Accusonus ERA5

The trend in audio plug-ins is simple-to-use effects with a minimal number of controls. Waves started this with their One Knob series – a set of equalization, reverb, and compression filters to make audio “brighter,” “phatter,” or “wetter.” In recent years, Accusonus was among the first to expand this concept to audio repair effects in order to de-ess, remove plosives, reduce noise, and so on. Last summer I reviewed their ERA4 bundle. These plug-ins have become part of my go-to toolkit when dealing with audio in Premiere Pro and/or Final Cut Pro X.

Accusonus has now introduced their ERA5 bundles, along with a new pricing and licensing model (more on that later). As before, there’s a Standard and a Pro bundle. The Standard bundle includes the set of single-button filters, while the Pro bundle adds several more advanced, multi-band filters. I’ll skip the single-button filters, since I covered those in my ERA4 review. The Accusonus site features processed samples to hear how each works. However, these filters have been updated for ERA5 and to my ears, tend to sound better than before.

In addition to the single-button filters, both bundles include these new ERA5 effects: Voice AutoEQ, Room Tone Match (only available as an AudioSuite plug-in for Pro Tools), and Voice Deepener. The ERA5 Pro bundle adds Noise Remover Pro, Reverb Remover Pro, and De-Esser Pro.

Voice AutoEQ is an intelligent equalizer that analyzes your vocal track to set a base and then offers controls to adjust the EQ towards more air, clarity, or body. Moving the puck around within the triangle results in complex, multi-frequency equalization using a single control. This filter is designed for single voices in mono or stereo tracks. It won’t work with a multi-channel, broadcast wave file and isn’t effective on a mixed dialogue track with several speakers.

The Voice Deepener filter seems like a gimmick to me. The intent is to add more bottom to a voice and make it sound fuller. Accusonus promotes it as giving the voice that “movie-trailer” effect. While a small touch of it on male voices does work, pushing it to extremes errs on the side of sounding like you are disguising the voice. It sounds downright cartoonish on female voices. Of course, that means you could use it for just such an effect, rather than only enhancement.

The three Pro effects (Noise Remover Pro, Reverb Remover Pro, and De-Esser Pro) are more advanced or multi-band versions of their companion single-button filter. You get both in the Pro bundle, so if the simpler version doesn’t achieve the correct results, use the Pro version instead.

Both bundles now include the Audio Clean-Up Assistant. This is a container that is applied as a single plug-in effect. Within it are five slots to which you can add any combination of the ERA5 processing modules. In operation, that’s a lot like iZotope’s “mothership” approach. Choose from a range of preset configurations or start with an empty container and build up your own configuration. Maybe you have a standard set of effects that you apply to every voice recording. Simply create your own channel strip configuration and save it as a custom preset. Then apply it as a single Audio Clean-Up Assistant effect.

One huge change in this past year is pricing and licensing. In the past, ERA bundles were purchased as perpetual licenses with activation keys for each separate plug-in. Now you can opt for subscription, as well as perpetual. Unfortunately, if you look at the Accusonus website, all promotion points towards subscription. It’s only when you go to the “buy now” page that you see a pulldown revealing the perpetual option. You can also purchase ERA5 Standard or ERA5 Pro through the FxFactory site (perpetual only). However, in both cases, it now appears that you can only purchase or subscribe to the bundle and not individual filters.

If you go through Accusonus, licensing is now handled in a manner similar to Adobe Creative Cloud. You set up an account and sign-in from any of the plug-in panels. When you do so, all ERA5 plug-ins attached to that account are immediately activated. No need to enter individual activation codes. However, you should not sign out. Doing so de-activates the plug-ins until you sign-in again. This may be confusing, because it implies that you have to constantly be connected to the internet. I’ve already seen confusion online about this point and Accusonus does not make it clear in their installation instructions nor on the website.

In fact, as long as you sign-in (and were connected when you signed in) and stay signed in, your plug-ins work. Disconnect from the interact, lose your connection, whatever – the plug-ins are still activated. Adobe CC works in exactly the same manner. The advantage is that you can have the ERA5 bundle installed on multiple computers and easily move your activation around as you go from one machine to the other, simply through this sign-in/sign-out method.

If you already own ERA4, then the new tools may or may not entice you to upgrade. If you don’t own either, then it’s easy to start in a trial mode and decide. The Accusonus ERA5 filters are easy to use and augment the built-in effects bundles of most DAWs and NLEs. They are real-time and don’t require too much fiddling to dial in the sound. ERA5 is a useful set of audio repair tools for video editors, podcasters, and audio engineers alike.

