Original subtitles

Hi, I'm Mary.

And now I'm going to show you some sound design and mixing

techniques in the Fairlight page of DaVinci Resolve 17.

So let's get started

in this timeline we have all of the dialog has already been split

into the top two tracks and as you can see across the bottom, we have music

bed already in place and now it's time to work on some of the sound effects.

And so right now there's a drone sound right here at the beginning.

And one of the ideas is to fill this entire track with that same drone sound.

I'm going to just make sure it starts at the very beginning.

As it does right there.

I'll expand this track so we can see it a little bit better.

And I'd like to duplicate this same clip and lay it all the way across.

But there's one thing I'd rather than it just be hard cuts which may not work

well together, I want to make sure that they are overlapping with a crossfade.

Now, if you want.

If you notice, if I take this clip and I hold down the option key

and just drag it, I will drop a copy of it right there in the timeline.

The thing is, if I separate those, you'll notice that it covered up

the end of that clip.

And the reason is any time you overlap clips in the timeline,

they're automatically going to just overwrite each other

because that is the default editing in the audio tracks.

Now we can change that to layered audio editing by just going up

to the timeline menu and enabling layered audio editing.

And when you check the box for layered audio editing, it will now edit your clips

as you overlap them into separate layers within the same track.

Therefore you can do some nice smooth

crossfade in between without ever losing any of the material.

And so I'm going to go and separate these and I'll just extend this clip back.

So we have the entirety of that clip.

I'm going to add a fade to this one at the beginning,

and I'm going to put a fade on this one also at the beginning.

So we just have it'll fade in nicely now because I put a fade on this.

If I overlap these clips,

you'll notice now there is a crossfade in between those two.

If I were to overlap them without the fade, it will just cut

from one to the other.

Notice that while we're in layers and I'm just going to make this track

a little bit larger by selecting that track

and then holding shift while moving my middle mouse scroller.

And you'll see now I can see this even better.

I'll also zoom in a little bit more.

And as you can see, I can overlap these and I can actually see

the waveforms as I'm overlapping so I can align them if I wanted to.

Exactly. Based on the waveform.

So that's a really nice technique as well.

So once I've overlapped these where I think they go,

I can go ahead and add that fade to this upper layer.

Now, if I were to look at this under the View menu, show audio track layers,

you will see that it

shows that this actually sitting on top in a new layer.

I'm going to go head back to The View menu and hide those audio track layers.

And now I'm going to actually do this more.

I'm just going to take the same clip again, hold down the option key,

drag a copy and just drop these on top of each other,

aligning them slightly as I go.

And what I'm going to get is some nice crossfade all the way across.

And I've just made a nice little bed.

I can adjust these if I wanted to.

I can change the power if I needed to.

But the important thing is I've now filled this entire track with that drone sound

and it will sound seamless as I go from one clip to the next.

Notice that drone

just continues as I play it back and I can go and put these back.

And let's take a look

at those audio track layers again so you can see the final result.

There it is.

You can see there's a bit of a stair stepping as I have created those overlaps

all within different layers in the same track.

I'm going to hide those audio track layers.

So that's just one technique.

Something else we have to

consider is the levels of this drone is just way too loud.

Even though it's background sound, it's just very heavy even for a scene in space.

So if I play this a little bit, I could see that this is

quite a bit of sound, so I'm going to need to turn it down and I have to decide.

Don't want to turn it down within the track on the clip levels

themselves or do I want to lower the entire tracks level Now?

If I wanted to lower the track right there, I'll extend my mixture.

You can see here's that drone track by selecting it.

You can see it also selects the track right here in a timeline.

And I can lower this track level by just dragging the fader.

I can do it during playback

and I can lower

it to a better level if that's where I want to make the change.

You can also do that right here on the track header itself.

Even if the mixer isn't showing by just dragging in this field.

If you look, you can see this field on the left hand

side there shows that's the level of the track at this moment.

I can raise or lower that relative to what it was before

and zoom out and I'll show you as I drag this up and down.

Notice the fader on my mixer is changing.

So whether your mixer is showing or not at any time,

if you're listening to a track and the levels are off a little bit,

you can finesse those right here from the track header.

Or of course you can come back over and adjust them on the mixer.

Now generally it's a good idea to save working with the faders

until you're actually mixing the project.

Right now we're just editing in some sound effects

and beginning our sound design and so might be a good idea

to instead fix the levels of the clips within the track.

And so to do that, first, I want to reset the mixer

by just double clicking right there

on that fader and notice that it just pops right back up into position.

And instead I want to select all the the clips on the track

and what I want to do is I'm just going to zoom out a little bit,

select all the clips on that track and go over to the inspector and the inspector.

Let me see the different information about any selected clip or clips

or hide the mixer first so you don't have as much showing on screen

And where we can see all of those clips and you can see the inspector.

Now notice if I deselect everything and only select one clip, you'll notice

that it's showing me this one timeline clip and it's called low drone number one.

If I select all of them, it shows me that I have

timeline, multiple clips all within that track.

And instead of giving in the name, that's all it's going to show me that

I have multiple clips so I can adjust the level right here

by raising and lowering this volume slider.

As you can see, I can raise or lower that level.

You can see it happening right there in the timeline

as I drag this back and forth so I could start playback and listen

it or I my and lower that level.

So it's.

Planet cue.

Dash for

not stepping all over the background, but still gives me that sense of space.

And maybe that's how I can lower those levels.

Now I can also do it in addition to the inspector.

I can also adjust those levels once those clips are selected.

Over here in the clip menu, if you go down to where it shows audio,

you can see that

you can decrease or increase the levels by one decibels at a time with a shortcut.

And on the Mac, it's going to be option command and minus an equal or shift

in option and minus an equal if I want to do three decibels at a time.

So I'll try that just to show you

there it is.

