It is very important in all forms of media involving audio (TV, film, radio, games) to edit sound. Just like how a film editor can completely change the outcome of a film project, a sound editor can have just as much an impact on a final media product. This is because sound is complex and not always perfect, and sub-optimal audio quality can even ruin certain projects. In film, for example, most sound is recorded either using boom mics or gearing up each performer with their own personal mic, which allows them to freely move around and speak without the fear of huge discrepancies in the loudness of audio. If a boom mic is used, however, it is even more important for editing to be used to balance the audio in each scene, making sure that the audience can hear all of the dialogue clearly without having to adjust their volume at all during the run-time. Another important role of the sound editor is providing the soundscape with certain effects that enhance the ambiance and feel of the scene, for example, if a scene is set within a tunnel or a large hall, a deep reverb can be added to the dialogue to immerse the viewer in the depth of the scene. Sound effects can also be used to derive deeper purpose and meaning.
In this scene from Kubrick’s 1987 Vietnam War-set-masterpiece, Full Metal Jacket, the light rumble of the fire amalgamating the complete destruction of the environment at the end of the film provides a strangely relaxing feeling to the scene’s sound in contrast to the destruction and desecration leading up to the moment. This is used in order to encourage viewers to reflect on the visceral impact of war, pain and conflict they witnessed in the now completely ravaged town. The soldiers are also heard singing the Mickey Mouse theme song, in what is used for a ironic piece of commentary on American consumerism, dangerous group-think, and barbaric, tribe like behavior, the audio of the soldiers’ voices has been edited to be layered up densely atop the fire to increase the impact and militant vibe of the vocal track. The sound editing in this scene completely transforms what would otherwise be a quite standard and pedestrian shot of the soldiers soullessly returning after seeing their views on life and mortality quickly changed, into a beautiful work of art, whimsically denoting the mutually-felt community spirit in a somber landscape now that violence has come to a brief and ethereal standstill. Music can also completely change the tone of a scene.
A great example of this in American cinema is Paul Thomas Anderson’s Boogie Nights, released in 1997 and in this scene set in the 80s, the song Sister Christian by Night Ranger is used in a highly tense deal involving scamming a drug dealer, adding to the anxiety is the constantly jarring sound of fireworks being set off and a game of Russian Roulette played by the mentally unstable and heavily under-the-influence dealer. The loud music and shouting over top of it adds a new layer of worry to the dangerous environment as an otherwise quite positive pop song is blasted casually as the dealer in question flys off the rails, nearly shooting himself. The three elements of audio, yelled dialogue, loud music and spontaneous small explosions are edited together to form a busy blend of sound that ramps up the suspense in an already thrilling setting.
In both fictional and factual media, overdubbing audio can be used to provide a translation from one language to another for those who may not find subtitles all too accessible. Japanese Anime is often dubbed as younger audiences can find it hard to keep up with quickly reading subs while still focusing on the highly stylized visuals of the media form. Cowboy Bebop is a Japanese animated show that is available in both an English dub with the original dialogue tracks in Japanese replaced by American voice actors.
During this clip (for example at 0:52) , you can see that the dub flows smoothly as the animated movements of the mouth are not as precise and specific than if they were live action, and the audio fidelity would be almost indistinguishable from the Japanese track since both would have been recorded in a similar setting with similar recording equipment. Live action media can also be dubbed, this is known as ADR (additional dialogue replacement) and is most commonly used to dub over scenes in the same language where the quality of sound was sub par, providing the scene with a higher fidelity audio track and syncing well with the original visuals.
In factual content such as news broadcasts, a dub can be used atop foreign languages as a translation, like in this clip, where an English narrator translates the speech (heard at 2:22), often with the original language playing quietly in the background to allow the viewer to recognize that the narrator is quoting the speaker on screen.
Audio can be edited using these various techniques in different ways. The most common consumer grade software available is Audacity, while basic and stripped down, it gives inexperienced users a way to quickly edit using an accessible interface for free. Multiple tracks can be edited simultaneously and there are a range of simple effects available. Another great feature in Audacity is the option to remove recurring background noises from scenes, this could be the light hum of a computer fan or interference in a recording, with the tool you can grab a sample of the noise you want to remove and strip it away from the rest of the recording with ease. Adobe Audition is packaged with the rest of their software in the Creative Cloud, and features a more professional background for experienced users to sink into. Audition has more options for effects and allows for sound-enthusiasts to tweak every slight nuance of a track. It also has cross support for other Adobe programs in the Creative Cloud so users of Premiere may find it useful to be able to swiftly work between the two.
