sound speeds and welcome to part three of can you EQ a bad mic to sound good now
part three is gonna live just about entirely on this screen of my computer
now if you watch the previous videos and if you haven't I strongly recommend
you catching up first I talked about the equalization of the microphones being
done in Audacity and the reason why is because the idea is that if you have a
cheap seventeen dollar microphone like this Neewer NW-700 then you probably
don't have much of a budget if you're gonna try to make this work for you
so knowing that a free program like audacity should be what we try to use to
pull one over on people and see if we can't actually make it sound like a
higher-quality microphone than it really is
so let's jump over to the computer and see what exactly I did okay before we
really get going here I wanted to show you that I did - voiceover passes with
this door microphone as you're currently listening to it right now you're seeing
that it matches the video and therefore you can tell that this is actually the
audio that we're using we're gonna pick one of these in a second and we're gonna
modify it now also by default all Gasset e loads
up into this weird linear mode which is you as you can look at the screen you
can see where it goes from zero point zero to one point o and negative one
point O this doesn't really do us a whole lot of good we would rather drop
down the list and go to decibels the difference basically is this is linear
this is logarithmic and basically logarithmic what you'd rather use
because decibels are logarithmic in a nutshell what that basically means is
that but you're gonna see that the audio levels totally change and that's because
the difference between negative 60 and negative 50 decibels is totally
different reality than negative 10 - zero decibels so if you notice now I'm
actually widening out the waveform that way when it turned into spectrogram mode
you can see a greater detail of the graphic representation of the sound now
if you look here it starts at 0 K Hertz goes up to 24 k Hertz now most vocal
frequencies are gonna be around here up through this whole area so this is where
my voice basically comes into play anything that's above that is basically
you know still my voice but that's probably overtones and undertones or
what all these would be and if you're not
familiar with those our link down in the description ok so let's look at this gap
between the two voiceovers I'm doing vice ok so this is where the voiceover
finishes and these little sounds right there or maybe me breathing maybe a
little background noise or something like that but right there where that
blue is peeking up from right here to right there in between that is about the
quietest it's gonna get that's the noise floor that noise for if you're not
familiar watch this video up here and I'll go ahead and give you a bit of
knowledge on that basically a noise floor is the lowest volume the room
environment that you're shooting in can possibly be anything lower is obviously
not going to be possible because this is your noise floor that is the very bottom
level your sound could ever be no quieter now if you notice my noise floor
is actually incredibly quiet and you can't even hear the background noise in
this room underneath the voiceover the entire voiceover covers it up completely
you'll never hear those frequencies to remove your background noise altogether
in audacity it's extremely easy to do you simply highlight your noise floor go
up to effect and then noise reduction step one get in a ways profile click
that button from there you want to highlight your entire document with a
double click hit effect go to noise reduction again and then under step 2
these are your settings double check that it may says reduce and then hit OK
from there watch this background noise completely go away now if you look at
both sides of my voice over here you'll notice that there is no noise in the
background the noise floor has completely been removed but I didn't do
that in the voiceover processing I did so I'm going to undo that noise
reduction what I did do though is I zoomed in and I highlighted from the
very start of the edge of that voiceover and I removed everything from there I
went to effect I went down to where is it generate silence that was it and then
I hit OK and that basically blocks the whole thing out that is completely dead
quiet now and then I'll did the same thing at the end so by now we've already
started to process our first voice over so we're gonna go ahead and hit delete
on that highlighted second voice over and we're going to get rid of it now if
I want to come over here and basically silence this I'm gonna generate silence
hit play okay let's listen to that ice I heard a
pop right there I'm not happy with that I'm gonna hit undo that silence right
there let's zoom in a little bit more and I'm gonna highlight up to let's see
if I take that little bit out there is that the pop we heard before generate
silence and okay let's back up this thing just a little bit and listen to it
sound advice I did not hear a pop and it sounds dead quiet after that this
waveform drops down and instantly that's where the noise four would normally pick
back up but it's not there so we don't need to worry about this anymore and
that would be one of the reasons why Mike Delgado said he did not hear that
gate opening or closing it's because there wasn't one it's simply it's dead
silence at the beginning and end of the voiceover oh look at that I didn't even
do the beginning of this I'm gonna do this again in the waveform mode and
you're gonna see generate - silence it's going to completely quiet this entire
thing I didn't even go all the way up to the end there we'll do it one more time
to completely quiet this thing out and now
have a question you'd like answered or want to add something be sure to write
it in the comment section down below okay now we're ready to take this to the
next step equalization because I'm sure inquiring
minds are going to want to know these are the frequency response patterns for
each of the microphones we tested and did a voiceover for every single one of
these was taken from the documentation that I could find online well except the
numeron w 700 for this I actually had to take a picture of the pamphlet that came
with the microphone and photoshopped it so it looked like it would belong with
the rest of them now I do want to point out that the shure sm7b i ran in
completely flat mode which is just this black line right there I did not use the
roll-off I did not use the high shelf on the C 4000 B I ran it in cardioid mode
which is why that's there and of course the cat can't equity 100 I did not use
the roll-off on that as a matter of fact I did no Roelofs on any of these
microphones okay before we do anything let's I should listen to what we're
dealing with here have a question you'd like answered or want to add something
be sure to write it in the comment section down below or if you'd like to
make a suggestion for a future topic of discussion again comment section down