I can raise or lower those levels of selected clips

by just holding the option and shift and just tapping that.

And I'm doing three decibels at a time, so I could do that even during playback

and set those levels.

So now I like the levels of the track and again, I could do it either way, but

because I've set the levels of the track now, when I get into mixing,

all my levels are set to unity on my faders

and I can just begin blending everything together

because what's already in the tracks is working.

So that was just being able to overlap some clips and build up a bed.

And let's look at some of the other ways

that we can bring in some sound effects and work on our sound design.

And when it comes to sound effects editing,

a lot of people wonder what's the priority?

And in this case, you kind of want to think of it

as the diegetic sounds, those ones that are part of the story,

the things that the characters can hear,

the things that the characters are interacting with,

whether it's an alarm

or the sounds of them typing on a keyboard or their jets of their

space pod pushing them around.

Those are sounds that you can see that the characters can hear.

Therefore those are a priority.

The non diegetic sounds would be things like drone sounds or

embellishments like stingers and some of the things you might do with music

or just sounds that are kind of showing what your character might be thinking

and how they feel.

But they're not as high a priority as the ones that are actually those hard

sound effects that really need to be in there as part of the story.

So for sound editing or editing your sound effects,

we have some really awesome tools to help you with your placement

and also selecting

which sounds you might want to work with

and seeing how they work in the timeline itself.

First thing I want to do is close up my inspector and let's

go ahead and notice these markers running across the top of the timeline.

These markers are actually a spotting list

where the editor and the supervising sound editor or sound designer went through

and create a spotting list

of some sounds they thought might be good in this particular position

or in the timeline.

And to do that, to navigate from marker to marker, you can just hold that shift

key and use the down arrow to move down the timeline

through your markers or the up arrow while holding shift to navigate up.

So back and forth

by just using those up and down arrows that will take you to the markers

now to see what the markers actually say or what they mean, you could double

click on a marker and that will open it up and say it right here.

It says Jett's fire use growlers and pod jet sound effect.

Okay, that's a very specific note,

but another place where I could see the entire list of all of my notes.

What the markers mean and how I might use them for navigation.

I can find that in the index.

So let's go up to the index up at the top.

And when you open the index, we have an edit index which lets you see

every single edit and even navigate to it if you need to.

For whatever reason, we have our tracks index which lets you show and hide tracks.

If you notice, I have quite a few tracks in here that are hidden right now.

And then we have our markers index and the markers

index shows you a thumbnail for each marker.

I can double click it and automatically go to that marker.

Or when you go to the markers index in list view, you'll see that

it's going to give me a nice list that shows me different categories.

There are all of those thumbnails and I can actually see the name of it.

I can expand that if I need to.

Now we can customize this list and see more information.

I can even expand it if I'd like this way as well.

And some of the information in this marker list I don't need

is the start and end time to these markers.

These aren't duration markers,

so I'm just going to right click on one of the column headers

and uncheck the starting time code, the ending time code and the duration.

I don't need any of those move the color column over

and then I'll just have my name and my notes and notice

I can see all kinds of information here.

Double click on any one of these and I can jump my head right to it.

And I can even sort by these different markers.

For example, if I select the color column header, I can sort it by color

and therefore there's my two different alarm effects right here.

And that's something that we can work with right now.

So let's go ahead and try one of these.

Let's try this alarm sound effect by just double clicking on this.

My play head is already in position.

I'm going to go ahead and peel this back as I don't need quite as much real estate

on this particular thing.

And instead I'm going to hide that index and bring up my media pool.

I'll just see, you know, I went ahead and hit the index,

but you can also have the index and the media pool

showing at the same time on the left side, by just selecting the media pool

and the index, you'll notice the index will now show up on the bottom,

which works perfectly well up here in my media pool.

I'm going to switch over to list view and I'm looking for some sound effects.

And right here towards the bottom of my project,

you'll see there's some sound effects.

I have a bin that says sound effects.

And inside of this I have some different sounds that go with this particular scene.

Now, the one I'm looking for is the alarm sound effect.

And so I go ahead and hide the index.

We can see this a little bit better.

And if you look inside, I have a few sound effects.

I have this one that's called alarm.

And if I play that,

let's hear it.

Okay, sounds like an alarm.

And then if I come down here, there's another one

that says pod alarm,

and that's more of like a klaxon sound that feels like,

Hey, let's clear the building

sort of alarm versus a there's something wrong with your pod sound.

So I think we'll go with that first one.

And what I can do is I can choose to mark in and out point on it,

or I can just bring the entire thing into the timeline.

Now, I need to have a track to put it in.

Right now I have two dialog tracks, a drone and music.

Let's go back to that index.

I'm going to hide my media pull just to make this easier to see.

And inside my index, instead of looking at the markers, let's go back to tracks

and you'll notice that here are all of the other tracks that I have hidden.

In fact, I can show them.

I've created tracks

for different sound effects that we may be using for our sound design.

And if you look now, all of those tracks are showing in both the timeline.

Just squish those up so you can really see them there.

I changed my vertical zoom and also you can see them if I open up my mixture.

You'll see.

Now all of those tracks show in the mixture as well.

Now, if I were to hide the tracks, notice

that I can hide them and they also are hidden in the mixer.

So it just helps you to, you know, when you organizing or working with things

so you can choose which tracks you see at any given time, which is very helpful.

In this case, I'm going to keep all the sound effects hidden.

We'll leave the drone in music showing, but I'm going to bring up just the track

that says Alarm.

That's the only one I want to work with.

And let's bring up the pod jets as well.

We'll just have those three good enough for now.

Go ahead and hide that index.

And now I'm ready to add the alarm to the track.

That's called alarm right here.

All right.

So now we have shown which tracks we want to work with.

Let's go into the media pool, grab that alarm sound that we want to use.

