[Music] [Abba Shapiro] For those of you who have never been in one of these rooms, you'll need to put your headphones on, which you're looking like you're all doing a great job of that, which is, sometimes a little odd in most classes, but it's actually beneficial for this class because we're dealing with working with audio, and you'll be able to hear how horrible some of the audio is that I brought to show you. So, and we're going to learn how to fix that. So, my name is Abba Shapiro, and over the next 60 minutes, I'm going to walk you all through some tips, techniques, and workflows of working with sound in Premiere, and then some of the things you'll need to know, if you're going to take it into Audition which is Adobe's audio-- mastering application. I'm going to do one very important thing. My bag is right, between me and the chair, and if I don't move it, you'll get the joy of watching me fly across the stage and have stories to tell for it in the next Max, but-- let's just fix that right away. Okay. So, what I have up here on the screen, this is the audio or one of the workspaces for the audio interface in Premiere. I am assuming that some, if not most of you, should be a little bit familiar with Premiere.
I will jump in kind of like in the middle, making the assumption that you know a little bit about Premiere and the layout, so, we can get more to the advanced things. There is some great, if you're new to Premiere because you're coming from graphics or you're coming from any of the other photography, any of the other apps and the creative cloud, on the Adobe help site, there are soup to nut lessons that are great for bringing you up to speed and filling in the gaps. But, what we're going to try to cover here, it's a big room. I know some people are very new to it, very basic, or even if they've been editing for a few years, you have gaps because most of us are self taught. So, I will try to explain what I'm doing as I'm doing it, but there might be some parts, if you're not familiar with Premiere, that you're not quite sure, but I will do my best to both cover some things that are more basic as well as things that are more advanced or things that even if you've been editing in Premiere for a while, you may not be aware of within the space of the Premiere layout. And also some of the tricks and techniques to send something to Audition where you can really do a serious audio mix. We won't spend a lot of time in Audition. The bulk of the class will be in Premiere because you can do so much in Premiere now that a lot of times, it's unnecessary to send things to audition to do a final mix. But we will have that towards the end of the class. This deck should be available for download after Max ends, but you're welcome to take screenshots. I think I put my name up there. There I am, Abba Shapiro.
That I can be reached, like you Google Abba Shapiro. That's my handle for Instagram, for Twitter, for LinkedIn. And what I'll do is, anybody who invites me to their LinkedIn, friends me or whatever in the next few days, I'm assuming that it will be from Max, and I will accept it because I like building a community. Usually, I get people trying to tell me that they can help me sell more watches in my business.
But you guys are the real deal. So, it's just Abba Shapiro. It's my name. You can see it on the course thing. Only one of me in the world. There was another one, hit 100. Never met him, but that's the only other one that's out there. I think he, was an accountant. Okay. This is what we're going to cover broadly. Some areas in more detail, some areas in a little bit of less detail, but this is my strategy to cover over the next 60 minutes that we have in the class. If time permits at the end, I can take questions, and I am also happy to take questions after the class ends. If you want to come up here until they throw us out and then I can walk out into the hallway, because I know some of you may have additional questions, and I want to give you as much information as you can get squeezed into what's left of space in your head after these three or four days that you have been at Max.
Oh, I'm also really bad at PowerPoint and Keynote, but I'm pretty good at Premiere, so, that's the important thing. Let's talk a little bit about best practices, and I'll be switching back and forth between Premiere and with my deck.
One of the things that's really important as you are getting more advanced in your editing and you know you're going to be dealing with audio is to do a couple of things. One is to try to separate and keep different types of audio on different tracks, because that will make your life easier for the mix. It'll also make life easier whenever you're trying to put an effect on a track or even mute or solo a track so, you can isolate something and say, "Oh, I just want to hear the dialogue, I just want to hear the interviews. "I just want to hear the music." So, depending on the show, this varies for me and will vary for you. In this case, I have my tracks broken down for audio as dialogue on one, music on two, sound effects I threw on three, and ambient sound that I might put in on four. Of course, there may be times when I want dialogue on one and I want any, sound on tape where maybe people are being interviewed. So, maybe I have a narrator on one and sound on tape of interview on two, but those are still both audio of people talking and then whatever is needed for the other ones. You can also right click and you can give each of these types of audio a different color, so, it's very easy to spot check that A, something is in the right track, as well as just kind of eyeballing to say, oh, yeah. This is my audio. This is my sound effect. To do that, all you need to do-- why did that fall asleep? You're plugged in. You're happy.
You get to see what I looked like when I was younger and didn't hide my face with a beard-- or forgot to shave for a week and is another situation. So, if you notice, I'm going to punch in because I know it's a big room and it's small text. So, I am-- a primarily a Mac person, so, I am a little squirrelly on PC. So, if I'm a little slow in some of those changes, please forgive me. I think we have a lot of Mac people. I've quizzed a lot of my classes and it seems we have more and more Apple users, so, you're probably in the same boat as I am. So, as you may notice, my tracks actually say dialogue music and whatnot, which is not the default, and you can create templates-- where when you open it up, things can already be named. And the key thing for all of this is this little wrench here. When you click on the wrench, you will get lots of options that are specific to your sequence and oftentimes, specific to your audio and video panels.
