![]() Heavily compressed vocals are usually characterised as thick and heavy so I'll take that as a compliment. Without any filters, just out of the box. When I made the switch to a "cheap" studio microphone it was a flashing revelation: voices do have volume, beautiful timbre, color, a body. But you typically cannot get the lower frequencies back that a cheap mic never picked up, regardless of the amount of tricks one tries to play in the frequency domain. No, I'm not ditching electret mics as such. I listened to your example using a good studio headset to make sure I'm actually hearing what's in the audio. Of course, they sound clear, that's a prime requirement fulfilled. ![]() They sound just thin and "airy" to me, with strong emphasis on the mid and semi-high frequencies, but nothing in the lower frequencies that are also important. alas, I wouldn't exactly count cheap electret mics as good technique (=equipment), it seems that you got what you've paid for: in your example, my impression is that your voices have little "volume", no "timbre", no "color". Just my two cents/rant here, so please take with a lot of grains of salt. That clip there is recorded with two very cheap electret mics ($5), but sounds fine due to using filters effectively. I'm not really sure what your use-case actually is?ĬorrosiveTruths wrote:Good technique is important. Obvs a lot depends on your use-case, but a combination of compression on vocals, and normalising other tracks and always trusting your ears will get you even sound. That results in something that sounds like this. I used to also noise gate to make edits easier, but fortunately OBS now has a built in noise gate. I make Let's Plays, so my process is to normalise (with Audacity, not kdenlive) the game audio to 0db, compress the vocals (quite heavily with a v small attack), normalise vocals to (almost always) -5db, then autoduck the game audio by 12db. normaliserĪ normaliser adjusts the highest volume to a level - it does nothing to the dynamic range. Explosions hurt your ears, but turning it down so the explosions are listenable means you can't hear dialog.) and will always sound better than a temp. Leveller is useful in Audacity for things that aren't vocals that need less dynamic range (i.e. For a vocal track or a podcast, it is basically essential, as it evens out variance in spoken volumes, which has the neato side-effect of making all talking pretty much the same volume. normaliser, I guess, and you'd get nicer sounding results, but I would never actually use it for a whole recording. ![]() You could use this for the same thing as the temp. It isn't useful if a stream isn't live, because it will not sound as good as compressed stuff.Ī compressor on the other hand, takes a signal and can then be told to reduce the dynamic range of a track (actually altering the audio to make the louder parts and quieter parts closer in volume) behaving according to set parameters. I use it via mplayer for a few select films. ![]() This is surprising useful for live streams that have huge dynamic ranges that you want to listen to at home as it'll go quieter when too loud and louder when too quiet. Kdenlive uses a temporal normaliser (in my opinion calling it a normaliser isn't useful - call it tempvolnorm or something), which just means that it turns it up or down based on the weighted average of the samples around it (I don't think it uses read-ahead).
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