below or you can send me an email at sound speeds at yahoo.com be sure to
subscribe and turn on notifications so you don't miss out on future sound
advice okay so that's what we're dealing with here now let's go to effect
equalization and start playing by default it's set to flatten now if I if
I were to guess I would say this thing is probably in major need of some low
end however what I'm going to do first before I do anything else is I'm gonna
create a roll-off and that's basically gonna be from about right here at 80
decibels I'm sorry it's gonna be right here from about 80 Hertz down to 20
Hertz and anything from there is gonna basically be rolled off you see my
little green curve right there is basically from where I'm kind of
grabbing and pulling from so what I'm gonna do initially here is I'm going to
create some false low end by going up a little bit higher I'm gonna give it
about 6 dB so around 80 Hertz is gonna be about there and then imma slowly
start ramping it off around 100 and we'll see if going down to maybe flat
around 200 Hertz if that gives me anything let's listen have a question
you'd like answered or want to something be sure to write it in the
comment section down below okay so it's thrown aside we're starting to get a
little someplace let's go ahead and do this and see what happens there have a
question you'd like answered or want to add something be sure okay it's slowly
starting to get there I'm not exactly happy with the way it's starting to
sound but I'm gonna play with it a little bit more and see what we can come
up with have a question you'd like answered or
want to add something be sure to write it in the comment section down below
okay so it's starting to kind of shape itself out a little bit we're gonna play
a little bit more
have a question you'd like answered or want to add something be sure to write
it in a comment section down below and then I just kept working my way on the
frequencies until I came up with this right here this is the actual
equalization processing that I applied to the NW 700 to try to pull one over on
you and Mike delgadio notice I actually added a little bit of low in there and
then it kind of went flat for a bit and then around the 2k mark I started to go
up a little bit for a high shelf and that's because I wanted to kind of
create a little bit of a crispness boost right up in there I guess you could
almost say it was a presence boost when I hit about this point but for the
low-end most the cheaper microphones do not
represent the low-end very well even though it says it's acoustically flat on
the frequency response chart and so I wanted to actually add some to try to
fatten it up a little bit as a matter of fact this is the actual processing I did
to each of the microphones you heard this is the shure sm7b you notice it's
relatively flat but I did end up going up and down just a little bit
only a decibel or two in a couple of the frequency ranges just to try to even it
out a little bit and then of course I added a lot of brightness at the end now
the newer NW 700 we've already seen the cat equity 100 was basically flat for
the most part I did add some low end and of course I added some high end there
for presence boost as for the 8 KGC 1000 B you saw even on Mike's Delgado's face
the low end on that microphone when I got it all the way up on it the
proximity effect kind of wiped it out so I actually had to remove quite a bit of
low end but then it started to suffer a little bit because of that low end
around the mids and highs so I ended up adding quite a bit of that back in so
for our demonstration here I basically recreated the equalization curve that I
applied to my voice over before now let's hit preview and see how well I did
duplicating I have a question you'd like answered or want to add something be
sure to write it in the comment section down below sounds about like it did
before to me so I'm gonna hit OK now get this that's all the processing I did
before so let's listen to it in its completion have a question you'd like
answered or want to add something be sure to write it in the comment section
down below or if you'd like to make a suggestion for a future topic of
discussion again comment section down below or you can send me an email at
sound speeds at Yahoo komm be sure to subscribe and turn on
notifications so you don't miss out on future sound advice no I did not
equalize it any further believe it or not I did not normalize it nor did I use
a compressor on this file all I did was those two steps I quieted the beginning
and end and then I simply eq'd it that's it so there you have it it kept it very
simple because I was talking so close to the microphone I just had to mute the
beginning and end of the audio track and then you wouldn't hear any background
noise and then I simply equalized it until you no longer heard any of the
defining characteristics of each microphone and they all scented more or
less the same from there i normalized it up to 0 DB and save the audio clips I
typically limit the audio processing that I do in my videos here on sound
space to 5 different components number one is I remove all the background noise
number two is I add a gate just in case something stinks through number three is
I equalize the low end of my voice just a little bit because as we know I don't
have much low end number four is I compress it number five is a normalize
it from there I put it into my video editing program and run wild thank you
for staying with us for all three parts of this video where we eq'd a bad mic to
sound more presentable notice I didn't say to sound like a good mic because
it's simply that more presentable so in the future wait a second stop right
there let's actually go back over to the computer for a second that's right I'm
not quite done with you yet because if you notice in front of me is this newer
NW 700 microphone that's right the cheap seventeen dollar microphone is the
microphone I've been using for the voiceovers I've done this entire video
did I fool you because this time I did the exact same processing I just walked
you through except I changed up the equalization just a little bit because
I'm not trying to trick you anymore I did a best-effort equalization to see if
I could pull one over on you did it work tell me in the comment
section down below if I fooled you now we can resume the closing of this video
if you have any questions or comments be sure to write them in the comment
section down below I will look at them regardless thanks for tuning in to this
episode of sound speeds and be sure to tune in to the future where we're gonna
have more fun and sound advice have a question you'd like answered or want to
add something be sure to write it in the comment section down below you can also
make a suggestion for future topics of discussion again
comment section down below or you can email me at sound speeds at yahoo.com
be sure to subscribe and turn on notifications so you won't miss out on
future sound advice
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