Adobe Premiere Pro 2.0 Studio Techniques

For voiceovers, record in stereo only if you are certain that is exactly what you need. The disadvantage of a stereo voiceover is that your voice may not be equally balanced between the left and right channels. A mono voiceover file, when added to a stereo or surround sound sequence, will have an equal value on all channels. Furthermore, you have greater control adjusting or panning from left to right with a mono file.

No matter which type you choose, I recommend that you listen to your voiceover after recording it and decide whether you want to keep it or not. If it's a keeper, export it and rename it. If you want to record again, overwrite the file in the timeline and keep at it.

The other important things to remember from these lessons are the simple facts about the value of clean sound without any unwanted noises. Although some audio work seems a bit tedious and highly detail oriented, I have been quite inspired by the depths in which Premiere Pro allows access to make important adjustments.

Zooming in to the sample level and assigning keyframes to precise positions in order to remove small noises and breaths is invaluable to a professional workflow. Although there are many filters and effects that can do this for you, by creating one keyframed breath removal instance, you can copy, paste, and slightly adjust the keyframes to accommodate any other removal in the volume of any clip in any sequence in your project. Although these keyframe lessons were geared towards audio, the Pen tool and Bezier handles apply universally to keyframe techniques in Premiere Pro, as does copying and pasting any selected keyframes.

Although this chapter shined a bit of a light onto Adobe Audition for professional processing and adjustments to your audio files, Premiere Pro has a number of very effective professional filters to help make your audio sound better. In the next chapter, we will explore a number of those filters as you learn about clip-based and track-based audio effects.