Final Cut Pro X Ripple Lesson - Using A Compressor 2 - SOUND Flashcards
Choosing a Compression Ratio
First we’ll adjust the Ratio. The Ratio determines how much the ____ sounds are compressed.
loud
Choosing a Compression Ratio
First we’ll adjust the Ratio. The Ratio determines how much the loud sounds are compressed. Right now it’s set to 1:1, so there’s no compression applied to the sound. Set to 2:1, the compressor would cut the volume that exceeds the threshold by _ ____.
a half
Choosing a Compression Ratio
First we’ll adjust the Ratio. The Ratio determines how much the loud sounds are compressed. Right now it’s set to 1:1, so there’s no compression applied to the sound. Set to 2:1, the compressor would cut the volume that exceeds the threshold by a half. Set at 6:1, the audio will be compressed to _____ of the original excess volume.
1/6th
Choosing a Compression Ratio
First we’ll adjust the Ratio. The Ratio determines how much the loud sounds are compressed. Right now it’s set to 1:1, so there’s no compression applied to the sound. Set to 2:1, the compressor would cut the volume that exceeds the threshold by a half. Set at 6:1, the audio will be compressed to 1/6th of the original excess volume. For dialog, you’re usually looking for a ratio of around ___ to ___.
6:1 to 8:1
Determining the Threshold
The threshold determines how ____ a sound needs to get before its __________.
loud, compressed
Determining the Threshold
The threshold determines how loud a sound needs to get before its compressed. I’ll press _ to select the audio…
X
Determining the Threshold
The threshold determines how loud a sound needs to get before its compressed. I’ll press X to select the audio, then use the forward slash key to ____ through the clip and watch the audio levels.
LOOP
Determining the Threshold
The threshold determines how loud a sound needs to get before its compressed. I’ll press X to select the audio, then use the forward slash key to loop through the clip and watch the audio levels. Dragging the threshold ____ we get visual feedback of when and by how much the audio signal triggers the compressor.
down
Determining the Threshold
The threshold determines how loud a sound needs to get before its compressed. I’ll press X to select the audio, then use the forward slash key to loop through the clip and watch the audio levels.Dragging the threshold down we get visual feedback of when and by how much the audio signal triggers the compressor.
I’ll adjust until I’m happy that the _______ sounds are triggering the compressor, but not the quieter ones, then pause playback.
loudest
Determining the Threshold
The threshold determines how loud a sound needs to get before its compressed. I’ll press X to select the audio, then use the forward slash key to loop through the clip and watch the audio levels.Dragging the threshold down we get visual feedback of when and by how much the audio signal triggers the compressor.
I’ll adjust until I’m happy that the loudest sounds are triggering the compressor, but not the quieter ones, then pause playback. One of the really nice features of Final Cut Pro X is the ability to see the effect of your changes instantly on the clip’s waveform (IN THE COMPRESSOR).
Notice as you adjust the threshold you can visually see the extreme peaks of the waveform being compressed, while the rest of the signal remains unaffected. Let’s set the threshold to around -28 dB. Listening back, you can hear that the ________ of the scream and whimper are much more even.
DYNAMICS
Controlling the Release and Attack
Let’s turn to the Release control. Release determines how ____ the audio will continue to be compressed after the compressor has been triggered.
LONG
Controlling the Release and Attack
Let’s turn to the Release control. Release determines how long the audio will continue to be compressed after the compressor has been triggered. Set this too _____ and you’ll hear heavy breathing–often called pumping–right after the compressed sound.
quick
Controlling the Release and Attack
Let’s turn to the Release control. Release determines how long the audio will continue to be compressed after the compressor has been triggered. Set this too quick and you’ll hear heavy breathing–often called pumping–right after the compressed sound.
Set it too ____ and you’ll end up reducing the volume of quiet sections of dialog that should be left untouched.
long
Controlling the Release and Attack
Let’s turn to the Release control. Release determines how long the audio will continue to be compressed after the compressor has been triggered. Set this too quick and you’ll hear heavy breathing–often called pumping–right after the compressed sound.
Set it too long and you’ll end up reducing the volume of quiet sections of dialog that should be left untouched. Adjust the release time until it works for the current clip. For dialog you’ll find __ to ___ milliseconds is usually sufficient.
60 to 100
Controlling the Release and Attack
Finally, Attack determines how _______ the compression kicks in.
quickly
Controlling the Release and Attack
Finally, Attack determines how quickly the compression kicks in. For dialog, you’ll want to keep this fairly low, __ milliseconds or less.
You may find that really short attack times reduce some of the “crispness” of dialog by preventing certain consonant sounds from building properly. If the talent was too close to a microphone, you may be getting a lot of plosive sounds. Tight attack times can help to tame that particular issue.
10
Controlling the Release and Attack
Finally, Attack determines how quickly the compression kicks in. For dialog, you’ll want to keep this fairly low, 10 milliseconds or less.
You may find that really short attack times reduce some of the “crispness” of dialog by preventing certain consonant sounds from building properly. If the talent was too close to a microphone, you may be getting a lot of plosive sounds. _____ attack times can help to tame that particular issue.
Tight
Controlling Gain
Once your compressor’s been set, you can use the ____ control to bring the overall level of the audio back up.
GAIN
Controlling Gain
Once your compressor’s been set, you can use the gain control to bring the overall level of the audio back up. Since you’ve _______ the loud sounds by compressing them, you’ll probably want to boost everything back to an acceptable level.
quieted
Controlling Gain
Once your compressor’s been set, you can use the gain control to bring the overall level of the audio back up. Since you’ve quieted the loud sounds by compressing them, you’ll probably want to boost everything back to an acceptable level. Let’s set the gain at around 12dB.
Auto gain attempts to automatically set the gain to compensate for the _________ in level. Like many automatic fixes, it rarely works well. Instead, leave it off and adjust the Gain ______ to achieve the levels you’re after.
In the next lesson, we’ll look at some great time-saving options for editing voice over - something almost every editor is tasked with.
reduction, slider