Learn three ways to separate a stereo audio clip into separate mono files in this step-by-step technique for Premiere Pro CS6.
A fast trick to display and hear just one audio track in an interview.
Final Cut Pro X can automatically analyze your audio. This article explains what it is doing.
Surround mixing adds a new level of creativity to your mixes. This article explains the basics.
Audio loudness specs are changing in the US and EU. Here’s a summary of what you need to know.
ADR replaces poor audio with good audio. Adobe Audition makes this pains-taking process MUCH faster and better.
Here are two audio repair techniques to remove power line hum and remove audio glitches.
The Hard Limiter effect in Adobe Audition helps make soft audio louder without risking distortion. Here’s how it works.
Trimming is the process of adjusting where two clips touch. This article explains how to trim audio in Adobe Audition CS6.
First published on my blog, this is a first look at Adobe Audition CS6.
Here’s a very cool Motion effect where changes in music cause the video to change as well.
A look back at The Buzz coverage of the 2012 NAB Show – what worked, what didn’t, and what we’d change.
Adobe Audition is audio editing software that recently came to the Mac. Here, I show you power tips to work faster and better.
Audio slowly drifting out of sync is often caused by mismatched sample rates, or trying to edit MP3 audio. This explains how to convert MP3 to AIF.
Here’s a great technique to match the sound of your audio between clips using Final Cut Pro X. Best of all, its fast!
Although Adobe Audition and Premiere Pro are designed to work smoothly together, that doesn’t mean you are limited to only using Premiere Pro with Audition. In fact, there is a very nice, very fast way to move projects between Final Cut Pro 7 and Audition, which I want to show you here.
In this tutorial, we look at multitrack editing in Adobe Audition. Starting with how to create new projects and import files, to how to edit them in the Timeline, this step-by-step training explains what you need to know.
Recently, I’ve started working more with Adobe Audition, which is part of their Production Premium suite of products. Audition is similar to ProTools and Soundtrack Pro in that it handles audio recording, editing, and mixing.
The purpose of the Limiter filter in FCP X is to make soft audio louder while preventing the louder passages from distorting (which happens when audio levels exceed 0 dB). In fact, when used properly, the Limiter filter virtually guarantees that your audio won’t distort; as this article explains.
The best way to improve the quality of your picture is to improve the quality of your sound. However, what that means in real-life is moving files from your video editing software into audio editing software.
Final Cut Pro X provides a very easy way to match audio between clips. This is useful when you have recorded the same talent on different days using different mics.
Is it possible to permanently link video and audio clips together? Larry teaches you how to create a Merged clip.
The easiest way to control editing audio or video to the Timeline is with the patch panel. However you can also use the Button List to search for shortcuts.
Dual Layer break points are determined by where the VTS segments are located, not just which is the longest, or most logical, clip within which to place a break point.
Larry answers some questions regarding the different codecs that Final Cut Express captures vs. Final Cut Pro, as well as fielding a question on audio waveforms.
In addition to over 100 audio effects, Final Cut Pro X ships with some very interesting audio enhancements which can repair bad audio. In this tutorial, I want to illustrate how to work with these enhancement tools.
In this technique, you’ll learn how to save custom audio filter settings in both Final Cut Pro X (FCP X) and Soundtrack Pro.
Do you have two or more audio clips that need to sound the same? Here’s a fast technique in FCP X that explains how.
Here is a simple technique to match the sound of two different audio clips using Soundtrack Pro.
A solution for dual-channel mono clips, or single track mono clips displaying audio as a single waveform in Final Cut Pro X.
This is a better, faster, and more flexible way to create audio transitions in Final Cut Pro X.
By default, the audio output of Final Cut Pro is stereo. You can get it to output split tracks, but you’ll need to do the mix in Soundtrack Pro or ProTools. This tutorial explains how.
What happened to Background Sound in Final Cut Pro X?
Here’s a quick way to hide, or reveal, audio track names on the FCP 7 Timeline.
A clip collision generally occurs when you are trimming. Specifically, when you are ripple trimming.
Steps for audio editing and sound correction in Soundtrack Pro.
Loading clips into an Audio File Project, reducing noise, and handling audio files in Soundtrack Pro.
When trying to sync audio to video using sub-frame slipping in the Viewer, a subscriber writes that Final Cut is setting a new In for his audio in the Sequence without actually slipping the Audio. This technique, which can be used in Final Cut Pro versions 4 through 7, explains how to adjust for this.
Two excellent questions by an editor/subscriber, L. Blake Baldwin, involving why the Master Gain defaults to .51, and also when to use a +3dB audio transition instead of a dB audio transition. We examine and answer both.
In this article we discuss the limitations of using the keyboard to target audio track numbering above 9, and the keyboard shortcut for the lower track numbers is demonstrated.
An editor’s interest in “cleaning up” some audio clips is a joy to answer, and very useful info to have.
Ben Balser had a client whose audio filters were grayed out in the Effects > Video Filters list. The problem was Effects Availability. In this article we walk you through how you can control which effects are displayed from the Effects tab in the Browser.
PluralEyes was specifically designed to sync clips and create multiclips based upon their audio. However, it can also sync clips in a sequence – even if there are timecode breaks in the clips – by aligning the audio.
When using Media Manager to archive media the key point to remember is that you need to select what you want to manage BEFORE selecting it from the menu. And, I always select what I want to Media Manage in the Browser, not the Timeline.
The View menu has changed in FCP-HD, making it easier to select how you want to monitor your audio and video. This quick article explains what you need to know.
Those green visibility lights on the far left of the Timeline have some very useful functions; and hidden keyboard shortcuts. Learn what they are here.
Those glowing green lights on the extreme left side of the Timeline have a very important purpose – especially if you are trying to see tracks below other tracks, output, or export. This article shows you their secrets.
Here are a series of tips, written by a professional voice-over talent, that you can use to make sure your voice-over scripts are organized, easy to read, and run correctly to time.
When you send a stereo audio pair to Soundtrack, STP treats it as a stereo clip. When you send a dual-channel mono pair to Soundtrack, STP treats them as two separate files. This article describes how to switch from one to the other.
The problem with reverb is that the effect needs to continue after the clip ends. While Soundtrack Pro has some great audio filters, often there just isn’t time to move your project from Final Cut to STP. In this tutorial, you’ll learn how to use nesting to create a reverb effect inside Final Cut that can last long after the clip itself is over. Best of all, this is both quick and easy.
