Audio editing & mixing

[00:00:00] hi I'm John N software trainer for Adobe

[00:00:00] and in this video we'll be talking about

[00:00:00] audio all the facets of working with

[00:00:00] audio inside Premier Pro including

[00:00:00] editing mixing adding effects and even

[00:00:00] using AI tools to enhance your projects

[00:00:00] let's dive in okay I've got my sample

[00:00:00] project open here we're cutting an

[00:00:00] advertisement and we have some dialogue

[00:00:00] and some sound effects some room tone

[00:00:00] Ambiance and some music and I need to

[00:00:00] cut another piece of music down here

[00:00:00] onto track five next to the other music

[00:00:00] clip here you'll notice that that track

[00:00:00] is already labeled music I'll show you

[00:00:00] how to do that you can label all the

[00:00:00] tracks in Premiere Pro uh if You' like

[00:00:00] so I've got the music over here in the

[00:00:00] bin double click load that in the source

[00:00:00] monitor now I have several ways to bring

[00:00:00] this clip down here into the timeline I

[00:00:00] could set in and out

[00:00:00] points like so so I'll go to where the

[00:00:00] music is supposed to come in I'll set an

[00:00:00] in I don't need an out because I already

[00:00:00] have an out here in The Source monitor

[00:00:00] for that clip and I need to move the

[00:00:00] track patch here on the left side here

[00:00:00] these are the patches A1 is going to go

[00:00:00] to A5 and I'm just going to do an

[00:00:00] overwrite edit which is this button here

[00:00:00] or use the keyboard shortcut and there

[00:00:00] it is just dropped it right in I could

[00:00:00] also just grab it like so pull it down

[00:00:00] and drop it into place or I could have

[00:00:00] pulled it directly from the bin into the

[00:00:00] timeline as well so any of those methods

[00:00:00] will work depending on how you want to

[00:00:00] do it I'll just do a quick save here I'm

[00:00:00] going to clear the In-N-Out

[00:00:00] Point all day all right music queue is

[00:00:00] in place but it is way too hot we can

[00:00:00] see it's already peeking here in my

[00:00:00] meters so we need to bring down those

[00:00:00] levels let me zoom in a little bit here

[00:00:00] I'm just going to pull the the wheels

[00:00:00] out fit that

[00:00:00] in there we go and I'll make that track

[00:00:00] just a little bit taller here

[00:00:00] there we go so we can see the waveform

[00:00:00] is obviously really hot it's hitting the

[00:00:00] top of the track there so we can bring

[00:00:00] down the volume a little bit we could

[00:00:00] also adjust the gain if we want to now

[00:00:00] one thing we don't have in Premiere Pro

[00:00:00] is the kind of drop- down shortcut menu

[00:00:00] that allows you to select gain versus

[00:00:00] volume here you can see there's an audio

[00:00:00] gain option right there so they're

[00:00:00] separated if you want to adjust gain you

[00:00:00] can right click on it and this popup

[00:00:00] window is going to come up here and you

[00:00:00] can either set the gain to a specific

[00:00:00] level you can adjust the gain relative

[00:00:00] to where it's at that gain is pretty

[00:00:00] much pegged at zero so if I were to

[00:00:00] adjust the gain by minus1 12 it would

[00:00:00] lower the highest peaks to minus 12 for

[00:00:00] example boom there we go this is

[00:00:00] non-destructive by the way I'm going to

[00:00:00] use the keyboard shortcut I have assign

[00:00:00] to jump right back to that without

[00:00:00] having to right click on it and I can

[00:00:00] then push the gain back up 12 DB back up

[00:00:00] to the top go back there to the same

[00:00:00] menu and we also have options to

[00:00:00] normalize so that's going to bring

[00:00:00] things down to whatever level I set it

[00:00:00] to Max Peak will take the highest peak

[00:00:00] in the audio and adjust the other uh

[00:00:00] waveform Peaks accordingly kind of

[00:00:00] exponentially along with it the

[00:00:00] normalized all Peaks will just take all

[00:00:00] the Peaks and set them to the same level

[00:00:00] so you've got options in there right now

[00:00:00] and below that it's showing the peak

[00:00:00] amplitude which is the Lou part of this

[00:00:00] clip is there at zero which we knew now

[00:00:00] I'm going to go to normalize Max Peak

[00:00:00] and I'm going to take it down to minus

[00:00:00] 12 like so and there we go so the

[00:00:00] highest peaks there are going to be at

[00:00:00] min-2 as soon as I wake up drip I get

[00:00:00] out of the shower all right that's

[00:00:00] pretty good there and then I can now

[00:00:00] adjust the volume independently of the

[00:00:00] gain the difference there being the gain

[00:00:00] is uh affecting the entire clip and

[00:00:00] volume is something that you can

[00:00:00] actually key frame so individual

[00:00:00] segments of that clip can have different

[00:00:00] levels we control volume in several ways

[00:00:00] one of them right here is this white

[00:00:00] line running through the clip here that

[00:00:00] is my volume key frame line and without

[00:00:00] any key frames it's just affecting the

[00:00:00] overall track as I pull and drag you can

[00:00:00] see a little popup menu right there it's

[00:00:00] telling me how far down I'm reducing the

[00:00:00] volume so I'll pull it down an

[00:00:00] additional almost 6 DB there drip and it

[00:00:00] just fuels my everyday life what good is

[00:00:00] winning if you can't enjoy it so I can

[00:00:00] just ride that and see how it sounds

[00:00:00] against the rest of of my audio you can

[00:00:00] also adjust that in the effects controls

[00:00:00] panel twirl down volume here for audio

[00:00:00] and you can see that there is a level

[00:00:00] section right here and that's where I

[00:00:00] can set key frames if I want quick tip

[00:00:00] the volume line in the effects controls

[00:00:00] automatically has key frames assigned to

[00:00:00] it you'll notice the stopwatch is

[00:00:00] already lit up the minute you start

[00:00:00] adjusting things you're going to be

[00:00:00] setting key frames just keep that in

[00:00:00] mind if you don't want that to happen

[00:00:00] here in effects controls just turn off

[00:00:00] the

[00:00:00] stopwatch and if I want to set key

[00:00:00] frames obviously I'll keep that

[00:00:00] stopwatch on and I'll get my first key

[00:00:00] frame Diamond

[00:00:00] there and I can have another one here if

[00:00:00] I want so there's different ways to do

[00:00:00] key frames here now if I want to do key

[00:00:00] frames right here on the timeline I can

[00:00:00] use the pen tool and for example I'm

[00:00:00] going to right before her dialogue comes

[00:00:00] back in I'm going to set a couple of key

[00:00:00] frames here and then just push up like

[00:00:00] so so that the beginning of that music

[00:00:00] track hits nice and hot right before has

[00:00:00] to duck down while she's

[00:00:00] talking all day every day a little hot

[00:00:00] there I'll bring that back

[00:00:00] down all day every day now if you want

[00:00:00] to key frame something else like let's

[00:00:00] say panning you can right click on the

[00:00:00] clip show clip key frames right now

[00:00:00] we're on volume level you can go down to

[00:00:00] Panner for example let me SE follow that

[00:00:00] track and I'll just pull the panning

[00:00:00] line like so all the way down and it's

[00:00:00] just coming out of the right Channel or

[00:00:00] pull it back

