Video summary

Audio Post 206: Pro Tools Mixing - Dialogue and Music

Main summary

Key takeaways

Educational

Main ideas / lessons conveyed

  • Purpose of the session (mixing approach): The speaker runs a live “audio postproduction” stream in Pro Tools, mixing dialogue first in 5.1, then preparing the session so sound effects and music can later be mixed and balanced.

  • Workflow philosophy: Mixing is mostly reductive/problem-solving (minimal processing until something clearly sounds off). At the same time, organized templates and grouping (VCAs) keep the session manageable.

  • Importance of setup and routing: Use a prebuilt 5.1 mix template with routing folders (stem/bus folders for 5.1 + stereo deliverables), plus broadcast-oriented processing (e.g., a “web mix”).

  • Session organization is central: Emphasis is repeatedly placed on naming, folder structure, deleting unused tracks, and using VCAs for quick global moves.

  • Dialogue mixing strategy (high level):

    • Start with clip gain / ballpark level.
    • Then use EQ for shaping (including de-booming).
    • Apply noise reduction only when needed.
    • Finish with volume automation.
    • Prefer matching ADR to production using similar mic characteristics and EQ to reduce proximity/boominess (avoid one-size-fits-all EQ curves).
    • Use loop preview and write EQ changes directly to selected regions.
    • Preserve performance integrity (sometimes let dialogue “bloom” if it’s part of acting; avoid extreme loudness problems).

  • Handling multi-mic ADR (boom + lav pairs): Use mono treatment/processing where needed so phase/coherency and mic-specific issues can be handled separately.

  • Noise reduction practical rules:

    • Don’t overdo broadband processing—noise reduction should not feel like obvious “processing.”
    • Use reduction selectively, often setting thresholds based on full-volume sections (avoid applying settings during fade-ins/outs).

  • Automation workflow: Uses touch vs latch depending on context (e.g., bouncing around dialogue vs holding music levels).

  • Music mixing overview: Creative EQ (often low-pass + reverb), sending appropriate elements to LF, and riding VCAs for global balance.

  • Pre-dub / production scheduling: Pre-dubs (dialogue/music/effects groups) are mixed before combining. When clients/directors join, the session is already organized and usable. “Client-ready” isn’t really until per-track/group pre-mixes are done.

  • Timecode + delivery considerations: For music cue sheets with timecode, deliver with embedded timecode and output as Broadcast WAV.

  • Tools discussion (examples mentioned):

    • Sound Radix Muteomatic
    • Pro Q3 EQ
    • Cedar for noise reduction
    • RX Connect
    • Sado Pitch and Time Pro for pitch/time matching
    • Avid Multiband Dynamics as a “poor man Cedar” approach

Methodology / step-by-step instructions (detailed)

A) Set up the Pro Tools mixing session (from template)

  1. Launch Pro Tools and open a new project.
  2. Import/open the 5.1 mix template:
    • Includes routing folders with stem/bus deliverables.
    • Deliverables are organized for 5.1 + stereo monitoring.
  3. Add microphone output routing:
    • Use Pro Tools Mic Ox (microphone output) instead of routing through OBS.
  4. Use “Muteomatic” plugin (Sound Radix):
    • Locks mic muting to transport playback to prevent feedback when the speaker isn’t wearing headphones.
  5. Prepare monitoring surfaces:
    • Confirm the fader control device (e.g., FaderPort FP16) is functioning (unplug/replug if needed).
  6. Review template folders/buses:
    • Stem and bus folders contain 5.1/stereo monitoring routes.
    • Includes “web mix” crushing/broadcast-style processing.
    • Includes VCAs for group control (dialogue, footsteps, effects categories, music).

B) Import assets from the previous “sound edit” session (linking for efficiency)

  1. Label the new session consistently (e.g., date + project type).
  2. Use Import/Link to Source Media:
    • Bring in audio without copying/consolidating when possible.
    • Exclude routing-related items if the mixing template already defines routing (e.g., “import everything except routing oxes”).
  3. When linking:
    • Saves disk space
    • Avoids repeatedly creating new media files

C) Place dialogue tracks correctly into dialogue template areas

  1. Identify dialogue tracks: production sound, ADR/voiceover, VO.
  2. Remove unused tracks to reduce clutter and prevent mistakes.
  3. For multi-track dialogue:
    • Duplicate/expand tracks to match needed channel counts (example: to get 8 or 4 derived tracks).
  4. Route stereo VO to the correct dialogue sub/bus (e.g., dialogue sub 5.0 / 5.0 dialog bus logic).
  5. Add minimal EQ first:
    • Avoid heavy pre-processing if the voice is already processed.
  6. Create/assign VCAs for dialogue groups (e.g., VO group to a VCA for quick solo/control).
  7. Keep video on top of the timeline:
    • Tracks above are routing/VCAs; tracks below reduce confusion.

D) Organize sound effects by categories using the sound effects template

  1. Don’t cut over organization mid-mix—use the template’s prepared structure.
  2. Put SFX into categories such as:
    • fight
    • vehicles/truck
    • weapons
    • bike
    • heart effects/random effects
  3. Use VCAs for SFX groups:
    • Rename VCAs (e.g., “FXA fight”, “FXB weapon”) so balancing is fast.
  4. Delete unused SFX tracks:
    • Prevent empty/incorrectly routed tracks from cluttering the session.

