA in Premiere Pro has a few different controls. On def we play back. The audio now is gone updated user interface, and it's much easier to use one thing to know. If you have used that year access 24. In the past, you'll notice that we have a visual analyzer. We also have this gain reduction meter, and we have a few settings here which we're going to look at, and then we have this preset drop down menu here as well. Let's work from this default, though, and not have a look out the presets because every voice is different. I don't really recommend using presets. I recommend finding the right setting for your voice or the voice that you're mixing. So let's first talk about this fresh whole dial. So if this gain reduction will only be applied to signals above this number, so with this fresh hold weaken basically only apply the reduction or DS ing to signals above this number. So if we have this at zero DB, for example, it won't apply any reduction to the signal because the signal won't be above zero db. So let's just love this and you can see here we have this game reduction meter, and this allows you to view the amount of game reduction being applied. Let's just play this order back. This actually uses the same file type so you'll be able to open up your old instruments. In this new sampler. You can find this instrument. They got rid of the excess 24 replaced it with this sampler is gone updated user interface and is much easier to use. One thing to know if you have used that year access 24 in the past, okay, up here. We also have mode how we can select even multi band or broadband so broadband will compress all the frequencies together. And multi band will only compress the semblance range. I would normally leave this on multi bands. However, this will be more CPU intensive. Okay, going down. We have center frequency and this is quite an important setting. So this is the center frequency that we're going to reduce. So it's the frequency where the semblance is detected at. So generally I'd have this between five and 10,000 hertz. That really depends on the voice that you're mixing for a female voice. For example, the frequency maybe a little higher on when we're just this center frequency. You can see this band moving in this graph above on below this we have bandwidth. Some of this we can narrow or widen the band of frequencies that we wish to attenuate. And you can see we are widening or narrowing this band in this graph above Okay. And below this we have this check box which is output semblance only, and this can actually be really helpful. So this will solo the band of frequencies that you have selected, so it just allows you to listen to the frequency that you wish to attenuate. So this button that can really help you find the center frequency on bam with. So let's have a listen to this vocal now and try and find the civilian area. But he uses the same way you point around this area going on things, using things I mean, I'm using. Okay, This area here is really the sibling area. And when we play this back with this output semblance only box checked, we can really hear that harsh s sound you is going on. I'm going to uncheck this box now and set the threshold level by ear face. It is much easier to use one thing to know if you have used that year access 24 in the past This So if we set this fresh hold level too low, it does sound like they have a lisp. She uses the same file type so you'll be able to open up your old instruments so he still wants some sibilant sounds. We just don't want it to be as harsh in this new sampler. You can find this instrument they got rid of the access 24 replaced it with this sampler is gone updated user interface, and it's much easier to use one thing to know if you have used that year access 24 in the past. This actually uses the same file type, so you'll be able to open up your old instruments in this so you can hear there that your old instruments so notice where there should be some very harsh sibilant sounds. We can see some game reduction in this meter. New sampler. You can find this instrument. They got rid of the excess 24 replaced it with this sampler is gone updated user interface and is much let's hear this block and bypassed. Easier to use. One thing to know if you have used that year access 24 in the past. This actually uses the same file type, so you'll be able to open up your old instruments in this. So let's find that part there. The old instruments prints in the since in this new summit mints in this new unless turn the stairs sobakam instruments. In this new sampler, you can find this instrument. They got rid of the excess 24 replaced it with this sampler is gone. Updated user interface on is much easier to use. This quite subtle, but it just tame some of those harsh s sounds. So I think I should have the fresh hold around. About 20 db on the center frequency. 7255 on the bandwidth. 