[00:00:00] up and now it's just coming out of the

[00:00:00] left CH and I can key frame that as well

[00:00:00] so you have different options here as to

[00:00:00] which key frame line this white line

[00:00:00] represents I'll go back to level and

[00:00:00] actually if you don't want to see any of

[00:00:00] the key frame lines go here under the

[00:00:00] wrench and down here show audio key

[00:00:00] frames just deselect that and that white

[00:00:00] line will go away and you don't have to

[00:00:00] worry about inadvertently grabbing it

[00:00:00] and moving it now let me show you a few

[00:00:00] quick ways to manipulate audio once you

[00:00:00] have it down on your

[00:00:00] timeline I'm going open up another

[00:00:00] sequence here where I've got two

[00:00:00] interviews strung together and I want to

[00:00:00] do some L cuts and some j cuts here to

[00:00:00] bring in the audio before I bring in

[00:00:00] picture now there's a few different ways

[00:00:00] to do that when I click on one of the

[00:00:00] clips they will both be highlighted in

[00:00:00] white this tells me that the audio and

[00:00:00] the video are linked together and you

[00:00:00] can verify that by looking closely

[00:00:00] you'll also see a little V and an A1 and

[00:00:00] an A2 inside brackets that means that

[00:00:00] those are linked

[00:00:00] together if I want to unlink them I can

[00:00:00] just quickly select it right click and

[00:00:00] unlink is the option there and notice

[00:00:00] that the brackets went away and if I

[00:00:00] click on the audio tracks or the video

[00:00:00] individually they are no longer linked

[00:00:00] together and I can relink them if I want

[00:00:00] just by reversing the process and choose

[00:00:00] link you can temporarily disable linking

[00:00:00] in the sequence without having to

[00:00:00] actually unlink the clips that's what

[00:00:00] this button up here in the top left of

[00:00:00] the timeline panel means linked

[00:00:00] selection if I turn that

[00:00:00] off it's as if I had unlined those clips

[00:00:00] they are still linked together but that

[00:00:00] button temporarily disables that and I

[00:00:00] can then drag them and move them around

[00:00:00] I could do an cut or a j cut just by

[00:00:00] manipulating the video only select that

[00:00:00] button again to relink everything now

[00:00:00] there's also another quick shortcut

[00:00:00] without even having to touch that button

[00:00:00] and that is just using the option key if

[00:00:00] you hold down the option key and select

[00:00:00] video for example you will only get the

[00:00:00] video track same thing for one of the

[00:00:00] audio tracks there as well and by

[00:00:00] holding down the option key along with

[00:00:00] one of the editing tools I can very

[00:00:00] quickly manipulate

[00:00:00] those edit points individually if I want

[00:00:00] by just holding down the option or ALT

[00:00:00] key

[00:00:00] modifier without having to manually

[00:00:00] unlink or throw this switch up here all

[00:00:00] right so three different ways to adjust

[00:00:00] video and audio separately you can

[00:00:00] manually link or unlink them you can use

[00:00:00] that toggle switch at the top of the

[00:00:00] timeline panel to temporarily disabled

[00:00:00] linking or you can use the option or ALT

[00:00:00] key to individually alter the video or

[00:00:00] the audio track separately while still

[00:00:00] leaving the actual clip linked together

[00:00:00] now going back to this sequence here if

[00:00:00] you want to move Clips around you can

[00:00:00] just click and drag there's also a

[00:00:00] keyboard shortcut for moving them up and

[00:00:00] down I'm holding down the option key on

[00:00:00] the Mac ALT key on Windows and just

[00:00:00] using the up and down arrows on my

[00:00:00] keyboard here and if you want to make

[00:00:00] sure that you drag it without moving it

[00:00:00] in time so in other words it's not

[00:00:00] changing its position just going up a

[00:00:00] different track hold down the shift key

[00:00:00] that's the modif there you only need to

[00:00:00] hold down one key instead of two keys on

[00:00:00] the Avid now let's talk about the track

[00:00:00] header which is the section at the very

[00:00:00] beginning of the timeline here relating

[00:00:00] to audio and me unsolo that track

[00:00:00] there so you'll see this is the base

[00:00:00] setup for all of the audio tracks in

[00:00:00] Premiere Pro and you can alter how these

[00:00:00] look but the default here is to

[00:00:00] obviously have a lock which will lock

[00:00:00] the whole track and keep anything from

[00:00:00] moving or shifting around you've got the

[00:00:00] name here and those are numbered and the

[00:00:00] those are also the track targets for

[00:00:00] things like copy and paste once

[00:00:00] something is in the sequence it will

[00:00:00] paste to the Target if you want it to

[00:00:00] next to that is the sync lock and we

[00:00:00] have the same sync locks here on the

[00:00:00] video side one note of caution with syn

[00:00:00] locks it isn't always apparent that the

[00:00:00] syn lock is on or off that slash that

[00:00:00] you see if you turn the syn lock on or

[00:00:00] off it doesn't really stand out that

[00:00:00] much so I like to just leave those alone

[00:00:00] and in fact sometimes I even hide them

[00:00:00] because I don't want to accidentally

[00:00:00] throw a whole timeline out of sync next

[00:00:00] to that you have your mute switch which

[00:00:00] will mute only that track you can mute

[00:00:00] multiple tracks at the same time and

[00:00:00] next to that is solo now you notice

[00:00:00] compared to Avid throwing the solo

[00:00:00] switch on a track does not automatically

[00:00:00] mute the other tracks the mute is

[00:00:00] implied and the reason being is you can

[00:00:00] actually solo several tracks together

[00:00:00] you don't have to worry about it just

[00:00:00] automatically switching and muting

[00:00:00] everything else so if I just want to

[00:00:00] hear the first three tracks together I

[00:00:00] can solo all three the rest are

[00:00:00] automatically muted this will come in

[00:00:00] handy if you have a timeline with 20 30

[00:00:00] audio tracks and you want to select two

[00:00:00] to be heard at the same time for example

[00:00:00] next to that we have a microphone button

[00:00:00] you can record live voice over right

[00:00:00] there on the timeline that button

[00:00:00] dictates which track the voiceover is

[00:00:00] recorded to when you set up your

[00:00:00] microphone in your settings or

[00:00:00] preferences if you don't need that we

[00:00:00] can remove that button and how do we do

[00:00:00] that I'm going to first of all pop open

[00:00:00] that track here I just double clicked

[00:00:00] right here in the gray area to PO

[00:00:00] quickly pop open that track height and I

[00:00:00] can still adjust the track height like

[00:00:00] so by just grabbing in between that

[00:00:00] track and the next track making it even

[00:00:00] taller notice that the waveforms also

[00:00:00] get taller right now in premere Pro this

[00:00:00] is the only way to increase the size of

[00:00:00] the waveform not actually increasing the

[00:00:00] gain represented by those waveform forms

[00:00:00] but just visually change that sizing

[00:00:00] right now just changing the track height

[00:00:00] is the only way to do that so that's how