E) Music track routing and creative preparation

  1. Route music stems to the music sub.
  2. Add required music processing at a stem level (EQ, verbs/sends).
  3. Create a music group (score/score stem).
  4. Pan/position music in the room gradually.
  5. Use LF/Ox approach selectively:
    • Often send only certain elements to low-frequency so QC doesn’t flag unnatural low content.

F) Dialogue mixing: the practical “loop + EQ + reduce + ride” order

  1. Mute non-dialog groups first
    • Mute music/SFX automation while focusing on dialogue.
  2. Listen section-by-section
    • Solo problem tracks to understand what’s wrong.
  3. Clip gain / volume pass
    • Get lines into rough “pocket” level quickly before deeper processing.
  4. EQ as problem-solving
    • Use high-pass/low-shelf and bells to reduce boominess and improve clarity.
    • Match production using subtle adjustments rather than generic curves.
  5. Noise reduction when necessary
    • Use Cedar (or similar) selectively.
    • Rules:
      • Don’t set noise reduction on fade-ins/outs—do it on the “meat” (full volume).
      • Ensure reduction is not obvious when listening back.
      • If Cedar over-reduces, adjust threshold/clip gain instead of “chasing.”
  6. Automation writing via preview/selection
    • Use loop preview.
    • Use write EQ to selection.
    • Then use fader moves/automation passes once tone is correct.
  7. Wrap-up strategies
    • Copy EQ/automation settings between lines when mic/setup is consistent.
    • Otherwise tweak line-by-line when matching diverges.

G) ADR matching specifics (boom vs lav considerations)

  1. Use ADR editing/matching tools mentioned:
    • Sado Pitch and Time Pro (timing/lip-sync; expensive but recommended)
    • Auto-Align / RX Connect mentioned for editing support
  2. EQ matching logic:
    • If ADR is recorded with a closeup condenser (more proximity/boominess), reduce proximity with:
      • high-pass + low shelf, and/or
      • targeted cuts/boosts around typical voice areas.
    • For lav-based presence alignment:
      • presence often needs careful EQ (including a cut around ~500 Hz mentioned, plus additional shaping around ~2 kHz).
  3. Maintain performance continuity:
    • ADR should sound like it “fits” without sounding artificially processed.

H) Voiceover / stereo spread technique (dialog FX-like decisions)

  • When VO needs width:
    • Adjust panning and use reverb sends for a wider feel in 5.1.
  • For inverse/reverse elements:
    • Write reverb/panning to selections.
    • Dynamically pan reverse/reverb tails.
  • For mono “centered” VO:
    • Use center channel approaches or “quick mono-in-stereo” without adding more tracks.

I) Scene-level dialogue mixing tactics

  • Dialogue hotness planning: Keep dialogue averages high enough (rough target mentioned around -23 dBFS) anticipating loud engines underneath.

  • Handle actor dynamics: Sometimes ride a fader manually for clarity instead of only using track compression.

  • Noise philosophy: Don’t remove all noise—masking/noise can be realism. Reduce only enough for intelligibility and smoothness.

  • Separate boom/lav processing when necessary: When dialogue/noise reduction becomes complex, process boom and lav tracks separately due to different noise characteristics.

J) Mixing music after dialogue is established

  1. Re-enable music gradually.
  2. Pan and EQ each music segment/clip:
    • Low-pass + reverb is repeatedly used for “Blade Runner”-style depth/backing.
  3. Ride music/VO/SFX via VCAs rather than many individual faders.

K) End-of-stream workflow: pre-dub → combine → final review

  1. Pre-dubbing:
    • Mix dialogue/music/effects into grouped, semi-final states before combining.
    • This helps clients/directors join without starting from scratch.
  2. Final stage:
    • After pre-dubs, watch the full downmix.
    • Do the “last 10%” gross balance between dialogue, music, and SFX.

Speakers / sources featured (as stated or clearly referenced)

  • Primary speaker: Tom Cruz (often referenced as “Mr Cruz”; also “my name’s Tom”)
  • Other people mentioned in the workflow:
    • Kyle (actor/musician/audio engineer; recorded/processed VO/music elements)
    • Josh (ADR/voice role)
    • Sarah H (mentioned in chat context)
  • Third-party plugins / companies referenced:
    • Sound Radix — Muteomatic
    • iZotope — RX / RX Connect
    • Sado Pitch and Time Pro
    • Avid / Pro Tools tools, including Avid Multiband Dynamics
    • Isotope RX Advance (referenced in context vs spectral repair)
    • “Phoenix verb” (older reverb plugin mentioned)
  • Hardware/software references:
    • Pro Tools (main DAW)
    • YouTube streaming (context for monitoring)
    • FaderPort FP16 (control surface)
    • Room EQ Wizard (REW) (room/acoustics tool mentioned during Q&A)
    • JBL LSR 308s (monitor brand mentioned during Q&A)

Original video