So, you can actually turn some things on and off. One of the things that is off by default that I do like to turn on is for it to show the actual names of the clips that I have. Now, have I already turned that on? Yes, I have. So, I can now see the names here. This is normally turned off by default, and it's just a click here show audio names. So, that way when you expand your audio track, you can very quickly find the name of the piece of music or who might be speaking in that dialogue. So, that's one of the changes I like to make. To change color of a clip, it's as simple as right clicking on it, and you can go over here to label and there are now 16 different variations of colors that you can apply to these, and you can assign what they do for labeling. As a matter of fact, there are labeling groups, but it's as simple as double clicking it. And if you go into your preferences and in reference to preferences for all the people who are on Windows, your preferences are located-- underneath the Edit menu, and if you're coming from a Mac, you see it under Premiere Pro and when you go to Preferences, there is an option for Labels and when you're under Labels it's like can't find anything. There we go. You can reassign colors. You can also say what a default color is for something. So, you can set up your machine so, it does all this all the time and as a matter of fact, you can even make different color sets that you want. So, you know this is the default. If I switch to editorial, you'll actually notice these change and so, these colors will now be applied to different things such as your graphics or sequences, but you can make custom ones for the different types of audio you have. I'm going to go ahead and hit cancel. I just wanted you to be aware of how easy it is to relabel colors. You can actually lasso a bunch of audio and you can throw those labels on either in your project pane before you bring it in or once you bring them into your timeline. Now, of course, I said try to put everything on the same timeline. I built this a little bit bizarre. Not bizarre, but in some cases, I have the audio attached to the video that I put in here when I was teaching this other session. So, but I know that that's different. But if I needed to, I could right click, go into my labels, and change that to the appropriate color if I had ID'd these for my audio editing site. So, I felt that that is an important thing to know. So, that's one of the things. So, labeling as well as consistent color coding is very useful. Grouping them. You can also, and this is another thing that some folks aren't aware of that are newer to Premiere is that in addition to having your audio tracks and different type of audio tracks, you can also create submix tracks which you can then target. So, I can send, for instance, all my voice tracks to one submix. So, if I just want to bring up or down or sweeten the volume of when people are talking, I can do that. And if I want, I can create a submix for, say, all of my background sounds, all of my ambiance, so, I don't have to go to each of those tracks. And you can do this. Well, I'm going to make this full screen so, it's a little easier to see. I am using a button, the tilde key or the axon key. It just makes whatever panel I'm in full screen easier to see when you have limited real estate. Maybe one small laptop screen versus two big monitors. And in this case, I've already built these sub mixes.
You can't see it because it's I didn't switch the thing. This is my biggest fault and please scream that out. Normally I work off of one machine, and I don't know if anybody can relate. I have my primary machine. I have a backup machine and then I have backup drives.
Everything blew up on me last night, then I rebuilt it. So, I am working off of two machines just switching back and forth. If I forget to switch, be proud and say, "Abba," and I will go-- So, we will do that. So, yes, thank you for pointing that out, and it's likely to happen again. So, I'm going to zoom in a little bit. These are submixes. You can create them. To add tracks, so, if I started off with just four regular tracks and I want to add another audio track or if I want to create a submix, all I need to do is right click over here in where the audio panel is and I can either add individual tracks or if I go add multiple tracks, the multiples, I'll get a nice little dialog box and I can choose, well, I really don't need any more video tracks, so, I can just simply turn that off or type in zero, but I can add audio. I can say put it in before or after a certain one of my tracks or before the first track. You have lots of control where you do it, and of course, you can add multiple tracks. You can also add submixes, which is what I did, and that's just going to create a track below all of these that you can rename what the submix is, and the advantage of making the submix is that in the track mixer for when you do things, you can then target what goes to where. And I'll show you that now. I have a slide for it later, but since we're in this part of the application, why not show you what's going to be happening? The other thing while we're here and for some of you who are newer to working with audio, you'll notice here in my audio tracks, I have key frames and things are lower and higher and that's where the music will dip and where the music will come up because the person is talking and we're going to learn how to keyframe or do audio ducking in this session. But if I wanted to create an additional submix track, I would just say do it there. I can tell it how I want that track to be. Maybe I want it to be a stereo track because it's a stereo show. Maybe I need to put out a mono version so, I can create a mono track, and once you create these submixes, you can then target what tracks go to those submixes and then mix your show with sliders, and I'm going to show you where that is and how you would set that up. It's a lot that we're covering in the 60 minutes that we have. I'm going to hit cancel so, it doesn't mess everything up. We're going to zoom back to see the full screen, and I had hit the tilde button, and this is probably the default editing layout that you are familiar with. But the nice thing in Premiere, if you haven't discovered this, is there are workspaces which you can get to. Wow, I just made that a lot smaller. Here we go, which you can get to either under the window drop down in workspaces, and specifically, you'll be switching to audio, or there's a little drop down here for workspaces where I also have rearranged this for audio. And this for me when I'm editing, this is just a little drop down. I can switch easily between editing and audio, which I'll do for this class, but things like color. When I switch to the audio layout, it rearranges. Now, you can customize this for however you like, but what this allows me to do is have my sequence here at the bottom. It moves my access to my clips and my sequences to the left. I open up the essential sound panel and that is where you're going to be doing most of your work and where most of the magic is going to happen. You will be able to edit clips that are in your sequence here, and you will also be able to browse Adobe Stock. And in Adobe Stock, there is both music and now, there are sound effects. But what's really nice about this, if I can scroll to just the right area, lots of real estate here. Come on. Go to the top. Is when you search, and it's funny. I'm just blanking on this button that should be here, which is, you can choose if you want to just, use free or download and try it. And when you play with music, and we're going to download some music a little bit later, you can download a low quality version and once you get approval, you can click a button, put it in your cart, and then download the full resolution for when you actually export the show. Is this the Relevance button? Probably. This is my-- No.
