In music it also refers to the speed of the beat and the key signature used in composing. Bright sounds contain more high frequencies, and dark sounds more low frequencies. When used in reference to sound, “brightness” indicates the amount of high frequency content. If is not that difficult and not very costly, make sure all of your walls use the same type of absorption material (foam, curtains, Sheetrock, etc.). One side of the room may be brighter than the other, and your mix will suffer. Various materials will have distinct sound absorption properties.
Make sure that the same output from your system feeds both pairs. If possible, try to use speakers in two different sizes: larger ones (not necessarily big mine are bookshelf size) and smaller ones so you can compare what your program will sound like on two different systems. They just need to have a decent response to the signal that is being fed to them. Your speakers don’t have to necessarily be huge and or extremely expensive. Educate yourself as to what the best models and sizes are for your room and your work (speaker manufacturer websites are an excellent source of information). A wide variety of models and sizes (and prices) are available. Some of them are costly (a pair of quality monitor speakers will set you back a few dollars), and some don’t cost a penny: But besides quiet, you can use certain equipment and do many things to improve the way you listen to your audio in your editing space. Needless to say, you should work in a quiet room. Having sounds get to your ears in the most accurate way possible is essential to the successful mixing and mastering of your program. Start training your ears to hear what you’ve been missing! Equipment and Your Audio Setup I recommend constantly comparing your work to the original recording (unprocessed) and to recordings that you know are good and that you like. Perceiving good audio does not happen overnight sometimes it takes years of training. You can also train your ears to know what to do to adjust your audio to get the desired results. Just like any other skill, you can train your ears to detect the nuances of audio. Some people are born with natural abilities that make their perception of audio and therefore their processing tasks very easy for them others are not. (Microphone placement and recording techniques are beyond the scope of this book.) Your Ears One of the techniques that you should use is to decrease the distance between the source of audio (instrument, voice, etc.) and the microphone, thereby decreasing the levels of noise. The idea is to have a strong “good” signal and a weak noise level. This ratio of desired audio versus noise is known as signal-to-noise ratio. You also need the noise in the environment to be as negligible as possible. Two tools will determine how you treat your audio: your ears and the equipment that gets the sounds to them.ĭuring production you need to get the strongest audio signal possible without it being too loud. The importance of your listening environment cannot be overstated. From setting up your working environment to adjusting levels to adding effects, you’ll work with audio just like the pros do.
#How to add audio keyframes in adobe premiere pro cc 2015 how to#
Because you don’t always get to work with perfect audio, this chapter also features a section on how to fix common audio problems using Adobe Premiere Pro and Adobe Audition CC. This chapter will help you start to generate great audio in your program. “Fixing audio in post” is unrealistic and will rarely yield good results. Most people perceive video as being of lower quality if the audio is low quality, which means that you can improve your production quality by improving your audio quality.Īlthough this book is about postproduction, keep in mind that maintaining good quality audio in the production process will be invaluable in the postproduction stage. But without basic knowledge of what to do, they usually fail. So, they’ll experiment with different volume levels and effects, trying to get a good mix and balanced audio. In many cases, even good and experienced editors have never seen an audio engineer at work, and have no idea about how to start. However, I find that most people in my classes lack basic audio knowledge and the know-how to create a good, solid audio mix of their work. Please see “A note about downloadable content” in the Introduction of this book. This chapter’s project files are available for download.
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