[00:00:00] you can adjust it like

[00:00:00] so and double click very quickly to

[00:00:00] close it down quick tip here if you

[00:00:00] shift double click it opens all of the

[00:00:00] tracks to the same height at the same

[00:00:00] time and then shift double click to

[00:00:00] quickly close all the tracks collapse

[00:00:00] them down to that skinny height right

[00:00:00] there now up here in the wrench menu

[00:00:00] notice that you down here at the bottom

[00:00:00] you've got minimize all tracks that's a

[00:00:00] quick shortcut there or expand all

[00:00:00] tracks we'll pop them open again if you

[00:00:00] like the size of these tracks and you

[00:00:00] want to make that a preset so you can

[00:00:00] jump right to it go to the wrench menu

[00:00:00] again and down here you see save preset

[00:00:00] and you can assign a track height preset

[00:00:00] there you've got 10 options and I'm just

[00:00:00] going to call this track height

[00:00:00] one and that keyboard shortcut can be

[00:00:00] set up in here under keyboard shortcuts

[00:00:00] track

[00:00:00] height and there you can see track

[00:00:00] height preset one and it would just need

[00:00:00] to assign that to a key on the keyboard

[00:00:00] and then that track height would

[00:00:00] automatically snap to that height that

[00:00:00] I've adjusted there and again shift

[00:00:00] double click to close them all

[00:00:00] down now I mentioned being able to

[00:00:00] modify this header and the information

[00:00:00] that's visible notice here this first

[00:00:00] track here is labeled la for the mic

[00:00:00] that was used that's only visible when

[00:00:00] the track is open I'd like to actually

[00:00:00] see that all the

[00:00:00] time so I go down here to

[00:00:00] customize and there we go and I can move

[00:00:00] things out of these buttons that I don't

[00:00:00] want to see so for example I want to get

[00:00:00] rid of voice over record I just click

[00:00:00] and drag it out now sometimes that

[00:00:00] doesn't work this this thing can be a

[00:00:00] little finicky and I'm glad it actually

[00:00:00] didn't work right now so I can show you

[00:00:00] what to do I'm trying to get the

[00:00:00] microphone out of this box and it won't

[00:00:00] go so the trick there is just very

[00:00:00] quickly hit reset layout and it goes

[00:00:00] back to the basic layout there and okay

[00:00:00] now that's doing what I wanted to do I

[00:00:00] grabbed the microphone and I pulled it

[00:00:00] out and it went away and I'm going to do

[00:00:00] the same thing with the syn lock because

[00:00:00] again I don't want to mess with syn lock

[00:00:00] I never use it so I just want to get

[00:00:00] that out of the way and now I'm just

[00:00:00] left with the mute switch and the solo

[00:00:00] switch and the key frames now I want to

[00:00:00] add something from the button bar I want

[00:00:00] to add the track name which is just

[00:00:00] represented as a button up here just

[00:00:00] says A1 but know that that is the actual

[00:00:00] track name I'm going to grab that and

[00:00:00] pull it onto the very first line it is

[00:00:00] right there it's a little faint if I hit

[00:00:00] okay there it is you can see now even if

[00:00:00] the tracks get very skinny the track

[00:00:00] name is now visible because I pulled it

[00:00:00] up to that Top Line when I customize it

[00:00:00] it is right here next to mute and solo

[00:00:00] the track name is on the same line and

[00:00:00] until I pop that track open I won't see

[00:00:00] these other options down here which is

[00:00:00] this showkey framed button and then this

[00:00:00] quick little selector that will allow me

[00:00:00] to quickly hop between the audio key

[00:00:00] frames on that track the other things I

[00:00:00] can add from the button bar is for

[00:00:00] example track volume so if I want to see

[00:00:00] adjustments to the track volume itself

[00:00:00] and the decel format I can drag that

[00:00:00] I'll put that in the middle I also have

[00:00:00] a mini track meter if I want to see bars

[00:00:00] bouncing on all the tracks I can put a

[00:00:00] little track meter in here as well and a

[00:00:00] left right balance for the Panner if I

[00:00:00] want to add that adjustment

[00:00:00] and I hit okay and that is the new track

[00:00:00] header and if I make a new

[00:00:00] sequence very quickly I'll just do a

[00:00:00] quick stereo sequence like so you'll see

[00:00:00] that the same track header configuration

[00:00:00] carries through so you can set this up

[00:00:00] once and you don't have to do it again

[00:00:00] for every new sequence in the project

[00:00:00] that setting will remain now so far the

[00:00:00] audio we've been working with has been

[00:00:00] stereo mono but what happens when you

[00:00:00] get multi- channel audio from the field

[00:00:00] something with multiple micr phones on

[00:00:00] different tracks how do you cut that

[00:00:00] into a sequence and how do you strip out

[00:00:00] the channels that maybe you don't need

[00:00:00] you want to do that before you start

[00:00:00] cutting so let me show you how to do

[00:00:00] that here in the project I have a

[00:00:00] multi-channel clip that was brought

[00:00:00] in that's from the interview footage you

[00:00:00] can see I've got one two I've got four

[00:00:00] channels of individual audio here we

[00:00:00] make a new sequence here I'll just do a

[00:00:00] basic stereo sequence nothing fancy

[00:00:00] and I'll call

[00:00:00] that multi-

[00:00:00] channel

[00:00:00] source

[00:00:00] audio all right there we go I'm going to

[00:00:00] highlight all four patches for my source

[00:00:00] input and just drag that down there we

[00:00:00] are I've got all four channels now

[00:00:00] what's on these channels I may have to

[00:00:00] go through them individually and mute

[00:00:00] and solo and figure out what is in there

[00:00:00] I don't see that audio information

[00:00:00] listed here but if I go to the

[00:00:00] metadata and go down here at the bottom

[00:00:00] under yeah there it is we've got I exml

[00:00:00] data here and that's typically what is

[00:00:00] recorded by onset sound mixers and I can

[00:00:00] look at there track one aha here we go

[00:00:00] here's some information so track two

[00:00:00] track three track four I've got mix left

[00:00:00] mix right boom and let's see Journey

[00:00:00] that's probably the lav down here at the

[00:00:00] bottom so

[00:00:00] while I'm cutting with this I can choose

[00:00:00] to just work with the stereo mix or the

[00:00:00] boom or the lav I want to make that

[00:00:00] decision before I start cutting so I

[00:00:00] don't have to constantly sit there and

[00:00:00] mute and solo these individual tracks

[00:00:00] every time I cut this into a sequence so

[00:00:00] let's say I just want to work with the

[00:00:00] stereo mix I'm going to rightclick on

[00:00:00] that clip in the bin and go to

[00:00:00] modify audio

[00:00:00] channels all right right and here I can

[00:00:00] see all four of those channels and

[00:00:00] tracks here there are four audio clips

[00:00:00] listed each one of them is mono and I

[00:00:00] going change the number to

[00:00:00] Two and there we've got clip One Clip

[00:00:00] two channel one channel two like so

[00:00:00] that's going to give me the mix left and

[00:00:00] mix right that I identified from the

[00:00:00] metadata now there is an option here to

[00:00:00] apply changes to all matching Clips in a