Categories. It will come to me when I come back. If not, I have a screenshot for it. I can't believe I'm not seeing this. Maybe because I'm zoomed in. The three dots, somebody's just sending me a text message. Oh, you guys probably can't even hear each other, but I can hear you. So, I'll repeat the questions. Mostly people are saying, "Abba, you can do this--" and I am doubting you on this. But usually, it's right at the top. I will get, an epiphany where this will all work, but maybe it's actually buried at the bottom, and that's where I can do it. But you can there's a checkbox for free, which is really fun because I like free, and there's also where there's ones that you can refine. As a matter of fact, while we're here, we will go into a little more, categories. So, if I say music, I can say what type of or what mood I want, of music and it will go through and it will filter that out. I can go to genres, so, in my case I wanted to find some classical because I'm doing ballet, that I need background sounds on. What is really nice, the hunt for this. Here we go, filters. Yay.
There's something awesome when you get applauded for finding a checkbox, you know, but you guys are great. That's what I love about Mac. So, yeah. So, there is our free, and you can go to tempo, and you can even say I prefer to use some different distributors of music. And the nice thing is you can then sample them by hitting play. I will give you one tip that will make your lives really much better. In the very lower left corner of this box, there is something called timeline sync, and there are times you want it on and times you want it off. When it's on and you test out one of these tracks, it will play the music on audio in your sequence and you can listen to the music against whatever is already in your track, which is useful. Sometimes you just want to, like, zip through the music and in that case, you want to turn off timeline sync, and then when you hit play, you're only hearing the music that you're thinking of buying or using. [Music] And we're going to listen to music for the next 45 minutes, and I thank you very much for coming. No. This is really cool, but I'm really glad we found the free because there is a lot of free options. And one of the things we're going to cover in the class is something called remix. And some of you may be familiar with that, but it's a magical tool that if your audio isn't long enough, instead of having to do a lot of cutting and pasting and trying to make it work and hope that the beats, all are consistent, it will do all that magic for you. It blows me away. It was originally only in Audition, and slowly they have been moving a lot of these features directly in Premiere, and it has saved me. I can't you probably if you've edited a show, there's always a time that your music just doesn't quite fill the space that you need, and this will save you a lot of times, and I will show you how that works.
So, with that, let's go back and take a look at some other things on our deck. My machines are lovingly falling asleep. I remembered to do the button. I bet I can close this, and then I can actually see my buttons.
Yes. It's the little things that make me excited. So, this is just some best practices, and I recommend you know, none of what I'm telling you is, like, you have to do this. These are things that can make your life easier. So, this is just kind of a follow on. This is saying setting up your audio tracks.
So, that's that little wrench drop down. One of the things that you can do and I do to make my audio more efficient, my editing more efficient, is there are times when you want your tracks really big because you want to see your waveforms. You can easily size them individually by dragging. There's keyboard shortcuts for it, but there are two features that I use a lot or actually one feature that has a keyboard shortcut, and that is Shift Plus and Shift Minus. And what that allows me to quickly do is make my track taller so, I can see more detail or more narrow so, I can see all my tracks. Switch. Switch. You guys want me to switch all the time and I want this switch to be closer to-- never mind.
I'll learn this by the end. Okay. So, what I did here, so, this way, I can see a lot of tracks. If I have a lot of audio, that's the Shift Minus. Shift Plus will make them bigger, to where I can see things and if I want them even bigger, there's a keyboard shortcut just to make my audio tracks bigger or I can simply stretch it. And then that tilde key is really great if I don't have a lot of space to really see detail.
So, that's one thing that I like to do. But because I've named these tracks, it's really useful for me to see that, and when I go shift minus, I don't get to see what that audio is, and I can rearrange some of the elements here. So, what I want to do is show you let's see where these bright lights going.
I want to move dialogue up to here, and I can rearrange this very easily.
And it's just edit my track location. Here we go. Customize. All I did was right click on it, I go to customize and I see all the little buttons that are down here. See where it says V one, which is the default? If I take that and I move this to the top row, I can see that's B roll for video. I really want to do it down for all of these. It should fix for the audio. Let me hit actually okay and let me go down here. Audio and video are separate when I'm customizing things. There we go. A one here. I'm going to move that just to the top area here, and there's some other buttons that I don't use a lot. I don't do a lot of recording or voice over into Premiere, so, I can move that to a different location if I wanted to. I can go ahead and just move that down there. So, I've rearranged some things and I hit okay, and one of the things you'll notice now is when I actually make this thinner, let me zoom in so, you can see it, I'm going to hit Shift Minus and now, when I'm editing, I know my tracks name because it's not covered up. So, that's a really useful technique that I found to set things up. Now, here's the nice thing. You can save these as templates so, the next time, every time you open something up and you know you're going to be editing audio, these are already arranged this way. Now-- I remembered. I can be trained. We're going to go through some basics. The basics I'm going to go through very quickly because we do have a variety of knowledge levels and supposedly this is intermediate to advanced, but audio can be very tricky. I just want to show you quickly how you can do the basic adjusting of audio keyframing, which means you're making it louder and softer, and you can even pan left and right. These are very simple techniques that you can do. Let's come back over here into Premiere, and we're zoomed in. So, let's come back. And a lot of times, I am saying what I am doing for two reasons. One, so, you know what I'm doing. And two, this is when I edit and it's 4:00 in the morning. I talk to myself and say exactly what I'm doing to survive. And trust me, I was trying to get these things to work at 4:00 this morning. So, what we want to do is I want to show you levels. Now, this is too narrow, so, I'm going to go back to my Shift Plus, and if I wanted to make a track even bigger, I can just grab it and stretch it and I can see more detail. Let me switch over to a track that's just pretty. Is this the ones I want? Okay. Shift One. Lots of keyboard shortcuts. There we go. Sequences for this wonderful audio editing class.