And all I have to do is put it into the timeline where that marker is.

So grabbing the alarm sound

and I'm just going to pop it into the track right there.

At this point, I don't need my media pool, so I'll go and put it up

and I want to zoom in a little bit so I can hit command and equals to zoom in.

Or I could hold down the option key and use my middle mouse scroller as well.

Let's make that a little taller

by holding shift and using my middle mouse scroller.

So there's a clip.

Now, you know what

I'd really like to see, though, is it'd be nice if we could also see

at the same time our video tracks just to know if we are in the right

ballpark for how long this particular clip is.

Now, I actually said I want to see my video track.

This is Da Vinci Resolved.

Da Vinci Resolve has a full non-linear editor

as well as a DA digital audio workstation, all within the same software.

And so if I want to see the edit, I don't have to go all the way back

to the edit page.

I can just show the video track right here at the top of the timeline

by just coming up to the timeline view options.

We zoom in on that. There you go.

That's my timeline view options.

If I click on that, the very first icon here shows my video tracks,

and once I can see those now, I can see the actual clips in the timeline.

And so when I can see those clips, that shows me this is the length of this

particular shot where the alarm is wailing in a million his ears.

Right. I'll back this up.

We changed this view just a little bit so you can see the video larger there we go.

I'm going to back up just a little before the clip and notice as we start to play.

So this is our shot right here.

Accelerate and the clip isn't quite long enough

to make it for the entire duration, that shot.

So I've got a couple of things I can do to make it longer.

I can duplicate it, but I can also use elastic Wave to just

elongate it a little bit, stretch it and it won't change the pitch.

It will just stretch it.

But the other thing that's good about that, if I use Elastic Wave, is

not only is it going to make the clip a little bit longer, which I need,

but it's also going to slow it down because as I'm watching that alarm, I'm

thinking it might be nice to slow it down just a little

the flashing and get the sound to just slow down a bit.

So let's do that.

I'm going to select this and just make it a little bit larger.

There we go.

And if I want to slow this down or change the speed, what I can do is I can just

right click on that clip and go up to Elastic Wave to engage the elastic wave.

As you can see,

that's what it looks like when you have elastic wave turned on.

You can see it says elastic wave right on it.

When you're in elastic wave,

I can come over to the right side of my clip and notice

that instead of just a normal trim icon, I get a stretch or

this is my elastic wave icon, which means I can change the duration of the clip.

Notice how stretchy it is, but it does not change the pitch, which is very useful.

So if I stretch it a lot,

it's slowed it down quite a bit.

If I make it closer together.

Right.

But the pitch stays the same and that's one of the things

I could turn it off and actually make the pitch change in the inspector.

But right now I just want to stretch it, slow it down a little bit.

Let me zoom out of there

and let's actually make sure that we can see

I want to see the entire clip length and it looks like I made it stretch

it just right so that we can see the edge.

It's it's made it to the exact length of that shot.

So not only did I slow it down, but I also made it

the length of the shot.

All right.

Okay. So perfect.

And it ends exactly where I wanted to.

So it was very handy to be able to actually see the clips.

Yes, I could have watched the video at the same time.

This was just another method.

I'm going to go ahead and make this a little bit smaller.

And the next thing I'd like to do is add a sound effect

to match the pod jets as they fire.

And I'm going to use another tool for this.

We're going to actually bring up our scroller for this one

so you can see an actual thumbnail of every single frame of your shot.

And you can use that as a guide to really match a sound effect Exactly.

Frame by frame.

And then just use those crawlers to help position the timeline and the clips.

And so to do that,

first thing I'm going to do is let's go find the sound effect we want to use.

I'll go back to the index for just a minute.

This is going to be a project sound effect.

I'm going to go to my Markers index and let's go find that right here.

Projects to Sound effect and notice my play head when exactly to the spot.

And if you look at the screen, I'm going to full screen mode.

Those are the pod jets.

This is what we're actually trying to find a sound effect for those pod jets.

So when they play, when those fire up,

we want to actually hear that sound at that moment.

So how do we do that? Well,

I see the marker, obviously, the markers, not exactly where we want it to go.

That's not a problem.

I know which track I'm going to.

It's going to be this track right here,

pod jets one, and I need to go find the clips.

I can hide my index, go to the media pool, and right here, you'll see.

Here's my sound effect that we're going to use it to bring that up.

Let's listen to it from the beginning.

Sounds like a pod jet, right?

Exactly what we need.

So I want to just drop it into the timeline for now.

I'll just grab it and put it into the timeline.

Now, there's nothing magical about what I just did.

The fun

part is when we bring up the scroller, so I'll go ahead and hide the media pool

and the scroll hours are going to be at the bottom of the screen.

I'll go ahead and make this a little bit smaller and let's turn on our scroller.

The scroller, as you can find in the timeline view options.

Again, I'll turn that on.

And in the timeline view options, the second row of choices

you have is your scroller.

You have a video scroller and two audio scroller is we only need one audio

scroller that will allow you see the audio for one track and directly

compare a thumbnail of the audio to the thumbnail of the picture.

And so I'll turn those on, but let you see when I flip them on.

There we go.

So there is my video scroller and here is an audio scroller

also, and I can choose which track that audio scroller is going to show.

And in this case I want to make sure it's Projets one.

It is showing the track that I had selected.

So that's perfect.

I could choose any audio track to see in my scroller.

In this case. This is the one.

So as you can see here in my thumbnail,

you can see my different frames and that's actually representing the play head.

So as I dragged back and forth, you'll see, or if I play notice that's updating

to show whatever happens to be on my screen at that time.

Now I'm going to

bring this a little bit closer and a little bit more.

And that way we can see this because I'd like a nice

you have a nice view of the sound effects.

So this is the actual sound effect in the timeline.

You can see the play head

and you can see the relationship between them right here in this scroller.