[00:00:00] sequence what that checkbox means is if

[00:00:00] you've already cut this clip into a

[00:00:00] sequence with only those two channels

[00:00:00] you can modify the channels that are in

[00:00:00] those two channels but it won't strip

[00:00:00] out or add to the channels that are

[00:00:00] already in place let me show you what I

[00:00:00] mean so I've got that clip already here

[00:00:00] on the timeline in its original four

[00:00:00] channel for track configuration I just

[00:00:00] changed it to two and I'm going hit okay

[00:00:00] and I get a warning changes to the

[00:00:00] source channel the clip Channel format

[00:00:00] or number of audio clips will not affect

[00:00:00] Clips already in a sequence but we'll be

[00:00:00] applied next time notice that nothing

[00:00:00] happened to the clip here on the

[00:00:00] timeline but the source clip is now

[00:00:00] reduced to two mono tracks and if I

[00:00:00] bring that into the sequence that is now

[00:00:00] two mono tracks and every time I grab

[00:00:00] that and pull it into a sequence it's

[00:00:00] going to be those two mono tracks so

[00:00:00] that setting did not affect that first

[00:00:00] clip that was here so I'll delete

[00:00:00] that so what is that little checkbox for

[00:00:00] there in the modif I audio channels

[00:00:00] dialogue box well let me show you let me

[00:00:00] pop these two open here Audio One audio

[00:00:00] 2 and I can see it's A1 and A2 now if I

[00:00:00] go back in and

[00:00:00] remodify that multi- channel clip this

[00:00:00] is non-destructive I can bring all four

[00:00:00] tracks back if I want to or I can

[00:00:00] change what audio is going into those

[00:00:00] two clips that those two tracks that I

[00:00:00] originally made here so instead of 1 and

[00:00:00] two which was the stereo mix I'm going

[00:00:00] to bring in just the boom and the lob so

[00:00:00] instead of 1 and two I'm going to bring

[00:00:00] in three and

[00:00:00] four so I'm looking at the boom and the

[00:00:00] LV and not the stereo mix and you can

[00:00:00] see right there at the head of the track

[00:00:00] it said channel 3 and channel 4 instead

[00:00:00] of channel one and channel two like I

[00:00:00] had originally now you can still modify

[00:00:00] these clips once they're on the timeline

[00:00:00] as well I'm going to grab this second

[00:00:00] instance here right click and I do have

[00:00:00] audio channels as an option there as

[00:00:00] well and this is very similar to what we

[00:00:00] just saw in the other dialogue box and

[00:00:00] in this case I am going to switch this

[00:00:00] one back to one and

[00:00:00] two and This only affects that clip in

[00:00:00] this instance on the timeline because I

[00:00:00] did not modify the master clip here in

[00:00:00] the bin and you can see that one is set

[00:00:00] back to channel one and channel two so

[00:00:00] again if you have multi- Channel audio

[00:00:00] in your bins and you want to condense it

[00:00:00] and maybe only bring in a couple of

[00:00:00] tracks change it by modifying the audio

[00:00:00] Channel in the bins before you start

[00:00:00] cutting it into sequences you won't be

[00:00:00] able to change it once it's already in

[00:00:00] those sequences if the number of tracks

[00:00:00] changes all right but if you want have

[00:00:00] the same number of tracks and just want

[00:00:00] to change the channels that are going to

[00:00:00] those tracks you can do it this will

[00:00:00] come in handy when you make multic cams

[00:00:00] and you're syncing your dailies for

[00:00:00] example and you just want to add a

[00:00:00] couple of microphone channels out of of

[00:00:00] five or six eight channel mix that came

[00:00:00] out of the sound mixer you can do it

[00:00:00] that way it gives you less things to

[00:00:00] focus on while you're editing and you

[00:00:00] can just cut with a stereo miix for

[00:00:00] example and then swap that back to the

[00:00:00] individual microphones as you continue

[00:00:00] your cut jumping back to the ad here I

[00:00:00] want to show you some different panels

[00:00:00] you can use to manipulate volume and

[00:00:00] channel controls here on the timeline if

[00:00:00] I go under window I can choose the audio

[00:00:00] clip mixer or the audio track mixer

[00:00:00] they're two separate mixers we have here

[00:00:00] here's the clip mixer for example

[00:00:00] they're also available in a dedicated

[00:00:00] workspace if I go to window workspaces I

[00:00:00] can choose audio and that's going to

[00:00:00] open up both of those mixers and

[00:00:00] reconfigure all of my panels into a

[00:00:00] custom audio workspace you don't have to

[00:00:00] use this one it's the one that came

[00:00:00] packaged with Premiere Pro you can

[00:00:00] obviously make your own this is similar

[00:00:00] to the audio workspace button you may

[00:00:00] find on the right hand side in Avid just

[00:00:00] jumps you right to this customized audio

[00:00:00] workspace now this workspace condenses

[00:00:00] several panels over here on the left

[00:00:00] such as the project window and the

[00:00:00] effects and Media Browser and so forth

[00:00:00] you can just skinny those up a little

[00:00:00] bit if you want pull this

[00:00:00] over mainly what it did is it added the

[00:00:00] clip mixer the track

[00:00:00] mixer and the essential sound panel over

[00:00:00] here on the right all of which I will

[00:00:00] cover momentarily let's go back here to

[00:00:00] the clip mixer and let me put the

[00:00:00] playhead over this clip right here and

[00:00:00] let me make sure that the audio key

[00:00:00] frames are on and I'm going to open up

[00:00:00] all of my tracks there we go so in the

[00:00:00] clip mixer you can use these pots here

[00:00:00] to adjust individual Clips on the

[00:00:00] timeline so while it's playing there we

[00:00:00] are I can pull the volume down on audio

[00:00:00] one and that is affecting just this clip

[00:00:00] right here on audio one which is also

[00:00:00] labeled lav and you can see the volume

[00:00:00] line is adjusting

[00:00:00] accordingly and if it's parked over

[00:00:00] another clip down below I can go down

[00:00:00] there to Ambiance and I can change

[00:00:00] that and bring that down a little bit so

[00:00:00] that air conditioner or pump the air

[00:00:00] conditioner

[00:00:00] up so in the clip mixer here we're just

[00:00:00] affecting individual Clips we also have

[00:00:00] these small panning knobs here at the

[00:00:00] top to adjust the left and right pan and

[00:00:00] you can see down below and myom where

[00:00:00] the music for example or the sound

[00:00:00] effects are peeking now we don't have

[00:00:00] anything similar to avid's Global

[00:00:00] adjustment setting for example but there

[00:00:00] are ways to apply apply a change to One

[00:00:00] Clip to all the clips on the same track

[00:00:00] for example let me show you how to do

[00:00:00] that so this clip here there's the lava

[00:00:00] ler it's still a little bit low I'm

[00:00:00] going to boost

[00:00:00] it do track and field that sounds better

[00:00:00] now I want to apply that same volume

[00:00:00] adjustment to all the clips on that

[00:00:00] track there we go I'm going to hit copy

[00:00:00] select the other Clips right click and

[00:00:00] go to paste attributes and there I can

[00:00:00] add things on the audio side such as

[00:00:00] volume and that volume adjustment is