Audio basics, I'm calling this. And as a matter of fact, I will zoom back a little bit and all I want to show you are three very simple things. If you want to adjust the volume of a clip, there's a little line that's always showing here. Hopefully, you can see that, and I can go and grab that and bring it up and bring it down and that's just going to increase the volume of the clip, and I can look at how the volume is working on my meters over here. If for some reason you don't see these numbers, your interface might be a little bit tight and sometimes they don't show up. So, when I play and I am going to zoom back, you will see your meters jump up and down or my meters. [Music] And I can see where they're peaking, and what you want to do generally with audio, unless you've been given specific requirements by who you're delivering to, the broadcast or whatnot, usually we're targeting for an average of -6TB.
That way, you have a little bit of headroom so, things don't get over modulated, and that's kind of the standard. You can look up different places do sometimes request peaking things, like a CD will always peak at zero. If you bring music in off of a CD, that's going to be really loud, and you will automatically want to just reduce its volume even before you bring it into the timeline so, it doesn't blow your ears off as you are choosing that music. So, the straight line is here, and what I want to show you is that this can be reflected in other parts of the interface. So, currently, I am looking in my sequence. There is a little button, and this has just got snuck in about a year ago, and it's not just telling me that, I have an audio effect on something, it also allows me to quickly open my effects control panel, which is up here and normally you would, I have to find it.
I'm not playing that. That's, I think, you don't even hear it. It's a giant truck running down the hall. So, I hit the Effects button and it will load that clip into the Effects Panel, and then if I look at my volume or open up the volume and channel and panel sliders, changes that I make here-- reflect up here. Okay? And it will also reflect in my Essential Sound panel. I'm switching over from browse where we were searching for things to edit. Okay? And we'll be using this essential sound panel a lot, and in that sense, I will be able to have a slider that I can control, the volume or the gain, those two terms. So, that's just quickly making things louder and softer. A lot of times, you'll want to just bring your music down just to start, you know, usually about 15 to 20 DB last. It varies. Never used a fixed number. I've had producers come to me and they say, the music has to be -16 DB. And it's like that's because somebody told them it. But depending on the type of music and whether it really punches through, maybe it has a lot of high frequency, it could really compete with the voice. Or it could be a lot of low frequency stuff and if it's a male voice, it could compete there. So, yes, you want it to have a certain sound pressure or decibel level, but you have to make sure it relates well so, the person speaking is well heard and it's not overwhelmed by music. And the most frustrating thing for me is when I watch something on YouTube or even on broadcast television and somebody just arbitrarily put that number in and I'm, like, fighting to hear what the person's saying because the music is just so much is competing with it. So, it's just something to keep in mind. Yes, you can look at numbers and you can look at your meters, but your ear is the final test. And the other thing to keep in mind, and this is a massive challenge these days, is what type of device might they be listening to it on. And the problem is people are listening to it on so many types devices. It's really kind of hard to target that. Phones, home stereo systems, ear pods, they might be listening into a cheap pair of Bluetooth speakers. So, that's the challenge and sometimes I test it on those different types of devices to make sure I get the best mix for everybody.
Keyframing is very simple. Sometimes you need to, and I'm going to punch in again, maybe they got really soft when they were talking. She sometimes hit the keys harder on this one. I can simply go in and put little markers.
Lots of buttons there.
And if I hold down the Control key, if you're on a Mac, it's the Command key. I get a little plus sign and then I can simply put little dots in-- and if I want to see this in more detail, the plus and minus key on your keyboard, the one that are above the letters by the function keys, will let me zoom in and zoom out on my timeline so, I can really be a little more precise. But if I put four dots in, that's usually where you want to start because you want to have a slow fade down or a natural fade down, the music is now going to dip. So, this is something that you would normally do if the person's voice got lower and you need to punch it up or maybe there was a door slam and you just want to make that a little bit softer. So, you're keyframing there and you'll play it and you'll see how it sounds and if it is actually an improvement or not. A lot of times if we work too hard with audio and add more effect-- more plugins-- never call them a filter because a filter has a very specific reason for that terminology in audio and then a gang of audio engineers will show up at your door and beat you up.
Happened to me many, many times. No. So, that's really the simplicity of keyframing. If you want, you can also right click and you can delete them, control how easy it gets in. For those people who are familiar with beziers and graphics for how you want thing to move, you can also do that, and affect your audio how it goes up and down. And I want to point out, I'm going to hit this little fx that took us to the Effects control tab. It actually opens it up here. Okay? If I did that zoomed out, if I was on this clip for some reason and I wanted to work on my audio, I hit fx. That is where I dip the music, and there is a disclosure triangle, and I can do the same thing here as I did down here. They're just reflections of each other, and one might be easier for you to work with than the other. If I ever want to reset everything, this little clock, if you can imagine it being in the back of the room, there's a little clock. If I click that, I can reset all of my keyframes if I've really messed things up. So, that's keyframes and then you can also do panning in here. So, if I wanted to, I could have the music come more from the left and I can even keyframe that and move that to the right. So, those are some of the basics that I wanted to cover and to keyframe something left to right, I would simply put my playhead over here, move the balance slider to the left, hit the clock, and that puts in a key frame that says at that point in time, the music is coming out of the left channel. And then if I go, I'm going to just make it pretty short so, when I play it back, you can hear the move hopefully from your left to right headphone speaker. I move the playhead a little bit and now, I just adjust where I want the sound to come from, and if I have done this right and it's wired right, you should hear it pan from left and right in your headsets if they're not designed to be mono. [Music] Did it move left to right? They're probably mono. It would have been brilliant otherwise. But I just wanted you to be aware of those are the some of the things you can do, and we're going to keep digging a little bit deeper into our show. So, dual system sound.
