![]() The Brickwall Limiter uses a logical pre-gain adjustment and (unlike the stock Apple AUPeakLimiter) allows you to set a useful Maximum Amplitude.Īdobe Audition supports standard audio plug-in formats in both MacOS and Windows. If you asked to deliver processed files to your eLearning or audiobook clients, these tools can be exceptionally helpful. There are many native Effects which are beneficial to voiceover production workflow. Though I feel this could be refined a bit more, it does work once you get used to it. It has added a “Punch In” recording option which allows Punch and Roll editing for longer form projects such as audiobooks.It has a multitrack option for the few times when you need to layer multiple audio tracks together and generate a composite result.(I still prefer the Izotope RX Spectral view overall). It has a spectral view option which provides frequency information.It provides “Mix Paste” which allows inserting audio without changing timing, which is very similar to Twisted Wave’s “ Special Paste“.The ability to stack effects through the Adobe Effects Rack, and the power of Batch Processing for automatic repetitive processes.Īdditionally, Adobe Audition has some very helpful tools:.Strong third-party plug-in effects support, in addition to a robust set of included tools.Detailed waveform rendering to screen with intuitive zoom/scroll behavior.Adobe Audition solves three basic issues which voice actors deal with in their daily workflow: Honestly, if Twisted Wave didn’t exist, I’d likely migrate to Audition. ( Though as of early 2022, my go-to Twisted Wave now has a beta version available for Windows!). It’s my strong recommendation as a recording and editing environment for anyone recording VO using a Windows OS workflow. I’ve been using versions of Adobe Audition since AA 1.5 (just after the Cool Edit Pro days). The recording will be placed in the timeline and in your Project window.Adobe Audition for voiceover recording – detailed waveform and a spectral view are helpful tools. Move the playhead in the timeline to where you would like the recording to start. In the Audio Mixer window, click the Play button at the bottom of the window to start recording.Click the red record button at the bottom of the audio mixer window to place Premiere into Record standby mode.This will allow you to see the audio levels from the microphone and make adjustments to your voice or the System Audio Preferences to get the optimal recording level. Optionally, you can enable Meter Input(s) Only in the small pull down menu located in the upper right corner of the Audio Mixer.Solo) so you won't hear them while recording and clicking the M button will mute the voice over track so you won't hear your own voice while recording, which can be distracting. Optionally, clicking the S button will mute all other audio tracks (A.K.A.On the newly created track, click the R button to enable recording on that track.From the menus, go to Window>Audio Mixer> your current sequence. Here you will see all of the audio tracks in your sequence.Make sure the track type is set to Mono (USB headsets are mono microphones). ![]() In this case, it will be placed after Audio track 3. Add "0" video tracks and "1" Audio track.In this window you can create new video and audio tracks. From the menu, go to Sequence>Add tracks.Back in Premiere, go to Premiere Pro>Preferences>Audio Hardware. Set the Default Device pull down menu to your USB headset (Each model of headset is labeled differently ).Under the Output tab, select the USB headset/microphone. Speak into the microphone while adjusting the slider and aim to get the meter in the upper 3/4 range.Under the Input tab, select the USB headset/microphone and adjust the input volume with the horizontal slider. ![]()
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