Need Help on Getting Audio Tighter …

[Walter Biscardi]

We don’t use the Compressor / Limiter at all. We simply mix the audio properly in the audio tracks using either the Audio Mixer or the overlay controls in the audio tracks.

It’s more time consumer than just slapping a filter on there, but we have much more control over the final mix to ensure that everything is exactly as we want it when it’s shown to the final audience.

Walter Biscardi, Jr.
https://www.biscardicreative.com

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[Rob Forsythe]

I agree with Walter, especially on programs.

But there are times when I use the Compressor.
Certain 30 sec. TV spots’ VO can benefit from a higher compression ratio.

Sometimes “run and gun” shoots need the levels matched or brought up from a much too-low average.
———————
The FCP Compressor/Limiter can be a bit tricky to set, so here’s what I’ve used-

Add the Compressor/Limiter Audio Filter to the track and click it into the viewer “Filters” window.

Adjust the Settings to this “all 2’s” formula:

Threshold (db) -20
Ratio 2
Attack Time 20
Release Time 200
Preserve Volume CHECKED (very important!)

Now click the viewer to display the actual audio track and set the Level to “2” or “3.”

Now when you play the low track it should be at “full” level.

You can play with my “all 2’s” formula if you want, but its a good starting point for raising the levels without a lot of compressor “pumping.”
The “Threshold” setting will affect the clip the most… as you slide left, it brings MORE of the low levels UP.
The actual volume adjustment now comes from the “Level” slider on the actual audio track (and you can key-frame that if you want.)

Name: Rob Forsythe
Date: Aug 4, 2003 at 6:36 pm
Subject: ??Re: Linking similar audio tracks

A “simpler way” is to NOT stack the tracks to get more volume (I used to DO this, but now use the following:)

Add the Compressor/Limiter Audio Filter to the “low” track and click it into the viewer “Filters” window.

Adjust the Settings to my “all 2’s” formula:

Threshold (db) -20
Ratio 2
Attack Time 20
Release Time 200
Preserve Volume CHECKED (very important!)

Now click the viewer to display the actual audio track and set the Level to “2” or “3.”

Now when you play the low track it should be at “full” level.

You can play with my “all 2’s” formula if you want, but its a good starting point for raising the levels without a lot of compressor “pumping.”
The “Threshold” setting will affect the clip the most… as you slide left, it brings MORE of the low levels UP
The actual volume adjustment now comes from the “Level” slider on the actual audio track (and you can key-frame that if you want.)

[Matt Gerard]

Being an audio guy turned editor, it pains me to see editors stumble through trying to get audio to sound good in the FCP. While Sondtrack is no protools, it is more than adequate to use for these purposes, and provides substantially more visual feedback and easier to use controls for audio filters. Not to mention filter PRESETS!!!!! FCP audio filters provide no visual feedback as to gain reduction happening because of compression, and the numbers they use on the sliders are for the most part arbitrary and made up.

I nearly wet myself when I saw that you can export your soundtrack multitrack project BACK TO FCP and fcp will create a new seq with all of your original audio tracks turned off and your new stereo mix active. What else do you want? It took me about 2 hours to get aquainted with soundtrack, and after looking past some pretty silly assumptions by the engineering team, it does what I require for finishing my shows. This includes keyframing audio levels, and providing better sounding compression filters that are actually easy to use. Remember these 3 words- PRESETS PRESETS PRESETS!!!!

So, don’t torture yourself by trying to get a great sounding mix within FCP, its audio tools are adequate for basic level controls, but use the tools that are provided (soundtrack), and you will will be happier with the result. It might take a few hours to figure out the workflow and how to operate the app, but it was worth it to me.

[Mark Pommett]

What are the settings/presets that you use in Soundtrack Pro
? Thanks

[Matt Gerard]

For a troublesome vocal track, i will usually start with a compressor (under the dymanics category) and use oneof the Vocal presets, #1-4. Try each one to see if automatically gives you what you need, or pick one and make adjustments from there.

It is important to know what all the controls of a compressor do to the audio file as well, you can easily make some adjustments, get frustrated with the results and give up. Remember that compression is akin to color correction, there is no magic setting that works everytime. But if you tweak a setting to wegere it works well, you can reuse it within that show.

Matt

[Peter Wiggins]

Just to add my 3pence in here:-

All voice on my broadcast stuff is compressed. There is no way it could go out without as the dynamic range is so large people would be struggling to hear words – especially against music. This is of course from camera originals, not studio tapes that have had compression already applied by the sound mixer.

I use the AU Dynamics Processor -up the compression until you have the voice within the desired dynamic range. For me in the UK thats 4 and a half to 6 on a PPM.

Peter