©2020 Oliver Peters

iZotope RX8 Audio Editor

Most digital audio and video editing applications come with a robust set of audio plug-ins, but many editors and mixers prefer to augment those with third-party effects. iZotope is the go-to brand for many who need best-in-class audio effects tools. The company offers a number of comprehensive audio products and software suites, but most video editors will primarily be interested in RX8. It’s the latest version of iZotope’s renowned audio repair product.

iZotope offers its products, including RX8, in Elements (“lite”), Standard, and Advanced versions, giving the user the option to pick the feature set that best fits their budget. Some video editing software also comes bundled with one or more of the iZotope Elements products. iZotope’s Neutron, Nectar, and Ozone each install as a single plug-in that iZotope likes to call a “mothership.” This means that you apply a single instance of Nectar to a track and it becomes a container. Then, configure the processing modules that you need within the Nectar interface. In concept, it functions like a channel strip or effects rack. The filters work in real-time within the framework of the DAW or NLE.

An audio editor plus plug-ins

RX8 is different in that it installs over a dozen individual AU, VST, and AAX plug-ins, instead of a single “mothership” plug-in. In addition, a standalone application – the RX8 Audio Editor – is also installed. That’s where the real power is.

If you are working in Audition or Premiere Pro, for example, and need to apply a De-clip or De-ess effect to a voice-over recording, then you can simply apply that individual iZotope filter to the track. However, when more extensive processing is required, then it’s time to use the RX8 Audio Editor application. Most of the time you’ll find that it’s best to process a track in this external application first and then import the processed track into your editing application.

You can use the RX Connect plug-in within some DAWs and NLEs to roundtrip the track between the host and the RX8 application, much like Adobe’s dynamic link function. Unfortunately, the RX Connect roundtrip doesn’t work in current versions of Adobe Premiere Pro and Apple Final Cut Pro X. Instead, use a “reveal in Finder” command to locate the track, open it in RX8, process it, and then bring it back into the host to replace the original clip.

What’s new in RX8

iZotope has been continually improving the RX technology from one version to the next and RX8 is no exception. Besides interface changes and improved performance, RX8 includes three new processing modules.

Guitar De-noise will be of more interest to recording engineers than video editors. It is used to remove recording issues, like string squeaks on acoustic guitars, pick attacks, and amp hum with electric guitars. Spectral Recovery is ideal for news and documentary editors. Need to deal with a lo-fi voice-over recorded on a phone? This module can be used to restore frequencies above 4kHz and render a fuller voice recording. The Wow & Flutter module can be used to correct speed and pitch variations in older soundtracks. Several of the existing processing effects have also been improved with better processing, more functionality, and/or improved module interfaces.

The real heavy lifting

The RX8 standalone editor is truly a Swiss Army Knife of processing effects and at first glance might seem a bit daunting. Tracks can be displayed as a waveform, spectrogram, or a mix of both. The right side of the interface presents the selection of effects modules. You can apply single effects or create a module chain containing a series of filters. Plus there are a ton of presets. If you have a question about how a module works, click on the question mark icon in the upper right corner of the module panel and that takes you to iZotope’s website for reference information. However, you can also just start with Repair Assistant, which automatically analyzes the track and offers suggested processing. The Assistant presents A, B, and C preview options – pick one and tweak the settings further, if needed.

Many of the RX8 modules are processor-intensive. Depending on the function, some can be previewed in real-time. Others need to be rendered first and then you can compare and evaluate the before and after versions. RX8 maintains a history, so it’s easy to reject any changes that you’ve made, return to the initial state of the file, and try something different.

One interesting effect is Music Rebalance. Let’s say you have a completely mixed track of voice with music. Now you want the voice to be more dominant in the mix; but, remixing the original isn’t an option. One way to get there is Music Rebalance, which isolates and separates the component parts of the mix. This enables you to change the relative levels of each in the mix. As a by-product, it will also generate separate, isolated tracks, such as just the voice track. While such isolation isn’t 100% perfect, it’s some of the best isolation that I’ve heard.

But wait… There’s more

RX8 offers a large toolkit that goes way beyond the scope of this review. Here are just a few more highlights. If you need to get in deep for more audio surgery, then you can use Spectral Repair. It’s much like working with Photoshop. Select and then remove, replace, or “heal” noises, clicks, and other artifacts visible in the spectrogram.

