In my conversations with other editors it became clear that for a lot of them (myself
z cluded), audio was a major area of weakness. They could handle editing, color correction,
a
graphics, etc, but only knew a few ways of improving bad audio. This inspired me to create
Ee this guide to show people exactly what Final Cut Pro offers out of the box.
Filters in FCP are split into two categories - Apple Audio Units (AU) which ship with the
operating system and are available to any application, and FCP-specific ones. Today I'll be giving details
on the Audio Units with the FCP-specific ones coming in Part 2 which can be found HERE.
Audio Units
AUBandpass
YW nitaedpas
exertaquency [oo [8
teint [ge
The bandpass filter allows a certain range of frequencies to pass through and rejects any frequencies
that are outside of that range. So if you have a person talking with rumbling traffic and high-pitched TV
static in the background, you could use the bandpass filter to isolate the center frequencies of the
person's voice.AUDynamicsProcessor
Ye wipe
conoresin ere
ce ee
“saci
rasan fa
ean
This filter allows you to adjust the dynamic range of the audio (the difference between the loudest and
softest sounds). Compression lowers the volume when it exceeds a certain threshold (making loud
sounds quieter and therefore decreasing dynamic range). Expansion lowers the volume when it is lower
than the threshold (thus making quiet sounds quieter and therefore increasing dynamic range).
Using a compressor and expander at the same time allows you to avoid overly-loud peaks while still
maintaining dynamic range. The compressor will reduce the louder portions of the audio in proportion to
their distance from the threshold (i.e. louder sounds will be reduced by a much larger amount), helping
to even out amplitude variations. The expander will then take the quieter sounds and reduce their
volume (again, proportionally), thus evening out the amplitude variation of the quieter sounds and
Increasing the dynamic range.
Imagine some music where you have loud crashing drums, a relatively quiet triangle and a trumpet
somewhere in between. The drums are far too loud so you apply a compressor to bring them down. The
drums are now a lot quieter but you've noticed that the subtlety of the triangle has been lost - it is now
far too prominent. So you apply an expander to lower the volume of the triangle to an acceptable level.
The AUDynamicsProcessor allows you to do this with one filter instead of two, which is a much more
efficient use of system resources.Attack time refers to the amount of time it takes for the compressor to implement a change in volume,
and release time is the time taken to reduce the compressor back to its original level afterwards,
There's a bit of debate over what "headroom" actually means as it's not a standard term. To the best of
my knowledge, it refers to the number of dB the signal Is permitted to exceed the threshold of the
compressor/limiter.
The Dynamics Processor is a great way of compressing and/or expanding your audio to make sure that it
fits within the audible range of your listening equipment.
AUDelay
YM atboy
eyetin
cif
This repeats parts of your audio. Dry/wet mix controls whether or not the repeated sounds overlap each
other. 100% dry means no overlapping and 100% wet means full overlapping. Delay time is the delay
before the repeat starts. Feedback controls the number of repetitions. Lowpass cutoff frequency stops
certain low sounds from passing through the filter.
This filter is normally used for atmospheric effects.AUDistortion (Leopard only)
aticem |e
This is @ very comprehensive distortion filter offering a lot of control. I can't give much advice on the
various parameters as I don't actually know what they mean and there's no documentation available. I
would suggest adjusting by ear (it is probably worthwhile lowering the render quality while adjusting,
and then raising it again once you're happy with the results).tevthere —_[(leraet 9)
wren [— + [ae
ows or
eet a)
ews [ra
taeda fp P|
ewe [ame
ews ra
taeda? fp Pa]
SS SS
een |
SS
tia thertype [Cen sner 1) _|
tetany | ae
SS
Tuse this one a lot. It allows you to take 5 bands (5 ranges of frequencies) and adjust the gain up or
h one. If a person's voice is muffled, increasing the gain on the higher frequencies can often
T also sometimes use it to add bass to make a person's voice sound richer.
down for eacl
improve this.
