How To Fix Staticy Audio Final Cut Pro

In my conversations with other editors it became clear that for a lot of them (myself included), audio was a major area of weakness. They could handle editing, colour correction, graphics, etc, just just knew a few ways of improving bad audio. This inspired me to create this guide to bear witness people exactly what Last Cut Pro offers out of the box.

Filters in FCP are separate into two categories - Apple Sound Units (AU) which ship with the operating system and are available to any awarding, and FCP-specific ones. Today I'll be giving details on the Audio Units with the FCP-specific ones coming in Part 2 which can be institute Here.

AUBandpass

The bandpass filter allows a sure range of frequencies to laissez passer through and rejects any frequencies that are outside of that range. And so if you have a person talking with rumbling traffic and loftier-pitched TV static in the groundwork, you could use the bandpass filter to isolate the eye frequencies of the person's phonation.

AUDynamicsProcessor

This filter allows you lot to adjust the dynamic range of the audio (the deviation betwixt the loudest and softest sounds). Pinch lowers the volume when information technology exceeds a certain threshold (making loud sounds quieter and therefore decreasing dynamic range). Expansion lowers the book when it is lower than the threshold (thus making tranquillity sounds quieter and therefore increasing dynamic range).

Using a compressor and expander at the same time allows yous to avert overly-loud peaks while still maintaining dynamic range. The compressor will reduce the louder portions of the audio in proportion to their distance from the threshold (i.e. louder sounds will be reduced by a much larger amount), helping to fifty-fifty out amplitude variations. The expander volition and so accept the quieter sounds and reduce their volume (once again, proportionally), thus evening out the amplitude variation of the quieter sounds and increasing the dynamic range.

Imagine some music where you have loud crashing drums, a relatively tranquility triangle and a trumpet somewhere in between. The drums are far too loud so you apply a compressor to bring them down. The drums are at present a lot quieter but you've noticed that the subtlety of the triangle has been lost - it is now far too prominent. And then you lot use an expander to lower the volume of the triangle to an acceptable level. The AUDynamicsProcessor allows yous to practise this with one filter instead of 2, which is a much more efficient apply of organisation resource.

Assault time refers to the amount of time it takes for the compressor to implement a change in volume, and release time is the time taken to reduce the compressor back to its original level afterwards.

In that location's a bit of argue over what "headroom" really means as it's non a standard term. To the best of my cognition, it refers to the number of dB the signal is permitted to exceed the threshold of the compressor/limiter.

The Dynamics Processor is a great style of compressing and/or expanding your audio to make sure that it fits within the audible range of your listening equipment.

AUDelay

This repeats parts of your audio. Dry/wet mix controls whether or non the repeated sounds overlap each other. 100% dry means no overlapping and 100% wet means full overlapping. Delay time is the delay before the repeat starts. Feedback controls the number of repetitions. Lowpass cutoff frequency stops sure low sounds from passing through the filter.

This filter is usually used for atmospheric effects.

AUDistortion (Leopard but)

This is a very comprehensive distortion filter offer a lot of command. I can't give much advice on the various parameters as I don't really know what they mean and there's no documentation bachelor. I would suggest adjusting by ear (it is probably worthwhile lowering the render quality while adjusting, and then raising information technology again in one case yous're happy with the results).

AUFilter

I use this one a lot. It allows y'all to take 5 bands (v ranges of frequencies) and conform the gain upward or downward for each ane. If a person's vocalism is deadened, increasing the gain on the higher frequencies tin can ofttimes improve this. I too sometimes use it to add bass to make a person'due south vocalism sound richer.

The bandwidth slider allows you lot to adjust the size of each frequency range, with the frequency sliders referring to the center of the range.

AUGraphicEQ

This is similar to the AUFilter above only the size of the frequency ranges cannot be adjusted and you can have up to 31 bands instead of just 5. This site provides a guide to common frequency ranges.

I've used this a couple of times to heave bass in a person's voice only I mostly prefer AUFilter for this. It'south practiced for removing or reducing a specific frequency range.

AUHighShelfFilter

This cuts off frequencies higher up the cutoff frequency, allowing lower sounds to pass through. The gain slider controls the amount that the frequencies passing through will exist boosted.

Expert for reducing loftier-frequency racket.

AUHipass

This reduces lower frequencies and allows higher ones to pass through. Resonance controls the intensification of the higher frequencies that pass through.

Good for removing low rumbling sounds such every bit traffic or for reducing very deep voices (I accept had to practice this at times).

AULowpass

Reduces (attenuates) higher frequencies and lets lower ones through, controlled by the cutoff frequency. Resonance controls the intensification of the frequencies that laissez passer through.

Expert for removing loftier-pitched noise.

AULowShelfFilter

Reduces frequencies lower than the cutoff frequency and lets higher ones pass through. This is like to the AUHighPass filter above but this offers the power to adjust the gain instead of resonance.