Another useful feature is EQ Match (only available in RX8 Advanced). Do you have two different VO recordings done by the same talent at different times and they don’t sound the same? Use EQ Match to correct one to closely match the other. Editors who need to deliver final shows that adhere to proper loudness specs will be happy with the improved Loudness Control to monitor and adjust levels that meet broadcast targets.

The RX8 Audio Editor can now have up to 32 tabs of individual files loaded at once. These can be combined into a single Composite tab that allows you to apply the same processing simultaneously to all. In addition, RX8 also offers batch processing of audio files. Simply set up a module chain with the desired effects and settings, load multiple files, and apply that module chain to the batch. From there, export in a range of file formats and bit depths.

iZotope’s complete product line forms a comprehensive audio toolkit. RX8 is the most relevant to video editors and audio post engineers. It’s a tool that will also benefit podcasters and vloggers. In short, anyone who deals with dialogue-heavy material. RX8 represents the latest version of a product that’s being constantly improved. There certainly are competing plug-in packages that offer some similar filters as individual plug-ins. However, nothing on the market is as all-encompassing within a single tool for cleaning, repairing, and restoring audio than iZotope RX8.

Originally written for Pro Video Coalition.

©2020 Oliver Peters

Improving your mix with iZotope

In classic analog mixing consoles like Neve or SSL, each fader includes a channel strip. This is a series of in-line processors that can be applied to each individual input and usually consists of some combination of an EQ, gate, and compressor. If a studio mixing engineer doesn’t use the built-in effects, then they may have a rack of outboard effects units that can be patched in and out of the mixing console. iZotope offers a number of processing products that are the software equivalent of the channel strip or effects rack.

I’ve written about iZotope products in the past, so I decided to take a look at their Mix & Master Bundle Plus, with is a collection of three of their top products – Neutron 3, Nectar 3, and Ozone 9. These products, along with RX, are typically what would be of interest to most video editors or audio post mixers. RX 8 is a bundle of repair effects, such as noise reduction, click repair, and so on.

Depending on the product, it may be available within a single plug-in effect, or several plug-ins, or both a plug-in and a standalone application. For instance, RX8 and Ozone 9 can be used within a DAW or an NLE, in addition to being a separate application. Most of the comprehensive iZotope products are available in three versions – Elements (a “lite” version), Standard, and Advanced. As the name implies, you get more features with the Advanced version; however, nearly everything an editor would want can be handled in the Standard product or for some, in an Elements version.

The mothership

Each of these products is an AU, VST, and/or AAX plug-in compatible with most DAWs and NLEs. It shows up as a single plug-in effect, which in iZotope’s parlance is the mothership for processing modules. Each product features its own variety of processing modules, such as EQ or compression. These modules can be stacked and arranged in any order within the mothership plug-in. Instead of having three individual effects applied to a track, you would only have one iZotope plug-in, which in turn contains the processing modules that you’d like to use. While each product might offer a similar module, like EQ, these modules do not function in exactly the same way from one product to the next. The range of control or type of function will differ. For example, only Ozone 9 includes mid/side EQ. In addition to new features, this newest series of iZotope updates includes faster processing with real-time performance and some machine learning functions.

If you can only buy one of these products and they perform somewhat similar tasks, how do you know what to use? First, there’s nothing to prevent you from applying Ozone, Nectar, or Neutron interchangeably to any individual track or a master bus. Or to a voice-over or a music mix. From the standpoint of a video editor using these plug-ins for the audio mix of my videos, I would simplify it down this way. Nectar 3 is designed for vocal processing. Neutron 3 is designed for music. Ozone 9 is designed for mastering. If I own all three, then in a simple mix of a dialogue track against music, I would apply Nectar 3 to the dialogue track, Neutron 3 to the music track, and Ozone 9 to the master bus.

Working with iZotope’s processing

Neutron, Nectar, and Ozone each include a wealth of presets that configure a series of modules depending on the style you want – from subtle to aggressive. You can add or remove modules or rearrange their order in the chain by dragging a module left or right within the plug-in’s interface. Or start from a blank shell and build an effects chain from the module selection available within that iZotope product. Neutron offers six basic modules, Nectar nine, and Ozone eleven. Many audiophiles love vintage processing to warm up the sound. In spite of iZotope’s sleek, modern approach, you’re covered here, too. Ozone 9 includes several dedicated vintage modules for tape saturation, limiting, EQ, and compression.