‘The bandwidth slider allows you to adjust the size of each frequency range, with the frequency sliders
referring to the center of the range.AUGraphicEQ
sage
asp He
ama oe
em oHe
runner of bands
This is similar to the AUFilter above but the size of the frequency ranges cannot be adjusted and you can
have up to 31 bands instead of just 5. This site provides a guide to common frequency ranges.
T've used this a couple of times to boost bass in a person's voice but I generally prefer AUFilter for this.
It's good for removing or reducing a specific frequency range.AUHighShelfFilter
1M Aisha
“ot eee
This cuts off frequencies above the cutoff frequency, allowing lower sounds to pass through. The gain
slider controls the amount that the frequencies passing through will be boosted.
Good for reducing high-frequency noise.
AUHipass
Fv nase
to ecu
This reduces lower frequencies and allows higher ones to pass through. Resonance controls the
Intensification of the higher frequencies that pass through.
Good for removing low rumbling sounds such as traffic or for reducing very deep voices (I have had to
do this at times).
AULowpass
oA
totem a [oe
oe [a
Reduces (attenuates) higher frequencies and lets lower ones through, controlled by the cutoff frequency.
Resonance controls the intensification of the frequencies that pass through.AULowShelfFilter
2M nite
‘to feaency
Reduces frequencies lower than the cutoff frequency and lets higher ones pass through. This is similar to
the AUHighPass filter above but this offers the ability to adjust the gain instead of resonance.
Good for removing low hums.AUMultibandCompressorThis allows you to compress multiple bands (frequency ranges) individually for more control than a
traditional compressor.
Pre-gain boosts the signal before it is processed which is useful if the signal is too low to be processed
adequately by the compressor, and post-gain reduces the gain back to a normal level afterwards.
Crossovers 1, 2 and 3 define the point at which the previous band ends and the next one begins.
Threshold refers to the amplitude level at which the compressor kicks in. Headroom, as stated above,
probably gives you extra leeway above the threshold. Eq allows you to boost or lower each band.
Possible uses for the Multi Band Compressor include lowering the dynamic range of bass sounds without
interfering with higher frequency sounds. This is different from the High Shelf Filter which
indiscriminately cuts all bass below a certain frequency.
AUNetSend
AUNetSend is one of the most interesting filters in that it's not actually a filter, It does absolutely nothing
to affect the way your audio sounds but what it does do is allow you to send audio across a network.
You need to have an application that implements audio generators. Audio editing applications such as
Logic implement these. Alternatively, there is a tool called AU Lab in /Developer/Applications/Audio if
you have the developer tools installed. Soundtrack Pro does not support this. Add an AUNetReceive
generator to the track in your audio application, add an AUNetSend filter to your FCP audio clip and hit
play in FCP. You should see "AUNetSend" pop up in the AUNetReceive configuration dialog. Select it and
your track should be receiving the audio from Final Cut Pro. Note that it only appears while the timeline
is playing in FCP.
In my testing, the Status parameter appeared to do absolutely nothing.AUParametricEQ
YY nia
couerbeqeaney |,
@ _——— =a
se [a
This allows you to boost or lower the amplitude of a signal within a certain range. This is useful if for
example you have a high-pitched buzzing noise in the background and you only want to eliminate that
particular frequency and keep your higher sounds intact.
AUPeakLi
vv Alt
The Peak Limiter differs from a compressor in that 2 compressor reduces the volume of an entire track
when a frequency reaches a certain level whereas the Peak Limiter reduces just that frequency. This is
particularly useful if there is background noise on the track that would produce a noticeable fluctuation if
the entire track were to receive a volume adjustment.
Attack and release time, as mentioned above, control the amount of time it takes for the filter to
implement a change in amplitude, with longer times allowing a smoother transition. Pre-gain allows you
to boost the volume before it reaches the filter in order to change the number of frequencies being
affected. The limiting amount allows you to limit the amount that the filter will reduce the amplitude.Adjusts the pitch of your audio, obviously. There are a LOT of controls though, and I have to admit that I
don't have a clue what a Glb Trigger Thresh or a Loud Aggr K is. Effect blend blends the pitch-shifted
audio with the original and is sometimes necessary to make voices sound natural. It is worth mentioning
that I've gotten perfectly acceptable results by adjusting the first two parameters and not bothering with
any of the others. I'd imagine that most people wouldn't have to adjust more than these.