Good for removing depression hums.

AUMultibandCompressor

This allows y'all to compress multiple bands (frequency ranges) individually for more than control than a traditional compressor.

Pre-proceeds boosts the bespeak before information technology is processed which is useful if the signal is too depression to be processed adequately past the compressor, and post-gain reduces the gain back to a normal level afterwards.

Crossovers 1, 2 and 3 define the bespeak at which the previous band ends and the next one begins. Threshold refers to the amplitude level at which the compressor kicks in. Headroom, as stated above, probably gives you extra leeway higher up the threshold. Eq allows yous to boost or lower each band.

Possible uses for the Multi Band Compressor include lowering the dynamic range of bass sounds without interfering with higher frequency sounds. This is different from the High Shelf Filter which indiscriminately cuts all bass below a certain frequency.

AUNetSend

AUNetSend is 1 of the near interesting filters in that it'southward non actually a filter. Information technology does admittedly cipher to touch on the manner your audio sounds but what information technology does do is allow you to send sound across a network.

You need to have an application that implements audio generators. Sound editing applications such as Logic implement these. Alternatively, at that place is a tool called AU Lab in /Developer/Applications/Sound if you have the developer tools installed. Soundtrack Pro does not support this. Add an AUNetReceive generator to the track in your audio awarding, add an AUNetSend filter to your FCP sound clip and hit play in FCP. You should see "AUNetSend" popular up in the AUNetReceive configuration dialog. Select it and your track should exist receiving the audio from Final Cut Pro. Note that it simply appears while the timeline is playing in FCP.

In my testing, the Status parameter appeared to do absolutely nothing.

AUParametricEQ

This allows you to boost or lower the amplitude of a signal inside a certain range. This is useful if for case you have a loftier-pitched buzzing noise in the background and you simply want to eliminate that particular frequency and go on your college sounds intact.

AUPeakLimiter

The Pinnacle Limiter differs from a compressor in that a compressor reduces the volume of an entire track when a frequency reaches a certain level whereas the Meridian Limiter reduces just that frequency. This is particularly useful if there is background noise on the track that would produce a noticeable fluctuation if the entire track were to receive a volume aligning.

Set on and release time, equally mentioned above, control the amount of time it takes for the filter to implement a change in aamplitude, with longer times allowing a smoother transition. Pre-gain allows you to boost the volume before it reaches the filter in society to change the number of frequencies being affected. The limiting amount allows you to limit the amount that the filter will reduce the amplitude.

AUPitch

Adjusts the pitch of your sound, obviously. At that place are a LOT of controls though, and I have to acknowledge that I don't take a clue what a Glb Trigger Thresh or a Loud Aggr 1000 is. Effect blend blends the pitch-shifted audio with the original and is sometimes necessary to make voices sound natural. Information technology is worth mentioning that I've gotten perfectly acceptable results by adjusting the outset two parameters and not bothering with whatsoever of the others. I'd imagine that nearly people wouldn't take to adjust more than these.

I tried a Google search on some of these parameters just they but turned up forum threads where people were request what on Earth they meant and no-ane was able to solve their problem. If anyone does know, I'd exist interested to hear from them.

This tin can be useful for making a male histrion's vocalisation more masculine (yes, I accept had to practice this!).

AURogerBeep (Leopard just)

This emulates the "roger beep" sound when someone lets go of the push on a walkie talkie. It will automatically play the sound when the audio level drops below a sure threshold for a certain amount of time (as if the person stopped speaking).

In gate threshold and in gate time refer to the time that the threshold amplitude must be maintained earlier the audio kicks in. Out gate threshold and out gate time refer to the amount of time that the threshold must be maintained before it ends the roger beep (arrange this if at that place is background noise). Roger level is the book of the roger beep, and I call up sensitivity and roger type are self-explanatory.

This is an effects filter with quite a narrow purpose then it's not something that gets used very often.

AUSampleDelay

Like to AUDelay except that the delay time is ready as a number of audio samples instead of a number of seconds.

Important:

Two of the above filters are Leopard but. If y'all use those filters and and so transfer your project to a Tiger machine, you will receive an error message and will be unable to utilize those filters inside the project.

Click HERE for Part ii

Copyright 2008 Digital Rebellion, LLC.

This article was get-go published on Digital Rebellion and is reprinted here with permission from the writer.

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Jon Chappell is an editor, VFX artist and software developer originally from the UK. He is the possessor of Digital Rebellion LLC and is a regular correspondent to the Last Cut Pro customs. He is well known for developing the popular troubleshooting applications FCS Remover and Preference Manager. His motion-picture show credits include Perfect Sport.

How To Fix Staticy Audio Final Cut Pro,

Source: http://www.lafcpug.org/Tutorials/basic_audio_filter_guide.html

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