All three standard versions of these products include an Assistant function. If you opt to use the Assistant, then play your track and Nectar, Neutron, or Ozone will automatically calculate and apply the modules and settings needed, based on the parameters that you choose and the detected audio from the mix or track. You can then decide to accept or reject the recommendation. If you accept, then use that as a starting point and make adjustments to the settings or add/delete modules to customize the mix.

Neutron 3 Advanced includes Mix Assistant, an automated mix that uses machine learning. Let’s say you have a song mix with stems for vocals, bass, drums, guitars, and synths. Apply the Relay effect to each track and then iZotope’s Visual Mixer to the master bus. With the Standard version, you can use the Visual Mixer to control the levels, panning, and stereo width for each track from a single interface. The Relay plug-ins control those settings on each track based on what you’ve done using the Visual Mixer controls. If you have Neutron 3 Advanced, then this is augmented by Mix Assistant. Play the song through and let Mix Assistant set a relative balance based on your designated focus tracks. In other words, you can tell the algorithm whether vocals or guitars should be the focus and thereby dominant in the mix.

Note that iZotope regularly updates versions with new features, which may or may not be needed in your particular workflow. As an example, RX8 was just released with new features over RX7. But if you owned an earlier version, then it might still do everything you need. While new features are always welcome, don’t feel any pressure that you have to update. Just rest assured that iZotope is continually taking customer feedback and developing its products.

Be sure to check out iZotope’s wealth of tutorials and learning materials, including their “Are you listening?” YouTube series. Even if you don’t use any iZotope products, Grammy-nominated mastering engineer Jonathan Wyner offers plenty of great tips for getting the best out of your mixes.

©2020 Oliver Peters

Soundtheory Gullfoss Intelligent EQ

There are zillions of audio plug-ins on the market to enhance your DAW or NLE. In most cases, the operation and user interface design is based on familiar physical processing hardware. Often the user interface design is intentionally skeuomorphic as either a direct analog to the physical version or as a prompt to give you a clue about its processed sound and control functions.

When you first open the Gullfoss equalizer plug-in, you might think it works like many other EQ plug-ins. Grab a frequency point on the graph line, pull it up or down, and spread out or tighten the Q value. But you would be totally wrong. In fact, this is a plug-in that absolutely requires you to read the manual. Check out the tutorial videos on the Soundtheory site and its operation will make sense to you.

Soundtheory launched Gullfoss (which gets its name from the Gullfoss waterfall in Iceland) as its first commercial product after years of research into perceived loudness. According to Soundtheory, Gullfoss is not using artificial intelligence or other machine learning algorithms. Instead, it employs their computational auditory perception technology. More on that in a moment.

Gullfoss installs as an AU, VST, and AAX plug-in, so it’s compatible with a wide range of DAWs and NLEs. License management is handled via iLok – something most Pro Tools users are very familiar with. If you don’t own a physical iLok USB key (dongle), then license management is handled through the iLok License Manager application. You would install this with a free iLok account onto your computer. iLok management allows you to move the plug-in authorization between computers.

The Gullfoss equalization technology is based on balancing dominant and dominated frequencies. The plug-in automatically determines what it considers dominant and dominated frequencies and dynamically updates its processing 300 times per second. User control is via the Recover and Tame controls.

Increasing the Recover value accentuates dominated frequencies while Tame adjusts the emphasis of dominant frequencies in the mix. Bias controls the balance between Recover and Tame. A positive value shifts more of the processing based on the Recover frequencies, whereas a negative value shifts the emphasis towards Tame. Brighten tells the Recover/Tame mechanism to prefer lower or higher frequencies. Boost balances low versus mid frequencies. Positive values favor bass and negative Boost values decrease bass and increase mids. Finally, there’s an overall gain control and, of course, Bypass.

By default, you are applying Gullfoss processing to the complete sound spectrum of a track. There are left and right range boundaries that you can slide inwards. This restricts the frequencies being analyzed and processed to the area between the two boundary lines. For instance, you can use this with a tight range to make Gullfoss function like a de-esser. If you invert the range by sliding the left or right lines past each other, then the processing occurs outside of that range.

One tip Soundtheory offers as a beginning point is to set the Recover and Tame controls each to 50. Then adjust Bias and Brightness so that the small meters to the left and bottom of the graph hover around their zero mark. This provides a good starting point and then adjust more as needed. Quite frankly it requires a bit of experimentation as to how best to use it. Naturally, whether or not you like the result depends on your own taste. In general, this EQ probably appeals more to music mixers and less to video editors or audio post engineers. I found that it worked nicely as a mastering EQ at the end of a mix chain or applied to a completed, mixed track.