I tried a Google search on some of these parameters but they only turned up forum threads where
people were asking what on Earth they meant and no-one was able to solve their problem. If anyone
does know, I'd be interested to hear from them.
This can be useful for making a male actor's voice more masculine (yes, I have had to do this!
AURogerBeep (Leopard only)
7 ninoseren
ince tebe pp |
ingen
trl
eetetine
=
reaee (Ce tne ow
cgukel |
This emulates the "roger beep" sound when someone lets go of the button on a walkie talkie. It will
automatically play the sound when the audio level drops below a certain threshold for a certain amount
of time (as if the person stopped speaking).
In gate threshold and in gate time refer to the time that the threshold amplitude must be maintained
before the sound Kicks in. Out gate threshold and out gate time refer to the amount of time that the
threshold must be maintained before it ends the roger beep (adjust this if there is background noise).
Roger level is the volume of the roger beep, and I think sensitivity and roger type are self-explanatory.This is an effects filter with quite a narrow purpose so it's not something that gets used very often.
AUSampleDelay
Ye nino
intoeudéoy |r fe
Similar to AUDelay except that the delay time is set as a number of audio samples instead of a number
of seconds.
Important:
Two of the above filters are Leopard only. If you use those filters and then transfer your project to a
Tiger machine, you will receive an error message and will be unable to use those filters within the
project.This is the second part of the Final Cut Pro Audio Filter Guide. Part 1 covered the Audio
Units that ship with Mac OS X and is available here. This part will cover the audio filters
that ship as part of Final Cut Pro,
EI
——* This quide is intended to inform Final Cut Pro users of the options avaliable to them for
fixing bad sound.
a
Now, one thing you may have noticed is that there are often duplicate filters such as AUBandpass (an
‘Audio Unit) and the built-in Band Pass Filter. So which should you use? Well, for a start, bear in mind
that some of those filters have the same function but different parameters. I would generally advise you
to pick the built-in filters over the Audio Units whenever possible, as they tend to use up fewer system
resources.
3 Band Equalizer
vssmnde
iene fa
aan
This allows you to take three separate bands (low, med and high) and adjust the gain up and
down individually. I personally prefer AUFilter (in the Apple folder) because it gives you a bit
more control and allows you to adjust 5 bands.
This is useful when you need to boost the bass of a voice or improve a flat-sounding voice.Band Pass Filter
Years
Fremseny fy [a0
a =a
This
allow a range of frequencies on either side of the center frequency to pass through
and reduce (attenuate) frequencies outside this range.
This is identical to the AUBandpass filter (in the Apple folder) except that instead of the
bandwidth parameter, it has a mysterious one called Q. Q stands for Quality Factor an
different way of representing the bandwidth. There are numerous articles about it on the
internet that get quite technical but all you need to know is that it's the relationship between
the center frequency and the bandwidth (f/b) so Q is inversely proportional to the bandwidth
(i.e. when the bandwidth goes up, Q goes down by a proportional amount). It is worth noting
that Q is not the bandwidth itself but it is related to it. If you want to find out the bandwidth,
just divide the center frequency by Q.
If you don't understand the above explanation just play it by ear or use the AUBandpass filter.
Compressor/Li
[recite fy
Cee
Camatine fa
Teesetne fgThe Compressor / Limiter reduces the volume of sounds above the threshold amplitude. This
is a useful way of minimizing the difference between two subjects talking at different volumes
or making sure that the audio fits within the of the playback device.