[00:00:00] then going to be applied to all of those

[00:00:00] clips here make sure I grab this first

[00:00:00] one do the same thing paste attributes

[00:00:00] and this can be hotkeyed obviously to a

[00:00:00] keyboard

[00:00:00] shortcut and so that's one way to do it

[00:00:00] just adjust one to the way you want it

[00:00:00] copy it and then paste that adjustment

[00:00:00] that volume in this case to all the

[00:00:00] other Clips on the track in Premiere Pro

[00:00:00] we can also use the track mixer now

[00:00:00] these pots are adjusting the volume for

[00:00:00] an entire track not the individual Clips

[00:00:00] so in this case I want to bring down the

[00:00:00] level of the music that is on A5

[00:00:00] here way too loud so if I just bring

[00:00:00] down the volume like so and I knew that

[00:00:00] I was the

[00:00:00] best all day every day as soon as I wake

[00:00:00] there we go and that is adjust in the

[00:00:00] volume for the entire track so both of

[00:00:00] these music clips here will be lowered

[00:00:00] simultaneously I'm not affecting the

[00:00:00] volume of the clip I'm affecting the

[00:00:00] volume of the overall track you can see

[00:00:00] what's happening there by selecting down

[00:00:00] here track key frames volume right now

[00:00:00] it is on clip key frames watch what

[00:00:00] happens to the white line if I select

[00:00:00] track key frames volume see that that

[00:00:00] white line going through both of those

[00:00:00] clips and extending past it that is

[00:00:00] showing me the track volume and if I

[00:00:00] raise that pot in here that white line

[00:00:00] will adjust

[00:00:00] accordingly now you may not need to

[00:00:00] adjust track volume at all but it's a

[00:00:00] handy tool for just quickly raising or

[00:00:00] lowering levels for an entire track

[00:00:00] especially if you've got the same type

[00:00:00] of media on that track whether it's all

[00:00:00] music all sound effects all dialogue

[00:00:00] just quickly raise and lower the whole

[00:00:00] track another thing to be aware of is if

[00:00:00] someone else has been cutting the

[00:00:00] project and handed it off to you and if

[00:00:00] the audio levels sound weird in any way

[00:00:00] check the track mixer make sure they

[00:00:00] haven't adjusted any of the pots because

[00:00:00] visually you may not know that the track

[00:00:00] has been affected at all if you don't

[00:00:00] have this volume line on if this is back

[00:00:00] here and set to clip key frames you'll

[00:00:00] never know that the track volume was

[00:00:00] adjusted unless you open up the track

[00:00:00] mixer and see aha it's been pulled down

[00:00:00] this is why I often add the track volume

[00:00:00] option remember we added that when we

[00:00:00] customized the header we added track

[00:00:00] volume here and I can see visually the

[00:00:00] track was set to -6 which I can adjust

[00:00:00] right here

[00:00:00] inside the track itself on the sequence

[00:00:00] you can see the pot is moving inside the

[00:00:00] track mixer you can always tell the

[00:00:00] difference between the track mixer and

[00:00:00] the clip mixer visually because the

[00:00:00] panning pots here at the top are much

[00:00:00] smaller on the clip mixer they're much

[00:00:00] larger here on the track mixer and

[00:00:00] there's also some buttons above now if

[00:00:00] you want to add transitions to your

[00:00:00] sequence we don't have the quick

[00:00:00] transition button like we have in Avid

[00:00:00] but we do have the keyboard shortcut to

[00:00:00] add a default transition to a cut point

[00:00:00] so you just select the cut Point like so

[00:00:00] and use your keyboard shortcut in this

[00:00:00] case minus map to option or alt T and

[00:00:00] there it is it added the constant fade

[00:00:00] between the audio and then a dip to

[00:00:00] Black on the video side he's very

[00:00:00] disciplined now if you just want to

[00:00:00] apply the audio transition let me just

[00:00:00] hit undo the keyboard shortcut is the

[00:00:00] option or ALT key like we did before to

[00:00:00] only select the audio side this case

[00:00:00] I'll do both those tracks holding down

[00:00:00] the shift key and the option key at the

[00:00:00] same time and then apply it default

[00:00:00] transition it's also there in the right

[00:00:00] click menu and it will only apply it on

[00:00:00] the audio side and ignore the video that

[00:00:00] way I get a little smoother

[00:00:00] transition those audio clips Now the

[00:00:00] default transition itself is set here in

[00:00:00] the effects panel I'm going to twirl

[00:00:00] down audio Transitions and there it is

[00:00:00] cross fade is already opened and the

[00:00:00] default transition has a BL blue

[00:00:00] Highlight around its box like this if

[00:00:00] you want to change that so here it's

[00:00:00] under constant power I want to make that

[00:00:00] default transition constant gain I just

[00:00:00] rightclick and set selected to default

[00:00:00] transition and now if I set another

[00:00:00] default transition here that one will be

[00:00:00] a constant gain instead of constant

[00:00:00] power there we go then you can set the

[00:00:00] duration of that transition by double

[00:00:00] clicking on it and there it is it's set

[00:00:00] to 16 frames I can make that 12

[00:00:00] or you can set a default transition

[00:00:00] length in the

[00:00:00] settings under timeline and you've got

[00:00:00] video transition default as well as

[00:00:00] audio transition default duration there

[00:00:00] we was set to 16 frames I can change it

[00:00:00] to 12 right there and then all the

[00:00:00] transitions I set from now on will be 12

[00:00:00] frames now if you want to add

[00:00:00] transitions to multiple clips at the

[00:00:00] same time you don't have to set in an

[00:00:00] out points like you would in Avid you

[00:00:00] can simply select the clips and tell it

[00:00:00] to add the default transition just using

[00:00:00] the keyboard shortcut and it will add

[00:00:00] that default transition to all the clips

[00:00:00] you've selected and again if you don't

[00:00:00] want to add that to the video side let's

[00:00:00] say I just want to do that for the audio

[00:00:00] I'll just lasso everything with that

[00:00:00] option or ALT key held down which will

[00:00:00] allow me to select only the audio side

[00:00:00] of things and then when I hit my

[00:00:00] keyboard shortcut to add the default

[00:00:00] transition it just adds it to all the

[00:00:00] clips on the audio tracks and ignores

[00:00:00] the video tracks now if you want to add

[00:00:00] effects to a clip on the timeline here

[00:00:00] I'm going to select it first I'm just

[00:00:00] going to solo that track one so I can

[00:00:00] just add it to One Clip at a time and

[00:00:00] I'm going to deselect link selection

[00:00:00] that way I can just grab that one clip

[00:00:00] there we go and I'm going to go here in

[00:00:00] the effects browser and I'm going to

[00:00:00] twirl down audio effects and let's see I

[00:00:00] can add a 10 ban equalizer like so just

[00:00:00] drag and drop it right there it shows up

[00:00:00] in effects controls up here and you can

[00:00:00] see there is the effect and there's

[00:00:00] usually an edit button like this which

[00:00:00] will actually bring up the user

[00:00:00] interface for that effect so there's the

[00:00:00] 10 band equalizer and I can choose from

[00:00:00] uh some low Cuts some high Cuts things

