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Unlike analog audio, digital audio starts distorting as soon as your audio levels exceed zero and those red clip lights flash on. The red clip lights must remain dark for your entire project. The most important rule to remember with audio is that your audio MUST NOT EVER go over zero. Sound effects are never placed on the same track as sync sound. However, I make a point to never combine different audio on the same track. If, for instance, I don’t have a narrator, then I just pull up the lower tracks. I always follow this track allocation during editing. Putting music cues on separate tracks allows you to slowly fade out one piece of music, while rapidly fading in a new piece of music.
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Add more tracks as necessary.ġ1 and 12 - Music cue 2. Assigning three tracks means that you have room for all of these. SFX that you record yourself are most often stereo. Sound effects (SFX) that you buy are mono. If I have male and female narrators, I put them on separate tracks.Ħ, 7, 8 - Sound effects. One voice needs only one mike, which needs only one track. This allows me to add EQ effects by track.ģ and 4 - Sync sound - what news calls (NATSOT) The sync audio from B-roll images on V2ĥ - Narration. I now put all the male voices on one track and the female voices on a second track. Your main speaker, the audio from the image on V1.
#X MINUS PRO VOCAL FREE#
Feel free to borrow this for your own projects:ġ and 2 - Sync sound - what news calls Sound-on-Tape (SOT)
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So, here are the rules I follow as to what audio goes on which track. While I don’t expect you to be mixing an audio project that big, we can still follow the same procedures.
#X MINUS PRO VOCAL PROFESSIONAL#
In fact, my system is modeled after many that I’ve seen used in professional audio suites - where mixing a major motion picture soundtrack can have over 100 tracks of audio!
#X MINUS PRO VOCAL MAC#
But the concepts described here apply to setting audio levels on all NLEs on both Mac and Windows. NOTE: This article was written for Final Cut Pro 7. So, in this technique, I want to talk about two things: Yet, good audio levels are essential to any video project. I love recording audio, mixing audio, and talking to engineers about audio. But if there’s one thing I’ve learned its that if I get five audio engineers in the same room at the same time, I’ll get seven opinions on what qualifies as good audio levels. [ This article was first published in the November, 2008, issue of