Cheaper lav and shotgun mics tend to be very 'bright', amplifying the higher frequencies and pretty much killing the low end - unfortunately it's very hard to recover a flat response from a cheap mic.īear in mind there are five basic stages to audio editing (though they're often combines in a single effect and don't necessarily always happen in the same order): The Multiband Compressor goes up to +18dB.Īs to a track sounding 'tinny' - that means you've cut off too much of the low frequencies with your existing filters, or your mic/recorder wasn't up to scratch. Most of these are limited to +6dB, but you can just add a second Volume effect on top. Apply an effect with inbuilt gain controls (e.g.Adjust the fixed Volume effect on the audio clip.Adjust the faders on the Audio Clip or Audio Track mixer panels.Right-click the track, choose "Audio Gain" and either set a gain level or ask for normalization.
#Removing noise in amadeus pro pro#
In Premiere Pro there are many ways to amplify an audio track: Provided the ambient is low enough (unfortunately not in your case!) you can normalize and compress a -12dB track to broadcast levels using the volume and compressor effects in Premiere without needing to do any noise reduction. You might be able to cut out the very low frequency rumbles with a high-pass filter if your vox is clear of that range (female speaker or child), but anything you do that would reduce the noise appreciably would turn your interviewee into a Dalek.įor interviews, sound engineers usually work to a -12dB peak as it gives enough headroom for any unexpected loud noises (coughs, clapping, etc.) while maintaining a good S/N ratio in the recording device preamps. As cc_merchant says you're basically stuck with using it as-is or reshooting. A 'noise print' reduction method won't work, neither will a graphic EQ. Traffic/street noise is extremely difficult to reduce and impossible to remove as it has components in every part of the spectrum, all of which are constantly changing.
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