While this type of effects use is not uncommon in music production it's virtually always avoided in TV/Film sound, as it can cause a number of predictable and unpredictable problems. The only piece of advice I would avoid is the use of flanging or phase effects. This is a tricky area and you have already been given good advice here. Mixing is a very complex subject, one in which APE is far more experienced than I am. BTW, note that there was no discussion of futz tracks or effects sends, which is another topic entirely. One member uses this:Ĭ4 or DSM (Does more of the heavy lifting)Įveryone has their preferences. On an audio post forum I frequent they were recently discussing what they all use in their dialog chain.
Low pass filter adobe audition plus#
Professional mixers like APE will have four or five inserts on each channel, plus several effects sends and sometimes even parallel processing sends. Then use a reverb send/buss for the room the character is in. Put another EQ in the chain and play with the rest of the frequency spectrum on multiple bands to adjust the intelligibility. Then add reverb to match the rest of the scene.ĭo you have an EQ? Use the low pass filter and attenuate the highs and mids. That will determine how much frequency content to attenuate. Since we are filmmakers we are creating a believable illusion, not recreating reality, so you must first decide if the sound(s) coming from next door are intelligible or not. No budget simple solution - use a low pass filter to attenuate high and mid-range frequencies before sending it through the "listening" room reverb. Simple solution - You can accurately reproduce this effect with an IR reverb like Altiverb (which has Other Room presets).
So, there are the voices in the "conversation" room, the reverb of the "conversation" room, the sheetrock in the "conversation" room attenuating frequencies, the hollow space between the walls resonating, the sheetrock in the "listening" room attenuating frequencies, and the reverb of the "listening" room. In the reality of your next room scenario there is also reverb in the room on the other side of the wall affecting frequency content. The amplitude of the sound will also affect frequency attenuation - and a myriad of other permutations. A sheetrock wall will inhibit high frequencies and upper midrange frequencies.
The density of the object determines which frequencies and how much of them are attenuated i.e a solid brick wall inhibits all of the upper and midrange frequencies, allowing only low frequencies through. I'm going to keep it kindergarten simple and not get into physics, acoustics and psychoacoustics. All you do is wallow in self pity and moan about how you can't do things. You never LISTEN, really seriously LISTEN to the world around you. Here, again, you prove that you have absolutely no feel for sound.