[00:00:00] like that down here vocal presence boost

[00:00:00] get for a little boost uh my 400 meter

[00:00:00] hurdle coach his name was Benny Brazil

[00:00:00] me close this panel here now I can add

[00:00:00] some Reverb here I can drag and drop

[00:00:00] once again or with the effects controls

[00:00:00] open you can just grab Studio Reverb

[00:00:00] right here and just drag it into effects

[00:00:00] controls and they'll just stack up here

[00:00:00] and that one again I hit edit and I can

[00:00:00] change that to let's go

[00:00:00] to Great

[00:00:00] Halles all of us and he pushes us very

[00:00:00] hard which is what a good coach and

[00:00:00] Mentor is all right and if you keep

[00:00:00] adding more effects there they'll just

[00:00:00] keep stacking and if you want to quickly

[00:00:00] AB it by turning it off to hear how it

[00:00:00] sounds without it personally just hit

[00:00:00] that little effects badge right here to

[00:00:00] toggle that filter on or off and if you

[00:00:00] don't like it just click on it hit the

[00:00:00] delete key and it goes bye-bye now let's

[00:00:00] say you want to add an effect to an

[00:00:00] entire track affecting all the clips

[00:00:00] that are on that track let me show you

[00:00:00] how to do that we don't have anything

[00:00:00] like the audio track effect tool in

[00:00:00] Premiere Pro compared to Avid but we do

[00:00:00] have our friend the track mixer and

[00:00:00] hidden up here at the top it's a little

[00:00:00] twirl down arrow show hide effects and

[00:00:00] sends when you open that up this is

[00:00:00] actually

[00:00:00] an effects panel and you can add an

[00:00:00] effect here that will affect the entire

[00:00:00] track again you have to be in the track

[00:00:00] mixer this is not available in the clip

[00:00:00] mixer so the way you add an effect up

[00:00:00] here you click on the little drop down

[00:00:00] here and you pull up this menu which

[00:00:00] matches the audio effects available over

[00:00:00] here in the effects window and here we

[00:00:00] can then go again to reverb I'll go back

[00:00:00] to Studio Reverb and you just double

[00:00:00] click on the name to bring up the same

[00:00:00] panel here go back to Great Hall

[00:00:00] and now we'll play through with the head

[00:00:00] coach at LSU his name is Dennis shaver

[00:00:00] um yes I did I started out at University

[00:00:00] of Washington I did all right so now

[00:00:00] that Reverb is applied to all of the

[00:00:00] clips on track one here in the track

[00:00:00] mixer and again there's that little FX

[00:00:00] badge you can quickly hit that to turn

[00:00:00] off the

[00:00:00] effect now Premiere Pro has great audio

[00:00:00] effects and filters built in and you can

[00:00:00] do a lot of mixing and sweetening right

[00:00:00] there on the timeline without having to

[00:00:00] send it out to another audio editor but

[00:00:00] what happens if you're like me and

[00:00:00] you're someone who's not as comfortable

[00:00:00] with dealing with sound and is more of a

[00:00:00] video editor and I might get a note from

[00:00:00] a producer that says hey can we make

[00:00:00] this person sound like they're coming

[00:00:00] out of a radio or a telephone now that's

[00:00:00] probably in a preset somewhere in one of

[00:00:00] the effects but I don't know where to

[00:00:00] find it and I'm not as familiar with how

[00:00:00] to use that filter so what do I do well

[00:00:00] there's a great system built into

[00:00:00] Premiere Pro called essential sound that

[00:00:00] reduces complicated tasks into very

[00:00:00] simple and easy to understand terms let

[00:00:00] me show it to you so here I've got my

[00:00:00] clip and I want to make him sound like

[00:00:00] he's coming out of a

[00:00:00] telephone over here I've got the

[00:00:00] essential sound panel ready to go if I

[00:00:00] click on it it asks me to tag it and

[00:00:00] this is an important First Step here

[00:00:00] what am I manipulating here is it

[00:00:00] dialogue music sound effects or room

[00:00:00] Ambience now you can choose autot tag

[00:00:00] here and you can actually select all the

[00:00:00] Clips in your timeline and hit auto tag

[00:00:00] and it will try to determine what they

[00:00:00] are and it's it's fairly accurate in

[00:00:00] this case I'm just going to manually tag

[00:00:00] it as dialogue that's step one once

[00:00:00] you've done that and it's tagged this

[00:00:00] whole thing opens up and there's all

[00:00:00] types of options in here there are

[00:00:00] repair options for cleaning up bad audio

[00:00:00] we'll get to those here in a second and

[00:00:00] there's some vocal enhancements enhanced

[00:00:00] speech autom match loudness for example

[00:00:00] that will bring it up to a particular

[00:00:00] level you see that automatically jump

[00:00:00] the waveform did that when I started out

[00:00:00] at 5 years old now here's my favorite

[00:00:00] part at the top here there's a preset

[00:00:00] browser with very easy to understand

[00:00:00] terms for affecting the audio and right

[00:00:00] there from the telephone is just a quick

[00:00:00] drop down

[00:00:00] away 10020 were my events that was

[00:00:00] pretty decent for a big guy now what

[00:00:00] it's doing under the hood is actually

[00:00:00] adding the appropriate effects into the

[00:00:00] effects stack if I look at effects

[00:00:00] controls here for that clip I can see

[00:00:00] it's added a graphic equalizer and a

[00:00:00] Dynamics processor to get that from the

[00:00:00] telephone voice essentially those are

[00:00:00] shortcuts that allow me to pick a term

[00:00:00] that I recognize from the telephone and

[00:00:00] it'll just add the appropriate effects

[00:00:00] without me having to know which ones

[00:00:00] those are or which presets to choose

[00:00:00] it's a really handy system now if you

[00:00:00] want to get rid of that audio type in

[00:00:00] other words strip out all the changes

[00:00:00] that you've made you can just click this

[00:00:00] clear audio type button and it removes

[00:00:00] everything you see they're gone from

[00:00:00] effects controls and this no longer is

[00:00:00] tagged as dialogue now there's another

[00:00:00] great use for essential sound which is

[00:00:00] cleaning up bad or damaged audio so here

[00:00:00] I have another sequence and this is the

[00:00:00] same coach footage but in this case they

[00:00:00] forgot to turn on the boom

[00:00:00] microphone the L and all we have start

[00:00:00] out on 800 warmup then after that we'll

[00:00:00] is the camera audio which is not so

[00:00:00] great so we need to clean that up I'm

[00:00:00] going to click on that clip here it's a

[00:00:00] stereo clip now just sitting there in a

[00:00:00] regular standard track and I'm tag it as

[00:00:00] dialogue and I have some options here

[00:00:00] for repair so I can try to reduce noise

[00:00:00] I can hear that camera noise in the

[00:00:00] background let's try that now now just a

[00:00:00] little stretching and some some drills

[00:00:00] get feet warm up bring up the volume

[00:00:00] there by clicking auto

[00:00:00] match and I can reduce the noise

[00:00:00] further and try to hit it with some

[00:00:00] clarity just little stretching and some

[00:00:00] some drills get a fe one so you can see

[00:00:00] that that helped the voice a little bit

[00:00:00] but it's really far too damaged for

[00:00:00] those tools to have an effect there's a