There's best practices. I intentionally did record this little setup here with mics all over the place. I had a mic on her sweater, which I get a lot of rumble so, we can fix it. I had a mic sitting next to the air conditioner. I did use a real mic for her voice and audio-- so, I had a clean mic also nearby that was wired right for her. So, in situations where the audio may be difficult, you can actually do what's called dual system sound where you're recording it on a separate audio recorder. And then in the camera, usually, you're recording, like, camera audio, which is probably pretty bad, but then you can have Premiere merge those together and then work with them as a one good clip with good sound. And there are two ways to do it and-- depending on your workflow, one way is better than the other. It'll be the second way I prefer, but here I have the poor audio switch. This is great. I love this. It's like being at home and my wife telling me.
Sure. She tells me, the door is unlocked. Come in.
No. So, this is the camera mic. When I was 15, there was everything. I have country, hard rock, acoustic songs. And it should be a little bit like low and noisy. And then this is the actual mic from the audio recorder. It was a Zoom. When I was 15, there was every--- So, what a lot of people do is they say, oh, I want these together, and they take the clips. You actually don't even have to put them under each other to do it, but you can just select them both and just type in synchronize.
Oh, yeah. That's right. Right. I can right click on it.
See, that's why everybody's raising their hands on the Mac things, and then some place, because I never use this, it says synchronize and I'm going to have it synchronized by the audio. So, make sure that camera's recording things. You hit okay, and they do line up perfectly and then you could just mute this track. So, that's one way of doing it. The problem is if you move the video, they really aren't synced together. You can sync them together by kind of locking them up and then you go link them together, unlink them, but I just want to show you that because a lot of people do that, but it doesn't necessarily is the best workflow. What I like to do is I go back to the original clips, and so, I'm going to simply right click and reveal this in my browser with all of these things that I have to say, oh, it's different in different parts of the thing reveal in my project. So, there is the video down here and there is also an audio, should be an audio only track. So, let me see if I can find that as I piece this all together. Reveal in project. Oh, yeah. Look at that. They were right next to each other. Yeah. So, I am just like everybody else, but a little bit worse. So-- the audio track, if you look visually, you can see if it doesn't have the little film strip that's an audio only and this says video and audio, but bad audio. I'm going to select the two clips here.
There we go. Right click on them, and what I'm going to choose to do is do what's called merging the clips. Let's shift.
Got them on like three different computers in three different classes in a row. Here we go. Okay. And so, I want to merge these two together. Why am I? Right under Proxy. Yay. It's too small for my little old eyes. I hit merge clip and I get a pop up, and by the way, I have a lot of this stuff on the deck if you want to download it. I am going to merge using the audio and I want Premiere to remove audio from the AV clip, which means I don't want to deal with the bad camera audio. And when I do that and I hit okay, it will create a clip named after the video with the word merge. You can rename it. But if I load that into the viewer-- it now has the good audio. If I bring that down, it all works now as a single clip. So, if I move something or trim something, it still says the same. When I was like 15, there was everything. I had-- So, merging clips is a real effective way of when you do dual system sound. It sounded like somebody was happy, or they were opening up a bag of candy. A question. Yeah. So, with the synchronization tool, sometimes, I'll select the different clips, and they are the same thing, but the synchronization option is grayed out. Any clue why that can be? For a synchronize versus merge? Yeah, they will be separate tracks, but they won't sync. Yeah. Sometimes, well, it also depends what-- one of the options is, The question was sometimes they don't sync when I'm in my timeline. Why don't they do that? Sometimes it's just because it's a computer, but sometimes it's because-- it might be stereo versus mono there's a problem, or maybe the audio is actually on two and you're pointing to say, try to match everything on one-- and sometimes well, that's primarily why I like to do the merge clip because it tends to work more than otherwise. So, sync is there and a lot of us find sync. Here's the thing. We're self taught and you find sync first, so, you only sync and you never even knew merge was there or you don't think about that. So, that's kind of like why I show a couple of different options there.