I’m a video editor and not a music mixer, so I also tested files from a corporate production, consisting of a dialogue and a music stem. I ran two tests – once to the fully mixed and exported track and then also at the mix with the two stems isolated. I found that the processing sounded best when I kept the stems separate and applied Gullfoss to the master bus. Of course, this isn’t the best scenario, because the voices and music cues would change within each stem. However, with a bit of experimentation I found a setting that worked overall. It did result in a mix that sounded clearer and more open. Under a proper mix scenario, each voice and each music cue would be on separate tracks for individual adjustments prior to hitting the Gullfoss processing.

In regards to music mixes, it sounded best to me with tracks that weren’t extremely dense. For example, acoustic-style songs with vocals, acoustic guitars, or woodwind-based tracks seemed to benefit the most from Gullfoss. When it works well, the processing really opens up the track – almost like removing a layer of mushiness from the sound. When it was less effective, the results weren’t bad – just more in the take-it-or-leave-it category. The Soundtheory home page features several before and after examples. As a video editor, I did find that it had value when applied to a music track that I might use in a mix with voice-over. However, for voice control, I would stick with a traditional EQ plug-in. If I need de-essing, then I would use a traditional, dedicated de-esser.

Gullfoss is a nice tool to have in the toolkit for music and mastering mixers, even though it wouldn’t be the only EQ you’d ever use. However, it can be that sparkle that brings a song up a notch. Some mixers have commented that Gullfoss saved them a ton of time versus sculpting a sound with standard EQs. When it’s at its most effective, Gullfoss processing adds that “glue” that mixers want for a music track or song.

©2020 Oliver Peters

Dialogue Mixing Tips

 

Video is a visual medium, but the audio side of a project is as important – often more important – than the picture side. When story context is based on dialogue, then the story will make no sense if you can’t hear or understand that spoken information. In theatrical mixes, it’s common for a three person team of rerecording mixers to operate the console for the final mix. Their responsibilities are divided into dialogue, sound effects, and music. The dialogue mixer is usually the team lead, precisely because intelligible dialogue is paramount to a successful motion picture mix. For this reason, dialogue is also mixed as primarily mono coming from the center speaker in a 5.1 surround set-up.

A lot of my work includes documentary-style entertainment and corporate projects, which frequently lean on recorded interviews to tell the story. In many cases, sending the mix outside isn’t in the budget, which means that mix falls to me. You can mix in a DAW or in your NLE. Many video editors are intimidated by or unfamiliar with ProTools or Logic Pro X – or even the Fairlight page in DaVinci Resolve. Rest assured that every modern NLE is capable of turning out an excellent stereo mix for the purposes of TV, web, or mobile viewing. Given the right monitoring and acoustic environment, you can also turn out solid LCR or 5.1 surround mixes, adequate for TV viewing.

I have covered audio and mix tips in the past, especially when dealing with Premiere. The following are a few more pointers.

Original location recording

You typically have no control over the original sound recording. On many projects, the production team will have recorded double-system sound controlled by a separate location mixer (recordist). They generally use two microphones on the subject – a lav and an overhead shotgun/boom mic.

The lav will often be tucked under clothing to filter out ambient noise from the surrounding environment and to hide it from the camera. This will sound closer, but may also sound a bit muffled. There may also be occasional clothes rustle from the clothing rubbing against the mic as the speaker moves around. For these reasons I will generally select the shotgun as the microphone track to use. The speaker’s voice will sound better and the recording will tend to “breathe.” The downside is that you’ll also pick up more ambient noise, such as HVAC fans running in the background. Under the best of circumstances these will be present during quiet moments, but not too noticeable when the speaker is actually talking.

Processing

The first stage of any dialogue processing chain or workflow is noise reduction and gain correction. At the start of the project you have the opportunity to clean up any raw voice tracks. This is ideal, because it saves you from having to do that step later. In the double-system sound example, you have the ability to work with the isolated .wav file before syncing it within a multicam group or as a synchronized clip.

Most NLEs feature some audio noise reduction tools and you can certainly augment these with third party filters and standalone apps, like those from iZotope. However, this is generally a process I will handle in Adobe Audition, which can process single tracks, as well as multitrack sessions. Audition starts with a short noise print (select a short quiet section in the track) used as a reference for the sounds to be suppressed. Apply the processing and adjust settings if the dialogue starts sounding like the speaker is underwater. Leaving some background noise is preferable to over-processing the track.