I'm just going to back up a little bit

and what I'm looking for is a point where they ignite.

And as you can see, if you watch that thumbnail, I'm

going to use my canal keys to just move through in slow motion.

As you can see right there, it's very clear exactly where those jets fire.

You zoom in on that to make sure you can see that.

Well, no fire here and it's just starting to ignite at this point.

And now the jets are at full flame.

And this is one frame at a time that I can see right here.

I can also tell where my play head is.

My play.

It is way down here.

I'd like my play had to be in front of this frame, so I just double click on it.

My play head is now jumped to that frame

and just reposition this if I need to.

And there you can see it.

And so from there what I can do jump out

is I can select this clip and I can actually move it into position.

So I'm just going to go ahead, move it right there to that spot.

And as you can see, the play head is at the frame where I want this fire to start.

And you can see that the audio is starting at the exact place where I want it to.

Now, I manually

dragged that into position, but I could also use our nudge keys for that

and that to use the nudge keys.

It's just the comma in the period keys, comma, goes to the left

here, nudges to the right, or you can do multi frame

nudge five frames at a time by holding the shift key.

So I'm just going to nudge this into position, see how I'm walking that

selected clip right up to the play head exactly where I want it.

There you go.

So now if I play this back, it should be perfect.

Looks pretty good.

Let's watch it in full screen backing out.

And we do it.

All right.

And so that's using your scroller to help position a sound effect.

So those are two different things that we could do fairly easily.

I'll go ahead and hide the scrolls.

We don't need those right now.

And then the last type of sound effect I want to do

is I actually want to go fishing for a sound effect in the sound library.

Now, sometimes you may have tens of thousands of sound effects of your own

that you use for your productions.

Maybe you have thousands of music clips that you have permission to use

for your productions.

You need to sort through those inserts and go through and find them and rather

than bring them all into your project and then go fish,

what you could do is you can index them straight into the sound library.

So let's go up and look at the sound library for a moment.

Up here at the top, if you select sound library,

you'll see that that is the new panel here on the left hand side.

Now, if this is the first time you've ever used DaVinci Resolve

on your system and you've never used the sound library or downloaded

the free sound library, the Fairlight sound library that comes

with DaVinci Resolve, then you can do that right now

by just clicking on the button to download the Fairlight Sound Library now.

And once it downloads, you fill in the information then and you download it,

then you install and the next time you open up

DaVinci Resolve, you will have the sound library here ready to search.

And there's over 500 fully sound effects that you can use within your projects.

In this case, I have, as you can see, I have the sound library in here already.

If I go ahead and click this panel at the top right,

this will let me see all of my different databases.

In this case, I have a local database and the Fairlight Sound

Library is going to be the default art in the sound library.

Once you have that installed.

Now to see the different sound

effects, a shortcut to be able to see everything in your sound library,

you just press the asterisks key three times,

and when you type Asterix three times in your search field, you will see

all of the different sounds and this will give you everything from A to Z.

It's quite an assortment.

So everything from aluminum can crushing and scurrying to

what's good to Z, zippo lighters flicking.

There you go.

So that's quite a quite an assortment.

And what we're looking for in this case, let me clear my search

and what we're looking for is a crashing sound, the sound of well beyond crashing.

We actually putting several sound effects

to emulate the colliding of two space pods.

And so the glass breaks on Phillips pod.

At one point I want to actually hear a little bit of glass breaking.

We're going to search for it and bring up that glass sound.

But I need to figure out what track that's going to and where.

So I better go back over to my index real quickly and let's find

where that crashing sounds go up here, which has crashed is double click that.

That's going to take me to the general area where those go.

Then I also want to go to my tracks index and I need to bring up

my glass breaking and I'll bring up all my crash tracks here.

I have four tracks that are being used to create that crashing sound.

I just made them visible.

At this point, I can hide the pod jets.

I don't really need to see those.

And so here are the different crash sound effects

that are being used at the moment.

I have three in the timeline.

At the moment I can hide the index and bring back my sound library.

So right here I have a track, a nine, which is my glass breaking.

And what I'm going to do is let's find where the glass actually breaks

and then figure out a nice sound effect that we could put in there

from the Foley Library.

So if I play this

game right, there's the sound.

Okay.

So at the moment, those are the sounds also both from the sound library

that were put in there to start to create the sound that we need.

What I want to find now is some kind of glass breaking. So.

Right, let me go through it one frame at a time,

holding K and just tapping the look as I go through there.

Right there.

Phillips Head hits the windshield and you see a bit of a crack in the windshield.

And so

right there, that crash, that's something

that we want to hear a little bit of a glass of glass right at that moment.

So somewhere right around here is what we're looking for.

Let's go find that glass sound effect.

So we're going to come up and just search for glass.

And as you can see, there's bartender removing

glasses, there's glass tinkling

and glass smashing and debris.

And there's a few different things.

There's a golf club hit impact on glass.

That's interesting. None of which is exactly what I'm looking for.

I want to hear glass breaking.

So let's be more specific.

And by the way, when you're searching, it's searching all fields.

But they could be just by name or if there's descriptor is can search

by the description as well. So here we go.

I have two different glass breaking sounds.

And when you're working with a sound library,

instead of just manually dragging it in here, you can actually audition a sound.

In order to do that, you have to first select the track

and wherever the play head happens to be, that's

where the sound is going to drop into the timeline.

So let's try this first one.

I'm just going to select the glass break

if I want to play it here in the sound library, I can just press play

and it's definitely a glass breaking sound.

If I want to drop it in to audition it, all I have to do is click

the audition button.

It's going to put it right into the timeline

on the selected track, and then I can play it through.

Okay, it's a little excessive,

but it does sound like a glass breaking.

I'll give it that right now.

If I'm not certain I want to use that what I can do is I can just click, cancel

or select another sound.