2824. So if you use in your own voice or a different voice, you may need to use different settings to this. Let's now have a look at the second example. So let's added Yes, sir. Again, click and drag this over to this audio track. So this is a different voice. This is me speaking, So we're going to have some slight different settings. So the first thing I would do is I would check output semblance only and listen to this back. So do you recommend you gonna make me? Oh, you can hear that. We can't really hear any of the civil. It's so we will need to change this center frequency a bit closer to here. 7000 hertz. Uh huh. Help me. About 7200 Let's uncheck output semblance only YouTube, and I thought it might be interesting to put a few videos online on kind of help. A few people are about logic, pro 10. It can be quite difficult to use on, and that may just increase their fresh hold slightly. I really enjoy making videos about logic, Protect have a lot of passion when I'm using the software. It's really fun to make music on there. And I think that comes across in my videos because, yeah, some of these technical videos can be a little dry, a little boring. So I do recommend if you're going to make any technical videos trying to have a bit of energy, try and have a passion when you're teaching and that making videos a lot more interesting. It's also the first few videos put online. Now, let's maybe this all about a piece of software called Logic Pro 10. I've been using this stuff where many years prior to making any videos on YouTube, and I thought it might be interesting to put a few videos online on kind of help. A few people are about logic pro 10. It can be quite difficult to use on. So this recording isn't quite a sibling. As the previous one. As I was using lavallee, a microphone on it was further away from the microphone. So we went Picking up as much. Sibilant sounds, however, is still there, and I really enjoy, and you can see the game reduction when we are reducing some of the sibilant sounds with this deal. Making videos about logic, protect have a lot of passion When I'm using the software. It's really fun to make music on there. And I think that comes across in my videos because we still want some of the S sounds coming through, so we don't want to reduce it too much, so it probably have it on the back. 20 db then center frequency. I've got set as 7255 on the bandwidth. We may be able to increase slightly around about 4000 hertz I've got here. Yeah, some of these technical videos that can be a little dry, a little boring. So I do recommend if you're going to make any technical videos trying to have a bit of energy, try and have a passion when you teach in on that, making videos a lot more interesting. Talk for the first few videos put online all about a piece of software called Logic Pro 10 . I've been using this software many, so you can see there. We do have some game reduction whenever there is any sibilant sounds playing back. Okay, so that's the DSS. Remember to use it sparingly, but do you apply some because it can help reduce some of those harsh sibilant sounds, too? Thanks for watching, and I'll see you in the next video. 15. Hard Limiter in Premiere Pro: Hi there. Welcome to this video. We're going to be looking at the hard limiter in Premiere Pro. So if I audio, we do want to increase the level. However, we don't want to have the audio clip or distort so we can actually use something called a limiter on this will allow us to increase. The gain will make our signal louder. Will also limit the audio so it will not go above the amplitude we select in the limiter. So a limiter basically prevents the audio peaks going past a certain level that we set. And in Premiere Pro, we have a limiter called the hard limiter. So we can access this by the effects tab and then go down to amplitude and compression. And here we have hard limiter on. Let's click and drag this over to our audio and then under hard limiter, press edit. So we have a few different controls here. Let's first talk about maximum amplitude. So of this Max amplitude, I recommend choosing minus free db We can either drag the slider across or just type it in here. This is because for digital signals to will want tohave a small amount of headroom just because we may get some minor distortion if it's on zero db for mixing music mix, engineers will use minus one db but for editing videos is recommended to choose miners free db However, it's not really an issue using minus one db, but I do recommend using between minus one db on minus free. Db But for this example, I'm going to use minus free db So what this means is that audio will not be able to exceed minus free. DB So now let's play our audio back. One thing to know if you have used that year access 24 in the past. This actually uses the same file type, so you'll be able to open up. And you may notice there were no actually hitting anywhere near minus free db. You can see on this meter here, we're hitting around minus 60 B. So what we can actually do is increase the gain on. We can do this with the input boost. However, be careful this we don't want to increase the gain too much. We may over compresses audio with this limiter. So I'm going to play this back now on. Add some gain with this input boost old instruments. In this new sampler, you can find this instrument. They got rid of the excess 24 replaced it with this sampler is gone updated user interface and is much easier to use. One thing to know, if you have used that year access 24 in the past. This actually uses the same file type, so you'll be able to open up your old instruments. In this new sampler. You can find this instrument. They got rid of the excess 24 replaced it with this sampler is gone updated user interface and is much easier to use. One thing to know if you have used okay, I think around free to four db should be fine in the next video. We're going to be looking at the loudness meter on that will allow us to set exact level. But now I believe free to four db should be fine. So we don't really want to use our limiter as a compressor. We just want to use it to limit some of the occasional louder peaks. So if you have your input boost set too high, you may be over compressing your audio. Okay, You're going down. We have. Look ahead. Time on this will actually look