Blog Archives

A step-by-step tutorial on creating busses and sub-mixes for use in audio mixing a video project, using Adobe Audition CC.

A detailed review of SpectraLayers Pro 2 from Sony Creative Software.

A step-by-step tutorial on ways to set audio levels to prevent distortion and even out the range between loud and soft passages in a clip using Adobe Audition CS6.

A tutorial explaining what a split edit is, how to create it, and options to make it sound better.

An illustrated, step-by-step technique showing how to adjust volume levels on clips and ranges in Final Cut Pro X.

In this short video tutorial, you will learn how to fix audio problems within a sub-frame (1/80th of a frame) in Final Cut Pro X.

A short video tutorial on how to access and adjust the surround sound panner in Final Cut Pro X.

In this short, six-minute video tutorial, I’ll show you how to create buses and sub-mixes in Audition CS6, and show you why these can make your mixing life a lot easier.

Surround mixing adds a new level of creativity to your mixes. This article explains the basics.

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.

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.

In this technique, you’ll learn how to save custom audio filter settings in both Final Cut Pro X (FCP X) and Soundtrack Pro.

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.

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?

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.

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.

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.

get is the new kid on the block — an almost magical piece of software that searches your audio files looking for words you type into a typical text entry window. If you know “you’ve got the file around here somewhere,” but haven’t a clue where it is, get is for you, as this product review explains.

Adobe Premiere can create text transcripts of your media files. prEdit takes those transcripts and allows you to edit a rough cut for either Premiere or Final Cut just using those transcripts. For editors wading through a ton of material trying to find just the right quotes, this software can make your life VERY easy, as this product review explains.

Transcriptize is a new piece of software that takes the text transcripts automatically generated by Adobe Premiere or Adobe Soundbooth and formats them so people, rather than computers, can read them. PLUS, it allows you to a great trick to import those text transcripts into Final Cut Pro to speed your editing.

In this article Larry handles a question regarding whether a series of continuous time code cuts will translate into the OMF or be ignored.

During my recent seminar tour, I had a lot of fun showing how to take advantage of the audio clean-up power in Soundtrack Pro.

In this article Larry fields a question from a subscriber having trouble exporting a multitrack and directs him to the suggestion of another subscriber.

Mixing audio files in Soundtrack Pro is like editing video files in Final Cut Pro — there are lots and lots of files involved. Which means that if you don’t pay attention, things are going to get lost. This article explains what you need to know to keep track of everything.

Moving multi-track files from Final Cut Pro to Soundtrack Pro for mixing can cause problems, unless you understand how Soundtrack Pro handles linked files. This article explains.

I’ve done hundreds of hours of audio editing in Soundtrack and have discovered a wealth of features that make editing audio in it a breeze.

This technique occurred to me while I was developing my training DVD for Lynda.com on Soundtrack Pro because scripts in Soundtrack Pro have a quirky, potentially dangerous, behavior that surprised me until I did some research on them.

Stuttery audio generally is a problem with bad preference files. But, on a MacPro, it can be caused by putting your capture card in the wrong slot. This article describes the problem and what you need to do to fix it.

Surround sound mixing is even more of an art than standard stereo mixing. In this article, we take a quick look at channel allocations and some general thoughts to getting the right mix.

Audio that slowly drifts out of sync is often due to a mismatch between the sample rate at which you shot the video and the sample rate at which you captured the audio.

In this article Larry advises a subscriber who downloaded a beta version of Soundbooth and believes there may have been an error in his workflow.

Through edits are marked by red “bow-ties” which indicate cuts in a track where there’s no change in video or audio. This brief technique provides three different ways to get rid of these edits.

You may not know it, but there’s a fiber optic audio connection built into every Mac. This article describes what it is, where it is, and how to use it.

The Samson Zoom H2 recorder has a lot of good things going for it – price, size, and portability. However, when I was using it at NAB, the one thing that disappointed me was the audio quality. Read the review here.

Audio distortion means disaster for your project. This article shows you a new technique in Soundtrack Pro that can guarantee to increase audio gain without distortion.