And if I select a different sound notice it disappeared from the timeline.

I can now choose a different sound if I want to.

Let's hear the second one.

I see the second one over here.

Okay, that might be a little bit.

It's a little more subtle. I just want a slight crack.

I don't want it to be so,

you know, obviously it didn't shatter the windshield.

And Phillip didn't just float out into space.

So I think less is more.

Let's go and try that one.

I'm going to audition it and I can drop it just randomly into the timeline.

Now we have another choice.

So instead of just dropping it

in the entire piece, then to undo that or just cancel that

and instead, one of the things you can do is you can actually set a sync point.

So you can tell it.

An exact

frame of that sound effect will match to wherever your play head happens to be.

Let's do that. So I'm going to come back over here

to the sound effects, and I'm going to find

right there in

the middle of that sound effect.

Right.

Let's see after the first click, like,

let's see how there are several peaks there.

Let's go right on the second peak.

That's where I want the sound effect to sync up to my play head.

And I'm going to come over here to this button that shows

this band right here, a set sync point.

You can see you can set an endpoint, mark an out point or a sync point.

And the one I want to use is the sync point.

When I click that, it's going to place a green play

head on

right there, that you see a green play head right there on my Sound Effect.

That's going to show me where my sync point is.

So when I come over to my sound

in my library and I start looking at this, I'm

going to see the clinking notice, how he first clinks into that.

And instead of being the exact frame where he hits, I'm

going to be in a couple of frames as he's starting to pull back.

That's what I'm sinking to and then I'll click audition.

So it puts it into position and let's see if that one works

first

for Philip.

Okay,

so now, unfortunately, when I stepped out of there,

I auditioned it, but I didn't actually commit and so it disappeared.

So keep in mind, don't forget to put your play

where you want it to go and then make sure you audition.

If you like the sound, then confirm.

And that way it will stay exactly where it is

and see that again.

Okay.

And there's your sound.

And of course, after that I could decide if I wanted to change the pitch

or adjust the timing or anything like that.

But the important thing is, as you can see, you can go through

and you can work with different sounds right there in the sound library.

You can actually create a new database for, let's say, your music

that you like to work with, and you can index those right into

your sound library, into a different database.

And let me clear this out,

and that's where you could choose a different database

and once you're in a different database like I am here,

I can add any kind of library I wanted to, whether it's my own music,

different sound effects

library that I want to work with or so on, you can index it to another database.

You can even make separate databases just to bring in all of your different

sounds and organize those,

and then you can search them all at any time on the same system.

So that is working with the sound library.

And those are just

some of the different techniques we have for working with sound effects.

And so next, I want to leave this timeline and let's go into a different one.

I'm going to come down here to something called Sound Design.

Our sound design is a little more creative, right?

Instead of just adding the sound effects, which is also creative and pretty fun, is

what sound design is where you're taking things

me to the next level and instead of just taking the sound as is, we have to

now craft it to achieve some sort of goal,

whether it's to make it feel like it belongs in a specific space, or

in this case, we're going to take a voice and make it sound more like a computer.

And so to do that, we're going to need

to do a little bit of processing or add some different effects and things to it.

And you through that creative process, we can create something

completely different.

And along the way, what's nice is because

we're working with Da Vinci Resolve instead of just a standalone duh

digital audio workstation is we have the ability to have multiple timelines

and we have room where we can just experiment with our sounds

outside of our main timeline, where our project is still in the project.

But instead of going into my main timeline and making a big mess, you know,

this is an art form when you're doing sound design.

So you can come in here,

go to a timeline, try all sorts of things until you get what you want.

Save that and just copy the parts that you want into your main timeline.

And we can do all of that here within a project.

And so I'm going to close up the media pool

and let's just listen to the sound now, because this is sound.

There's no picture.

I can go ahead and hide my meters.

And at this moment, I don't even need my mixer.

Let's just look at this particular track and this is eighties test voice you which

this was basically a piece of voiceover that was recorded earlier.

Amelie on a new tune.

Yes. So it's just reading a voice now.

We want to make this sound a little bit more like a computer,

so there's different things that we could do.

One of those is we can create kind of a composite image with the sound

similar to what you would do if you were compositing visuals.

If you've ever composited one shot to itself

to kind of make it richer or, you know, add a little depth to it,

you might just blend it together using some sort of blend mode.

You just lower the opacity on one of the,

you know, on the upper clip, but it's the same clip being it to itself.

And we did the same thing with sound by blending a clip to itself.

You just lower the volume instead of the opacity

and maybe change the pitch a little bit,

which is what I'm going to show you right here.

So this clip has been unaffected.

And what I want to do is selected.

And let's go over to the inspector

now. In order

to have this play continuously, what we're going to do

is just click the button up at the top here, the loop button.

It's right there in your transport controls.

If you turn that on, that means any time I play, it gets to the end.

It will just automatically continue and go back to the beginning and play

continuously in a loop.

Whether you're playing

loop playback of a selected area in a range or the entire timeline.

And so I can start playback.

And what I want to show you here is pitch in my inspector.

Anytime you select a clip, you have the ability to adjust the volume.

You could pan the clips

direction between the two speakers if you needed to,

but pitch is the one we're going to be focusing on right here.

I can change it higher or lower by up to 24,

so my tones in either direction now, semi tones, 12 semi tones will be an octave.

If you're thinking of a piano keys on a piano, the white and black keys

when they repeated one octave is 12 keys

and then you get to the next octave higher or lower of the exact same 12 keys.

They're just higher, lower.

And then the same thing with semi tones every 12 semitone is an octave.

And so I can change that even while it's playing.

Leona Newton.

You're

back.

It gets pretty, pretty deep, pretty fast, right?

And I can go the other way.

I cannot. Explain this.

Right.