Once the noise reduction is where you like it, apply gain correction. Audition features an automatic loudness match feature or you can manually adjust levels. The key is to get the overall track as loud as you can without clipping the loudest sections and without creating a compressed sound. You may wish to experiment with the order of these processes. For example, you may get better results adjusting gain first and then applying the noise reduction afterwards.

After both of these steps have been completed, bounce out (export) the track to create a new, processed copy of the original. Bring that into your NLE and combine it with the picture. From here on, anytime you cut to that clip, you will be using the synced, processed audio.

If you can’t go through such a pre-processing step in Audition or another DAW, then the noise reduction and correction must be handled within your NLE. Each of the top NLEs includes built-in noise reduction tools, but there are plenty of plug-in offerings from Waves, iZotope, Accusonus, and Crumplepop to name a few. In my opinion, such processing should be applied on the track (or audio role in FCPX) and not on the clip itself. However, raising or lowering the gain/volume of clips should be performed on the clip or in the clip mixer (Premiere Pro) first.

Track/audio role organization

Proper organization is key to an efficient mix. When a speaker is recorded multiple times or at different locations, then the quality or tone of those recordings will vary. Each situation may need to be adjusted differently in the final mix. You may also have several speakers interviewed at the same time in the same location. In that case, the same adjustments should work for all. Or maybe you only need to separate male from female speakers, based on voice characteristics.

In a track-based NLE like Media Composer, Resolve, Premiere Pro, or others, simply place each speaker onto a separate track so that effects processing can be specific for that speaker for the length of the program. In some cases, you will be able to group all of the speaker clips onto one or a few tracks. The point is to arrange VO, sync dialogue, sound effects, and music together as groups of tracks. Don’t intermingle voice, effects, or music clips onto the same tracks.

Once you have organized your clips in this manner, then you are ready for the final mix. Unfortunately this organization requires some extra steps in Final Cut Pro X, because it has no tracks. Audio clips in FCPX must be assigned specific audio roles, based on audio types, speaker names, or any other criteria. Such assignments should be applied immediately upon importing a clip. With proper audio role designations, the process can work quite smoothly. Without it, you are in a world of hurt.

Since FCPX has no traditional track mixer, the closest equivalent is to apply effects to audio lanes based on the assigned audio roles. For example, all clips designated as dialogue will have their audio grouped together into the dialogue lane. Your sequence (or just the audio) must first be compounded before you are able to apply effects to entire audio lanes. This effectively applies these same effects to all clips of a given audio role assignment. So think of audio lanes as the FCPX equivalent to audio tracks in Premiere, Media Composer, or Resolve.

The vocal chain

The objective is to get your dialogue tracks to sound consistent and stand out in the mix. To do this, I typically use a standard set of filter effects. Noise reduction processing is applied either through preprocessing (described above) or as the first plug-in filter applied to the track. After that, I will typically apply a de-esser and a plosive remover. The first reduces the sibilance of the spoken letter “s” and the latter reduces mic pops from the spoken letter “p.” As with all plug-ins, don’t get heavy-handed with the effect, because you want to maintain a natural sound.

You will want the audio – especially interviews – to have a consistent level throughout. This can be done manually by adjusting clip gain, either clip by clip, or by rubber banding volume levels within clips. You can also apply a track effect, like an automatic volume filter (Waves, Accusonus, Crumplepop, other). In some cases a compressor can do the trick. I like the various built-in plug-ins offered within Premiere and FCPX, but there are a ton of third-party options. I may also apply two compression effects – one to lightly level the volume changes, and the second to compress/limit the loudest peaks. Again, the key is to apply light adjustments, because I will also compress/limit the master output in addition to these track effects.

The last step is equalization. A parametric EQ is usually the best choice. The objective is to assure vocal clarity by accentuating certain frequencies. This will vary based on the sound quality of each speaker’s voice. This is why you often separate speakers onto their own tracks according to location, voice characteristics, and so on. In actual practice, only two to three tracks are usually needed for dialogue. For example, interviews may be consistent, but the voice-over recordings require a different touch.

Don’t get locked into the specific order of these effects. What I have presented in this post isn’t necessarily gospel for the hierarchical order in which to use them. For example, EQ and level adjusting filters might sound best when placed at different positions in this stack. A certain order might be better for one show, whereas a different order may be best the next time. Experiment and listen to get the best results!

©2020 Oliver Peters