I want to talk, I mentioned the audio workspace. You can get to it in many different ways. Not going to teach you all the different ways, but basically under workspace switched audio, it rearranges everything. You can adjust things if you like it differently, if you like to see your audio waveforms differently, and you can even save that as a favorite. Okay, but the important thing is it brings up the essential sound panel in your show. So, there's something that it does automatically, and you can also do it manually, and that's tagging audio. You can select a clip in either the project pane or in your timeline and you can tell it what type of audio it is or you can have Premiere use AI and do its best guess. By the way, anything you bring in from Adobe Stock that's music or sound effects are already tagged. Because sometimes sound effects or ambiance confuses the AI because it's people talking in the background. So, you have to double check on some of those things. But the nice thing is when you do this, when you select one of those clips that have been tagged in your timeline, the essential sound panel on the right actually shows you different information. It turns on the things that are most likely you'll want to use, whether you're fixing audio, whether you're adjusting music, whether you're dealing with the background of ambiance or sound effects. And this is an example of the things you can do, and we're going to actually use the dialogue and the music ones to fix some problem audio. But to tag things, if they're not tagged, you can literally just lasso them in your sequence and they're done and it's switch. Switch. Switch. Keep switching me. It's so far away. That's the problem. It's not even like, but yes. Thank you. I appreciate your patience there. So, yeah, I can do one clip. These are already tagged. Let me go here to, auto tagging. So, these aren't tagged. I'm going to just grab that. I can say auto tag. It actually figures out these are all voice and what happens with voice, if I click on it, it opens up a lot of really nice features, and the two big ones we're going to deal with today are enhanced speech and loudness, which you may have to click to open it up. But there are lots of different things. There's repair to reduce noise and whatnot, and I will always do the first two things that I'm showing you initially because a lot of times, I don't have to go down to these steps. So, I want to show you a house enhanced speech works-- and some of you may be aware of this. It came out about a year ago, but let's listen to some really horrific audio, intentionally horrific, and how easy and how quick it is to fix. So, here I have this interview, and in this case, I put the mic on her collar of this sweater underneath her hair, and this, and so, it's a dialogue. I'll click it and I'm going to play it for you. Hopefully, it won't be too offensive. A lot different techniques. And then ukulele. I've tried-- Do not hire me as an audio engineer.
You can. I do have a second one. I did get good audio, but look at what I can do. I'll go over here, there's a button called enhanced speech. It uses AI. It does it locally on your machine. It doesn't have to send it to the cloud, and that's important for a lot of folks who are not allowed to upload things to the cloud because of proprietary or business reasons. I click enhance. It will now spend some time in how to faster your computer is. Oh, that's done already. This, by the way, is a three-year-old Mac. It's a first generation M1. No. This isn't. This is a five-year-old Dell. This is a three-year-old Mac. So, that's actually pretty good, and you'll take a listen to it. A lot different techniques. And then ukulele. I've tried-- It's better. Oh, actually, my number, normally it's at 70 or seven because it likes to let you mix a you know, have a little bit of the background. The audio is so bad, you still hear a lot of crinkling. A lot different techniques. So, if you do that, just knock it all up. You use all the enhanced speech. And then ukulele. I've tried-- So, there's just one little crinkle in there that it didn't get. That I could try to fix with the tools in here. I might take it to Audition or I might just let it go because it's just so small and maybe, there's the old saying-- there's fix it in the post, which we all know about, but for audio, it's bury it in the mix. Okay? That's when the music comes in or something.
And here's another one where I had the mic by the air conditioner, just to show you how great it works. A lot. Like, on my old album from when I was like-- And then hopefully in the headsets, you can hear the air conditioner. Enhanced speech, it does its magic, bring it over and-- It's a combo, like, I do a lot. Like-- You should have heard a big improvement. Crazy big. Did you hear that? It was good. It blows me away. This is magic. By the way, it gets even more magical soon.
And really when I do that, I don't use any of the cleanup tools down here. Sometimes what I might do, well, the second thing is I do press is this button called auto match, and I want to explain how that works.
Auto match doesn't match the volume and tonality of other clips in your sequence. What it does is it brings it up to a standard broadcast average, pressure level. That was a geeky way of saying it makes them all basically within the same volume level, that is officially -23 LUFS. So, if you had quieter parts and louder parts because of different mics, you can select them all and you just simply hit auto match. It analyzes the clip and will, in the background, bring up the level. So, at least all of your clips are consistent, and you can do that across a whole bunch. When it analyzes them, it analyzes each clip by itself. It doesn't try to find a good average for everything because that's not helpful. So, those are the two things that I would do.
In addition, sometimes what you may want to do, I once I use enhance, I don't think I ever have used reduced noise. It's just no need for it, but sometimes you do know if there's a problem, if there's rumble from a low frequency, from the electrical line, whether you're using, like here in North America, it's 60 hertz and the rest of the world, it's 50 hertz. That's just that buzz you sometimes get. If she has a lot of sibilance, you could turn on a de esser to cut down on sibilance or, it got rid of most of the reverb anyway, but you can put these filters on. You can put them on here, and, of course, you can also get them from your effects tab. A great way to find it because who knows where it is in this layout is if you use some of your Shift keys, if you hit Shift 7, it will always show you your effects tab, bring it to the forefront and there's all your audio effects that you can simply drag things on, and once you drag them on, you can then modify them. But I've already put some effects on because I hit that button right here of, de-hum on this clip. And if I hit that little fx button to open up this detail, there's all the things that I've turned on and you can bypass it and you can say what your mix is, all the same controls that are here. But I want to point out that with some of these, like the de esser and the dehummer, there is a button that says edit, and when you click on that button, it will bring up an interface where you can actually even modify it. So, at first, it may not look as deep as a program as Audition, but it has a lot of power under the hood. And sometimes you may want to go in there, especially if you've done something like I want to put some EQ on it and I'm going to go with a nice vocal presence. It will put that effect on here-- and that would be under graphic equalizer. And if I hit edit, I can actually manually adjust it. What it's doing, it's pumping up the volume on the frequencies that is her voice. Okay, And you can have it for male and female and you can-- so, there's even more options here and you can manually control that. So, I just wanted you to be aware of the depth of plugins and effects that are available to you to correct things, but honestly, ever since they came out with the enhanced speech, it has been a game changer for me.