So you can change that and decide which one you want

and obviously those are pretty extreme,

but you can also change your voice to sound more like a child.

Birth date is March 22nd, 2103.

It sounds like it's on a Newton.

Yes, Phillip Madan came up, made.

It so we can have a child computer or we could go the other direction.

I cannot explain this discrepancy.

Earth Day is okay, and so that's just making minor changes.

Now, what I'd like to do is let's blend it to itself.

So we're going select the first one in the top track option key and drag down

and by option and dragging down, I've just made a duplicate directly

underneath it in the exact same position.

And now we're going to change the pitch.

So while they're playing at the same time, I'm going to lower the pitch.

21 03a on a Newton.

Yes, Phillip made a.

So I lowered it by an entire octave -12.

Now, if you're wondering. Well, those are the semi tones.

What are sense.

Well since there are 100 sense within a semitone,

so think of it as in like the American dollar, we have 100 cents

within $1 you have 100 cents within one semitone.

So you can make very fine incremental changes as well.

Instead of blending something quite so heavily, but by adding

a lower version of a clip to itself, you do add

kind of a nice low end to it, which really stands out sometimes.

The trick is you have to also lower the volume.

Now, in this case, I've lowered both of them.

I only want to lower the one on the on the bottom.

Let's do that by 12.

And then I can lower the volume.

The state is my 22nd 2103

a million a new tune.

And you're hearing the two of those blended together.

And I'll go ahead and reset that for now.

Just giving you an idea of some of the things that you can do.

And by the way, if you want to change the volume level

on something, if you've been doing it right there on the clip,

you just double click and it puts it right back to where it should be.

So instead of doing that, let's leave this one

where it is and instead and make sure you reset

so that it's the volume is the same and we haven't changed the pitch.

And instead what I'm going to do is add a plug in now,

which will make it sound like more than one voice.

Again, we're going for that computer voice sound.

Let's go over to the effects library and we're going to find a plug in.

And in this case, the plug in we're looking for is the chorus plug in which,

as you would think of in a chorus of human beings, it is a chorus

plug in which will make it sound like more than one voice.

Now, when you add a plug

in, you can drop it onto a track or you can put it on a clip.

When it comes to clips, you can put unlimited plug ins on a clip,

but you can only put six on a track.

So you kind of have to manage your plug ins as you go.

In this case, we can go ahead and drop it right there on the clip

and we go, I just put the chorus plug in on this clip.

And by doing so, the plug in shows up here.

Obviously, you see that plug in window.

And if you look at the inspector for the selected clip,

you will see that the effects tab has been illuminated there.

If I select that, it shows me there is my course plug in.

Now if I close this interface window that comes with the plug in

for making adjustments,

you can open that up at any time by just clicking this button right here.

That's the custom button and.

If you click on that, it will allow you to open up that window again very easily.

Just click it and there it is.

So that lets us work with these controls.

And in this case, it's going to make it sound like it's more than one voice.

I'm going to use one of the presets

right here, and we have several different presets to choose from.

We'll use the dramatic one, but if I just start playback here

and let's slow this tracks, we're only listening to the one

with the course applied and then I can play.

If I look made a fill up media,

I cannot explain this discrepancy.

And that's what it sounds like with the plug in 22nd.

And as you can see, it's kind of got a bit of a computer

sound to it now, which is exactly what I was looking for.

And one of the thing when you're working with the plug ins and by the way,

these are all the plug ins that come with DaVinci Resolve.

If you're working with Da Vinci Resolve Studio, you can also use

your VST plug ins that are on your system and your audio unit's plug ins as well.

Now, if you

look on this interface, in addition to having different

presets, you can of course make your own changes to the controls.

You can save presets, new ones, but you will always see a dry, wet control.

So look at that right here, this dry, wet control.

And what that does is this adjusts the amount

that you have applied to that particular clip.

So if I reset that, it's only 25%.

If I do it all the way, that means it's 100% of the sound that we're hearing

has been affected. So that's 100%.

A million a Newton.

And this is only 50.

Phillip made it.

So now I'm hearing half of the clip without an effect

and then processed so it's kind of a nice blend there.

So just finding that happy place and how much of the effect you actually want.

No matter I cannot explain this.

Okay, that's working for me.

So that's great. I'm going to close this up.

So we've now made more of a computer sound.

Not too obnoxious, but just enough

of a change in mask.

And so what I want to do is I actually want to bake it

with those effects in it to be able to take somewhere else to work with.

We can even apply one more thing.

Let me go up here.

I kind of want to lower the pitch just a little bit.

So let's go back to audio and let's just forward by 1/22.

2103.

So let's just say that's the eighth voice we're going for.

So we have it set.

We've made a couple of changes to it and now I want to bounce this.

And so when I bounce it, there's several different ways you can bounce.

You can bounce, meaning render it into a new file.

We can render the entire mix,

which means everything from every track or any solo track,

and it will match format of whatever my bus is that I'm bouncing from,

or I can just bounce the track itself or the the selection.

And that's what I'm going to do. We're going to bounce this clip

as a layer to itself.

Okay?

So to do that will come up and I can come up here.

And if you look up at the top, we can go to the timeline menu

and we can bounce that selected track to a new layer.

And if I do that

and we actually have to select the track first,

which obviously I haven't done and you need to mark a range.

And so luckily it will show you if you need to do something like that,

I'll use my range tool to quickly mark a range which I can do.

It also selects the track for me, which is nice.

Go back to that arrow tool and I'm going to come up and do that again.

Bounce selected track to a new layer and notice it just bounced it for me

and we go, and that has.

A million new tune.

Now that has the effect on it is now sitting above the original in a new layer.

Now another option

I have if I wanted to bounce this is I'm going to move this down.

Here is another option.

Have as you can also bounce your effects and bake those right into the clip

by catching it.