Obviously this reduces the volume of the overall audio so Preserve Volume rectifies this
(although I find it is often then too loud). Attack time refers to the time it takes for the filter
to decrease the volume once it has detected a frequency with an amplitude above its
threshold. Release time refers to the time taken for the filter to increase the volume again
once the high amplitude frequency has finished playing. Higher values allow for a smoother
and less noticeable response but set them too high and the compressor won't respond quickly
enough. This is something inherited from live audio mixing where you don't know what's
coming next. Setting the threshold to just under your preferred limit allows time for the
compressor to lower the volume in anticipation for a louder sound once the threshold is
reached.
Ratio tells the compressor by how much it should reduce the volume when a sound exceeds
the threshold. If the ratio is set to 2 (2:1), then a 10 dB increase in volume above the
threshold will be halved to a 5 dB increase. It is worth noting that the compressor lowers the
volume of sounds above the threshold but does not necessarily reduce them to a value at or
below the threshold. Be aware that very loud sounds could still theoretically peak.
Finally, it is also worth mentioning that the compressor reduces the volume difference
between the subject and any background noise, so background noise will be more noticeable
upon boosting the audio after applying the compressor.
DC Notch
v wocnees |Sometimes you may experience a DC current leakage through the mic, causing noise in the
recorded audio. A DC Notch filter will remove the DC offset component which you probably
need a degree in audio engineering to fully understand. It has no parameters,
This is one of the lesser-used filters FCP provides.
Echo
tte
Feadbuckinsee) [f+ | oo
ea Tne)
‘one obviously adds an echo. Effect Mix allows you to mix the echoing audio with the
original in order to better blend it in. Effect Level controls the volume level of the echoes (but
not the original audio). Brightness controls the degree that the echoes will overlap. Feedback
controls how long each echo will last and delay controls the spacing between each repeat.
It is worth noting that the echoes will be abruptly cut off unless you lengthen the audio clip or
fade it out.
Expander / Noise GateThe opposite of a compressor. A compressor takes high amplitude sounds and lowers them
whereas an expander takes low amplitude sounds (sounds below the threshold) and lowers
them. I know it probably seems strange to lower sounds that are already quieter than the rest
of the audio but this is designed to increase the dynamic range of the clip.
Threshold is the amplitude below which the expander will kick in. Ratio controls the
proportion of expansion - for example with a ratio of 2 (2:1), a 3 dB fall below the threshold
will be adjusted to a 6 dB fall. Attack time is the time for the volume change to be applied
once it falls below the threshold. Release time is the time for the volume to return to normal
once the signal goes above the threshold ag
completely eliminate frequencies below the
(e.g. 10).
Anoise gate is a more extreme expander that wi
amplitude threshold. This can be achi i
ed with high rat
Gain
¥ van
can [re
This is a simple filter that raises or lowers the volume of the audio. It is added automatic:
to clips when you use the Modify > Audio > Apply Normalization Gain command.
High Pass Filter
hme
a laThis will attenuate (reduce) low frequencies below the threshold. This is the same as a Low
Shelf Filter. Use the Q slider to modify the bandwidth (width of the frequency range).
Useful for cutting out low frequency noise such as the rumbling of traffic or very low notes in
a deep voice.
High Shelf Filter
This will attenuate (reduce) high frequencies above the threshold. This is the same as a Low
Pass Filter. Gain allows you to adjust the volume of audio that passes through the filter.
Useful for filtering out high frequency noise such as buzzing on the soundtrack.
Hum Remover
YM Ham eros]
re
imilar to the Shelf / Pass filters but it has several extra parameters. Frequency, Q and
have been explained many times above. In order to explain what the harmonic check
boxes mean, we need to delve into a little audio theory.The fundamental frequency is the lowest frequency in a harmonic series (the Frequency value
in this case). Harmonics are integer multiples of the fundamental frequency - e.g. if f=60,
2f=120, 3f=180, etc. These play at the same time as the fundamental frequency and
contribute to the tone of a sound. The Hum Remover is more powerful than a Shelf / Pass
filter because it allows you to remove these specific frequencies without removing any
frequencies in between these. For example, if f=60 and you wanted all harmonics up to 5f
removed, a Low Shelf or High Pass filter would remove ALL frequencies up to 300 Hz,
potentially affecting the quality of your sound. The Hum Remover would not do this.
