Camtasia 2019 has a really easy, one click feature for making your audio levels have a consistent loudness. Let me show you how!
Adobe Audition makes it very easy to save all of your post processing effects and tweaks as a one-click preset. If you normally record yourself, or produce others, on the same mic in the same environment, you should really consider this technique to speed up your work and make your audio more consistent at the same time.
I have another video where I share how to do this in Audacity for those of you who do not own Audition. I’d invite you to check out that video here.
A lot of learning organizations depend on the Adobe Creative Cloud for all of their design and media needs, and why not? If you use Adobe Audition for your audio work, here is how to remove those unwanted noises and breaths.
Audition offers a couple of ways to do it, and here I will show you both using the lasso tool and the healing tool. Enjoy!
In many organizations, subject matter experts and trainers are used to record microlearning audio and video products, but you are almost always left with noises and breaths that you don’t desire. Let me show you how you can remove them in Audacity without altering the quality of your original recording.
Often times, the audio editor will use silence or take out too much noise, leaving an empty hole in the final product that does not sound natural in the context of the final course.
Many organizations with a learning design and development team use Adobe’s Creative Cloud suite of products. My sense is that many of these Instructional Designers use Photoshop, Illustrator and possibly InDesign for job aids to a large extent, but may not realize how easy it is to use Premiere Pro’s green screen effect to turn classroom training into eLearning in a snap. If you are used to Photoshop and the basic Adobe tool palettes and layouts, even though you may not be a video editor, you will quickly pick up how to work with Adobe Premiere. I hope you make good use of this great learning feature!
In 2020, video is without question the most popular and widely used medium for microlearning on demand. Every day, across organizations, there are still great lectures and classroom events happening in a world of learning that is more and more dominated by phones and iPads. If your organization has Camtasia, you can use its green screen feature to record these one time events and turn their gold into on demand training that you can distribute and use anytime, anywhere, and on any platform. Let me show you how easy it is to pair your presenter’s video with their content.
This is a video taken from a Lunch N’ Learn on getting started with Audacity. If you want to take a dive into not only the “how” to perform a task in Audacity, but also the when and the why of creating great audio, then I encourage you to check it out.
The following project showcase shows how an eLearning designer / developer can use Articulate Storyline, Snag-It, and Camtasia to integrate a systems training demonstration into a larger Care Management course that shows how and when the services get provided to members, as well as how the contact details gets documented at the same time. This is a really good example of how a developer and a SME can both use their specific knowledge and skills to get a good product done!
The AT875R microphone should be high on your short list of first shotgun mics to buy. Depending on your applications for recording your audio, it may also be your last shotgun purchase. In this article, I won’t go into the technical specs. If you desire those, you can get them here.
Let’s recall the reasons to buy a shotgun mic.
First off, it picks up audio at a distance from the presenter that can’t be achieved with a condenser microphone, though you still want to use it within 36 inches of your subject for best results. For slightly longer throws, you would want a longer shotgun such as the Sennheiser MKE600 or Sennheiser ME66. Secondly, it can be kept out of frame of a camera shot without having to affix a lapel mic to your presenter. Unlike a lapel mic, you don’t have to worry about picking up noise from the lapel mic rubbing against articles of rough clothing. Shotgun mics can be mounted on a mic stand to mic presenters and interviewees, but can also be mounted on top of a DSLR or video camera, so in that way they are very versatile. They can also be affixed to a boom pole for off camera ENG work, as well as hand-held options for stand up reporting type shoots. Some higher end shotguns, and mid range models, can also be used as desktop voiceover mics, such as the industry standard Sennheiser 416. Shotgun mics are also durable and can take the bumps and bruises of traveling with your equipment.
Lastly, let’s not forget about a shotgun mic’s ability to resist noise from the sides and behind the microphone. Its directional pick up qualities make it a great choice if you are not in a treated environment that is built for sound rejection and noise handling, though I would suggest you consider those options before thinking a low to mid priced shotgun mic can solve all of your room problems. It can’t.
There are of course some risks and down sides.
Like with any shotgun mic with a linear pick up pattern, you have to find the “sweet spot” when working the mic. If you or the presenter move your head too far off axis, you will hear the drop in resonance and find yourself doing a lot of post processing to match up your sounds. If you stay “on mic”, with good technique, the AT875R can produce some excellent sounds.
At under $200, this may arguably be your most versatile value priced mic in your arsenal.
The AT2035 is a large diaphragm condenser microphone that is very well suited for all of your voiceover and podcasting needs. This article is not a technical specs review. If you are looking for those, you can get them here.
The 2035 by Audio Technica, like all large diaphragm condensers, is designed to pick up the full dynamic range of voice that narration and VO artists require. This means your audio is going to sound more “full” from low base responses to higher pitched details. For this reason, condenser mics are the standard for “voice actors” who are often creating character voices that require a broad range of sounds.
Some of the higher end condenser mics would be the Neumann TLM 103 and the Neumann U87, which brings me to the down side of using a condenser mic. Ironically, but true, if your recording area is not treated for sound then the “less costly” condenser mic would be a better option than one of the above. That’s because of the high sensitivity that all condensers have.
The down side to a condenser is their pick up pattern is much wider than a shotgun mic, or a dynamic mic such as the Electro Voice RE320, so any background noise will be easily noticeable in your recording, as will reflections off of hard surfaces around you. That’s why many podcasters, trainers and radio stations prefer to use dynamic mics. They are less expensive to implement, and provide very present sounding audio where articulation and variance are not the key factors.
PRO TIP: If you are using a condenser mic in a non treated room, work it about a fist’s distance from your mouth, but at a 45-50 degree angle so that you are talking “past” the mic, and not directly into the condenser.
If your room is well treated, the standard technique is to work about 5 inches “below” the mic, and about 6-9 inches away from your mouth. You will see this technique used in the professional Hollywood studios where the talent is at a fair distance, sometimes up to 12 inches. Rule of thumb is, the more expensive condenser mic you buy, the better room you need to use it effectively. If you are an aspiring voice actor, this is really the style of microphone you need to be able to use effectively.