ahead in advance to find peaks. So it's basically doing is it gives a limiter a slight delay. So it has time to work out how much game reduction to apply before the signal hits it. So the more we increased this, the more CPU power it will use. So I don't recommend actually setting this too high, and I'm actually going to leave it on the default off seven milliseconds. Okay, going down. We have released time. So this is the time it takes for the limiter to stop processing after the signal falls below the threshold level. So basically, when it stops limiting, how long will it take for the limiter to stop working? I'm also going to leave this on default 100 milliseconds as this setting works fine and also preserves the low bass frequencies. And there's one more setting at the top. And that's peak on tree peak. So true peak accounts for into sample peaks. And here I recommend using true peak as when the signal is converted into an analog signal . The true peak level maybe PSA lightly higher than the peak level. So the highest digital sample is the peak. However, the highest point, the analog signal reaches maybe slightly higher than this. So if you do leave this on peak, then you may get a small amount of distortion or clipping after the conversion. So it is safer just to leave this on true peak. Okay, we also have linked channels enabled down here on this will link the channel so it will preserve the stereo balance. And I do recommend leaving this checked. Okay, So now I'm just going to quickly show you how to apply the hard limiter onto this second example. So under effects, amplitude and compression, let's drag over hard limiter to our track. And now on the hard limiter. Let's hear edit. I'm going to be using Tree Peak and let's set our maximum amplitude to minus free db. We're going to be leaving the look ahead on the release time on the default, and we're also going to leave linked channels checked and here we can add some gain with input boost. Remember in the next video, we're going to be looking at the loudness radar meter so we know exactly how much gain to add or reduce. So do you recommend if you're going to make any technical videos trying to have a bit of energy, try and have a passion when you're teaching on that, making videos a lot more interesting to also the first few videos put online all about a piece of software called Logic Pro 10. I've been using this stuff where many years prior to making any videos on YouTube, and I thought it might be interesting to put a few videos online kind of help. A few people are okay, so I just quickly adjusted the settings for this limiter on. We will look at this limiter again in the next video when we look at the loudness radar meter, so that is a limiter, and it basically allows us to increase our level without clipping or distorting. And in the next video, we're going to be looking at the meter on. This works with the limiter so we can set the exact level for audio. So join me in the next video, where we're going to be looking at the loudness radar meter 16. Loudness Radar - Loudness Meter: Hi there. Welcome to this video where we're going to be looking at the loudness radar in Premiere Pro . So when we export our video or audio, we want to make sure it's the same a loudness every time. So if you have a Siri's off videos, for example, you don't want the viewer toe have to turn Oppel down their speakers between the videos to achieve the same loudness. So therefore you want to export your audio at the same loudness level, and we can make sure our audio is set to the correct level by using a loudness meter. And in this video, I'm going to show you how to use premiere pros, loudness radar. And we can access this audio effect if we go to effects audio effects special, and then scroll down to loudness radar on Dr this over to our audio and then under loudness radar hit at it. So the loudness radar is an audio effect that shows you really time. The loudness of your audio as we're just going to be using this plug in to reference are loudness. You can also add this to the audio track mixer so you can do this by going over to window audio track mixer on here. Select jewel track on that. Hit the disclosure triangle on under effects. You can click on here, go down to special and choose loudness radar. And now we can click on this to open up the loudness radar and replaced it with this sampler is gone updated user interface and is much easier to use just for ease, though, I'm going to go back to the effects control and use the loudness radar from here because soon we will be using this with the hard limiter and I just want to be able to access both for them quickly. One thing to know if you have used that year access 24 in the past, this actually uses the same file type, so you'll be able to open up your old instruments in this new song. Okay, so in this plug in, we can measure at loudness with Eva L. K f s. Or we can even choose Luo fs So L K F s stands for loudness K weighted relative to force girl and L. U F s stands for loudness units relative to full scale. So one units of Eva lk fs or LFs is equal to one db, so we can use either L. K f s or LFs to measure audio. If you're from a music production background, then you may be used to l u F s. But lk, ffs and LFs are identical despite the different names so you can use even really And in this video I'm just going to cover the essentials for the settings on Let's now first talk about target largeness. So by default, the target largeness will be minus 24 lk fs. So this is for film and television for YouTube and videos online. However, you want to set our