So in our last lecture, we briefly looked at the essential sound panel to level up our dialogue. Now we're just going to go more in depth about the essential sound panel. Because this is a feature that Adobe didn't really publicize when they released it. But it's really cool. And it is designed for editors who want to add want to do their sound directly in Premiere, which I'm guessing is mostly you guys. So again, if you don't see it, you go to Window.

Essential sound. And in the previous lecture, I d noted that these were dialogue. So let's try to clear that clear audio type. Okay, so now we're back to the beginning. First today Do any editing we tell premiere what type of audio This is. And so if we select dialogue, and we'll match the loudness again, I don't know if you notice that when I cleared the audio type, it undid the loudness we did in our last lecture.

So let's auto match loudness in that bumps up to match this one. Next is the repair. Now, all of these things will are better done with expensive Noise Removal filters and third party VST s and plugins. But if you don't want to bother with all that, here's where you do it. So if you want to reduce noise, check that. It's really important when you're recording audio to make sure the cameras are also recording a scratch audio.

Have you ever heard that thing where it's like if you work for 10,000 hours at a specific so you can reduce noise reduce rumble and it also helps. If you hover on the box, it gives you an explanation of what it's doing. So reducing noise is targeting the background noise, reduce Rumble, or the low frequency sounds that like bumps on the microphone, or plosives, whichever when you say, or Pete, like the P sound. A lot of times microphones will pick that up, and it'll rumble. So on DS, the DSR is really great if you're with the high frequencies or too harsh on this sounds, that's what this is for. A dynamic slider is basically a compressor.

And we'll, I'll show you in our mixing lessons, how to use a compressor. But what's great about this panel is Adobe's trying to help you out so you can you can play To fix skill, then you become a master of it. And that's too much but, so this is like very compressed This is not at all. If you work for 10,000 hours at a specific skill, then you become a master of it. EQ you can select it gives you some presets. See what an intercom sounds like.

If you work for 10,000 hours at a scale, then you'd be suffix cluster. So that's some, like if you want to dial in sounds really quickly. This is great. podcast voice. It's really important when you're recording audio to make sure the camera but also recording a scratch audio. So pretty subtle.

And that you can It's nice to see the equalizer. It shows you where it's boosting Where it's taking away? Have you ever heard that thing where it's like if you work for 10,000, so an old radio didn't have a lot of bass and it didn't have much highs, and it only give you a little mid range. And that's how you actually get that sound. And sound designers and sound engineers will know that and they'll draw their own curve on the equalizer to get that. But if you don't know how to get some of those sounds you're after and the presets are a great way to start.

So hours at a specific scale. I do recommend this as a way to begin and then reverb and thousand hours as specific scale. Then you become a master. So as you can see, there's a lot of stuff you can do. And believe it or not, that was all just for dialogue. So why don't we drag in some music.

We tell it premiere it's music And if we had multiple tracks in here, actually let's get multiple tracks in here. So now we've got two different audio tracks and different music tracks on the solo these. So to me, this one sounds much louder than this one. And I do recommend having music tracks on their own track here. Say we're going to make a cut right there and transition to this song. It's more space.

Our music cut but this track is softer than this one. Now it's good to know you can go here and adjust. Bring this one down So I went too far down. I'm gonna save this lesson I'm going to go back to zero. So this is much louder. I'm going to select both of these and tell premiere premiere it knows it's music, but let's go ahead and tell music and automatch see how that brought it to much quieter.

Now when this transitions premiere automatically makes them the same. So that's really useful. And let's say you're getting tracks from different libraries. They're all different volumes. And you want a quick way to make it all uniform that you just auto match the loudness on the music. ducking is really cool.

I do it manually still because you have more control, but it's basically bringing the audio down when there's dialogue. So if you turn this on and tell it to dock against dialogue clips when there's a dialogue clip going on at the same time, it should bring down the music slightly. Hello everybody, my name is Jason Randell. I am here to give you a fake dialog story. I've never tried to generate keyframes, why don't we give that a go? Look at that this is what I do manually.

So let's actually just worry about the beginning of our edit. So this is a, you want to bring the music down a little bit when there's dialogue and then back up when they're when you don't have any. And premiere just did that automatically for you. Because we told that we told premier that this is dialogue. And we told her that this is music and told it to duck against anything that's dialogue. So what it did is build these keyframes that we can do manually with the pen tool, say we wanted add another one.

That's what it's doing, and it brings it up for you. Alright, let's continue on to some of the other parts of the essential sound panel which are sound effects and ambience. So I don't have any Sound effects in here right now. So I'll grab one from my library and drag one in here. Let's say I want a sound effect that happens at the same time as my music transition over here. You want to make it so it resolves and the downbeat right there.

It's too loud. But let's see what this panel has for us. We can match the loudness to a standard average loudness for sound effects. Okay? So that just brought it down here it's nothing abrupt. So that was easy.

Instead of messing with any any loudness, we just auto matched it in the panel. It's a little too loud for my taste still, so I bring it down. Now what else can it do? It can give you some reverb. Have you reverb? This this whoosh already has a lot of reverbs I don't know how this will sound hard to tell.

But I would use so what I would mostly use the sound effects panel for the essential sound panel with sound effects for is If you do sound design, which I do, I'll have like four or five tracks of tons of these little things and they're all over the place in terms of loudness, that's where I would go and select all of them hit auto match, and then I'd be able to bring them down uniformly on these channels on these on the track mixer. So that's the real use for the sound effects here. And then ambience, I'll just tell premiere that this is ambient, so you can check out it check it it makes it even softer for an ambience level and give you some presets for what ambience would sound like. And ambience is when you're putting in just like a ambient room sound in between or underneath dialogue, so that it's not just completely empty.

And this is especially useful when you're overdubbing anything because it sounds like a studio. Instead of the room medicine. So all in all, the essential sound panel is really useful for making things uniform. It can make all our dialogue the same as each other, the music tracks the same as each other sound effects the same as each other, all with the click of a button. So it's very powerful. And one of my favorite parts about it actually, is that if you hover it tells you what you're doing.

So it's not only doing it for you, but it's teaching