[00:00:00] brand new function that is just out of

[00:00:00] beta and it's called enhan speech so let

[00:00:00] me clear this out and retag it as

[00:00:00] dialogue and here at the top now in

[00:00:00] essential sound you see enhance speech

[00:00:00] and there really is just a button that

[00:00:00] says enhance it's going to initialize

[00:00:00] and if you haven't used this before it

[00:00:00] actually uh Creative Cloud will download

[00:00:00] it to your computer it needs a whole

[00:00:00] package here and it's using some AI

[00:00:00] tools based on the language that's being

[00:00:00] spoken to try to figure out how to clean

[00:00:00] up the voice let's take a quick listen

[00:00:00] up and after that well just a little

[00:00:00] stretching and some some drills with

[00:00:00] have say long about then so already it's

[00:00:00] sounding so much better than it was

[00:00:00] before you can control the amount is

[00:00:00] that is being mixed into that with this

[00:00:00] slider right here take it all the way up

[00:00:00] just a little stretching has some some

[00:00:00] drills now he sounds much much closer to

[00:00:00] camera now as if he was properly miked

[00:00:00] but there's a little bit of tinniness a

[00:00:00] little bit of robot to his voice so I

[00:00:00] think round about the middle or a little

[00:00:00] past would be a good spot to mix this

[00:00:00] there just a little stretching and some

[00:00:00] some drills all right that's getting us

[00:00:00] there and we can still add on top of

[00:00:00] that so I'll hit reduce noise cuz I can

[00:00:00] hear the camera you're a free to1 up

[00:00:00] will di into the me the workout all

[00:00:00] right so he's sounding a lot better now

[00:00:00] there's an option to also use adobe's

[00:00:00] website to process this this enhanced

[00:00:00] speech tool is being processed on your

[00:00:00] machine if you want to upload it to

[00:00:00] adobe's website and allow that to

[00:00:00] process it they have a much more robust

[00:00:00] model there and a lot of times results

[00:00:00] sound a lot better it's just you have to

[00:00:00] wait longer because you have to upload l

[00:00:00] a process and bring it down that website

[00:00:00] is here at podcast. adobe.com it was

[00:00:00] originally built for podcast use and

[00:00:00] then they realized that video editors

[00:00:00] would really love to take advantage of

[00:00:00] this as well it's still called podcast

[00:00:00] though on the website and here you can

[00:00:00] go to enhanced speech and you're allowed

[00:00:00] to Drag and Drop Audio here as long as

[00:00:00] you have a Creative Cloud subscription

[00:00:00] just choose a file from your computer or

[00:00:00] drop it right here in this box box allow

[00:00:00] it to process and you can also change

[00:00:00] the strength here which is sort similar

[00:00:00] to changing the mix inside your program

[00:00:00] and then once it's completed you can

[00:00:00] download it there they have a choice of

[00:00:00] whether to upload it or do it on your

[00:00:00] computer if the audio isn't too bad it

[00:00:00] just needs a little bit of adjustment

[00:00:00] try the enhanced button in the essential

[00:00:00] sound panel first and see how it does

[00:00:00] and adjust the mix accordingly to remove

[00:00:00] any tininess from the voice if the audio

[00:00:00] is really damaged like the example that

[00:00:00] I showed you where maybe he was miked in

[00:00:00] correctly or there's a lot of wind or

[00:00:00] it's really really really really crunchy

[00:00:00] audio give Adobe podcast a try on the

[00:00:00] web allow Adobe servers to process the

[00:00:00] audio the results may surprise you now

[00:00:00] there's another great feature in

[00:00:00] essential sound that it has to do with

[00:00:00] music it's called remix this allows you

[00:00:00] to shorten or lengthen a music track

[00:00:00] without having to Blade it and find your

[00:00:00] own Loop points and things like that the

[00:00:00] way we normally have to shorten or

[00:00:00] extend a song when we don't have access

[00:00:00] access to alternate lengths let me show

[00:00:00] you how it works so here we have a cut

[00:00:00] down of our commercial and obviously our

[00:00:00] music track is way too long so I'm going

[00:00:00] to select it and over here in essential

[00:00:00] sound we need to tag it as music that

[00:00:00] opens up this panel here and you need to

[00:00:00] turn on duration there's two options in

[00:00:00] here stretch and remix we want remix

[00:00:00] we're going to turn that on and Target

[00:00:00] duration right now is the full length of

[00:00:00] this track which is 34 seconds and 12

[00:00:00] frames I want to make it as close as

[00:00:00] possible to my target length which is a

[00:00:00] 15sec spot now you'll notice next to

[00:00:00] Target duration we have a margin of plus

[00:00:00] or minus 5 Seconds that's because not

[00:00:00] every song is the same not every piece

[00:00:00] of music that you're going to try and

[00:00:00] change with remix is going to be

[00:00:00] identical and it won't automatically go

[00:00:00] to the length that you set it to it's

[00:00:00] going to have a margin there based on

[00:00:00] things like the tempo and the beats per

[00:00:00] minute there's only so much it can do

[00:00:00] and it tries to keep the song with the

[00:00:00] same Cadence and the same beat so with

[00:00:00] that in mind we're just going to plug in

[00:00:00] 15 seconds and see what

[00:00:00] happens there we go so that plus or

[00:00:00] minus 5 Seconds brought us to

[00:00:00] 1805 if I go one second shorter let's

[00:00:00] see what happens there okay now that's

[00:00:00] brought it down

[00:00:00] but this music actually ends here and

[00:00:00] the length is this kind of fade out here

[00:00:00] at the back so I'm going to go back to

[00:00:00] that 15sec op op and see how that sounds

[00:00:00] it just fuels my everyday life oo look

[00:00:00] at that perfect kind of ended on a beat

[00:00:00] there I can just chop it off if I want

[00:00:00] to make that extend a little bit so that

[00:00:00] got me pretty close now you'll notice

[00:00:00] here there's these white lines here

[00:00:00] these crinkle Cuts as I call them those

[00:00:00] are the loop points they're called

[00:00:00] segments this is where Premiere Pro

[00:00:00] actually made some cuts and move things

[00:00:00] around you can increase the number of

[00:00:00] segments which gives you a little more

[00:00:00] flexibility sometimes over here under

[00:00:00] customize right below duration and that

[00:00:00] was set to a maximum of five I'm going

[00:00:00] Crank that all the way to 10 and that

[00:00:00] might give me some more options in there

[00:00:00] by the way there is a dedicated tool for

[00:00:00] lengthening this track right here on the

[00:00:00] timeline you don't have to plug numbers

[00:00:00] in over here in essential sound you can

[00:00:00] go down here to the third tool down

[00:00:00] where Ripple edit rolling edit and rate

[00:00:00] stretch live and below that is the remix

[00:00:00] tool looks like a little musical note

[00:00:00] with two arrows and you can use that to

[00:00:00] grab the edge of the track and pull

[00:00:00] it and now I'm making it longer than it

[00:00:00] originally

[00:00:00] was and I can keep going so this tool

[00:00:00] works either way you can make a track

[00:00:00] much much longer or much

[00:00:00] [Music]