target loudness tu minus 16 lk fs or LFs. So let's change this to U minus 16 on under loudness units. We can change this from Al Qaeda fest to al you fs if you prefer, but really, it doesn't make any difference. So going back to target loudness for YouTube videos or videos online, we want to choose minus 16 and that's because these videos are not for movie theaters or TV sets. These videos will often get played on smartphones and tablets and things really were smaller speakers. So you want the loudness increase? Just a bit. Which is why our target loudness. It's going to be minus 16 rather than minus 24 on below target Loudness. We actually have our radar speed and this will control the time of each radar sweep by default. It will be four minutes. I like to have this on one minute. So let's change this to one minute. Okay, lets go back over to the radar tub on. Let's play back some audio dump Lor. You can find this instrument. They got rid of the excess 24 replaced it with this sampler is gone updated user interface and is much easier to use. So we can see Here are lk affects value and it's on minus 18.2. So we can slightly increase the gain of this audio if we wish. So we can go back to the hard limiter on him at it. On increase this game. Let's increase it by two db So, unfortunately, in Premiere Pro, you can only open one plug in at a time, so you will have to go back and forth between Justin. The gain on the limiter on viewing the LFs on the meter in some audio editing programs, or D A W, such as Logic Pro 10. You can open multiple audio plug ins at the same time, which can be very handy for adjusting the gain on the limiter on viewing the meter, However, Like I said, unfortunately, we can't do this on Premiere Pro. One thing to know if you have used that year access 24 in the past. Let's hit the reset button up here and play this back again. This actually uses the same file type so you'll be able to open up your old instruments. In this new sampler. You can find this instrument. They got rid of the excess 24 replaced it with this sampler is gone updated user interface and is much easier to use. One thing to know if you have used that year access 24 in the past. This actually uses the same file type, so OK, great, we're a lot closer to U minus 16 there, and our target amount is actually this second ring here. So the second ring is minus 16 so anything yellow will be above minus 16 on. You also notice on this meter here, when we play this back, anything yellow will be above minus 16. So you'll be able to open up your old instruments. In this new sampler, you can find this instrument. They got rid of the excess 24. So because in settings we set the radar speed to one minutes, this whole circle here is one minute, so each quarter is 15 seconds. So if this number is too high, we can always go back to the limiter on decrease some of the game. We also have a loudness range down here, and you do want to have some dynamic range in your voice. But if the loudness range is too high, we could always go back to the compressor and compress our audio just a little bit more. But like I said, we do want some dynamic range. So our voice still sounds natural. Okay, so that is the essentials for this loudness radar. On the main thing to realize really is we want to have this around about minus 16. Let's now have a look at the second recording. So under effects and audio effects, let's go down to special on, Then loudness radar and drag this over to our audio. And then let's hear at it. And under settings, I'm going to change the target. Loudness Tu minus 16 on the radar speed to one minute. Let's go back to radar and play this audio back about logic. Pretend it can be quite difficult to use. Andi. I really enjoy making videos about logic. Pretend I have a lot of passion when I'm using the software. It's really fun to make music on there, and I think that comes across in my videos because, yeah, some of these technical videos can be a little dry, a little boring. So do you recommend if you're going to make any technical videos trying to have a bit of energy, Try and have a passion when you're teaching on not making videos a lot more interesting? Talk to the first few videos I put online, okay, so it looks like I pretty much got that spot on just by using limiter before. But there's a good idea, really, toe having meter after just so you can set the exact level so your videos are consistent so the viewers don't have to turn it'll speakers or turn down your speakers between different videos. Okay, so that is the loudness radar. And that's the essentials of how to use it in Premiere Pro. Thanks for watching, and I'll see you in the next one. 17. Thanks and Bye + Class Project: Thank you so much for watching this class hope. Now you're a lot more confident at mixing audio processing voice in adobe premiere Pro. So if your class project I want you to use the tools and techniques I taught you in this class on, actually mix and process your own audio in premiere Pro. So this could be your voice or voice from a video that you're working gun and then want you to post a screenshot off some of the audio effects used to process this audio, including the gain or volume effect the Parametric EQ you on also the compressor. Also, please feel free to post more screenshots off over already effects. But first, I want you to include the essentials off gain EQ you and compression. I then want you to write a short sentence to tell me exactly how you mix the audio the way you did. So thank you so much again for watching this class. Hope you found it useful and I'll talk to you soon.