How to use the Hard Limiter Audio Effect in Premiere Pro
Lesson 47 from: Audio Recording 101: Record Voice Audio for Video ProductionTomas George
How to use the Hard Limiter Audio Effect in Premiere Pro
Lesson 47 from: Audio Recording 101: Record Voice Audio for Video ProductionTomas George
Lesson Info
47. How to use the Hard Limiter Audio Effect in Premiere Pro
Lessons
Introduction and Welcome to this Course
00:50 2Listen to your Recording Environment
03:43 3Room Treatment Tips
03:07 4Dynamic vs Condenser Microphones
02:35 5Recommended Pro-Level Microphones
02:55 6Recommended Budget Level Mics
02:35 7Microphone Audio Comparisons
05:53 8What is an Audio Interface and How is it Useful
01:48Recommended Pro-Level Audio Interfaces
01:35 10Recommended Budget-Level Audio Interfaces
01:46 11My Thoughts on USB Microphones
00:45 12Microphone Positioning and Accessories
04:09 13Essential Microphone Polar Patterns
03:17 14Recommended Monitors and Headphones
03:55 15Other Audio Monitoring Tips
02:41 16Introduction to Capturing Audio
00:18 17Recommend Audio Recording Software and DAWs
06:28 18A Quick Look at Some Handy Recorders
02:39 19Audacity Introduction
00:45 20Setting up to Record Audio in Audacity
03:49 21How to Record Audio into Audacity
02:54 22Other Features of Audacity - Playback, Zoom, Undo + Save
04:15 23How to Export Audio out of Audacity
03:37 24Essential Audio Editing Tools in Audacity
08:07 25Removing Silence, Splitting + Joining Clips
03:17 26Essential Key Command or Keyboard Shortcuts in Audacity
03:06 27Removing Background Noise Introduction
02:48 28How to use the Noise Gate Effect in Audacity
12:54 29How to use the Noise Reduction Effect in Audacity
11:15 30Mixing and Processing your Audio Introduction
02:32 31A Quick Look at the Filter Curve or EQ Effect
10:35 32A Quick Look at Compression and the Normalize Effect
11:21 33How to set up an Effects Macro in Audacity
03:23 34Adding Audio Effects to Audio Clips in Premiere Pro
06:06 35Gain/Volume in Premiere Pro
03:36 36Parametric EQ - Part 1 : An Overview of EQ and the Plugin
11:08 37Parametric EQ - Part 2A : Mixing Examples
15:56 38Parametric EQ - Part 2B : Mixing Examples - Example 2
11:31 39Parametric EQ - Part 3 - More Settings + Features
05:14 40Noise Reduction in Premiere Pro - Part 1: DeNoise
09:24 41Noise Reduction in Premiere Pro - Part 2: DeReverb
06:25 42Audio Compression in Premiere Pro - Part 1: Introduction
02:47 43Audio Compression in Premiere Pro - Part 2: Threshold + Ratio
04:16 44Audio Compression in Premiere Pro - Part 3: Make up Gain
03:15 45Audio Compression in Premiere Pro - Part 4: Attack and Release + 2nd Example
06:30 46How to use a DeEsser Audio Effect in Premiere Pro
12:00 47How to use the Hard Limiter Audio Effect in Premiere Pro
06:48 48How to use an Audio Meter in Premiere Pro - Loudness Radar
08:28 49Behind the Scenes of my Audio Recording Equipment
07:16 50Thanks and Bye
00:12Lesson Info
How to use the Hard Limiter Audio Effect in Premiere Pro
Hi there and welcome to this video where we're going to be looking at the hard limiter in Premiere Pro. So with our audio, we do want to increase the level. However, we don't want to have the audio clip or distort. So we can actually use something called a limiter. And this will allow us to increase the gain or make our signal louder, but we'll also limit the audio. So it will not go above the amplitude we select in the limiter. So a limiter basically prevents the audio peaks going past a certain level that we set. And in Premiere Pro, we have a limiter called the hard limiter. So we can access this via the effects tab and then go down to amplitude and compression. And here we have hard limiter and let's click and drag this over to our audio and then under hard limiter press edit. So we have a few different controls here. Let's first talk about maximum amplitude. So if this max amplitude, I recommend choosing minus three DB, we can either drag this slider across or just type it in here...