So, there is just more detail in the slide deck of what I just showed you working with the dialogue. You can work with waveforms over there. Those are the steps. We looked at enhanced speech and we looked at auto match. Those are your one button fixes. I want to give you a little bit of a secret, which isn't really that much of a secret. This actually was in or on the web under podcast.adobe.com, before it wasn't here. And in some cases, it will do a better job than Premiere does. And the reason is that Premiere is doing everything locally using the power of your graphics processor. When you send it up to the cloud, they can put more machines to it and they can use newer and newer algorithms, but you are sending it to the cloud. But if you have some awkward audio, it is a great fix.
I wanted to play this because I found this last night and it blew me away. This wasn't what blew me away. You can actually, with the Creative Cloud, just drop a video clip or an audio clip in it. It uploads it. It fix it. It then, you can play it, and you can mix the sound just like before for the enhance and the volume. And then when you're done, you just simply hit download and you can resync it like I showed you with merge clip with the original bad clip. So, that's just another resource that sometimes may help you, fix something that's a little harder to fix. I have to play this because when things are magic and we get used, and I'm still thinking it's super-- This is I found on the web when I went to take the screenshot, and I want to play what this new version two is going to do for enhanced speech beyond one. So, I actually put it in a timeline so, we could find it better. I'm going to switch back to editing so, things are a little bit easier to find, and I need to switch that because you'll hear it, but it's really good to see it. And thank you for, like, not throwing tomatoes, but just throwing, barbs. No. No barbs. You guys are throwing smiles at me. So, this is the thing I'm going to play. And by the way, and I taught so many classes. I don't know if I've taught this to this class. Tilde, I told you, goes and lets you make anything full screen, and it would be great for here, but if you hit control tilde or control the axonkrav, it fills the screen without the interface. So, that's a non audio, but a really cool thing. And this is the lead designer, and let's hope I have my volume set properly. 30 seconds. [Sam Anderson] This is Sam with Adobe Podcast team, and this is Enhanced Speech V2. I'm in front of some construction right here, so, it's pretty noisy. And this is not a place I would normally recommend recording audio, but with V2, my voice is crystal clear. I'll switch back to V1 in case you're interested in hearing, how v one compares. And when I switch back to V2, you'll notice that my voice is much more natural and, crisp and clear while also taking out that background noise. So, really can't wait for you to all try this out. Thanks for listening.
That is insane. I get chills. If you see him, I want 18 people to pick him up in the air and carry him cheering through the conference, but that's just crazy and wonderful and you will be able to save audio that you never thought you could fix. So, that's where it's coming and hopefully it'll be dribbling down into Premiere and Audition for us to use.
Let's go back over to our deck. We do have about five minutes left. I might go five minutes longer. There's a long break between these, but I do respect your time. If you need to get up and run away, just remember to take the headphones off. There was a lot of information that I wanted to cover, but I showed you how to put an audio effect on by simply dragging it, and then if you open up the effects tab, you can keyframe it or adjust it. I showed you where you could find the stock music, so, if you get this deck. I want to show you another magic tool and that's the remix tool. I had mentioned that earlier. I don't know why I just hit that button, but I did remind me to go back to my computer. Yay. By the end of the class, he can be trained. Music remix. So, this is, crazy. I just grabbed a piece of music that was something to the effect of 15 seconds long that I wanted to use underneath one of my clips. [Music] But I need 30 seconds. How many times? So, instead of cutting it up and trying to figure out where the beat matches and the rhythm, all I have to do is go over to this tool that says Ripple Edit. If I click on it with many of the tools inside of Premiere, and most things, there's other tools under it. I'm going to get a tool called Remix, and when I do that, the cursor changes to a little note. I'm going to just simply drag that to the length I need. And instead of stretching it out, it analyzes, cuts it, and this is where it makes the edit right on the beat, and it's a flawless transition. [Music] That is like saving me hours of trying to make my music longer. And the nice thing about this is since it is music, I can go here. There is under remix if I see it. So, we're music and there's remix right here. It's already turned on. It tries to get as close as possible, but sometimes it says I'm going to be a little bit off rhythm if I try to make it your 39. So, I made it 35. Usually, my solution is just to drag it a little longer and either trim the head, the tail, or fade it. But if you go to customize, you can tell Remix to say, "I'm willing to have more cuts "if you can get closer to the timing I want, "and it's more important for me to have variations in the music "or it to be more harmonious." And then it will just recalculate and they make more cuts and you can get closer to that time that you want. I think this is a crazy tool. It used to only be an Audition, but now, it's here and that can save you a lot of time when you get a piece of stock music and you want to make it longer or shorter is usually easier, but I think it's brilliant and I want you to remember to do that. In the deck, I do go through all of the details on how that works. If you need to run out, I do want to point out, I ask you to fill the survey, and the reason I ask you to fill it out, like, pretty close to when I deliver the class is at the end of the week, you see three classes and I've gotten reviews that said "She did a really amazing job on Illustrator." And then I'm like, "I appreciate the compliment, "but I don't think that was my class." So, please do that. It's just in the deck, but I will give you quickly a couple of just a little bit of the important features. Mixing audio in the essential sound panel. I showed you how to keyframe. That is a great way to do things, but sometimes we want to save time. So, what I want to do is let's say remix continued. There you go. In this clip here, still it.