So notice this clip right here has that effect that's on it.

Yeah.

At the top, this is the one that has been bounced.

But if I right click on this, I could choose

to catch those audio effects or bounce the audio effects.

And if I do any of the effects that are applied to clip right there,

whether I have 5050 different effects on one clip,

I could just bounces right now and I'll just render out a new file

or I could crash.

In this case, I'll bounce it,

here we go and just bounce the audio effects that way as well.

So whether it was one effect or 50 effects, however

many I had on that, it would just rendered into a new file, as you can see.

So let's listen to this one.

NEWTON okay, so mission accomplished There.

Now, let's say we wanted to take this another step.

Let's say I want to take this file and now I want to add some e

e Q and distortion to it. Okay.

I want to take it one more step. Okay, Let's do that.

I'm going to take the bounced effect and bring it down here.

Notice that. I'll put that back for a second.

If I look at my audio track layers, you'll see that when you bounce

the audio effects, you'll see it's sitting right on top of the original.

And the original has been disarmed, disabled right there in the or muted.

So it makes it easy for you to move it.

You can always re-enable it if you want to.

I'm going to go ahead and hide those audio track layers and let's move this down.

I'm going to move it into its own track.

And notice if I want to enable the original,

I just press D and that will enable or disable that clip.

I'll leave it disabled for now and I'm going to solo this lower track.

So this one, I'd like to add a little bit of distortion

and some e cue to make an effect with that one. Yes.

So right now this is my balanced version sounding more and more like a computer.

But let's just put it over the top, shall we?

Let's let's go ahead and look at what if we wanted it to sound like

it was coming out of a smaller space, like a smaller speaker?

Well, to do that, we could work with the E.

Q that's applied to that actual clip,

or we could work on the issue on the track itself.

Now, if you notice that any clip that you select,

if you look over here in the inspector, you will see there is my E

Q A for band e, Q for the selected clip.

So you can do your e Q right here on a clip by clip basis

or a tied the inspector and bring up our mixer.

Another place you can work with e Q is on a track basis,

and every single track individually is all Fairlight has.

Q Built in a seven band each you we have dynamics

and then all of your panning built right into the mixer.

So let's take this e Q Why not?

I've selected the tracks.

I can find exactly where it is to open it up.

And what we're going to do is I'm going to show you

how we can narrow those frequencies,

because that's what's going to make it sound like it's coming out of a smaller

item.

Because if you notice, if you have something like a cell phone

and you ever listen to the speaker, you're not hearing really high frequencies

and you're never in speaker mode

or the really low frequencies,

you're going to hear the range that it's able to play, right?

That one dynamic range, which is usually going to

be a geared towards voice, is making sure you can hear people,

if you ever listen to megaphones or systems

or if you've been at a train station and you hear the announcements,

they can't play everything.

It doesn't sound awesome, but hopefully it's just the frequencies you need, right?

And that's going to be by right here in our HQ.

If you notice the

Q across the bottom of this equalizer, you'll see it

basically shows the range of human hearing from 20 hertz

is as the low end all the way up to 20 or 20,000 hertz,

and that's usually the range that human ears can perceive.

That's why we kind of limit our gear towards that, because you're

not going to hear anything above or below that usually, if you can. Wow.

But so one of the things we'll do is we'll turn on our band

one and I'll turn on my band six.

You'll notice those look an awful lot like a fade, don't they?

It looks like there's a fade in and a fade.

But what that's actually doing is it's just rolling off

the highest frequencies and the lowest frequencies. A

couple of things to remember

when you're working with frequencies is, of course, there's two.

When you're dealing with dialog, there's two ranges that you don't want

to lose when you're starting to narrow frequencies for any reason.

And that is down at the bottom end, between 103 hundred hertz

is going to be your clarity of dialog is going to be controlled in that area

and between one K and three K

or 1003 thousand hertz, that's going to be your intelligibility.

And so if you shave out

too much of the intelligibility, you'll hear that there's a voice,

but you won't have a hard time understanding it.

And so that's why there's a sweet spot where we can really hear

and understand our dialog.

And so as I play this,

go ahead and start this playback meter.

You can hear the voice right now.

The sea Earth Day is March 22nd.

But what I can do is I can narrow that range in a little bit.

I'm just going to pull down the high end.

And what this is, this is a low pass filter.

Anything in the shaded area, I'm not going to hear those frequencies.

21 over 3 million now.

I've just cut into the one k the three K area that I told you

not to do for intelligibility.

And let me ask you, can you understand this now? Yes.

A little later, right.

You can hear that there's a voice, but you have no idea what they're saying.

And that's because I went in too far. Same thing on the left.

This is our clarity area. So I can shave in a little bit of that.

But I don't want to dip into that 100 or 300 meter.

I can't explain that it's going to be Earth Day.

So I've just narrowed it in and that's one option I have. Now.

Another thing you can do with your IQ, since this is sound design, is

you can also limit frequencies.

If you want something to sound like it's on the other side of a wall.

And I'll show you that in a minute with some footsteps.

So go ahead and shave this off.

Now, we also have plug ins that will do some of this as well.

So I'll just take in about that much.

But we also have some plug ins that will do that sort of thing.

I'm going to add a distortion plug in to this track.

Okay.

And here's my distortion now, this will give me a nice distorted sound.

And obviously, as the name suggests, I'm going to choose one of these presets.

There's a crunchy preset. 22nd.

Which is pretty bad, right?

Or is megaphone.

21 of three. Okay.

And then let's go in and just do like a low

lo fi radio

commentary.

I need to.

Not only say you sound like a robot, but she also sounds like she's coming

from some sort of device like a speaker.

So that's very useful. Yes.

So a little media phenomena.

I So now how am I going to bounce this into anything?

I'd like to actually bake this into something I could take from here

into another timeline and then cut it up and put it into position?