The two major different operating systems create division when it comes to audio software. While there is not a major dichotomy, some software is exclusive to Mac. The most notable example is the DAW (digital audio workstation) Logic Pro, which is developed by Apple and not available on computers running Windows. This is a marketing ploy which encourages sale of their own computers with Mac OS, and can create problems for sound engineers owning Windows computers. Despite Logic not being available for these people, there are a myriad of alternative DAWs that work slightly differently, but are still perceived as professional and standard by the industry. As mentioned earlier Adobe Audition is cross-platform (available for both Mac and PC) and while not as common in the industry as Logic, can perform very similar functions and is user friendly for those picking up any type of audio workstation for the first time. The most dominant force within the media industry surrounding sound is the elusive Pro Tools. Pro Tools is a powerful DAW that has its 30 year tenure and a respectful reputation to back it up. Developed by Avid and carrying a hefty price tag in comparison to its contemporaries, it is seen as the highest standard used within the industry. However, this comes at a cost much deeper than just on a monetary scale. It is infamously user unfriendly and is not typically recommended for anyone going into it without a high level of understanding of similar software and sound theory. While power users and professionals with the necessary training will gravitate towards Pro Tools for its high level of quality in its editing of sound files, Adobe Audition and Logic Pro are a good middle ground for those stepping into the industry who want a compromise between usability and practical functionality. There are also other common DAWs like Ableton Live and FL Studio which are more focused around music composition and production, but also include decent tools to process, engineer, mix and master other types of audio tracks.
When selecting clips to be used in an audio project, there are a few factors that come into play. Firstly is where the clips are sourced from. It can either be primary content (created especially for use in the project, for example the primary audio track such as the dialogue) or secondary content (content sourced externally from third parties, sound effects, music, etc). Primary content's biggest strength is that it is unique. The sounds will not be heard anywhere else unless someone else samples them as secondary content. This gives the project a more professional proverbial appearance, as it shows that the budget to have bespoke and tailor-made audio assets is present and is being well utilized. The downside to an abundance of primary content is the time and resources required to create it. For example, if you wanted all of your sound effects to be primary, you would have to arrange an in-studio foley session to record the necessary soundbites, or if you wanted an original soundtrack you would have to get a music composer/arranger to work on those tracks unless you possessed the skills to craft them yourself. There is also potential to get higher bitrates from primary content, as you have complete control over the fidelity of the sound, granted that your standard of recording equipment is high enough.
Equipment is an important factor in getting a professional final product and an efficient workflow. This could include multiple monitor setups to speed up the editing process by allowing file explorers and other programs/plugins to run along a different screen simultaneously. Keyboard shortcuts are also an essential part of sound editing as they allow the many different tools and options to be quickly accessed at just one keystroke rather than having to pick them out of a menu with a mouse. There are many procedures that are also vital in the sound editing process in order to ensure a high standard of quality and efficiency. For example, singling out every single clip and carefully listening for any noticeable discrepancies in quality, loudness, or recording faults can be identified and amended prior to the final mix being assembled. This overall gives the engineer a higher standard of quality control, as it is prioritized before anything else. Organizing filenames and folders should also be considered. This will speed up the process as every clip will be clearly marked and able to be discovered, this will make it easier if any changes need to be made. Balancing audio is one of the most vital parts of producing a high quality finished product. This includes using different techniques like side chaining and compression to ensure that there is consistency throughout the volume of the different tracks. The main portion of the track should be easy to hear and understand extra content should be lower, but still apparent, in the mix for a comfortable and enjoyable listening experience.
In this scene from Kubrick’s 1987 Vietnam War-set-masterpiece, Full Metal Jacket, the light rumble of the fire amalgamating the complete destruction of the environment at the end of the film provides a strangely relaxing feeling to the scene’s sound in contrast to the destruction and desecration leading up to the moment. This is used in order to encourage viewers to reflect on the visceral impact of war, pain and conflict they witnessed in the now completely ravaged town. The soldiers are also heard singing the Mickey Mouse theme song, in what is used for a ironic piece of commentary on American consumerism, dangerous group-think, and barbaric, tribe like behavior, the audio of the soldiers’ voices has been edited to be layered up densely atop the fire to increase the impact and militant vibe of the vocal track. The sound editing in this scene completely transforms what would otherwise be a quite standard and pedestrian shot of the soldiers soullessly returning after seeing their views on life and mortality quickly changed, into a beautiful work of art, whimsically denoting the mutually-felt community spirit in a somber landscape now that violence has come to a brief and ethereal standstill. Music can also completely change the tone of a scene.
A great example of this in American cinema is Paul Thomas Anderson’s Boogie Nights, released in 1997 and in this scene set in the 80s, the song Sister Christian by Night Ranger is used in a highly tense deal involving scamming a drug dealer, adding to the anxiety is the constantly jarring sound of fireworks being set off and a game of Russian Roulette played by the mentally unstable and heavily under-the-influence dealer. The loud music and shouting over top of it adds a new layer of worry to the dangerous environment as an otherwise quite positive pop song is blasted casually as the dealer in question flys off the rails, nearly shooting himself. The three elements of audio, yelled dialogue, loud music and spontaneous small explosions are edited together to form a busy blend of sound that ramps up the suspense in an already thrilling setting.
In both fictional and factual media, overdubbing audio can be used to provide a translation from one language to another for those who may not find subtitles all too accessible. Japanese Anime is often dubbed as younger audiences can find it hard to keep up with quickly reading subs while still focusing on the highly stylized visuals of the media form. Cowboy Bebop is a Japanese animated show that is available in both an English dub with the original dialogue tracks in Japanese replaced by American voice actors.