[00:00:00] shorter it just found natural Loop

[00:00:00] points kept the same tempo the same beat

[00:00:00] and just automatically Loop the music

[00:00:00] and those areas you can make this song

[00:00:00] very very long I had a friend of mine

[00:00:00] tell me he did uh 24 hours was the

[00:00:00] limmit he was able to make a 24-hour

[00:00:00] version of a track so sky's the limit

[00:00:00] here with remix it's a little harder

[00:00:00] obviously when you're going shorter

[00:00:00] because that's dictated by the tempo of

[00:00:00] the music but here there we go that

[00:00:00] sounded pretty good and there's other

[00:00:00] options here we have variations melodic

[00:00:00] or harmonic you can play around with

[00:00:00] this slider see what sounds better

[00:00:00] melodic tends to be better for single

[00:00:00] instruments or perhaps a strong vocal

[00:00:00] and harmonic is for more complex tracks

[00:00:00] more instruments so that is remix

[00:00:00] now I want to show you one more feature

[00:00:00] in essential sound and this is called

[00:00:00] autod ducking got another cut down here

[00:00:00] and it's a little bit different we have

[00:00:00] some interview footage of our athlete

[00:00:00] mixed in with the commercial footage

[00:00:00] here and we have a very strong music

[00:00:00] track underneath you notice it's already

[00:00:00] been remixed to fit here very nicely I

[00:00:00] was being recruited I actually had a

[00:00:00] close relationship with now this music

[00:00:00] is obviously way too hot to be

[00:00:00] underneath this vocal here but we do

[00:00:00] want the music to be up at the beginning

[00:00:00] and the end where there is no

[00:00:00] dialogue so when I was being recruited

[00:00:00] so we're going to have to duck the music

[00:00:00] underneath the dialogue here which would

[00:00:00] normally involve adding key frames

[00:00:00] bringing things down like so you can

[00:00:00] actually do it in one step by initiating

[00:00:00] autod ducking right over here in

[00:00:00] essential sound in order for this to

[00:00:00] work you have to make sure that the

[00:00:00] thing you want to duck against in this

[00:00:00] case the audio of her interview you want

[00:00:00] that to be tagged as dialogue you can

[00:00:00] see I already have it tagged as dialogue

[00:00:00] I have some enhanced speech and some

[00:00:00] other things turned on here for these

[00:00:00] two dialogue bits and then I'm going to

[00:00:00] click on this music and that has been

[00:00:00] tagged as music because it's already

[00:00:00] been remixed and below that you see

[00:00:00] ducking there we go and the first thing

[00:00:00] it's going to ask is what are we ducking

[00:00:00] against well in this case we've already

[00:00:00] tagged our vocals here as dialogue so

[00:00:00] we're going to duck against dialog

[00:00:00] you've got other options you could duck

[00:00:00] against other music or sound effects or

[00:00:00] Ambiance and right off the bat I'm just

[00:00:00] going to generate key frames that's a

[00:00:00] button down here at the bottom and I

[00:00:00] will adjust these controls as needed

[00:00:00] once I see what it does by itself there

[00:00:00] we go all right see that it

[00:00:00] automatically added key frames here at

[00:00:00] the beginning and the ending but it did

[00:00:00] add some key frames here towards the

[00:00:00] middle it did detect some gaps in the

[00:00:00] dialogue let me expand these tracks a

[00:00:00] little bit so you can see there are

[00:00:00] indeed some gaps here where she is not

[00:00:00] speaking but only for a short amount of

[00:00:00] time I don't really want the music to

[00:00:00] ride up during those moments so what

[00:00:00] what I'm going to do is I'm going to

[00:00:00] increase the sensitivity now this may

[00:00:00] seem counterintuitive you want it to be

[00:00:00] more sensitive to the dialog no that's

[00:00:00] not actually what it's asking it's

[00:00:00] increasing the Threshold at which it

[00:00:00] will detect those gaps so if you turn it

[00:00:00] up higher it's going to not detect quite

[00:00:00] those smaller gaps there between her

[00:00:00] sentences and what all I have to do here

[00:00:00] is Click generate key frames again I

[00:00:00] don't have to delete these and start

[00:00:00] over I just regenerate it's going to

[00:00:00] redraw it all right need to turn up just

[00:00:00] a little bit High

[00:00:00] one more

[00:00:00] time there we go now I just have my key

[00:00:00] frames here at the beginning and the end

[00:00:00] let's take a listen so when I was being

[00:00:00] recruited I actually had a close

[00:00:00] relation all right and let's take a

[00:00:00] listen of the music here relationship

[00:00:00] with it's still a little bit loud so

[00:00:00] what I can do is I can bring the duck

[00:00:00] amount down I'll go minus 16 regenerate

[00:00:00] the key frames that lowers it a little

[00:00:00] bit now the fade duration sounds pretty

[00:00:00] good I think it's fading in and out

[00:00:00] quickly enough for my taste but I think

[00:00:00] it's coming in a little bit too early so

[00:00:00] I'm going to change the fade position

[00:00:00] here and regenerate key frames there we

[00:00:00] go see how it's bringing the key frames

[00:00:00] in a little closer to her dialogue I

[00:00:00] want it nice and tight try that one more

[00:00:00] time there we go so when I was being

[00:00:00] recruited I actually had a close

[00:00:00] [Music]

[00:00:00] toio sounds pretty good so that is auto

[00:00:00] ducking no more tedious key framing

[00:00:00] just set your dialog tracks to dialogue

[00:00:00] or whatever you want it to duck against

[00:00:00] go ahead and tag it grab your music and

[00:00:00] turn on ducking tag it against that type

[00:00:00] that you selected earlier and generate

[00:00:00] key

[00:00:00] frames now as I'm recording these

[00:00:00] lessons I'm working in Premiere Pro

[00:00:00] 24.3 there are some new audio features

[00:00:00] in the Premiere Pro beta that very

[00:00:00] possibly by the time you watch this will

[00:00:00] be in the new shipping version of

[00:00:00] Premiere Pro so I'm going to show them

[00:00:00] to you right now and I'm going to switch

[00:00:00] over right now to the beta and I want to

[00:00:00] show you some things here on the

[00:00:00] timeline we now have some interesting

[00:00:00] options here for manipulating audio on

[00:00:00] the timeline you notice the colors first

[00:00:00] of all are different they've changed the

[00:00:00] label colors here in the new version now

[00:00:00] I have this track one now you'll notice

[00:00:00] first of all when you make the tracks is

[00:00:00] skinny as possible it's it's closed up

[00:00:00] all the way you can still see the

[00:00:00] waveform so that's really really great

[00:00:00] so even at this smallest possible track

[00:00:00] height you can still see waveforms which

[00:00:00] is really nice I'm going to open that

[00:00:00] right up like so and I'm going to click

[00:00:00] on this track here you'll notice now

[00:00:00] that we have Dynamic audio faders as we

[00:00:00] would in an audio program like Protools

[00:00:00] for example or audition we can just grab

[00:00:00] this little square now that appears in

[00:00:00] the corner and pull it over and that now

[00:00:00] is a fade out so I have two interviews

[00:00:00] here back to back and I think just by

[00:00:00] graduating I did that so I've got a fade

[00:00:00] going on there and just by grabbing that

[00:00:00] square you can manipulate how the curve

[00:00:00] of that fade is it doesn't have to be a

[00:00:00] pure linear fade now all right it's got

[00:00:00] some some bezier curve to it so you can

[00:00:00] play with that how you want or you can

[00:00:00] very quickly and easily create a cross

[00:00:00] fade by grabbing that square and pulling

[00:00:00] it across the transition point between

[00:00:00] the two clips and now I have a cross

[00:00:00] fade between these two pieces of

[00:00:00] dialogue and you can change the nature

[00:00:00] of that cross fade you can do con power

[00:00:00] constant gain exponential just by

[00:00:00] pulling down or pulling up and that

[00:00:00] influences how that cross fade will

[00:00:00] sound so you can do that right here on

[00:00:00] the timeline without having to add the

[00:00:00] actual effect from the effects panel or

[00:00:00] using default transition there's also

[00:00:00] some other features here we have a

[00:00:00] little shortcut you see there's a little

[00:00:00] symbol of a person talking here if you

[00:00:00] click on that that's going to

[00:00:00] automatically open the essential sound

[00:00:00] panel that was the tag for dialogue

[00:00:00] that's going to pop you right into the

[00:00:00] dialogue panel where you can enhance

[00:00:00] repair change loudness and so forth and

[00:00:00] there's also a little effects badge now

[00:00:00] in the corner that's going to pop you

[00:00:00] right to effects controls so again

[00:00:00] depending which version of Premiere Pro

[00:00:00] you're using you may or may not see

[00:00:00] these features go ahead and seek out the

[00:00:00] latest version if you want to play

[00:00:00] around with these they're really really

[00:00:00] great new additions to the program

[00:00:00] that's it for working with audio in

[00:00:00] Premiere Pro hopefully now you see where

[00:00:00] everything is and you feel a more

[00:00:00] comfortable making the transition from

[00:00:00] your other nle into Premiere Pro I'll

[00:00:00] see you on the next one thanks than for

[00:00:00] watching