Speaker 1: Hey there, my name is Solly Harrington. Welcome back to my YouTube channel. Today we're talking about the process that I use for all of the dialogue audio that I edit. I do a lot of YouTube videos, courses, podcasts, you name it. I deal with a lot of dialogue audio and I found a really easy system that I can replicate time and time and time again using Adobe Audition that is perfect for both podcasts or for videos, but I use the same process on every single piece of dialogue that I edit and it makes my videos sound way more consistent and make sure it sounds great no matter what platform it gets played back on. Okay, so we're going to start in Premiere and then I'm going to show you how I go into Audition. If you're doing just podcasts, you can do the straight in Audition. The process will be the same, but let's jump into Premiere and we'll go from there. Okay, so here we are in Premiere and this is just the R5C reaction video that I filmed last week and as you can see here, we have our video track and just the camera audio here and then this green track down here. This is the track from the Rodecaster Pro and from the SM7B. So, this is the audio we're going to want to use. So, we're going to select this one, right click, edit clip in Adobe Audition and we will just wait. It takes a second. It's going to render and replace. One little disclaimer I want to give is that I am not by any means an audio professional. I am not a master of audio and that's why I really love this system because I know enough about audio to get by, but I'm definitely not like a master audio engineer or anything like that. So, this system I like because it gives me really consistent results and it sounds good or great every single time without having to do a ton of work to the audio and without having to know all the ins and outs. Now, is there more that you can do to the audio to sweeten it up even more? Yes, of course, but this process is super easy and super simple for somebody who just needs to have really consistent correct audio levels. Okay, so here we are in Adobe Audition and as you can see this audio was recorded in kind of the traditional way that you're taught peaking around negative 12 which is just sort of the safest way to record your audio. So, you don't have to worry about peaking and you have great dynamic range in post. This is great. However, if you just were to have just this for your final audio, it wouldn't sound very loud. It wouldn't be the correct volume. So, here's what we're going to do. First thing we're going to do is I actually have this saved as a preset. So, I recommend doing this if you set this. So, I actually have here it is right here. So, I only have two things. I have a tube modeled compressor and a hard limiter. So, if you go into the tube model compressor, I use these settings. I set my threshold to negative 12, my output gain to zero, and my ratio to three to one. I don't like to add output gain here because I'm going to do another step next that basically I feel like replaces that. So, don't worry about that. And all you need to know about this, if you don't know anything about what this compressor is going to do, anything that's above negative 12, it's going to crush it down, push it down towards negative 12. Anything below negative 12, it's going to bring it up. So, it's kind of, you know, push down your highest highs, bring up your lowest lows, and kind of meet somewhere in the middle. I like negative 12. Again, that's kind of where my aim to record is in that general area. Sometimes a little bit above, sometimes a little bit below. This just kind of helps to level it out so that you don't have such a stark difference between like your loudest points and your softest points. So, we'll run that. And then I also have a limiter in here just in case for some reason the audio is peaking. If I'm recording it myself, normally I don't have to worry about that. Sometimes I do use audio from other sources that I didn't record myself. And sometimes it gets kind of close to peaking. So, I like to put that on just, you know, just to be safe. So, we'll go ahead and apply this. And it's probably not going to do a ton for this, but there you go. The next thing, now this is the big trick right here. Again, this isn't like rocket science or anything people, but this is just what I do. I'm sharing with you what it is that I do. We're going to go over here to match loudness. If yours isn't showing up here, you can just go up to window, match loudness, here it is. So, all you have to do, it's super simple. We take the audio clip we want, we drag it into this section right here. I use the ITU-RBS1770-3 loudness setting. The reason I do that is because it allows me to add a target of LUFS. So, LUFS stands for loudness unit full scale. The way I think of it, it's just sort of like the standard level at which you are setting your audio levels. And these can be established across different platforms. So, you know, broadcast has their own set and podcasts and those types of things. I like to set mine to negative 18. But what's nice is that I don't have to mess with really any of this stuff. I just set this to negative 18 and then I hit run. So, you hit run, it's going to take a few seconds, it's going to analyze, it's going to match. If you want, you can put multiple tracks in here and it'll match them together. But basically, what it's going to do is it's going to make sure that the volume of the entire track is at negative 18 LUFS based off of whatever their metrics are. Again, I don't know and I don't really need to know. And that's the beauty of this system. I just go ahead and save that off. Beautiful. Okay, so then when I close this out and I go over back to Premiere, now you can see that it has replaced automatically my old audio track with this one that we just edited. And as you can see, we have very consistent levels all the way across the board and it is going to sound really good. So, when I play that back, which you probably won't be able to hear, but you can see my audio levels over here, you can see that we are hitting right around negative three with our peaking and everything is going to sound really great, really consistent and it's the appropriate level. Again, the reason why this is important is because when you get this into, you post it to YouTube and somebody's listening on their phone or maybe they watch it on their TV or their iPad or whatever, you want to make sure that your volume of your video matches or is consistent with all the other videos that they're watching. Because there's nothing worse, you've probably experienced this than watching a YouTube video, having your volume of your headphones or whatever set to a specific volume, then the next video comes up and it's really, really quiet. So, you turn it way, way up so you can hear them, ensure it could still sound great, but you've got to turn the volume all the way up to be able to hear them. And then the next video plays, that's maybe our correct volume and it's blasting, it's way too loud, it's blowing your eardrums out, right? You don't want to be the really quiet video. So, by doing this, I know that all my audio is always going to be set to the appropriate levels, you know, negative 18. Again, you can experiment with different numbers. And that's the beauty of it. If you go back into Audition, you just go over here and you can change this whatever you want. So, if you're publishing for broadcast, you can go ahead and put this in there. If it's just a podcast, you can look up what the recommended lefts are for your podcast host or player or whatever, and you can change it to that. But it works, this also works really well for podcast. If you have two people that recorded at different, you know, different mics, different recorders, maybe they're very different in terms of just their gain and their volume of their tracks, they have different sounding recordings, throw them in there, it will match them together so that they sound really, really cohesive. It's really simple, really foolproof system that I use on everything that I do. And then from here, once you're back in Premiere, you can add and remove and adjust any of the audio effects that you might want to do. I would prefer to do this sometimes in Premiere, because sometimes I might want to tweak something or may need to adjust if I'm good EQ it or do noise reduction or whatever, I found it just to be easier just to do it using the features in Premiere, just because I can just edit them right here without having to go back to Audition. But this match loudness feature is only in Audition. So that's why I think it's worth it to go into Audition just to do the match loudness thing and then do any other effects and EQing and whatever in Premiere. Alright, so you guys have it, that is my system that I use for every piece of dialogue that I edit. Again, it's nothing super crazy, there's definitely more that you can do if you wanted to, but in terms of just getting really consistent audio that you know is always going to sound great on any device, this is my system. If you found this helpful, please consider liking and subscribing down below. I would really, really appreciate it. If you want to see more videos like this or you have any other questions, please leave a comment down below. I'd love to answer it either in the comments or in another video. Thank you so much for watching. See you next time. Bye.