During this clip (for example at 0:52) , you can see that the dub flows smoothly as the animated movements of the mouth are not as precise and specific than if they were live action, and the audio fidelity would be almost indistinguishable from the Japanese track since both would have been recorded in a similar setting with similar recording equipment. Live action media can also be dubbed, this is known as ADR (additional dialogue replacement) and is most commonly used to dub over scenes in the same language where the quality of sound was sub par, providing the scene with a higher fidelity audio track and syncing well with the original visuals.
In factual content such as news broadcasts, a dub can be used atop foreign languages as a translation, like in this clip, where an English narrator translates the speech (heard at 2:22), often with the original language playing quietly in the background to allow the viewer to recognize that the narrator is quoting the speaker on screen.
Audio can be edited using these various techniques in different ways. The most common consumer grade software available is Audacity, while basic and stripped down, it gives inexperienced users a way to quickly edit using an accessible interface for free. Multiple tracks can be edited simultaneously and there are a range of simple effects available. Another great feature in Audacity is the option to remove recurring background noises from scenes, this could be the light hum of a computer fan or interference in a recording, with the tool you can grab a sample of the noise you want to remove and strip it away from the rest of the recording with ease. Adobe Audition is packaged with the rest of their software in the Creative Cloud, and features a more professional background for experienced users to sink into. Audition has more options for effects and allows for sound-enthusiasts to tweak every slight nuance of a track. It also has cross support for other Adobe programs in the Creative Cloud so users of Premiere may find it useful to be able to swiftly work between the two.
The two major different operating systems create division when it comes to audio software. While there is not a major dichotomy, some software is exclusive to Mac. The most notable example is the DAW (digital audio workstation) Logic Pro, which is developed by Apple and not available on computers running Windows. This is a marketing ploy which encourages sale of their own computers with Mac OS, and can create problems for sound engineers owning Windows computers. Despite Logic not being available for these people, there are a myriad of alternative DAWs that work slightly differently, but are still perceived as professional and standard by the industry. As mentioned earlier Adobe Audition is cross-platform (available for both Mac and PC) and while not as common in the industry as Logic, can perform very similar functions and is user friendly for those picking up any type of audio workstation for the first time. The most dominant force within the media industry surrounding sound is the elusive Pro Tools. Pro Tools is a powerful DAW that has its 30 year tenure and a respectful reputation to back it up. Developed by Avid and carrying a hefty price tag in comparison to its contemporaries, it is seen as the highest standard used within the industry. However, this comes at a cost much deeper than just on a monetary scale. It is infamously user unfriendly and is not typically recommended for anyone going into it without a high level of understanding of similar software and sound theory. While power users and professionals with the necessary training will gravitate towards Pro Tools for its high level of quality in its editing of sound files, Adobe Audition and Logic Pro are a good middle ground for those stepping into the industry who want a compromise between usability and practical functionality. There are also other common DAWs like Ableton Live and FL Studio which are more focused around music composition and production, but also include decent tools to process, engineer, mix and master other types of audio tracks.
When selecting clips to be used in an audio project, there are a few factors that come into play. Firstly is where the clips are sourced from. It can either be primary content (created especially for use in the project, for example the primary audio track such as the dialogue) or secondary content (content sourced externally from third parties, sound effects, music, etc). Primary content's biggest strength is that it is unique. The sounds will not be heard anywhere else unless someone else samples them as secondary content. This gives the project a more professional proverbial appearance, as it shows that the budget to have bespoke and tailor-made audio assets is present and is being well utilized. The downside to an abundance of primary content is the time and resources required to create it. For example, if you wanted all of your sound effects to be primary, you would have to arrange an in-studio foley session to record the necessary soundbites, or if you wanted an original soundtrack you would have to get a music composer/arranger to work on those tracks unless you possessed the skills to craft them yourself. There is also potential to get higher bitrates from primary content, as you have complete control over the fidelity of the sound, granted that your standard of recording equipment is high enough.
Equipment is an important factor in getting a professional final product and an efficient workflow. This could include multiple monitor setups to speed up the editing process by allowing file explorers and other programs/plugins to run along a different screen simultaneously. Keyboard shortcuts are also an essential part of sound editing as they allow the many different tools and options to be quickly accessed at just one keystroke rather than having to pick them out of a menu with a mouse. There are many procedures that are also vital in the sound editing process in order to ensure a high standard of quality and efficiency. For example, singling out every single clip and carefully listening for any noticeable discrepancies in quality, loudness, or recording faults can be identified and amended prior to the final mix being assembled. This overall gives the engineer a higher standard of quality control, as it is prioritized before anything else. Organizing filenames and folders should also be considered. This will speed up the process as every clip will be clearly marked and able to be discovered, this will make it easier if any changes need to be made. Balancing audio is one of the most vital parts of producing a high quality finished product. This includes using different techniques like side chaining and compression to ensure that there is consistency throughout the volume of the different tracks. The main portion of the track should be easy to hear and understand extra content should be lower, but still apparent, in the mix for a comfortable and enjoyable listening experience.
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