You know, by this time you guys should be able to do this yourself, you know. I'm a little disappointed now. So, here's the audio. Their levels haven't been mixed at all. There's no ducking. [Music] So, she's talking and her voice is buried. All I need to do is make sure this it knows is music and it knows that she's voice. I could have auto tagged that, but I'm doing it quick right here. And once it's tagged, I can click on the music and on the right side, there is something that says ducking, which I'm going to turn on. Okay? And I can change some parameters. How much softer do I want the piano to be when she talks? How sensitive do I want it to be to the changes of it getting louder and softer? So, you can play with these. How quickly do I want the duck to happen and where do I want it to happen? So, you can play with these, but the big one is the volume and then I'm right here and all I need to do is hit generate keyframes, take a look at what happens here in the lower left. I go generate keyframes bada boom bada bang. Okay? Life is good and if I wanted to make-- Somebody applauded. And I also play a piano. You're not applauding for me. You're applauding for these engineers. Crazy stuff. If it's not low enough, I all I have to do is say, oh, yeah, louder or softer. Hit regenerate. Works beautifully. Producer comes in. Producer goes, "Oh, yeah. "I want her talking here." Now, it's all wrong. Nope. Just hit regenerate again.
If you can find regenerate. Music layer. Yeah, I got to turn on that music layer there. It's always great when I have people in the class that actually know a lot more than me and see what I'm seeing, which is great because I actually appreciate that. Regenerate-- and you see it's moved under. One thing you may have noticed or if you have eagle eyes, that it doesn't pop up at this point. That's part of the settings in my sliders because sometimes it's really awkward if all of a sudden for like one second, the music pops in and then disappears again. So, it is smart in that sense, but that can save you an amazing amount of time when you're looking to remix your music before you send it out. And it is time. I do want to just step through a couple of slides which will be available.
Don't even worry about this. This is the geeky thing, but inside of Premiere, there are a clip mixer and a track mixer. The clip mixer actually lets you change, even on the fly, like you have a control panel. You can even click a control, add a control surface and you can play and ride and bring levels up and down or just watch the individual tracks. Now, there is also a track mixer, and this is where I can increase volume of a whole track, not just a single clip, but the key thing I wanted to show you here is I have my individual tracks, but I can target, see, dialogue music sound effects, and I say, "Oh, that's going to go to my voice submix," and all of these three things are going to go to my music and effects submix, which are over here. So, I can actually, if I need to, say my producer comes in and says, "The music and ambiance are a little too loud. "Bring them down." Instead of going to all of those things, I keep thinking this is actually the application and I click and it changes the page, is I can bring those down globally. So, it's nice. It allows you to mix things. It also allows me to put an effect if I want on an entire track or an entire grouping in the submix, like I want to put more presence in the voice. So, that's the audio track mixer and in the interface, when you're in the Audio tool, it's just one of the tabs that are next to each other right up here for your different mixers. I need to switch. Oh, I thought I was doing so well. If you can hang for four minutes, I will give you one more trick and I appreciate you the extra time. If you need to leave, you can download the Sal I deck and it's pretty self explanatory. I just want to explain how you can send something to Audition if you really want to go deeper. I don't find I need to go there a lot because they put so many tools inside of Premiere, but if you do come from an audio world, you can send a single clip to Audition and repair it. It doesn't have speech enhanced yet, so, that's one of the challenges, but you can go and you can send it there and it looks like this and you can clean things up with the audio spectrum and you have way more filters that you can, or way more effects that you can handle. And then all you need to do because what Premiere does is when it sends it, it makes a copy of that clip and when you save it in Audition, it saves that copy and it's already in your sequence and you're good to go, and the original clip is still in your project. You can always get back to it, but that's the round tripping of when you send it to it and all you do is you right click and you will say, "Send to Audition," but you can also send a whole sequence if you want to do a more detailed mix. So, in that case, you select the sequence and either you can go to the edit drop down menu.
Okay. And I think I might have not shown you this wonderful slide. So, this is the Edit drop down menu. You say edit in Adobe Audition. It'll bring up this dialog box, and I want to show you a secret. This is important because I see a lot of people getting frustrated on the chat boards. They send the whole sequence and all your effects transfer except the enhanced speech isn't in there. So, it doesn't transfer. So, you don't have that fixed. And they're like, "Well, what's the use of that?" But all the other ones do. On this drop down, there is an option to say render clips with non transferable effects. It will apply the speech enhance before it sends it to audition and then you can work with nice clean audio. It shows up in audition like this, and then when you're done, all you need to do to send it back, there is an option to export back to Adobe Premiere and so, you don't have to export and then match it up and whatnot, and you have a choice of where you want it to go, on one of the existing tracks that you might have created. You might have even created a track or you can have it go to a brand new track. It will create that track. It will not erase the other ones, but then you can mute them. And now, you have your mix, but you still have your individual tracks if you want to go and change something. So, it's really a beautiful round tripping option, and there is so much power that's under the hood and as you keep digging inside of the audio tools in both Premiere and Audition, you can fix a lot of stuff. But the magic is I'm V2, version two of speech enhance, it's insane. I have fixed so many things that would have taken me two days and never sound that good with enhanced speech and, I want to give a round of applause to the Adobe engineering teams on this because they've done a great thing.
I thank you very much. You have a lot of options for different classes to go to, you chose this one. I hope you learned a lot. The deck is available as I pack up. If you have specific questions, feel free to come up and ask them. Thank you and enjoy the rest of Max for today.
[Music]
