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Custom Effects – making bulk applicators?
Here’s my situation:
I’m mixing an audio drama in Premiere because it’s the software I have access to and feel most comfortable with and I’m having to apply different effects to the vocal tracks. Sometimes these are things to try and subdue reverb or hissing/noise from the room, other times it’s effecs to alter the pitch or other things to make them sound alien [it’s a Star Trek/Star Wars audio drama, what can I say?].
Ultimately I’m going to be applying multiple effects to every track – for example, on one set of lines I’m having to apply the de-noiser twice because applying it just once doesn’t get the job done to remove the hiss from the stupid microphone. So what I’d like to be able to do is rather than have a list in my effects window of:
dex_denoiser
dex_denoiser_mono
dan_reverb
dan_reverb_mono
dan_reverb_shimmra
dan_pitch
dan_pitch_mono
dan_pitch_shimmra
erik_pitch
erik_pitch_adeptetc, etc for all 30 cast members, I’d rather just have
dex
dex_mono
dan
dan_mono
dan_shimmra
erik
erik_adeptand be able to just drag the one item over and have it apply all the approrpriate effects that I want to apply. Is this doable? I’ve been messing around and can’t see any way to do this, but I thought it was worth a shot…
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6 Replies
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^ Premiere Pro 2.0, forgot to include should it matter.
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I think what you mean here is, you are basically trying to save a custom preset for all the effects in one clip, and I don’t think that it’s actually possible in Premiere. BTW, you might have more luck using the Parametric EQ for hiss removal, or a combination of both. Denoiser really only works in areas of silence on your clip, so it will have a hard time working its magic if there is a strong ambient noise as well.
Cheers,
Vince
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Is there a good (man I’ll feel dumb if this is on Creative Cow somewhere) online source that explains – in rather laymens terms – what these filters mean & how to use them? I have no idea what half of these fancy words mean ;). I’m basically running on luck here, just tweaking sliders in a trial and error method until it “sounds better.”
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There’s an idea for Aanarav’s next 30 tutorials 😉
Other than the Premiere help file or The Total Training DVDs, I really don’t know of any that really explain the filters.
The parametric EQ basically allows you to select a very specific range of frequencies and either bring them up or down.
That range can be narrowed or widened using the Q setting, and the center of that range is affected by the C setting. The boost is used to bring up or take down the gain on the frequencies. So, for the hiss, use C to find its frequency (probably around 1-2 Khz), then narrow the range so that it doesn’t affect the rest of the track too much, and use the boost feature until you’re happy with the result. This works fairly well in many cases, but it’s no magic wand.
Good luck,
Vince
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Hmm. Have experimented quickly, but I still find applying two denoisers gets me a better result, but the boost ability is going to be great to help pump out a little bit more sound out of the quieter tracks.
I’ll ask just one more question of your time: can you explain reverb effect? I’ve got sounds with a little bit of echo and I’m trying to dampen them down and while I’m moderately successful, it’s not great and I think part of it is because (as before…) I don’t really understand what each option is trying to give me. Is there a better tool to try and remove echo?
Thanks for all the help today.
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Well, the reverb effect is actually used to “add” reverb, and not remove it. Reverb is going to be extremely difficult to remove, without getting a muddy result which, in the end, will probably sound fake and worse than the original.
Some more advanced audio applications have tools such as phase collapse and companding (which may help a little), but none of these come with Premiere. The only thing you could try is using the gate effect, part of the “Dynamics” effect. That will simply cut of the signal below a certain level, and mixed with prerecorded room noise you could get descent results, but you are talking about a huge amount of time.
A shotgun mic as close as possible to the talent, or even a lavaliere is going to be the only way to reduce reverb next time.Vince
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