Well, if I wanted to do that, instead of bouncing the clip,

some of these effects have been actually applied to the tracks.

What I'll do is I'll bounce the mix into this existing track right here.

So I'm going to go ahead and make this track stereo

that I'm looking at right here, change track type to stereo.

And that way it will bounce to a stereo track

that the track I want to bounce into needs to match the bus that I'm bouncing from

and I'll come up here to the timeline menu bounce mix to track.

And what that will do is it'll bounce the mix,

which at this moment I have a soloed track,

so only what's soloed is what's going to be bounced.

That's what I'm going to hear and I'm going to bounce that to my stereo.

Main is the sound coming through.

My main is going to go to this bounce mix of a four.

I'll click okay.

It just bounced it for me.

I now have a bounced version of what I had just done up above.

And so if I were to listen to these back and forth, they should sound identical.

Only to

yes, fill up.

Mader So

okay, so that's just how you can take something from nothing and slowly

add a little bit of sound design here and there to get yourself to something

completely different.

And of course the best part about that is that you have

the ability to bounce it to.

I can then take it to another timeline or work with this,

and I always like to name my sound design experiments

so that I can go back in and find them later

in case I want to use it for another project.

I've already done some of the experimentation and work at this point.

So next we're going to look at some footsteps just so I can show you

some reverb and how we can add a little more dimension to our sound.

So I'm going to go back into the media pool, hide my effects library,

and I'm going to open up

this last timeline for our sound design.

And in this case, I just have some Foley footsteps.

Nothing all that exciting,

but these footsteps really don't tell us where they are.

And so one of the things that we need to do is add either some echo, some delay,

or a reverb, something that will give us the sense that we are in a room.

And so to do that, what we can do is come up here

to our effects library and just apply the effect and we're

going to go down and get our reverb and I'll drop it right on the track.

Okay?

Once I've applied that reverb, you can see that it actually shows a space

and it also shows our reverb over here on the right.

And then you have all kinds of adjustments that you can make to that.

Let's play this and see how it sounds.

So it's got a little bit more of a sense of a space in here.

Now let's look at a couple of the other presets.

If I come over here and try the bathroom preset notice, it's a much smaller space.

Doesn't seem to have as much time, meaning that the reverberations aren't

moving in a very large room.

Okay.

That's the bathroom.

Now let's try the cathedral and you'll notice that all the settings change.

It's a much longer time, you know, as those reverberations

are working their way out into the room, much larger space

that we're dealing with.

So it just gives us that nice sense of a much larger room.

Now that we have some other ones we could choose from.

I'll try this one, Studio two, for example.

So it's a

drier space, but at least it still sounds like it's in a room.

So this is one of those things where you can go in there and work with it.

And by just using some of these presets, you can get a feel for

some of the different settings on any of our plugins.

We have full descriptions on how they work.

Every single knob in the Resolve guide, which is available

under the help menu in case right there in the reference manual.

So you can get in there and learn more about every single button and knob.

One of the things that you can control here is down at the bottom is addition

to having your dry, wet controls of how much of that reverb supplied,

you also have your direct early reflection and reverb.

And I'll just show you this really right here, the direct, the early reflections

and your reverb.

And those are basically

the direct is the signal that's being whatever's generating the signal itself.

So if it's a little alarm clock or little monkey toy that's banging cymbals

in the middle of a parking garage, that is the direct sound is coming from that.

The early reflections is how quickly it reaches the listener.

So if you're really close to it, then obviously the early reflections

come to you pretty quickly.

And that gives us a sense of how close we are to it.

If it takes much longer for those get to us,

then we know that the source is further away.

It's all an illusion on how our ears perceive these things.

And then of course, the reverb

is the reverberation of all the sounds hitting all of the different space,

which gives us a sense of scale and also then gets back to the listener.

So that's what makes it feel like

we're in a large room or a smaller room and so on.

So we have all of the all three of those different elements

that you can control right here, and you'll see those in this graph.

Let me go back to Cathedral and you'll see this is the direct is the white line

there.

We have our early reflections and then we have the reverb itself.

And this is just how much of that reverberation

so how bouncy is the surface?

And then, of course, the time on how long it takes to get there.

So that is a really useful thing.

And as you can see,

but just looking at the different presets

will really help you get a feel for how our reverb works.

So I'm just going to pick one of these for now.

Let's go with the studio.

And then the last thing is I mentioned Echo.

You can also show you if something is on the other side of a barrier.

So let's say the sound is happening on the other side of the door.

These are footsteps maybe on some stairs.

You just could

turn those up a little bit.

So this may be someone coming down

a hallway or on the other side of a wall and we hear them coming.

Well, that's going to change our perception of that

because you open up my echo when it comes to the frequencies.

The higher the frequency, the smaller or the closer together those waveforms are.

They don't have nearly as much power

as those lower frequencies which have massive waves.

And this actually can penetrate through walls.

And so we tend to hear those low frequencies

because they can go right through the wall and turn the wall into an amplifier

in order to come out the other side,

whereas the high frequency is just going to bounce around and disappear.

And so to make it sound like something's on the other side of a wall,

all you need to do is just shave off some of that high end until you achieve

what you're trying to do.

So, for example, whether it's glass or concrete or someone downstairs,

just start your playback and you start band six

and just start shaving that back, I'll crank up my gain

to make it a louder for you so you can hear it while I do this.

Let's pull that band six.

As you can see now, it sounds like they're on the other side of,

you know, somewhere else, basically.

And I could even change my reverb if I wanted to.

Let's make it a bigger sound, like cathedral.

Now they're coming up a stairwell or something,

but way on the other side of a wall.

So that was working with

some of the sound design tools for doing your sound effects.

So it's just a matter of knowing which tools that you want to wield

in order to craft the sound to get what you're looking for.