. This is because for digital signals, you will want to have a small amount of headroom just because we may get some minor distortion if it's on zero DB. For mix of music, mix engineers will use minus one DB. But for editing videos, it's recommended to choose minus three DB. However, it's not really an issue using minus one DB, but I do recommend using between minus one DB and minus three DB. But for this example, I'm going to use minus three DB. So what this means is that audio will not be able to exceed minus three DB. So now let's play our audio back. One thing to note if you have used the EXS 24 in the past, this actually uses the same file type. So you'll be able to open up and you may notice there we're not actually hitting anywhere near minus three DB. You can see on this meter here, we're hitting around minus six DB. So what we can actually do is increase the gain and we can do this with the input boost. However, be careful of this, we don't want to increase the gain too much or we may over compress our audio with this limiter. So I'm going to play this back now and add some gain with this input boost your old instruments in this new sampler. You can find this instrument, they got rid of the EXS 24 and replaced it with this sampler. It's got an updated user interface and it's much easier to use one thing to note if you have used the EX SS 24 in the past, this actually uses the same file type. So you'll be able to open up your old instruments in this new sampler. You can find this instrument, they got rid of the EXS 24 and replaced it with this sampler. It's got an updated user interface and it's much easier to use one thing to note if you have used it, OK? I think around 3 to 4 DB should be fine. In the next video, we're going to be looking at the loudness meter and that will allow us to set our exact level. But now I believe 3 to 4 DB should be fine. So we don't really want to use our limiter as a compressor. We just want to use it to limit some of the occasional louder peaks. So if you have your input boost set too high, you may be over compressing your audio. OK? Going down, we have look ahead time and this will actually look ahead in advance to find peaks. So what it's basically doing is it gives a limiter a slight delay. So it has time to work out how much game reduction to apply before the signal hits it. So the more we increase this, the more CPU power it will use. So I don't recommend actually setting this too high and I'm actually going to leave it on the default of seven milliseconds. OK. Going down, we have release time. So this is the time it takes for the limiter to stop processing after the signal falls below the threshold level. So basically when it stops limiting, how long will it take for the limiter to stop working? I'm also going to leave this on default 100 milliseconds as this setting works fine and it also preserves the low base frequencies and there's one more setting at the top and that is peak and true peak. So true peak accounts for inter sample peaks. And here I recommend using true peak as when the signal is converted into an analog signal, the true peak level may be slightly higher than the peak level. So the highest digital sample is the peak. However, the highest point that analog signal reaches may be slightly higher than this. So if you do leave this on peak, then you may get a small amount of distortion or clipping after the conversion. So it is safer just to leave this on true peak. OK. We also have linked channels enabled down here and this will link the channel so it will preserve the stereo balance. And I do recommend leaving this checked. OK. So now I'm just going to quickly show you how to apply the hard limiter onto this second example. So under effects amplitude and compression, let's drag over hard limiter to our track and now under hard limiter, let's hit edit and we're going to be using true peak and let's set our maximum amplitude to minus three DB. And we're going to be leaving the lock ahead and the release time on the default. And we're also going to leave link channels checked and here we can add some gain with input boost. Remember in the next video, we're going to be looking at the loudness radar meter. So we know exactly how much gain to add or reduce. So I do recommend if you're gonna make any technical videos, try and have a bit of energy, try and have a bit of passion when you're teaching and that will make your videos a lot more interesting to watch. So the first few videos I put online were all about a piece of software called Logic Pro 10. I've been using this software many years prior to making any videos on youtube and I thought it might be interesting to put a few videos online and kind of help a few people out. Ok. So I just quickly adjusted the settings for this limiter and we will look at this limiter again in the next video when we look at the loudness radar meter. So that is the limiter and it basically allows us to increase our level without clipping or distorting. And in the next video, we're going to be looking at the meter and this works with the limiter so we can set the exact level for our audio. So join me in the next video where we're going to be looking at the loudness radar meter.
Class Materials
Bonus Materials
Ratings and Reviews
Aduloju Cassandra
Student Work
Related Classes
Audio Engineering