Video summary

How to compress and EQ dialogue using Pro Tools

Main summary

Key takeaways

Technology

Overview

This Pro Tools tutorial presents a practical, workflow-based approach to EQ and compression for dialogue, with an emphasis on documentary-style mixes. The speaker emphasizes there’s no single “standard” method—you should adapt techniques to your own workflow and priorities.

1) Loudness standards & targets (context before processing)

The tutorial begins with platform loudness guidance measured in LUFS (Loudness Units Full Scale).

  • ATSC / LKFS -24 is effectively identical to LUFS.
  • For a UK-broadcast oriented example, the target follows an EBU R128 approach:
    • Waves Loudness Meter preset: EBU R128 (integrated -23 LUFS target)
    • Mentions tolerance roughly -23 ± 0.5 LU
  • Explains:
    • Long-term integrated loudness vs short-term averages
    • Short-term is approximately ~3 seconds

2) Main workflow: process in stages with “A/B” comparisons

A repeated strategy is to work in stages and continuously validate results:

  • Use A/B comparisons (bypass vs enabled)
  • Use a spectrum analyzer to locate harshness/energy regions
  • Use a loudness meter to confirm level after processing
  • Use duplicate playlists / “get back to unprocessed audio” so processing via AudioSuite can be A/B tested cleanly

3) Example 1 (parkour documentary): fix clipping + mid harshness, then control with compression

Problem observed

Rooftop recording with portable gear and GoPros introduces several issues:

  • Low-frequency pickup (GoPros contribute surprisingly much)
  • Dialogue sounds thin with mid-band harshness
  • Slight clipping/crunch during louder moments

Steps shown

  1. AudioSuite RX7 De-Clip

    • Uses RX7 clip to address clipping/distortion.

  2. EQ decisions

    • Checks the spectrum to decide whether a high-pass is needed.
    • Finds little energy below ~100 Hz initially (later notes around ~125 Hz).
    • Addresses harshness around ~1 kHz using:
      • “Heavy boost to find the problem frequency, then cut it.”
    • Applies a high-pass filter after EQ because boosting earlier unintentionally pulled up unwanted low end.

  3. Loudness adjustment

    • Uses clip gain to compensate for earlier changes and get closer to -23 LUFS.

  4. Compression

    • Works conceptually with Avid Pro Compressor, then applies subtle dialogue compression:
      • Dialogue ratio guidance: typically ~2.5–3:1 (not a hard rule)
      • Key control references:
        • Threshold (when compression starts)
        • Ratio
        • Knee (soft vs hard; uses ~5 dB knee as a natural-smoothing guide)
        • Attack/Release (dialogue often discussed around ~5 ms attack and ~150 ms release from preset context)
    • Keeps compression light to avoid audible pumping.
    • Adjusts threshold so primarily peaks get controlled.

  5. Mix context

    • Mentions dialogue compression supports intelligibility when background music is present.

4) Example 2 (convenience store recording): heavier dynamics + over-zero peaks, then EQ/noise reduction/limiting/compression

Observed issues

  • Over-level / clipping peaks near or above 0 dB
  • Dialogue recorded with store background noise
  • Requires stronger control of extremes

Steps shown

  1. EQ first (high-pass)

    • Applies a high-pass starting very low (20 Hz) and increases until the audio sounds thin.
    • Rationale: remove rumble early so it doesn’t unnecessarily drive later processors (especially compression/limiting).

  2. Noise reduction

    • Uses RX7 Voice Denoise in Adaptive mode
    • Warns not to overdo it due to possible artifacts (“strange stuff”)
    • Keeps NR moderate (example references roughly ~8 dB as a practical limit before artifacts become noticeable)

  3. Clipping management via limiting

    • Uses Waves L1 (limiter) before noise reduction
    • Adjusts:
      • limiter threshold/output so only problematic sections are reduced
      • gain reduction using the meters

  4. Compression after limiting

    • Adds Avid Pro Compressor with a more aggressive approach:
      • ratio starting around ~5:1, then adjusted
      • knee/attack/release tuned to avoid pumping/artifacts
    • Explains how compression reduces:
      • loudness/dynamic range (example: ~8–9 LU down to ~4–5 LU)
    • Raises output afterward to restore loudness target (makeup gain equivalent).

  5. Loudness re-targeting

    • After compression lowers loudness, he raises output to return to approximately -23 LUFS.

5) Example 3 (mixed dialogue consistency + multiband stage)

This example focuses on making multiple dialogue recordings consistent.

  • Routes multiple dialogue pieces to a dialogue bus (aux track)
  • Performs:
    • basic EQ/high-pass cleanup per clip
    • then multiband compression to smooth differences between speakers/recordings
  • Mentions multiband processing using:
    • MADSP SA2 Dialogue Processor
  • Notes the multiband thresholds are tuned across bands so frequency-heavy/louder content is controlled more specifically where it matters.
  • Encourages evaluating both:
    • by ear
    • and by reference
  • Goal: reduce differences between wildly varying sources (different locations, microphones, environments).

6) Tooling alternatives: Clip Effects vs AudioSuite (plus EQ match mention)

Clip Effects (Pro Tools Ultimate)

  • Real-time, clip-by-clip processing (no need to render like AudioSuite)
  • Can’t show gain reduction visually like some plugins
    • Suggests using an extreme threshold test to confirm audibility
  • Can render clip effects if desired:
    • renders updated waveform and “bakes in” processing

EQ Match plugins (mentioned as an alternative)

  • Mentions EQ Match ideas (e.g., isotope EQ match)
  • Cautions that matching voices/recordings doesn’t always work (because source differences may be too complex or undesirable to match automatically)

7) Key best-practice guidance emphasized

  • Rely on multiple A/B comparisons and reference dialogue
  • Don’t chase changes that only “look correct” on meters:
    • Listen with and without processing and judge by results
  • Compression may be hard to notice until it’s heavy:
    • start light, then adjust once you understand the effect
  • Keep TV dialogue dynamics restrained:
    • many TV viewers use poor speakers, so overly dynamic dialogue can get lost
  • Limit processing complexity:
    • uses a personal maximum around ~5 plugins per track (beyond that, results may not improve)

Main speakers/sources

Main speaker

  • The tutorial author (unnamed in subtitles), a Pro Tools-focused audio educator referencing their own IG/YouTube branding.

Product/plugin sources referenced

  • Avid Pro Compressor
  • Waves Loudness Meter, Waves L1
  • iZotope RX7 (RX7 De-Clip / Voice Denoise)
  • MADSP SA2 Dialogue Processor
  • Mentions iZotope EQ match as an option

Standards referenced

  • EBU R128 (-23 LUFS target)
  • ATSC -24 LKFS (noted as LUFS-equivalent)

Original video