Despite being called Hum Remover, the use of harmonics makes it useful for other purposes
such as enhancing or reducing a musical instrument on a soundtrack.
Low Pass Filter
¥ vlowras
2 Ur
The Low Pass Filter has the same effect as the High Shelf Filter - it will attenuate (reduce)
frequencies higher than the specified frequency range, keeping lower ones intact.
Frequency refers to the center frequency and Q is a way of representing the bandwidth (the
width of the frequency range).
Useful for reducing high frequency noise such as buzzing.
Low Shelf Filter
FM owner
eineThe Low Shelf Filter has the same effect as the High Pass Filter - it will attenuate (reduce)
frequencies lower than the specified frequency range, keeping higher ones intact.
Useful for reducing low frequency noise such as air conditioner hums.
Notch Filter
pax Fee
Fremseny [yy [00
a ——= a
The opposite of a Band Pass filter. Instead of only allowing frequencies within a certain range,
this cuts out frequencies within a certain range.
Frequency refers to the center frequency and Q is a way of representing the bandwidth (the
width of the frequency range).
Useful if you have noise of a constant frequency on your soundtrack (such as a buzzing
sound).
Parametric Equalizer
YW rue.
freawney
@ —— as
‘anes [=
This is a combination of Band Pass, Notch and Shelf filters combined into in a single filter.
Frequency is the center frequency, Q is related to the bandwidth (see the explanation above)
and gain allows you to boost or cut the frequencies passing through the filter.Reverberation
tenes)
= ==
Secret
na SS
Te rr)
tT jar to the Echo filter but considerably more sophisticated. Rather than simply
repeating sounds with a delay, it allows you to mimic the characteristics of echoes within
various locations. This is incredibly useful when performing ADR (Automated Di:
Replacement) because hly likely that the sound booth you record the ADR in
nothing like the original location. This allows you to mimic the effect of sound waves bouncing
off walls, with some canceling each other out and some increasing in intensity. It can also be
used sparingly to improve a flat-sounding voice.
Subtlety is often the key with this filter and Effect Mix allows you to mix the reverb with the
original sound to help blend it in. Effect Level controls the intensity, Brightness controls the
degree that the echoes overlap and Type allows you to specify various preset locations.
It is worth mentioning that the reverberation will end abruptly unless you extend your audio
clip or fade it out at the end.
Vocal DeEsser
eee ot
ao le
erates ta
Crecente [poThis helps to reduce the intensity of "'s" sounds, most noticeable if the actor has a lisp. The
controls are similar to a compressor but it is optimized for reducing sibilant (''s") sounds.
Ratio controls the amount of reduction - e.g. if the "s" sound is 6 dB and the ratio is 2, it will
be reduced to 2 dB.
Emphasis controls the sensitivity of the filter and Broad Band Mode widens the bandwidth so
that more frequencies around the center frequency are affected.
Vocal DePopper
YM vor.
Sometimes if a microphone is directly in front of an actor's mouth they will accidentally
breathe into it while speaking, causing a wind-type noise to be generated. This filter aims to
minimize these.
The parameters are similar to a compressor - ratio controls the ratio of reduction proportional
to the intensity of the sound. Broad Band Mode widens the bandwidth so that more
frequencies around the center frequency are affected.One Final Note
These filters do a decent job of repairing troublesome audio but they are not miracle cures.
Sometimes (and this is never popular with producers) it just isn't cheaper to fix it in post.
Even big Hollywood movies with access to multi-million dollar sound studios re-record a lot of
their audio. It is important to always think realistically.
However, I hope this two-part guide has been useful in showing you just what can be
improved. I noticed a significant improvement in the sound quality of my projects once I
understood more about the audio filters available to me, and I hope you'll be able to say the
same.